APPLAUSE VOLUME XXXIV NUMBER 3 NOV – DEC 2023
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APPLAUSE
SIGHTLINE
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BY JANICE SINDEN
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VO LU M E X X X I V • N U M B E R 3 • N OV - D E C 2 0 2 3
EDITOR: Suzanne Yoe DESIGN DIRECTOR: Kyle Malone DESIGNER THIS ISSUE: Brenda Elliott CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler CONTRIBUTING WRITERS: Misha Berson, Emma Hunt, Leigh Scheps
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Hello and happy holidays from the Denver Center! Whether you’re here to celebrate the season with Camp Christmas, The Hip Hop Nutcracker or A Christmas Carol or joining us because you’re excited to see Annie, SIX or Yippie Ki Yay — The Die Hard Parody, we’re delighted that you’re here. Your presence is a present to the many artists, actors and administrators who passionately believe in the work on our stages, in classrooms and throughout the community. We’ve just tallied up the figures for our recently completed 2023 fiscal year and what a year it was! We created 888,163 engagements — a big leap toward our goal of one million engagements annually by our 2028/29 season. Of that, nearly 120,000 were students who took a class, wrote a script, participated in a competition or attended one of our hundreds of in-school workshops. Our Community Engagement and Audience Development efforts also engaged more than 43,000 individuals through our $10 ticket program, free community performances, pre-show workshops or post-show discussions. And you contributed more than $21 million through donations, fundraisers and our enviable SCFD regional sales tax. We are humbled by this outpouring of support — both through your active participation and your overwhelming generosity. But the best is yet to come! World premieres, immersive productions, family favorites and readings of new works. If this is your first time at the theatre, welcome. If it’s your 50th, your commitment motivates us, and we invite you all to come back, deepen your engagement, take a class and be inspired through the transformative power of live theatre. Warm regards,
Janice Sinden, President & CEO P.S. If you’d like to make a year-end contribution to support the DCPA, please visit denvercenter.org/donate. Thank you in advance.
HONOR I N G OU R E LDE R S
The Denver Center for the Performing Arts honors and acknowledges that it resides on the traditional and unceded territories of the Ute, Cheyenne, and Arapaho Peoples. We also recognize the 48 contemporary Indigenous Tribes and Nations who have historically called Colorado home.
IN THIS ISSUE A Christmas Carol......................................pg 10 The Hip Hop Nutcracker...................... pg 16 SIX.....................................................................pg 18 Annie..............................................................pg 33 4
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LEGACY GIVING Leave a legacy. Make a pledge that safeguards the future of theatre. By doing so, you’ll become a member of the Encore Society, a dedicated group of patrons who have made long-term commitments to the DCPA in their estate plans.
HERE’S HOW TO GET INVOLVED Take advantage of tax-wise giving: Speak with your tax advisor about transferring appreciated stock directly to the DCPA, or direct part or all of the RMD from your IRA directly to us. We pay no capital gains, so your direct transfer contributions often go further than personally taking your distribution and making donations out of the proceeds. Make a gift in your will or revocable trust: Give a tax-free gift for any DCPA designation that can be updated at any time. Designate the DCPA as a beneficiary: Name the DCPA as a beneficiary of a retirement plan, IRA, insurance policy, or other account.
As a member of our Encore Society, you’ll receive invitations to special events, access to discounted show tickets, and more member-only perks!
GET IN TOUCH Email legacy@dcpa.org with questions about Legacy Giving
Leslie Alexander and Sophia Dotson in A Little Night Music. Photo by Amanda Tipton Photography
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THE GIFT THAT KEEPS GIVING BY MISHA BERSON
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In the winter of 1843 a novella appeared that captivated London readers. The first book run of the slim volume of 6,000 copies sold out quickly. A century later, two million copies had been purchased. And today it is hard to imagine the winter holiday season — or the American theatre — without Charles Dickens’ A Christmas Carol. This fable of greed and redemption has spawned scores of print, stage and film versions. It started with an 1844 play in London, sanctioned by Dickens himself. The first film that imparts the fable of misanthropic skinflint Ebenezer Scrooge’s transformation into a benevolent member of society, was a silent picture released in 1901. And since 1990, the DCPA Theatre Company has been one of many regional stage companies to usher in holiday seasons with a lively live adaptation of the story. This year more than 50 renditions of A Christmas Carol are being mounted at theatres throughout the U.S. Among the scores of faithful film versions are animated features (including one starring Mr. Magoo and another featuring Bugs Bunny) and comedy features like The Muppet Christmas. A slew of other treatments update the story (like the Bill Murray hit Scrooged) and others still that imagine Dickens crafting the book — as in the 2017 movie The Man Who Invented Christmas and the recent play, Mr. Dickens and his Carol. So, what is it about A Christmas Carol that still entrances readers and audiences today, even in an era when cynicism and social anxiety are so rampant? What is the source of its abiding popularity, which has been a holiday gift to theatres?
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It begins, of course, with Dickens himself. By 1843, at age 31, he was a successful novelist, and a man deeply concerned by and outspoken about the grinding poverty among the British lower classes. He had already published several novels we now consider classics — Oliver Twist, Nicholas Nickleby and The Old Curiosity Shop — which drew in part on his own childhood experiences of destitution. But as the sales of his new novel Martin Chuzzlewit lagged (Haven’t read it? You aren’t alone!), and the writer’s wife was expecting their fifth child, Dickens needed another literary hit. He had written Christmas tales before. But after a powerful visit to the Field Lane Ragged School for needy children, he decided to pen a Christmas pamphlet that would be titled “An Appeal to the People of England on behalf of the Poor Man’s Child.” Yet the idea morphed into fictional work that would have far greater impact than most pamphlets. It would colorfully, movingly shine a light on poverty in the new industrial era, and promote more humane working conditions and public charity. In the novella he described the central figure of Scrooge as “a squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner! Hard and sharp as flint...secret, and self-contained, and solitary as an oyster.” Scrooge treats his employee Bob Cratchit with miserly disdain, and begrudges him spending Christmas with his family. He scoffs at a pair of gentlemen who approach him for a contribution to help the destitute. “Are there no prisons?” Scrooge retorts. “Are there no workhouses?”
