Applause Magazine August-September 2013

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© Jenny Anderson

August – September 2013

ALSO PLAYING…

Priscilla queen of the desert the musical

Photo courtesy of University of Denver

Chairman’s LETTER

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Daniel L. Ritchie

It was a very good year.… Reflecting on the past fiscal year I realize just how far we have come. I realize, too, that these are shared accomplishments, made possible by the efforts of many people, especially all of you.

• It was the inaugural year of the Bobby G Awards, recognizing Colorado high school musicals and the talented young people and teachers who bring them to the stage. Awards night filled the Seawell Ballroom and a closed circuit overflow theatre.

• We added performances of The Giver to accommodate the ever-growing number of schools participating in the Student Matinee Program. Watch for Jackie & Me, the story of baseball great Jackie Robinson, to make these numbers soar this fall.

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• Thanks to our enthusiastic audi• With the support of our many ences and a great Denver Center patrons and donors, it’s been an Attractions team, we were asked to exceptional season. open several Broadway tours in the 2014/15 season. We have chosen We look forward with great to launch Pippin. anticipation to the new season and to building upon our accomplish• Sense & Sensibility The Musical played to sold out houses and was ments. Some of you took part in the highest grossing Denver Center our research studies this spring, participating in surveys and focus Theatre Company production in groups. As we embark on our “Next our history.

Stage” planning for the future, I am • The Colorado New Play Summit so pleased to know that we are all on readings were so good that four of this journey together. n the staged readings were selected for world premiere productions next season: The Most Deserving, Just Like Us, black odyssey and The Legend of Georgia McBride.

Daniel L. Ritchie Chairman & CEO • The Whale, which had its world The Denver Center for the premiere at The Denver Center Performing Arts in 2011, won the Lucille Lortel Award for Best New Play in New York.

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Rick Elice had no idea where he was headed when he agreed to write the book for a loopy bunch of theatre antics. But his freewheeling adaptation of a novel about the boy who became Peter Pan led all the way to Broadway.

by Sylvie Drake 4

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PETER AND THE PRISCILLA QUEEN OF THE STARCATCHER DESERT The Musical

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If anything can happen when two drag queens and one transsexual set out for the Australian Outback in a lavender bus, you can bet that the last thing they expected was a journey of selfdiscovery.

by Diane Snyder

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August – September 2013

Editor: Sylvie Drake Associate Editor: Suzanne Yoe Designers: Kim Conner, Brenda Elliott, Kyle Malone Applause is published eight times a year by The Denver Center for the Performing Arts in conjunction with The Publishing House. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

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The Denver Center for the Performing Arts is a not-for-profit organization serving the public through the performing arts.

Board of TRUSTEES Daniel L. Ritchie, Chairman and CEO Donald R. Seawell, Chairman Emeritus Randy Weeks, President and Executive Director, Denver Center Attractions William Dean Singleton, Secretary/Treasurer W. Leo Kiely III, First Vice Chair Robert Slosky, Second Vice Chair Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond Margot Gilbert Frank Thomas W. Honig Mary Pat Link Robert C. Newman Richard M. Sapkin Martin Semple Jim Steinberg Peter Swinburn Ken Tuchman Lester L. Ward Dr. Reginald L. Washington Judi Wolf Sylvia Young _______________________ Carolyn Foster, Executive Assistant to Daniel L. Ritchie Kim Schouten, Executive Assistant to Daniel L. Ritchie EX-OFFICIO MEMBERS Dorothy V. Denny Mayor Michael Hancock Governor John Hickenlooper Kent Thompson

HonoRary Members Jeannie Fuller Glenn R. Jones M. Ann Padilla Cleo Parker Robinson Management Committee Randy Weeks, President and Executive Director, Denver Center Attractions Dorothy V. Denny, Executive Vice President Vicky Miles, CFO Kent Thompson, Producing Artistic Director, Denver Center Theatre Company Jennifer Nealson, CMO Clay Courter, Director, Facilities Management Emily Davidson, Director, Human Resources Sylvie Drake, Director, Publications John Ekeberg, Director, Programming and Operations, Denver Center Attractions Tam Dalrymple Frye, Director, Education Brianna Firestone, Director of Marketing, Denver Center Theatre Company Janet Flesch, Director of Marketing Jeff Gifford, Director of Production, Denver Center Theatre Company Jeff Hovorka, Director, Media and Marketing, Denver Center Attractions Bruce Montgomery, Director, Information Systems Jennifer Siemers, Director, Accounting

Charles Varin, Managing Director, Denver Center Theatre Company Dawn Williams, Director, Venue Sales and Operations Suzanne Yoe, Director, Marketing Services AMERICAN NATIONAL THEATRE & ACADEMY BOARD Kent Thompson, Chairman and CEO Judi Wolf, President and COO Donald R. Seawell, Chairman Emeritus HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES Lester L. Ward, President Martin Semple, Vice President Judi Wolf, Sec’y/Treasurer Donald R. Seawell, President Emeritus W. Leo Kiely III Daniel L. Ritchie William Dean Singleton Robert Slosky Jim Steinberg Dr. Reginald L. Washington

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Priscilla Queen of the Desert The Musical Sep 3 – 15 Buell Theatre

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Rock of Ages April 25 – 27 Buell Theatre

Evita Jan 15 – 26 Buell Theatre

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once May 6 – 18 Buell Theatre

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It’s back to theatre basics in the enchanted—and enchanting—tale of Peter and the Starcatcher

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“Because of the do-it-yourself aspect of Roger’s and Alex’s confection, we used only the things lying around, imaginative tools—low-budget, but high-yield—and, of course, words.”

—Rick Elice, bookwriter, Peter and the Starcatcher

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When Peter and the Starcatcher opened on Broadway in 2012, it was not a foregone conclusion that it would fly—and a surprise when it did.

The punning is unavoidable. No one had anticipated that this eclectic show, which launched in 2009 at the La Jolla Playhouse and migrated off-Broadway in 2011, would ever move to Broadway. It was considered an off-the-wall, highly self-contained piece, better suited to the intimacy of a smaller theatre. But the Big Playbook in the Sky had other plans. For a variety of improbable reasons, Starcatcher made the fateful transition to Broadway’s Brooks Atkinson in 2012, and ended up being nominated for nine Tony® Awards and winning five.

And here we are. Launching a national tour in Denver.

It all began innocently enough when Roger Rees was approached by Tom Schumacher, president of Disney Theatrical Productions, and invited to take a look at a novel about Peter Pan with an eye to adapting it for the stage. o, not that one, not the James Barrie children’s story we all know. This concerned a 2004 prequel by Dave Barry and Ridley Pearson that began as a bedtime story for Pearson’s eight-year-old daughter and blossomed into a co-authored novel dealing with events in Peter’s life that predate Barrie’s Peter Pan. It was published as Peter and the Starcatchers by Disney Editions, eventually coming to Schumacher’s attention.

Schumacher had spearheaded such complex blockbusters as The Lion King and Beauty and the Beast and apparently was ready for some-

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thing different. He remembered that in 1980 Rees had played the title role in the hugely popular Royal Shakespeare Company production of The Life and Adventures of Nicholas Nickleby, staged in Story Theatre style (wherein the actors do everything from narration and stage directions to improvising props). He invited Rees to try to develop this project in similar fashion. his was the summer of 2007, when Rees was extremely busy directing at Massachusetts’ Williamstown Playhouse. Having brought Alex Timbers to Williamstown—another director with “an abiding passion for Story Theatre”—Rees asked Timbers to join him on the Peter project. Using whatever was lying around the prop shop—a rope, sticks of wood, a couple of buckets, a steamer trunk and a stuffed bird—they gave it a go.

The authors of the book and the people at Disney attended an early workshop and liked what they saw, even though it was not yet a play.

Before embarking on a second workshop, Rees and Timbers asked Rees’ partner in work and in life, Rick Elice (who’d written the book for Jersey Boys and The Addams Family), to write some text for the actors.

“Not much in the novel was easy to present on stage,” Elice explained when we chatted about the show in June. “I re-read Barrie’s Peter Pan. I read the [newer] novel. It’s a wildly convoluted story that had nothing much to do with what James Barrie wrote in 1903. Many, many villains, many ships at sea, hundreds of fights, and everything geared to a young reader. It assumed some knowledge of the character of Peter Pan,

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Nicole Lowrance and Jason Ralph from the NWS cast of Peter and the Starcatcher © Jenny Anderson

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Nicole Lowrance and Jason Ralph from the NWS cast of Peter and the Starcatcher © Jenny Anderson © Joan Marcus

“s” from Starcatchers, making it refer only to Molly, because, he said, “it’s really [a play] about this boy and this girl and how their chance meeting helps them each become what they were meant to be.”

The result eventually grew into a stageworthy construct of complicated invention and burlesque imagination in which the audience is invited to “imagine” the British Empire at its Victorian starchiest and then follow the complicated swashbuckling intrigues of two ships: The Wasp, entrusted to a Lord of the Realm and carrying a trunk with valuable cargo belonging to the Queen of England—and the rickety Neverland, captained by a snarling Bill Slank and destined to take a decoy trunk on board, filled with sand.

Don’t look for a great deal of logic in the avalanche of events that unfurl, but you may look for a good deal of fun. As improbable it sounds—and often gets—a clever ensemble of a dozen agile and energetic actors make the story work even when you don’t think that it possibly can.

The more impossible the premise becomes, the funnier the show, with a second act that is a minor miracle of absurdist physical invention and slapstick.

“Because of the do-it-yourself aspect of Roger’s and Alex’s confection,” said (L-R) Directors Roger Rees and Alex Timbers Elice, “we used only things that were lywith playwright Rick Elice ing around, imaginative tools—lowthe barebones of their science fiction budget, but high-yield—and, of course, plot about material that falls from the words. I don’t put myself in James Barsky turning people into greedy, worldrie’s category, but I tried to emulate the conquering zealots who are stopped by way he used words, [with] high comedy, a clutch of other people called starcatchlow bawdy humor, puns and alliteration, ers. Then threw out all the starcatchers anachronisms, songs and verse, lots of except the girl, Molly, and wrote a hero’s verbal hi-jinks, and sentiment balanced journey for the boy. by irreverence, which gives the play a created a sterile, dirty least-liketheatrical personality, as opposed to a ly-to-be-a-hero orphan boy who literary one. practically doesn’t speak for the “I also thought it would be fun to invent first 25 pages of the script,” said Elice, dots,” he added, “so I could connect them “not until he meets this very bright, for an audience that would laugh a lot hyper-articulate, super-curious protowhen it saw those connections happening. feminist character, like Jo March in Little And in that laughter, I could sneak up on Women or Scout in To Kill a Mockingpeople and move them at the end of the bird. So I invented a lot of theme, while story.” keeping a lot of plot from the novel. And While it’s to his and the actors’ credit then I went back to Barrie’s Peter Pan that it all feels utterly spontaneous, Elice and invented a lot of connections.” insists that—with one important excepHe also got permission to drop the final tion—every bit of the spoken text is writ-

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The more impossible the premise becomes, the funnier the show, with a second act that is a minor miracle of absurdist physical invention and slapstick. ten and not improvised.

“That it seems improvised is a tribute to the team, but there’s nothing on stage that wasn’t scripted and very, very carefully rehearsed. That’s the secret.”

Yet what most surprised the creators is that Peter and the Starcatcher not only developed the long legs that took it to Broadway, but that the producers who lined up for that journey insisted on taking the show “as is.” e changed nothing,” said Elice.

This improbable success story may be a subliminal reaction to the theatre’s recent emphasis on increasingly sophisticated technical effects, perhaps marking a renewed hunger for simplicity.

Boards and a passion. But Elice didn’t go there.

“We just got really lucky,” he said.