APPLAUSE • NOV – DEC 2023 • 303.893.4100 • DENVERCENTER.ORG
Dickens was enraged by this kind of selfish indifference. But he believed in the potential of positive transformation in human beings and engineered an ingenious turnabout for Scrooge. He created several compelling phantoms to visit the old curmudgeon on Christmas Eve. First was the ghost of Jacob Marley, Scrooge’s ex-business partner, who rises in chains from the grave to warn that without “charity, mercy, forbearance, and benevolence” Scrooge too would suffer an anguished afterlife. Three Yuletide spirits are also conjured to whisk Scrooge to Christmases from the past, present and future. He sees what he’s missed by failing to value love, friendship and charity. And the story ends in moral triumph, when Scrooge sees the errors of his ways, makes amends with his family, becomes a generous benefactor, and celebrates the holiday joyfully with the Cratchit family — including Bob’s frail son Tiny Tim. Though he certainly didn’t invent Christmas, Dickens’ story did impact Britain’s observance of it. What had become a subdued, insular religious event revived into a more festive public affair, like those in Scrooge’s past. And Queen Victoria’s German mate Prince Albert added in a new element: displaying decorated trees at Yuletide. But A Christmas Carol also provided a great script for drama. It has compelling characters, supernatural effects, comedy, sentimentality, opportunities for song and dance — and a family-forward message of goodwill to all. And no wonder. Dickens was passionate about theatre from the time he was a child. As an adult he was quite a ham: he produced elaborate amateur theatricals with friends and relatives. And on his popular lecture tours in Britain and America, he read aloud from his novels — and his A Christmas Carol recitation was a smash hit. According to biographer Edgar Johnson, it was “more than a reading; it was an extraordinary exhibition of acting...without a single prop or bit of costume, by changes of voice, by gesture, by vocal expression, Dickens peopled his stage with a throng of characters.” Ghosts, hiss-worthy villainy, Christmas fol-de-rol, new beginnings — the intrinsic theatricality Dickens poured into his fable remains crowdpleasing today. And if many of us now donate to charity at the holidays and wish one another good tidings, we likely have Dickens to thank. As A Christmas Carol beguiles us, it can also remind us of what Dickens eloquently articulated. He asked us to think of those who are less fortunate “as if they really were fellow passengers to the grave, and not another race of creatures bound on other journeys.”
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T H E B ROA D M O O R A Holiday Masterpiece
Is the family in town, or do you need a fresh idea for this year’s holiday party? Get ready to dine, sing along and enjoy the magic of the season at one of The Broadmoor’s Holiday Shows. The star-studded evening features the return of Grammy award-winning headliner Debby Boone; Broadway star Marcus Lovett; Colorado favorite Jim Salestrom; jazz virtuoso Nelson Rangell; and The Broadmoor Pops. With the Classic Broadmoor Holiday Package, you can make a weekend of it to celebrate with your family or team!
Show dates: December 15, 16, 22, 23 and 24, 2023. For tickets and more information, visit broadmoor.com/holidays
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FROM SUMMIT TO STAGE The Denver Center is proud to be an industry leader in new play development. At our annual Colorado New Play Summit, we provide emerging artists with the resources and expertise they need to turn bright ideas and rough drafts into fully fledged productions for a live audience. This winter, you can get an intimate look at the earliest stages of a play’s lifecycle, including the world premieres of two standout works from the 2022 Summit!
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CELEBRATES 50TH ANNIVERSARY OF HIP HOP BY S U Z A N N E YO E
Audiences have responded to the sprit and message of our show: LOVE conquers all. I really believe that. And we show that every night.
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These days it’s hard to imagine the music scene without hip hop. Since its emergence in the 1970s, it has influenced fashion, art, dance, education, media and entertainment including musical theatre. It features four elements: deejaying (or “turntabling”), rapping (or “MCing”), graffiti painting and “B-boying,” a dance style that incorporates acrobatics, spinning, intricate footwork, and head or back spins. Which is just what you’ll see at The Hip Hop Nutcracker, a mash-up of Tchaikovsky’s classic score with all of the core elements of hip hop on full display. And at the very center of the action is Kurtis “The Breaks” Blow performing as the show’s MC. As the first rapper to be signed by a major label, Blow has been blowing up the charts since 1979 with 10 albums in 11 years including the self-titled “Kurtis Blow,” “Deuce,” “Party Time,” “Ego Trip” and “America.” Just as Blow’s career has transformed over the past five decades, so has the hip hop genre. “Hip hop has evolved over 50 years into an increasingly diverse, global phenomenon with one of the most significant developments being the fusion of hip hop with other musical genres like classical music,” says Blow who paved the way for generations of hip hop artists and fans after scoring the first certified gold record rap song in 1980. As a founding father of hip hop, Blow is also responsible for “Christmas Rappin,” acclaimed for being the first rap holiday song. Fitting, then, that he is setting the stage every night for this acclaimed holiday show. “The show is a one-of-a-kind, holiday experience that brings together the entire family,” Blow described. “Your kids, mom and dad, and the grandparents can enjoy this show together! “Every performance, I can’t wait to get back on stage with these talented hip hop dancers and musicians! And I can’t wait to see the audience standing on their feet and throwing their hands in the air and everyone saying, ‘Oh yeah!’”
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— KURTIS BLOW, MC
While the delivery of The Nutcracker might be different, Blow assures us this new twist on a beloved tale will be familiar. “We still have Byron the nutcracker, Maria Clara, the mouse king who is now the mouse queen played by a female b-girl,” Blow explained. “What is different is we have a DJ playing hip hop beats throughout the performance. The sound of the fusion of Tchaikovsky’s classical music with modern hip hop beats is unbelievable.” “Hip hop is for everyone just like The Hip Hop Nutcracker. Audiences have responded to the sprit and message of our show: LOVE conquers all. I really believe that. And we show that every night.”
APPLAUSE • NOV – DEC 2023 • 303.893.4100 • DENVERCENTER.ORG
THE HIP HOP NUTCRACKER NOV 17 & 18 • BUELL THEATRE
ASL Interpreted, Audio Described and Open Captioned performance: Nov 18 at 2pm
The company of The Hip Hop Nutcracker.. Photo Credit: Cheryl Mann.