One more thing. What exactly is a starcatcher, you ask? Let’s see. We know from this play that “starstuff” is mysterious and tricky matter, as untouchable as radioactive plutonium and equally endowed with life-altering properties. But not life-ending ones. In fact, “starstuff” confers perpetual youth and perpetual life. A blessing…?

You’ll have to ask Peter. n

PETER AND THE STARCATCHER

Captain Hook and a place called Neverland and became a whimsical free-for-all of how those characters and how that place came to be. But it did not lend itself to theatricalization.” lice scribbled a few scenes, though much of the action he came up with was not lifted from the book but was more or less invented. To his astonishment, the authors of the novel again liked what they saw and asked him to if he’d consider writing the entire script.

Elice had two conditions. “I thought it would be fun to do what they had not done, which was to connect their story to what Barrie wrote. They said, go ahead—which was very courageous of them. Then I said I would not want to write a children’s play, because it’s not in my skillset to do so, but I would like to write what the directors wanted, which was a play for adults that you could take a kid to see.”

With the authors’ permission to “invent whatever I needed to invent” Elice took

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Aug 15 – Sept 1 • Ellie Caulkins Opera House Sponsored by The Ritz-Carlton, Denver and HealthONE ASL interpreted, Audio Described & Open Captioned Sept 1, 2pm

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • denvercenter.org 303.893.4100

A P P L AUSE

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Healing Mind, Body and Soul

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The New

son Ander Jenny her © rcatc ta S e d th ter an of Pe cast York

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Priscill a Queen of The Mus the Desert ical

MArcus

A proud sponsor of Peter and the Starcatcher and Priscilla Queen of the Desert The Musical

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Felicia at op “Prisc illa” (bus ). PHoto

by Joan

For more than 17 years, we have proudly partnered with The Denver Center for the Performing Arts (DCPA), one of the largest performing arts organizations in the nation right here in our community.

or more than 17 years, we have proudly partnered with The Denver Center for the Performing Arts (DCPA), one of the largest performing arts organizations in the nation right here in our community.

At HealthONE, we’ve seen first-hand the positive impact the arts have on our health and well-being: The soothing effect of music on people in pain; the regaining of muscle strength through drawing or painting; the stress-relieving enjoyment of live performances after a hard or emotional day.

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Much like the production you are here to see, providing highquality healthcare takes a team of experts—from the environmental services staff that keeps our hospitals, surgery centers and clinics clean, to the technicians and administrative staff that keep our advanced technologies operating precisely and on-schedule, to the nurses and doctors who provide the compassionate, specialized diagnoses and treatments our patients deserve.

For all of these reasons, HealthONE and the DCPA are a great pairing. Without the programs and resources the DCPA provides, we would not be able to enjoy incredible performances.

We are proud to sponsor this and many other productions, and we hope you take time to appreciate the benefits these great shows bring to your own life. n

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Art Partner

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NOTHING PRISSY ABOUT THIS PRISCILLA

Priscilla Queen of the Desert may be a lavender bus that delivers serious fun, but it plays to the drumbeat of rapidly changing times

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on Broadway in 2011 and is now making its way across the country (a bit like the characters’ own journey). t’s the ultimate jukebox musical.

Instead of including the hits of just one singer or group, we’re treated to a booty-shaking, applause-inducing mélange of rousing numbers. Some— “I Will Survive,” “I Love the Nightlife,” “Shake Your Groove Thing” and “Finally”—were featured in the film. But the stage show builds on that, adding hits made famous by Madonna (“Material Girl,” “Holiday,” “Like a Virgin,” “Like a Prayer”), Cyndi Lauper (“True Colors,” “Girls Just Wanna Have Fun”), Tina Turner (“What’s Love Got to Do with It?”) and the Weather Girls (“It’s Raining Men”). Also on the song list are oddities like “Thank God I’m a Country Boy” and “MacArthur Park” (will we finally discover exactly who left the cake out in the rain?).

But the heart of the story centers on love and acceptance—of ourselves and each other. All three of our wig-wearing wanderers are at different stages in their lives when they first get on that bus. Young Adam (drag name Felicia)

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can’t imagine a world that doesn’t embrace him and has a lust for life that borders on recklessness. Tick (drag name Mitzi), at one of life’s crossroads, has been out in the world long enough to have his feathers ruffled and experience the pain of rejection. And Bernadette, the oldest of the group and a recently widowed transsexual, fears her best years and loves are behind her.

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o family tale would be complete without at least some generational conflict, and we see that, especially between Adam and Bernadette, over things like music preferences (Madonna vs. Diana Ross) and changes in the art of drag (Adam sings his own songs instead of lipsynching). But Bernadette demands that he show his elder respect: “If it wasn’t for all my hard work, you wouldn’t have a career,” she warns. Their bickering ceases when outside danger threatens their little family unit. Appropriately, “I Will Survive” brings down the curtain (and the house) to end the first act.

For Tick, the trip to Alice Springs is primarily a personal journey—so

Wade McCollum (center) and Company in “MacArthur Park”

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Nearly 20 years ago two drag queens and a transsexual first trekked across the Australian desert in The Adventures of Priscilla, Queen of the Desert, writer-director Stephan Elliott’s joyous film about embracing who you are and finding your place in the world. If that appellation makes the title “character” sound like a superhero, then so be it— because in some ways she is.

Priscilla is the run-down lavender bus that Tick, Adam and Bernadette drive west out of cosmopolitan Sydney to remote Alice Springs where they’ve been hired to perform at a resort. She is their sanctuary and guiding light, the force that leads them forward and shelters them when threats arise.

Music, dancing and fabulously outrageous attire are part of their journey, so it’s not surprising that Priscilla like many other recent films, was molded into a stage musical, less wordily titled Priscilla Queen of the Desert The Musical. his Priscilla directed by Simon Phillips and with a book by Elliott and Allan Scott, began life at a casino in Sydney in 2006, opened

by Diane Snyder

Center left to right: Wade McCollum, Scott Willis, Bryan West and Company in the number “I Will Survive” PHOTOS BY © JOAN MARCUS

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Wade McCollum (center) and Company in “MacArthur Park”

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forget the dress Gardiner wore to that Academy Awards ceremony, made out of 254 American Express Gold Cards?)