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BY MISHA BERSON
What we were interested in doing was reframing the way that women have been perceived in history and telling their side of the story. — LUCY MOSS, CO-CREATOR TO SMITHSONIAN MAGAZINE
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What is so funny about a rich and powerful man who disposes of most of his six wives — who wind up “divorced, beheaded, died, divorced, beheaded, survived,” as British children learn to memorize in history classes? The marital track record of Britain’s King Henry VIII is not a pretty one. And it is not usually written about or played for laughs. But the hit Broadway pop musical SIX marks a highly successful departure from tradition. With sly satire, pop panache and a sextet of powerhouse singer-actors, the 80-minute crowd pleaser is based partly on historical fact — and a lot on the daring feminist cheek and contemporary sensibilities of a gifted British duo, Toby Marlow and Lucy Moss. The two met studying at England’s Cambridge University. And as they concocted a show about Henry and his wives to present at the 2017 Edinburgh Festival Fringe, they knew from some of the (many, many) historical and fictional accounts, TV documentaries and feature films (there’s also a Shakespeare play about Henry the XIII’s reign), the basics of his epic matrimonial saga. So, cue the decorous gowns and genteel music of the Tudor court? No way. The duo tapped into their own generation’s pop anthems and snappy irreverent humor. And they chose the framework of a pity party/singing competition to allow each wife their say about life with Henry and rouse the most sympathy (and cheers) from the audience. But their goal wasn’t just docu-mockery. “What we were interested in doing,” Moss told Smithsonian Magazine in 2021, “was reframing the way that women have been perceived in history and telling their side of the story.”
APPLAUSE • NOV – DEC 2023 • 303.893.4100 • DENVERCENTER.ORG
The North American Tour Boleyn Company of SIX. Photo by Joan Marcus.
HENRY’S EX-WIVES GET THEIR SAY (AND SING) IN SIX
SIX
DEC 5 – 24 • BUELL THEATRE ASL Interpreted, Audio Described and Open Captioned performance: Dec 17 at 2pm
COMING UP FROM BROADWAY
MESSAGE IN A BOTTLE
Message In A Bottle. Photo by Lynn Theisen.
SIX was a hit in Edinburgh, went on to tour Britain, then to success on London’s West End, on Broadway and around the globe. Now it’s reigning over U.S. stages on tour. Global domination has been a welcome surprise to the show’s creators, who are still in their 20s. “Even though it had been such a hit in London, when we came out to America, Lucy and I were freaking out, wondering if the history is going to appeal in the same way,” Marlow told The Guardian newspaper. “But [the audience] knew all the words already from the internet, which was extraordinary.” Need a refresher course on who the “six” spouses were. Here’s a quick rundown: Henry’s first and longest union (two decades) was with a smart, assertive Spanish princess, Catherine of Aragon, who despite many pregnancies only produced one viable child with the monarch, christened Mary. Assuming Catherine would never produce a male heir to his throne, Henry divorced her — by defying Catholic Church doctrine and inventing his own religious denomination (The Church of England). Wife No. 2 was lovely Anne Boleyn, who also gave birth to a daughter (the future Queen Elizabeth I), but alas, no son. To be rid of her, Henry accused Anne of adultery and though historians now doubt her guilt, she was tried and executed. Next up? Jane Seymour. She produced a male heir, who became King Edward VI — but she died 12 days after his birth. The king still needed a queen, so he turned to Anna of Cleves, a sort of mail order German bride. Henry loved Thomas Holbein’s flattering portrait of her, but rejected her in the flesh. Uncrowned, her marriage annulled, Anna still enjoyed a cushy life at court — and unlike poor Anne Boleyn, kept her head on. On to Katherine Howard, a fun-loving young woman Henry called his “blushing rose without a thorn.” That is, until dalliances with two other men led to her own execution. Yet another Catherine (Parr) was his final bride and reportedly a faithful nurse to the ailing monarch. (After his death she remarried, only to perish in childbirth herself soon after.) This condensed version omits a lot of political and personal rivalry among Henry, his wives, and their relations and courtiers. For details, check out Antonia Fraser’s book (and a source for the show), The Six Wives of Henry VIII, and the acclaimed Wolf Hall trilogy by historical novelist Hilary Mantel. What you get from SIX is its own unique take on the women’s experiences and a big jolt of pizzazz: sparkly royal mini-dresses and teeny crowns, catchy tunes and punchy lyrics as the wives (or ex-wives, they remind you) belt out solos, boogie and are each other’s backup singers. Moss and Marlow told the BBC the numbers are very much influenced by current pop divas with a lot more agency than 16th-Century queens. Anne Boleyn’s upbeat solo tune, “Don’t Lose Ur Head” (“I’m just trying to have some fun/ Don’t worry, don’t worry/ Don’t lose your head”), riffs off British singer Lily Allen’s musical style. “Get Down” is Anna of Cleves whose Queen-spiration is Nicki Minaj and Rihanna: “I’m a Wienerschnitzel, not an English flower/No one tells me I need a rich man/Doin’ my thing in my palace in Richmond.” Amid the ribald comedy, there are some serious moments, including when Jane Seymour delivers “Heart of Stone,” a poignant Adele-esque ballad addressed to her son: “Soon I’ll have to go/I’ll never see him grow/ But I hope my son will know/He’ll never be alone.” But some have argued that SIX mainly turns women’s tragedies, and their mistreatment by a male-dominated society that viewed women mainly as sex objects and breeders, into comedy. That subject may fuel a debate — as you leave the theatre after this one-of-a-kind show’s dazzling get-down finale.
Message In A Bottle is a breathtaking dance-theatre show, featuring emotive choreography and a poignant story. Siblings Leto, Mati and Tana live peacefully in their village, until civil war devastates their community. Under attack, the family must make impossible choices for each other and themselves. Their story encourages conversation and action, to find ways to support and heal during a refugee crisis — it is a story of humanity and hope. Set against the backdrop of 17-time Grammy Award-winning artist Sting’s iconic music, the choreography by five-time Olivier Award nominee Kate Prince astounds and surprises with high intensity athleticism and emotion. The dancers, from storytelling powerhouse ZooNation: The Kate Prince Company, flow in and out of different dance styles, partners and solos, and showcase immense theatrical talent onstage. There’s something for everyone at Message In A Bottle, whether you’re a fan of dance, Sting’s music, or theatre. The Sunday Mirror says “This is what dance is supposed to do. This is how it should make you feel.” This spectacular show will be at the Buell Theatre in Denver between February 13 – 25. You won’t want to miss the opportunity to witness the latest masterpiece from Kate Prince.