The two duplicate some of their movie designs—remember Mitzi’s dress made of flip-flops?—and transform the cast into a menagerie of Outback animals, a chorus of cupcakes with candles on their heads, and cheerleaders with pompom pigtails, to name a few standouts. he three performing pals had no political agenda when they embarked on their journey, but it’s hard to watch this musical today and not think about the large changes in attitude and policy that we’ve seen in the two decades since the film was released.

Certainly our own country felt like another world then, and it might have been just as precarious a trip had the three set out across America instead of Australia.

In August 1994, when the film Priscilla was released in the US, the official policy for gays in the military was “Don’t Ask, Don’t Tell”—as long as you hid your sexual orientation, you were safe to continue serving. It would be another 10 years before Massachusetts would become the first state to legalize same-sex marriage. Since then “Don’t Ask, Don’t Tell” has become history, the Supreme Court has struck down California’s Prop. 8 and the Defense of Marriage Act, and 13 states (and counting?) have legalized same-sex marriage.

Yet change can create fear, not to mention a backlash. Now, as then, threats linger. While some states are legalizing same-sex marriage, others are passing

amendments to ban it. And although the National Coalition of Anti-Violence Programs reports that gay-bashing incidents were down four percent in 2012 from the previous year, 25 homicides were reported—the fourth highest annual total ever recorded.

But throughout the 1990s and 2000s, the closet door was being yanked open.

More celebrities in the prime of their careers began coming out publicly.

And the musical theatre landscape also changed. In the 1980s, La Cage aux Folles, the Harvey Fierstein-Jerry Herman extravaganza didn’t just break new ground, it caused a minor earthquake for its depiction of an aging gay couple with a son who run a drag nightclub in the south of France. It was the first major Broadway musical to put gay characters in the center of the action and feature chorus “girls” who were actually boys decked out in sequins and high heels. ow drag has become a staple of the genre, whether in edgy shows like Hedwig and the Angry Inch or more conventional musicals such as Hairspray and this year’s Tonywinning Best Musical, Kinky Boots. In the city, in the Outback or on Broadway, it does indeed seem that there’s suddenly a lot more room for everybody. n

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Priscilla Queen of the Desert The Musical

that he can get to know his young son. Priscilla puts a heartfelt twist on the coming-out-to-one’s-family saga: Instead of a child sweating about revealing his sexuality and facing parental rejection, we’re presented with a gay father worried that his sexual orientation, not to mention his sense of style, will shame his son. “I’m not a father, I’m a drag queen on the verge of a nervous breakdown,” Tick tells his estranged wife, who’s never anything but supportive and encouraging. till, Tick, Adam and Bernadette encounter danger as well as approval on their journey, especially when they’re in full regalia. (How interesting that their journey takes them away from the big city and into the wilderness—the opposite direction from the one usually taken when looking to find oneself.)

In some instances, they turn fear into acceptance. Music proves a powerful, uniting force, but when that doesn’t work, they find sanctuary on their bus which, thanks to the magic of theatre design, has as many different shades as its inhabitants, switching from lavender to pink to green to blue and to all colors of the rainbow as they get deeper into the Outback.

And it’s not just the bus that’s awash in color. As in the film, the characters have tons of fun with color and clothes, thanks to costume designers Lizzy Gardiner and Tim Chappel, who shared the 2011 Tony Award for Best Costume Design of a Musical, just as they did the Oscar for the movie in 1995. (Who can

Diane Snyder is a contributor to Time Out New York and also writes for Cititour.com. Her work has appeared in The Wall Street Journal and American Theatre.

Sept 3 – 15 • Buell Theatre

It’s the ultimate jukebox musical. Instead of including the hits of just one singer or group, we’re treated to a booty-shaking, applauseinducing mélange of rousing numbers.

Sponsored by HealthONE ASL interpreted, Audio Described & Open Captioned Sept 15, 2pm

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ART PARTNERS

Vectra Bank A PARTNER IN POSSIBILITIES

“We are privileged to be part of the DCPA whose caliber is undeniable, from the performances it showcases, to the experiences it delivers, and to its educational outreach.”

— Bruce Alexander, Vectra Bank Colorado President and CEO

“A

rts and culture are imperative for any community to thrive,” says Vectra Bank Colorado President and CEO Bruce Alexander.

“The creative voice speaks to our shared experiences, propels innovation, improves quality of life and creates a sense of possibility.”

Vectra Bank, which returns as a presenting sponsor of Denver Center Attractions at The Denver Center for the Performing Arts (DCPA) for a fourth year, also contributes to possibilities, whether helping customers finance a home, start a college or retirement fund or grow a business. Established in 1988, Vectra has been committed to supporting affordable housing, revitalization, economic development and community service across the state. Its employees commit thousands of hours to dozens of community organizations and reinvestment efforts.

One such organization is Accion New Mexico/Arizona/Colorado, which is dedicated to helping entrepreneurs and business owners fuel income generation, asset creation, employment opportunities and financial success through business ownership. Vectra has provided a 10-year investment at 0% interest to support Accion’s work in helping small businesses flourish in San Juan County, New Mexico, and in several counties in Colorado. Last year, the bank was honored for its outstanding support. Vectra also provides volunteers, including service on the organization’s Colorado advancement committee.

And this spring, the bank was recognized for the largest number of loans referred to the organization.

“We are honored to partner with organizations that give so generously to enable communities to flourish,” says Alexander. “We are privileged to be part of the DCPA whose caliber is undeniable, from the performances it showcases, to the experiences it delivers, and to its educational outreach.”

As part of Zions Bancorporation, Vectra has the reach and resources of many larger competitors. Whether the customer is the manager of a growing Colorado company or an individual consumer, both will find at Vectra Bank an innovative banking organization eager to surpass their expectations. n For information on Vectra Bank Colorado, visit www.vectrabank.com.

A proud sponsor of the Denver Center Attractions season President and CEO Bruce Alexander

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ART PARTNERS

United Airlines Celebrating The Synergy

“We work to build relationships with partners like The Denver Center for the Performing Arts and contribute our resources to the programs and institutions that are vital to the livelihood of the communities we serve.”

— Mark Anderson, Senior Vice-President, Corporate and Government Affairs

A proud sponsor of the Denver Center Attractions season

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d e n ver center. or g

Student Matinee PHOTOS BY DCPA STAFF

F

or more than 75 years, United has demonstrated its commitment to the Denver community and is honored to serve as the official airline for The Denver Center for the Performing Arts (DCPA).

Together with the DCPA, United celebrates the energy that artists, performers and dancers bring to Denver and the global stage.

“At United, serving a city goes beyond departures and arrivals,” says Mark Anderson, Senior Vice President, Corporate and Government Affairs. “We work to build relationships with partners like The Denver Center for the Performing Arts and contribute our resources to the programs and institutions that are vital to the livelihood of the communities we serve.”

In addition to the DCPA, United is honored to support several Colorado organizations including the Children’s Museum of Denver, Colorado Dragon Boat Festival, Colorado Symphony Orchestra, Denver Botanic Gardens, Latin American Educational Foundation and Starlight Children’s Foundation of Colorado. We also are pleased to partner with Fisher House Foundation and proudly flew 400 family members to support wounded service members competing in the 2013 Warrior Games in Colorado Springs this May. United co-workers also have donated more than 5,000 hours of service to various local partner initiatives. In the past year, they worked with Food Bank of the Rockies and brought smiles to hundreds of local children through the annual holiday “Fantasy Flights” trip to the North Pole and United Adventure Bear deliveries to Rocky Mountain Hospital for Children and Children’s Hospital Colorado.

We take our role as a community partner and corporate citizen to heart and our long-standing commitment to Denver demonstrates that intent. United is proud to support the DCPA and the Denver community that thousands of co-workers and customers call home. n

Denver Center Attractions

and

The Broadway division of The Denver Center for the Performing Arts

Nancy Nagel Gibbs Greg Schaffert Eva Price Tom Smedes Disney Theatrical Productions Jane Dubin Suzan & Ken Wirth Jack Lane Martin Hummel & R.K. Greene Catherine Schreiber Jamie deRoy Peter Stern Radio Mouse Entertainment Dan Shaheen Rich Affannato Mary Cossette Productions Probo Productions Beam Reach Entertainment

Julie Boardman & W. Anthony Edson Daniel Frishwasser

Michael & Gabrielle Palitz Freedberg & Dale Present

A New Play By

Rick Elice Based Upon the Novel by Dave Barry and Ridley Pearson Starring

Joey deBettencourt John Sanders Megan Stern Harter Clingman Jimonn Cole Nathan Hosner Carl Howell Benjamin Schrader Luke Smith Ian Michael Stuart Edward Tournier Lee Zarrett Ben Beckley Robert Franklin Neill Rachel Prather Nick Vidal Scenic Design

Costume Design

Lighting Design

Sound Design

Donyale Werle

Paloma Young

Jeff Croiter

Darron L West

Music Supervisor

Music Director

Production Stage Manager

Technical Supervision

Marco Paguia

Andy Grobengieser

Shawn Pennington

Phoenix Entertainment

Associate Director

Movement Associate

Fight Director

Production Supervisor

Lillian King

Patrick McCollum

Jacob Grigolia-Rosenbaum

Katherine Wallace

Casting

Tour Press Representation

General Management

Jim Carnahan, CSA Jillian Cimini

Allied Live

321 Theatrical Management

Music By

Wayne Barker Movement

Steven Hoggett Directed by

Roger Rees and Alex Timbers Originally Produced in New York City by New York Theatre Workshop Originally Presented as a “Page to Stage� Workshop Production by La Jolla Playhouse, 2009 Christopher Ashley, Artistic Director & Michael S. Rosenberg, Managing Director

Sponsored in Denver by:

Peter and the Starcatcher

and Season Sponsors

Peter and the Starcatcher

Cast (in alphabetical order) Alf....................................................................................................................................... HARTER CLINGMAN Slank............................................................................................................................................... JIMONN COLE Boy................................................................................................................................. JOEY deBETTENCOURT Lord Aster................................................................................................................................NATHAN HOSNER Prentiss.......................................................................................................................................... CARL HOWELL Black Stache................................................................................................................................. John Sanders Mrs. Bumbrake............................................................................................................... BENJAMIN SCHRADER Smee...................................................................................................................................................LUKE SMITH Molly............................................................................................................................................. MEGAN STERN Captain Scott...................................................................................................................Ian Michael Stuart Ted...................................................................................................................................... EDWARD TOURNIER Fighting Prawn................................................................................................................................ LEE ZARRETT UNDERSTUDIES Understudies never substitute for listed performers unless a specific announcement is made at the time of the performance For Molly/Ted/Prentiss/Mrs. Bumbrake—RACHEL PRATHER; for Boy/Fighting Prawn/Captain Scott/Ted/Prentiss—NICK VIDAL; for Black Stache/Lord Aster/Slank/Alf/Ted—Robert Franklin Neill; for Slank/Smee/Fighting Prawn/Alf/Mrs. Bumbrake—BEN BECKLEY; for Black Stache—NATHAN HOSNER, BENJAMIN SCHRADER; for Boy—CARL HOWELL Movement Captain—RACHEL PRATHER; Fight Captain—BENJAMIN SCHRADER Music Director—ANDY GROBENGIESER Drums/Percussion—JEREMY LOWE Keyboard and Electronic Percussion Programmer—Randy Cohen Arrangements by Wayne Barker Additional Arrangements by Marco Paguia THERE WILL BE ONE 15-MINUTE INTERMISSION.

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches.

JOEY deBETTENCOURT (Boy). Proud Chicagoan and Northwestern graduate.