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THROUGH March 3, 2024 All Stars: American Artists from The Phillips Collection is organized by The Phillips Collection in collaboration with the Denver Art Museum. Support is provided by the Tom Taplin Jr. and Ted Taplin Endowment, the Birnbaum Social Discourse Project, Drs. Ellen and Morris Susman, Lisë Gander and Andy Main, Mike Leprino Family Foundation, the Kristin and Charles Lohmiller Exhibitions Fund, the donors to the Annual Fund Leadership Campaign, and the residents who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by 5280 Magazine and CBS Colorado. Walt Kuhn, Plumes (detail), 1931. Oil on canvas; 40 in. x 30 in. The Phillips Collection: Acquired 1932
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hiphopnutcracker.com 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 6+ 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 amcmullen@dcpa.org or 303.446.4836. DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2023/24 BROADWAY SEASON
Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, IATSE Local 719 Robin Appleton Julie Bassignani Carrie Breidenbach Vonnie Clough Craig Cory Cyndie Cory Laura Cotugno Steve Davies Anne Davis Amber Krimbel Carolyn Dore AnnSue Gunter Judy Holabird Will Holabird Lauren LaCasse Kelsey Lambert
Leslie Lambert Sarah Lambert Anthony Mattivi Sharon Millikan-Hale Callie Morrow Tim Nelson Lisa Parsons Wagner Laura Payne Dave Poole Jessica Rayburn Alan Richards Elisa Spadi Amy Tepel Marybeth Tscherpel Eliza Vlasova Barbara Wilson
DPAC House Crew Mark Anthony Perry Elliott Kiko Marra Allen Olmstead
Albert Sainz Sr. Josh Thurman Derek Tovar David A. Wilson
The Denver Performing Arts Complex is owned and operated by Denver Arts & Venues for the City and County of Denver. City and County of Denver Mike Johnston, Mayor Denver Arts & Venues, Arts Complex Operations Mark Heiser, Venue Director Jody Grossman, Assistant Venue Director, Booking Todd Medley, Facilities Superintendent Kelly Graham, Safety, Security and Garage Operations Manager Carol Krueger, Patron Services Manager artscomplex.com | (720) 865-4220 For immediate assistance & security (720) 865-4200
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LEARN MORE Maggie Bofill and Stephanie Machado. Photo by Jamie Kraus Photography.
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Matt Zambrano and Brittany Mendoza-Peña. Photo by Amanda Tipton Photography
BRING LEARNING TO LIFE
Theatre Classes at the DCPA PreK - Adult All Experience Levels
BY MADISON STOUT
Photo by McLeod9 Creative
1-Day Workshops Multi-Week Courses Daytime, Evening, and Weekend Classes
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The transformative power of live theatre is an undeniable force that can shape lives, broaden horizons, and ignite passions. For nearly four decades, the Denver Center for the Performing Arts has introduced such experiences to schools and communities across Colorado through its Theatre for Young Audiences (TYA) and Student Matinee programs. With a return run of Little Red, the DCPA continues its mission of engaging and inspiring young minds through the magic of theatre. “TYA is geared toward a younger audience, so the show is much shorter than your average theatre production, only about an hour long,” Jessica Bergin, Associate Director of Group Sales, explained. “Kids are going to have a good time. They don’t have to sit super quiet in the theatre. It’s okay for them to shout out, clap, and cheer on their favorite characters.” Beyond TYA, Student Matinees bring the magic of theatre to students through 12th grade. Since 1984, student matinees have offered schools a comprehensive experience designed to provide creative, theatre-based learning that connects shows to state curriculums. Educators receive professionally prepared study guides that become a resource for preparing students for their field trip. Then, DCPA teaching artists facilitate pre- or post-show workshops, which delve deeper into the production’s themes, providing entry points for students to connect with the play on a more profound level. Following performances, students can participate in a postshow talkback discussion with actors and production staff. Aside from the entertainment value, these experiences encourage critical thinking, empathy, and creativity. Through TYA and Student Matinees, the DCPA provides students of all ages with an opportunity that might otherwise be out of reach. As one student put it, “There are some kids in theatre, like me, who aren’t able to see shows like this because of limitations. We rarely get to experience something like this.” The DCPA is not just staging productions; it’s staging experiences that shape the lives of young minds. Little Red is just one chapter, perhaps the beginning, of a student’s love for the arts that can last a lifetime.
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APPLAUSE • NOV – DEC 2023
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WITH THE
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DECEMBER 7–10, 2023 THE LINCOLN CENTER, FORT COLLINS
— ! ON ITI ORS O AD TR IND CK BA
An ooey-gooey, over-the-top Christmas extravaganza!
NOW – DEC 24
STANLEY MARKETPLACE
EXPERIENCES
iest k r i Qu liday Ho
T
OTHERWORLDLY
N’S
SO EA
S HE
Embark on a journey to space, inspired by NASA missions.
FEB 3 – MAY 5
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There’s so much more to see in the DCPA Theatre Company season! We’ve got absurdity and espionage still to come. Romance and rhythm waiting in the wings. Epics and everyday heroes inbound. We’ve got it all, right here at the Denver Center, in 2024.
JAN 26 – MAR 10
FEB 9 – MAR 10
WHERE DID WE
THE LEHMAN
SINGLETON THEATRE
SIT ON THE BUS?
APR 19 – JUN 2 SINGLETON THEATRE
KILSTROM THEATRE
TRILOGY
EMMA
CEBOLLAS
WORLD PREMIERE
THERE’S STILL TIME TO
WORLD PREMIERE
RUBICON
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NEWMAN CENTER PRESENTS 2023–2024 SEASON
Compagnie Hervé Koubi: What the Day Owes to the Night
Sphinx Virtuosi
TUE JAN 23, 2024
WED MAR 20, 2024
Emmet Cohen Trio
Aoife O’Donovan & Hawktail
SAT FEB 3, 2024
SAT MAR 30, 2024
Small Island Big Song
Urban Bush Women: Legacy + Lineage + Liberation
FRI FEB 16, 2024
Acrobuffos: Air Play
FRI APR 12, 2024
SUN FEB 18, 2024
Joshua Redman Quintet FRI MAR 1, 2024
Okareka: Mana Wahine
TAKT Trio
FRI APR 19, 2024
Maria Schneider Orchestra FRI MAY 3, 2024
SUN MAR 10, 2024
NewmanCenterPresents.com
Located Inside Hotel Teatro - Just One Block From The Denver Center for the Performing Arts
303.871.7720
Your holiday favorites, commercial-free.
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At the Denver Center, our Event Services team is staffed by theatrically trained professionals wielding concert-quality A/V equipment. The result is an experience for your guests that rivals the production quality of a Broadway spectacular! The only limit is your imagination. Get in touch with us today!