Theatre: South of Settling (Steppenwolf Theatre); Punk Rock—Jeff Award, Flare Path (Griffin Theatre); Cherrywood (Mary-Arrchie). Film: At Any Price.

Thanks to Julie, my family and Shirley’s.

JOHN SANDERS (Black Stache) returns to Neverland after appearing on Broadway as Black Stache, Aster, Bumbrake and Capt. Scott. Other credits include Sergei in the original Broadway cast of Matilda the Musical, and Sam in the Mamma Mia! North American tour. Chicago credits: Goodman (Turn of the Century), Chicago Shakespeare (Cymbeline, Troilus & Cressida), Writers’ (The Real Thing, Oh Coward), Drury Lane Oakbrook (Spamalot, Miss Saigon), Stage Left, Chicago Dramatists. TV: “Last Man Standing.” Film: Alleged; No God, No Master.

MEGAN STERN (Molly). Credits include: Be the Death of Me (The Civilians); Raptured (Play Co.); The Material World (Dixon Place); The London Merchant (Storm Theatre); The Tempest (Porpentine Theater Co.); Straight Up Vampire (Joe’s Pub); and Pride and Prejudice (NYMF).

HARTER CLINGMAN (Alf) is a graduate of Columbia College Chicago. Recent credits include Terry Twyman’s Saloon (Peninsula Players), See What I Wanna See (Bailiwick/Steppenwolf), Bloody Bloody Andrew Jackson (Bailiwick), State Street (City Lit), Absolute Hell (The Gift Theatre) and Spring Awakening (Griffin Theater).

JIMONN COLE (Slank). Off-Broadway: New York Theatre Workshop, Signature Theatre, The Culture Project, The Acting Co., Keen Co. Regional: The Old Globe, The Shakespeare Theatre DC, Arena Stage, Oregon Shakespeare Festival.

Film: Spinning Into Butter. Graduate of The Juilliard School. For Ava. NATHAN HOSNER (Lord Aster).

Chicago: Chicago Shakespeare, Goodman, Writers’, Paramount and First Folio Theatres. Regional: Alabama, Arkansas, Door and Illinois Shakespeare

BEN BECKLEY (u/s Smee/Slank/Alf/ Fighting Prawn/Mrs. Bumbrake). Theater: The Assembly, The Actors Company, New Georges, Berkshire Theatre Group, Joe’s Pub, Flea, HERE, Temporary Distortion.

CARL HOWELL (Prentiss) is a Film: The Onion. Ben has premiered work Hammonton, N.J. native. Credits include: with Christopher Durang, Adam Rapp and Romeo and Juliet (Romeo, Hudson Valley Robert Wilson. For Jess. benbeckley.com Shakespeare); Halo/Titanic (Old Vic New Voices); The Seagull (Konstantin); New ROBERT FRANKLIN NEILL (u/s Victory, The Pearl, Shelby Company. Lord Aster/Slank/Alf/Black Stache/ B.F.A. NYU. Major thanks to Mom, Dad, Captain Scott) is a founding member of the NY Neo-Futurists. Broadway: London Meredith and Angie. carlhowell.com Assurance. London: The Cherry Orchard.

BENJAMIN SCHRADER (Mrs. Regional: You Never Can Tell, Tartuffe.

Bumbrake). Broadway: The Book of Off-Off Broadway: Spring Awakening, Mormon (Original Elder White and Yoda), Hamlet, Doughboy. He studied at Avenue Q, Ragtime. National tour: Big LAMDA, NTI and Grinnell. robneill.com River. Film/TV: Disney’s Frozen, BBC’s “Rebels and Redcoats.” Host of SiriusXM RACHEL PRATHER (u/s Molly/Ted/ radio’s “The Stage Door Supper Club.” Prentiss/Mrs. Bumbrake) is honored to join the cast of PATSC. Regional credits benjaminschrader.com include Fiddler on the Roof (WBT); Nine LUKE SMITH (Smee). Off-Broadway: (SpeakEasy Stage). B.F.A. The Boston Hit the Wall (u/s). Regional: The Buddy Conservatory. Thanks to God, her family, Holly Story, Hedwig…, My Fair Lady, friends, CGF and Jim Carnahan Casting.

Godspell. B.F.A. University of North Carolina School of the Arts. Songwriter NICK VIDAL (u/s Boy/Prentiss/Ted/ for band Awning: awning.bandcamp.com. Fighting Prawn/Captain Scott). Chicago credits: Iphigenia 2.0 (Next Theatre); The IAN MICHAEL STUART (Captain Heart Is a Lonely Hunter (Steppenwolf Scott) NYC: Rocky, The Last Goodbye. for Young Adults); Aftermath (Signal Regional: Sweeney Todd, Phantom, A Ensemble); The Picture of Dorian Gray Man Of No Importance and Tick, Tick… (Life Line Theatre). TV: “Chicago Fire.”

BOOM! Graduate of UC Irvine. Thanks Film: Black Box. BRS, Jason, Roger, Alex, Jillian and Roundabout. Love to Jimmy and Jenn. For RICK ELICE (Playwright). Broadway: Mom and Dad! Ianmichaelstuart.com and Jersey Boys (Tony Award, Best Musical); The Addams Family. In the works: Ianstuartphotography.com Superfly (directed and choreographed by E D W A R D T O U R N I E R ( T e d ) . Bill T Jones); Dog and Pony (world preSelected credits: Mother Courage and miere, Old Globe in San Diego, 2014).

Her Children (American Repertory Rick is proud to share this five-time Tony Theatre); The Rivals (Huntington); The Award-winning production of Peter with History Boys (Ahmanson); Secrets of you. “When I was a boy, I wished I could the Trade (Black Dahlia); Mercury Fur fly…and work in the theater. Thanks to (Needtheater); Supernova (Elephant); Roger Rees and Alex Timbers, I do.”

Futura (Boston Court); Monkey Adored ROGER REES (Director). Peter and (Rogue Machine). the Starcatcher (co-director, Tony nomiLEE ZARRETT (Fighting Prawn). nation, Obie Award); Mud, River, Stone Broadway: Hair, Spelling Bee, Jane Eyre. (Playwrights Horizons); Arms and the Tour: Les Misérables, My Fair Lady. Man (Roundabout); Here Lies Jenny Off-Broadway: New Victory, Vineyard, (Zipper). UK: Bristol Old Vic: Julius Encores! Regional: La Jolla, NY Stage Caesar, Turkey Time, John Bull. Artistic and Film, Williamstown. TV: “Boardwalk Director, Williamstown, 2005–07: Film Society, Rivals, Taming of the Shrew, Empire,” “Louie.”

Theatres, American Players, Boarshead and Madison Rep Theatres. Nathan is a graduate of the Royal Academy of Dramatic Art.

Peter and the Starcatcher

Who’s Who

Peter and the Starcatcher

Who’s Who in the Cast Double Double, Late Middle Classes, Anything Goes; Herringbone (WTF, McCarter, La Jolla); Red Memories (NYS&F); Merry Wives of Windsor, Love’s Labour’s Lost (Old Globe); The Primrose Path (Guthrie); Treemonisha, The Juniper Tree, A White House Cantata, The Firebrand of Florence (Collegiate Chorale, NY). “OZ” (HBO).

ALEX TIMBERS (Director) is a twotime Tony nominee and the recipient of Lucille Lortel, Drama Desk and Outer Critics Circle awards as well as two Obie Awards. Peter and the Starcatcher (co-director, Tony nomination, Obie Award); The Pee-Wee Herman Show, Bloody Bloody Andrew Jackson (also book writer; Drama Desk, Lortel and OCC Awards, Tony nomination); A Very Merry… (Obie Award); Gutenberg! The Musical! (Drama Desk nom.); Hell House (Drama Desk nom.); Here Lies Love (OCC nom. and Drama Desk nom.).

WAYNE BARKER (Composer). Tony nomination and Drama Desk award for Peter and the Starcatcher. B’way: Dame Edna: Back With a Vengeance! (composer, co-lyricist with Barry Humphries).

Regional: The Primrose Path, The Great Gatsby (Guthrie); Twelfth Night and The Three Musketeers (Seattle Rep). TV: “A Little Curious.” Other: Mark Bennett’s A Midsummer Night’s Dream (orchestrations), Chicago City Limits, The Raymond Scott Orchestrette, orchestras worldwide. Upcoming: Let Me Live!; Dramatists Guild; Artistic Associate for New Musicals at NYTW. STEVEN HOGGETT (Movement).

Recent work includes Let The Right One In (NTS); The Full Monty (Sheffield Crucible); The Curious Incident of the Dog in the Night Time (National Theatre & West End); Rigoletto (Met Opera); The Glass Menagerie, Once, Peter and the Starcatcher and American Idiot (B’way).

Steven was Associate Director (movement) on Black Watch for the National Theatre Scotland (Olivier Award—Best Choreographer). Steven was founder and Artistic Director of Frantic Assembly Theatre Company.

DONYALE WERLE (Set Design).

B’way: Peter and the Starcatcher (2012 Tony Award), Bloody Bloody Andrew Jackson (2011 Tony nom.). Other: The Explorers Club (MTC); Broke-ology (Lincoln Center Theater); Allegiance (Old Globe); Bare (New World Stages); Paper Mill; Vineyard; The Public; NYTW. Obie, Lortel and Hewes awards. Member of Broadway Green Alliance.

PALOMA YOUNG (Costume Design).

NY: Peter and the Starcatcher (Tony Award); Natasha, Pierre… (Kazino); Brooklyn Babylon (BAM Next Wave); Wildflower (Second Stage). Regional: Troublemaker…; You Nero (Berkeley Rep); Current Nobody; Hoover Comes Alive! (La Jolla); Titus Andronicus (California Shakespeare Theatre); Heart of Robin Hood (Oregon Shakespeare Festival); A Midsummer Night’s Dream (Old Globe), Pride and Prejudice, Charlotte’s Web (South Coast Rep), 1001 (Mixed Blood). Graduate of UCSD. JEFF CROITER (Lighting Design).

B’way: Newsies, Peter and the Starcatcher (Tony Award), Soul Doctor, The Performers, The Anarchist, The PeeWee Herman Show, Next Fall, Kiki and Herb. Other NYC: Comedy Of Errors; Loves Labors Lost; Old Jews Telling Jokes; Silence; Love, Loss, and What I Wore; A Lie of the Mind; Ordinary Days; Almost Maine; and Jennifer Muller The Works.

DARRON L WEST (Sound Design) is a Tony and Obie award-winning sound designer whose work has been heard in more than 500 productions nationally and internationally. Other accolades include the 2012 Princess Grace Statue and Lortel, AUDELCO and Henry Hewes awards. He is a founding member of Anne Bogart’s SITI Company and Former Resident Sound Designer, Actors Theatre of Louisville.

MARCO PAGUIA (Musical Supervisor).

Music Director for Peter and the Starcatcher, Everyday Rapture (B’way), Disney’s On the Record. Marco performs with singer Lindsay Mendez (LMandMP. com). Love to friends and family, especially Helen, Olivia and Landon.

ANDY GROBENGIESER (Music Director): Broadway: Ghost the Musical, Disney’s The Little Mermaid, Lestat.

Tours/regional: Elf, Shrek the Musical, White Christmas, Disney’s The Lion King, Miss Saigon, Les Misérables. Hometown: Altamont, IL. Millikin University ‘91 and and UT-Austin ‘93.

LILLIAN KING (Associate Director) has loved working on Peter and the Starcatcher since NYTW. She worked for the last six summers at the New London Barn Playhouse, and is looking forward to working with Alex again on Rocky the Musical. B.A.: Dartmouth College.

M.F.A.: Boston University.

PATRICK McCOLLUM (Movement Associate). Rocky (Associate Fight Director), Wicked (Dance Supervisor/ Dance Captain/Swing), Murder Ballad (Associate Choreographer), Westport Country Playhouse. Thanks to Steven for the opportunity, to DR for the love, Mom and Dad for everything.