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OUR GUIDING VISION Our vision is to create a more connected and inclusive community lifted up and drawn together by theatrical storytelling and shared experiences.
Learn more about what drives the DCPA, and where we’re going, at denvercenter.org/plan
THE
DECEMBER 23 - 24 | 11 am & 1 pm
best collection I S Y O U R S .
FEATURING
Velvet • Go Silk Matthildur • MxM Johnny Was • Transit Henriette Steffensen Daniella Lehavi Porto • Brodie
A holiday tradition for audiences of all ages. Performed with a full orchestra.
Tickets & Info: centralcityopera.org | 303-292-6700
simple EL EGA N C E
Monday ~ Saturday, 10-6 • Sunday 11-5 • By appointment DENVER • 303.751.2618 • 1067 SOUTH GAYLORD BOULDER • 303.443.2565 • 1505 PEARL STREET
barbaraandcompany.net
view new arrivals
SOMETHING FOR EVERYONE
THE PERFECT GIFT! Join us at the DCPA in the coming months for Broadway's hottest musicals, raucous improv shows and a full slate of kid-friendly classics!
5 0 TH A N N I V E R S A R Y T O U R
DEC 5 – 24 BUELL THEATRE
JAN 30 – FEB 4
GARNER GALLERIA THEATRE
DEC 6 – 23
GARNER GALLERIA THEATRE
JAN 3 – 28
JAN 23 – 28 BUELL THEATRE
BUELL THEATRE
GARNER GALLERIA THEATRE
FEB 7 – MAR 31
FEB 13 – 25
MAR 5 – 10
MAR 14 – 17
APR 10 – 28
MAY 3 – 5
MAY 11 & 12
JUN 12 – 30
JUN 19 – JUL 3
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BUELL THEATRE
BUELL THEATRE
BUELL THEATRE
BUELL THEATRE
©Disney
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MAY 22 – JUN 2 BUELL THEATRE
GARNER GALLERIA THEATRE
BUELL THEATRE
JUL 24 – AUG 25 BUELL THEATRE
3 x 3.375
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32
APPLAUSE • NOV – DEC 2023 • 303.893.4100 • DENVERCENTER.ORG
CER GIFT T AVA IFICAT E ILA BLE S
Rainier (Rainey) Treviño and Georgie in the North American Tour of ANNIE. Photo by Evan Zimmerman for MurphyMade.
HOW RESCUE DOGS ARE TRAINED TO PLAY SANDY IN
ANNIE
BY LEIGH SCHEPS REPRINTED BY PERMISSION OF ANNIE
I
It’s no secret that the dog who plays Sandy in Annie has been stealing the spotlight at every show since the musical first premiered in 1976. Since Annie’s inception, Bill Berloni has been training the Sandys. The dog, according to the script by Charles Strouse, Thomas Meehan and Martin Charnin, is described as medium-sized, sandy color of an indistinguishable breed. Before Annie was on Broadway, Berloni, who was a 20-year-old aspiring actor at the time, was asked by one of the musical’s producers to find a dog and train it to be Sandy. From that moment, he made training rescue dogs for the stage his passion and career. For the new national tour, Georgie and Bailey play Sandy. “We look for dogs with well-balanced temperaments. That’s it. If they’re well-balanced, then they can learn anything,” Berloni said of what makes the perfect candidate to be a stage dog. Sandy has a pivotal role in the story. The character is on stage for about fourteen minutes with 15 - 20 stage cues a show. And the Sandys cast are always rescue dogs. Georgie was saved from nearly being turned over to a Pennsylvania kill shelter. Bailey was rescued from Puppy Love Rescue in Louisiana. Training the dogs to be on a big stage with thousands of people in the audience takes about two to three years. First, they get healthy and housebroken. Then trainers use a basic obedience course where the rescue dogs learn how to walk by your side, sit, stay, lay down, sit up and come when you call them.
“Our training begins a conversation with them unlike any conversation they’ve ever had before,” explained Berloni of his process. “Every behavior has a reward. And for the most part, the reward is love. So, there’s never any, ‘if you do that, this is your punishment.’ There is: ‘I’d like you to do this. And if you do, you’ll get a reward.’ It’s a much slower process.” Once that’s mastered, the dogs learn their cues for the show. For this production of Annie, the rehearsal process with the cast began about a month before the first performances. Treviño, the tour Annie, spent many hours bonding with Georgie and Bailey by feeding them, walking them and even sleeping with them. “What differentiates our dogs [from other pets] is that they learn to listen to other people, as opposed to just listening to me,” Berloni said. If at any time the dogs don’t want to perform, they don’t have to and they retire from their stage careers. He hopes, with every Sandy, it helps audiences see a different perspective on animal adoption. “Somewhere in popular culture, I’ve helped make that type of dog popular to have as a pet,” he added.
ANNIE
NOV 21 – 26, 2023 BUELL THEATRE
READ THE FULL ARTICLE
ASL Interpreted, Audio-Described and Open Captioned performance: Nov 25 at 2pm
APPLAUSE • NOV – DEC 2023 • 303.893.4100 • DENVERCENTER.ORG
33
SCAN HERE TO LEARN MORE
$45 FEEDS THREE SHELTER ANIMALS FOR ONE MONTH.
PERFORMING ARTS ACADEMY AGES 3 - 18 CLASSES & SHOWS ADULT CLASSES
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M A R C H 8 –1 7, 2 0 24
Live m us i c fe aturi n g t he Co lo ra d o B a l l e t O rc he st ra a t t h e El l i e Ca u l k i n s O p e ra Hou se
When a life-sized doll comes between two village lovers, a young woman dances to the rescue, saving her betrothed from a scheming inventor. Colorado Ballet presents Coppélia, a comedic ballet renowned for its charming blend of humor and classical sensibility. This whimsical story of love and mistaken identity features original choreography after Arthur Saint-Léon, staged by Sandra Brown, Lorita Travaglia and Maria Mosina, set to the music of Léo Delibes. Tickets at COLORADOBALLET.ORG
Suppor ted by L E A H M C FA D D E N & S O N ATA R O S S BY R A C H E L N E V I L L E
PROUD SPONSOR OF DCPA BROADWAY
I want to travel and do things, but I can't with my disease. Virtual reality immerses you, blocks everything else out and I felt free. — UCHEALTH PATIENT
VIRTUAL REALITY AND THEATRE COLLIDE BY LINNEA COVINGTON
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We all need an escape sometimes, especially patients stuck in a hospital room. Enter a virtual reality (VR) version of The Secret Comedy of Women, a comedic cabaret created by Barbara Gehring and Linda Klein. “The virtual reality aspect of the platform allows them to escape their surroundings and enter a different world and enjoy some live theatre,” said the creators. “It fills our hearts to be able offer a much-needed break and distraction from the stress of a hospital, while also promoting laughter and connections with some joyful entertainment.” Turns out VR has been used in health care for decades. In 2018 UCHealth implemented a pilot program in partnership with the VR company Rendever for cancer patients. Because cancer patients sometimes spend hours sitting in one spot while receiving chemotherapy, it made sense this would be a prime time to escape. “We wanted to see if using virtual reality as a distraction improved our patient experience and it was something our staff was excited about using. The results were overwhelmingly positive,” said Nikki Caputo, vice president of patient experience and innovation at UCHealth. “Since that pilot, we’ve been using virtual reality across UCHealth to help distract patients from painful, long, or even fear-producing treatments and procedures.” Through the VR platform, patients can do things like escape to a place they’ve never been, experience an activity they love or have never been able to try, or simply distract their minds with a fun game. “We are so grateful to provide some much-needed laughter for both staff and patients at UCHealth,” added Gehring and Klein over email. “Laughter has many health benefits, including reducing stress and improving mood, but our show also encourages connections, which can help to create a sense of community and support among patients and staff. This can be particularly important in a hospital setting where patients may feel isolated and disconnected from others.” So far the feedback has been positive. One patient told Caputo, “This is incredible, it took me away for a minute.” “I want to travel and do things, but I can’t with my disease,” said another patient. “Virtual reality immerses you, blocks everything else out and I felt free.” With the success of VR in the hospital, The Secret Comedy of Women may be just the start of offering live theatre performances via a headset, something we can all applaud.
The Secret Comedy of Women with Barbara Gehring and Linda Klein.
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APPLAUSE • NOV – DEC 2023 • 303.893.4100 • DENVERCENTER.ORG
Second Wind Fund pays for up to 12 sessions of therapy for Colorado youth at risk of suicide.
For more information visit thesecondwindfund.org or scan the QR code
Voted 2023 Best Afternoon Tea in Denver by Westword TRADITIONAL ENGLISH AFTERNOON TEA served Wednesday-Sunday from 3pm-6pm WEEKEND BRUNCH open to the public for 10am & 12pm seatings 2555 W. 37th Avenue, Denver, CO 80211 Denver's Potter Highlands Neighborhood 303.477.8205 RESERVATIONS REQUIRED
Savor the best of downtown Denver with our Preferred Restaurant Partners.
Walk through the doors of 801 Fish to discover an elite restaurant offering fresh, refined seafood, exemplary service, an award-winning wine list, and luxurious decor. Fresh fish, crustaceans, and oysters are delivered to the restaurants daily to guarantee delicious, refreshing, and pure cookery.
Located inside The Curtis Hotel, The Corner Office is the flirty rendezvous where edgy global dishes meet chic creative cocktails in the heart of downtown Denver. Progressive comfort food mixed with international flavors give traditional favorites a fresh twist.
Located inside Four Seasons Hotel Denver, EDGE Restaurant and Bar is a progressive steakhouse with global influences utilizing fresh, quality proteins and local ingredients. The dynamic see-and-be-seen bar features local beer, a superb wine list, and handcrafted cocktails.
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STK Steakhouse artfully blends the modern steakhouse and a chic lounge into one, offering a dynamic, fine dining experience with the superior quality of a traditional steakhouse. STK emphasizes the social experience and taking a vibedriven approach to fine dining.
Located inside The Slate Denver, Tapestry Collection by Hilton, Teachers’ Lounge Food + Drink offers a memorable dining experience. Choose from a variety of delicacies, creative cocktails, and savory dishes to ignite a feeling of warmth within Slate's culinary-inspired spaces.
PLAN YOUR NIGHT OUT 38
APPLAUSE • NOV – DEC 2023 • 303.893.4100 • DENVERCENTER.ORG
The Philadelphia Orchestra Yannick Nézet-Séguin
July 10 & 12, 2024
TICKETS ON SALE
JANUARY 31, 2024
BRAVOVAIL.ORG ■ 877.812.5700 ■ @BRAVOVAIL SUPPORTED BY
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Those are the stories we tell every day on CBS Colorado, keeping you informed, getting you prepared, and helping you make the best decisions for your family.
C
CBS Colorado is committed to impactful local journalism from all Colorado communities, fairly, accurately, and passionately representing the diverse voices in our state. This local media leader is proud to partner with the Denver Center for the Performing Arts to showcase the depth and variety of arts and artists, expressing through dance, drama, and other artistic endeavors the vibrance of our shared connection as Coloradans. It’s those connections that bring individuals together to make communities across the state better places to live. “Those are the stories we tell every day on CBS Colorado,” said CBS Colorado General Manager Tim Wieland. “Keeping you informed, getting you prepared, and helping you make the best decisions for your family – that’s the mission every single day, on air, streaming on CBS News Colorado, and online at CBSColorado.com. Now, on with the show!”
— TIM WIELAND, CBS COLORADO GENERAL MANAGER
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APPLAUSE • NOV – DEC 2023 • 303.893.4100 • DENVERCENTER.ORG
In Good Taste complimentary house margarita with ticket stub (with purchase of entrée)
Hidden Cocktail Bar Below Larimer Square 1400 Larimer street (720) 946-1433 @tamayodenver
Two blocks from DCPA Bring in your program for Buy One, Get One Free Daiquiris! 1403 Larimer St.
an innovative and elegant fine dining experience in the heart of lodo. theregulardenver.com/rsvp
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THE ARTS BRING POSITIVE ENERGY TO ALL OF OUR LIVES
42
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The arts power our communities. They inspire us; they entertain us; they educate us; they connect and heal us. Through employee volunteerism, granting and sponsorships, Xcel Energy infuses arts and culture into its employee volunteer opportunities, giving programs and community sponsorships. “Arts and culture contribute to the vitality of the communities we serve,” said Lauren Gilliland, Vice President, Gas Engineering and Operations at Xcel Energy-Colorado. “From bridging cultural gaps and elevating diverse perspectives to driving economic development and educating our youth, the arts bring positive energy to all of our lives.” Xcel Energy is also committed to building a future powered by clean, reliable, safe energy, with a vision to be a net-zero energy provider by 2050. Learn more at xcelenergy.com.
APPLAUSE • NOV – DEC 2023 • 303.893.4100 • DENVERCENTER.ORG
A 33,000-acre Network Of Sanctuaries With Over 1,000 Lions, Tigers, Bears, Wolves, And Other RESCUED Animals That Need Your Help!
Please help these rescued animals now and during your holiday giving. Your donation will truly make a difference in their lives!
WildAnimalSanctuary.org
DCPA TEAM DCPA TEAM
DCPA
Stori Heleen-O’Foley................Event Technical Jon Collins.....................Manager, Subscription Prop Shop Manager Katie Davis.....................Manager, VIP Ticketing Meghan Markiewicz...........................Supervisor Janice Sinden..........................President & CEO Donna Hendricks...........Executive Assistant, Shane Hotle.................................Audio Engineer Billy Dutton...........................Associate Director, Sara Pugh........................Associate Supervisor Operations Bennet Goldberg, Georgina Kayes, President & CEO David Mandlowitz, Julie Schumaker......................................Manager, Will Stowe, Ian Wells ...........Video Engineers Danielle Freeman ...................................Manager, Ashley Lawler .............................................Artisans Customer Service Andrew McGlothen................Prop Carpenter Board Relations Tara Miller...........................................Event Sales & Operations Director Claire Hayes, Ella Mann, ACCOUNTING & FINANCE Brook Nichols ........Event Technical Director Rocco Williams...........Managers, Box Office Scene Shop Eric Moore.............................. Technical Director Jane Williams...................................................CFAO Kate Olsen................Event Sales Coordinator Chris Leech.......... VIP Ticketing Coordinator Albert “Stub” Allison, Robert L. Orzolek, Sara Brandenburg................................... Director, Viktoria Padilla............................................Lighting Katie Spanos .......................Associate Director, Josh Prues ....Associate Technical Directors Subscriber Services Accounting Services Benjamin Peitzer...........Event Technical Lead Jeremy Althoff, Tyler D. Clark, Michaele Davidson ....Accountant, Treasury Phil Rohrbach ................................Event Manager Group Sales Amy Wynn Pastor, Jessica Bergin..................... Associate Director Jennifer Jeffrey....................Director, Financial Brooke Wyatt........Event Logistics Manager Kyle Scoggins.....................Scenic Technicians Blythe Kamin.............................................Manager, Louis Fernandez III.....Lead Scenic Technician Planning & Analysis Audience Development Kristina Monge.......................................Specialist, INFORMATION TECHNOLOGY Brian “Marco” Markiewicz....Lead Carpenter Accounts Payable Lisa Roebuck.................................Vice President Elias Lopez...........................................Coordinator Jennifer Siemers ...........Director, Accounting For security purposes, the IT team has been omitted. Maddie Young .......................................Associate, Scenic Design Education & Group Sales Lisa Orzolek.................................................Director Audrey Smith..............Associate Accounting Operations Kevin Nelson, Manager Vincent Bridgers........................Senior Analyst OFF-CENTER Nicholas Renaud..................................Assistants Adam Busch................................. Junior Analyst BROADWAY & CABARET Charlie Miller...Executive Director & Curator Sound Design Aaron Chavez....................................................Lead Courtney Ozaki............................ Line Producer Alex Billman....................Sound & Technology John Ekeberg.........................Executive Director Ruben Cruz, Jordan Latouche.... Engineers Supervisor Administration Simone Gordon.................Associate Director PEOPLE & CULTURE Ashley Brown.......................Business Manager Kyle Greufe, Tara Perticone...............Analysts Laura Maresca................................................ CPCO Meagan Holdeman+, Timothy Schoeberl+, Alicia Bruce............................. General Manager Brandon LeMarr......................................Manager Dimitri Soto+.......................................Technicians Lisa Prater .........................Operations Manager Sam Nolte ......................................................Analyst Equity & Organization Culture Lydia Garcia .........................Executive Director Stage Management Sarah Martinez ..............................Administrator Garner Galleria Theatre Seán Kroll .............................................Coordinator Michael Morales..................................Production Jacob Parker .......................Associate Director Abel Becerra............................Technical Director Stage Manager Joseph Reecher ......................Senior Engineer Human Resources Jason Begin+, Alexa Burn, Corin Davidson, Anna Hookana+...................Core Stagehands Cordelia Taylor ..................................Coordinator Brian Carter......Senior HR Business Partner Wendy Blackburn Eastland, Andrew Guilder...HR & Recruiting Specialist Harper Hadley, Sage Hughes, MARKETING & SALES DEVELOPMENT Paul Johnson..............................................Payroll & Anne Jude, Nick Nyquist, Malia Stoner, Compliance Manager Kristin Sutter.............................Stage Managers Jamie Clements .............................Vice President Angela Lakin....................................Vice President Connor Carlin......................Associate Director, Whitney Testa..................Executive Assistant, Laurie Moore........................... Business Partner Claire Dommert, Nia Pitts, Marketing & Broadway Monica Robles...............Supervisor, Mailroom Georgia Wood, Rain Young.....Apprentices Major & Planned Gifts Kinsey Scholl.................Operations Specialist Wardrobe Caroline Eppers.......................................Manager, Marketing Corporate Partnerships Heidi Bosk...........Associate Director, Press & Heidi Echtenkamp.............................Supervisor THEATRE COMPANY Promotions, Broadway & Cabaret Kara Erickson-Stiemke.................Coordinator Robin Appleton^, Amber Krimbel^, Erin Bunyard.............Senior Digital Strategist Lauren LaCasse^, Lisa Parsons Wagner^, Kaylie Groff........Manager, Grants & Reports Administration Sofia Contreras.....................Graphic Designer Emily Kettlewell.................Associate Director, Charles Varin .......................Managing Director Nicole Watts, Kami Williams^..........Dressers Annual Giving Brenda Elliott, Madysen Hunter....................Business Admin/ Wigs Marc Ravenhill ....................Associate Director, Paul Koob..............Senior Graphic Designers Assistant Company Manager Diana Ben-Kiki......................................Supervisor Donor Relations TJ Forlenza............................................Copywriter Alex Koszewski................ Company Manager Abby Schmidt^, Megan Stewart........................Manager, Events Michael Garcia..........Manager, Web Content Ann Marshall........................... General Manager Marisa Sorce^..............................Wig Assistants Claire Graves............................................... Director, Produced Programs Artistic EDUCATION & VENUE OPERATIONS Brittany Gutierrez...................................Manager, Chris Coleman.......................... Artistic Director COMMUNITY ENGAGEMENT Communications Grady Soapes....................Artistic Producer & Glen Lucero....................................Vice President Allison Watrous ................. Executive Director Linda Horan...............................Project Manager Casting Director Merry Davis ..........................Financial Manager Stuart Barr ............................. Technical Director Jeff Hovorka.... Director, Sales & Marketing, Jessica Eckenrod.................Artistic Associate Jane Deegan..................................Administrator Leslie Channell .......................................... Director, Broadway & Cabaret Leean Kim Torske.................................... Director, Facilities Business Operations Literary Programs Jerad Ayala, Steven Bilbao, Lyndsay Corbett...................Teaching Artist & Emma Hunt........................................Coordinator, Communications & PR Costume Crafts Abraham Cervantes, Lindsey Cervantes, Manager, Playwriting & Bobby G Rachel Ducat.................Executive Assistant & Emily Kent........Director, Insights & Strategy Kevin Copenhaver....................................Director Carmen Molina, Judith Primero Molina, Business Manager Lucas Kreitler.........Junior Graphic Designer Chris Campbell.........................................Assistant Juan Loya Molina...............................Custodians Dwight Barela, Mark Dill, John Howard, Rya Dyes.................................................Registrar & Michael Ryan Leuthner........................ Director, Costume Shop Zak Merten, Bryon Willingham... Engineers Digital Marketing On-Site Class Manager Janet Macleod... Director/Design Associate Michael Kimbrough....Manager, Engineering Patrick Elkins-Zeglarski........................ Director, Emily Lozow.............Assoc. Director, Sales & Marketing, Broadway & Cabaret Meghan Anderson Doyle....Design Associate Brian McClain.....................Manager, Custodial Education & Curriculum Management Stephanie Cooper, Gavin Juckette......Teaching Artist & Theatre Kyle Malone................................Director, Design Patron Experience Amoreena Knabb, Ingrid Ludeke, for Young Audiences Program Manager Dan McNulty.........................Marketing Analyst Carolyn Plemitscher ................................. Draper Evan Gendreau.................. Associate Director Emma Kimball..................Assistant Registrar & Hannah Selwyn....Manager, Email Marketing Elliot Shields...............................................Manager Office Coordinator Brad Steinmeyer.............................Coordinator, House Crew Kaylyn Kriaski, Leilani Lynch, Broadway & Cabaret Douglas Taylor+...................................Supervisor Jesús Quintana Martínez....................... Director, Aaron McMullen, Stacy Norwood, Community Engagement Julie Whelan...........................................Associate, James Berman+, Forest Fowler+, Valerie Schaefer...............Assistant Managers Produced Programs William Loving+, Dave Mazzeno+, Timothy McCracken................Head of Acting Nora Caley, Teresa Gould, Rick Mireles ...................................................Manager, Mikayla Woods.................................Coordinator, Kyle Moore+, Robin Lander, Myrisa Martin, Produced Programs Matt Wagner+ ...................................Stagehands Selin Ozcelik, Barbara Pooler, Community Engagement David Saphier......Teaching Artist & Manager, Suzanne Yoe.......................Director, Content & Calli Lavarnway+, Wendy Quintana ..................House Managers Communications Kelley Reznik+........................................Assistants In-School Programming Safety & Security Charlotte Talbert......................................Librarian Ticketing & Audience Services Lighting Design Jodi Benavides, Rachel Taylor.....Teaching Artist & Manager, Jennifer Lopez ...........................................Director Charles MacLeod......................................Director Bryan Faciane............Lead Security Officers Literary Engagement & Resiliency Lily Bradford..............................................Assistant Calum Abeywickrema, Brian Adams, Christina Adamoli*, D.J. Dennis*, Justin Walvoord....................Teaching Artist & Edmund Gurule*, Alison Orthel*, Joseph Price+.............Production Electrician Mayte Armendariz, Sherbell Bishop, Manager, Shakespeare in the Parking Lot Lane Randall*, Hayley Solano*, David Bright, Tyler Edwards, Arden Jones, Samuel Wood.........................Teaching Artist & Sam Stump*...................Counter/Show Leads Paint Shop Manuel Amaya Loera, Jana Mitchell....................Charge Scenic Artist Gabe McNally-Nakamura, District Liaison Kirsten Anderson*, Scott Lix*, Kristin Hamer MacFarlane, Isabella Samaniego, Liz Sieroslawski*, EVENT SERVICES Greg Swan* ..................... Subscription Agents Melanie Rentschler.....................Scenic Artists Shayne Thullen.................Security Specialists Saundra Bergman....................Event Manager Samy Alkaihal, Tamika Cox*, Judy Briggs...........................................Front Desk Production Daniel Davidek, Arias Goldanloo, Mekenzie Dalton*, Elliot Davis*, Jeff Gifford...................................................Director Quentin Crump..........................................Director Jacob Sorling, Zeah Edmonds*, Jen Gray*, Noa Halpern, Julie Brou................Administrative Assistant/ Drake Watkins..................... Event Technicians Natalie Jaramillo*, Phi Johnson-Grimes*, Office Manager * Member, I.A.T.S.E. Local B-7 Samantha Egle, Cody Gocio....Senior Sales Noah Jungferman*, Holly Stigen*, Matthew Campbell......Production Manager + Member, I.A.T.S.E. Local 7 & Event Managers Andrew Sullivan*, Robert Warner*, ^ Member, I.A.T.S.E. Local 719 Peggy Carey................. Associate Production Joseph Williams*..........................Ticket Agents Staff list current through October 23, 2023 Manager
Multilingual Education. Global Mindset. Extraordinary Impact.
For the celebration of a lifetime, plan every detail. CREMATIONS LIFE CELEBRATIONS CEMETERIES
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CELEBRATE THE COLORADO SYMPHONY’S CENTENNIAL WITH THESE CONCERTS AND MORE ALL SEASON LONG!
Celtic Woman: The Best of Christmas Tour
Handel’s Messiah with the Colorado Symphony Chorus
Harry Potter and the Chamber of SecretsTM - In Concert
Litton Conducts feat. the NYC Ballet
DEC 12
DEC 16-17
JAN 5-7
JAN 12-14
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