JACOB GRIGOLIA-ROSENBAUM (Fight Director). Credits include Broadway: Peter and the Starcatcher, Bloody Bloody Andrew Jackson, Cyrano de Bergerac. Off/regional: Starcatcher (NWS, NYTW), BBAJ (Public), Here Lies Love (Public), Sailor Man (FringeNYC), The Buccaneer (TankNYC). Jacob was a Junior Olympic fencer and Div1 varsity fencer at Yale.

KATHERINE WALLACE (Production Supervisor). B’way: Peter and the Starcatcher, Other Desert Cities, After Miss Julie, A Man for All Seasons. OffB’way: Peter and the Starcatcher (New World Stages and NYTW), Death Takes a Holiday (Roundabout); Restoration (NYTW); The Break of Noon, The Pride (MCC); Blood Type: Ragu (Actors’ Playhouse). Proud AEA member.

SHAWN PENNINGTON (Production Stage Manager). Broadway: Wicked, Next to Normal, Sondheim on Sondheim.

National tours: Rock of Ages, Spelling Bee, The Pajama Game, Gypsy, Will Rogers Follies, Smokey Joe’s Café.

Regional: Little Miss Sunshine (Sundance Theatre Lab), Dallas Center for the

Performing Arts. Love to Mom, Dad, Python’s Spamalot, The Color Purple and Mark and Beth! the long-running Korean language production of Grease. phoenix-ent.com McKenzie Murphy (Assistant Stage Manager). Broadway: Cinderella, Elf, 321 THEATRICAL MANAGEMENT Peter and the Starcatcher, Wit, Everyday (General Management). Nina Essman, Rapture, Bye Bye Birdie, 9 to 5. This is Nancy Nagel Gibbs and Marcia McKenzie’s fourth production of Peter Goldberg’s past B’way, Off-B’way, and the Starcatcher. B.A., Stony Brook and tour management credits include University.

Starcatcher Broadway and New World Stages; Wicked; Bring It On: The Musical; Jim Carnahan CSA (Casting). Sister Act; Traces; Next to Normal; The Roundabout’s Director of Artistic 25th Annual Putnam County Spelling Bee; Development. Roundabout: Big Knife, Man of La Mancha; The Graduate; I Love Picnic, Drood, Cyrano, Harvey, Anything You, You’re Perfect, Now Change; and Goes, Sunday in the Park…, Pajama Bat Boy: The Musical. Additional producGame, 12 Angry Men, Assassins, Nine, tions: The Lion King; Smokey Joe’s Café; Big River, Cabaret. Other Broadway: The Vagina Monologues; The Santaland Matilda, Once, Peter and the Starcatcher, Diaries; and The Diary of Anne Frank.

Jerusalem, Scottsboro Boys, American Idiot, Spring Awakening, Boeing-Boeing, DAVE BARRY (Original Novel) is a Pillowman, Democracy, Fiddler, Millie. Pulitzer Prize-winning columnist and Film: Home at the End of the World, author of more than two dozen books, Flicka. TV: “Glee” (Emmy nom). most recently Insane City. Along with Ridley Pearson, he is the co-author of ALLIED LIVE (Marketing and Press) is Peter and the Starcatchers, Peter and the a full-service marketing and advertising Shadow Thieves, Peter and the Secret of agency representing Broadway shows, Rundoon, Peter and the Sword of Mercy national tours, performing arts institutions and The Bridge to Never Land. and experiential entertainment entities.

Current clients include: Blue Man Group, RIDLEY PEARSON (Original Novel) is The Book of Mormon, A Christmas Story, the co-author of Peter and the Starcatchers Rodgers + Hammerstein’s Cinderella, with Dave Barry. He also writes the Elf, Ghost, Kinky Boots, Mamma Mia!, awardwinning Kingdom Keepers series Motown, Once, Peter and the Starcatcher, as well as best-selling crime novels for Stomp, We Will Rock You, West Side Story adults. In 1990, Ridley was awarded the and Irving Berlin’s White Christmas.

Raymond Chandler/Fulbright Fellowship at Oxford University.

PHOENIX ENTERTAINMENT (Production & Technical Supervision) NANCY NAGEL GIBBS (Producer) is pleased to be on-board with Peter and has been a Producer, General Manager the Starcatcher on its trek through North and Company Manager for Broadway and America and grateful to its entire produc- Off-Broadway for 30 years. Producer: Bat tion team under the direction of long-time Boy: The Musical, Striking 12, All Shook colleague Shawn Pennington. As a well- Up, The Big Bang, The Last Session, Fully established international theatrical produc- Committed and Smoke on the Mountain. ing and management enterprise founded General Manager: I Love You, You’re

by Stephen Kane and Michael McFadden, Perfect…; De La Guarda; Over the Phoenix Entertainment’s mission is to River and Through the Woods; Visiting develop, produce, manage and present Mr. Green; Full Gallop; The Santaland the very finest in touring Broadway musi- Diaries; Hank Williams: Lost Highway; cals and family entertainment worldwide. John & Jen; Ford’s Theatre and Lamb’s Over the past three decades, the Phoenix Theatre. Proud to be back in Denver after team has produced and/or supervised over receiving her schooling from Thomas 100 live productions on four continents. Jefferson High School, the Colorado Current and recent touring projects include College and the University Of Northern Rock of Ages, The Addams Family, Monty Colorado. Thanks especially to Randy

Weeks, John Ekeberg & the DCPA for bringing me back to Denver!

GREG SCHAFFERT (Producer).

B’way: Peter and the Starcatcher, Burn the Floor, All Shook Up. Off-B’way: Bat Boy: The Musical, Striking 12, Magnetic North, How to Save the World and Find True Love in 90 Minutes, Cornered and Alone. Regional: Homestead Crossing, No Wake, Three Musketeers, The Girl in the Frame. In development: Great Wall (Kevin So, Kevin Merritt, David Henry Hwang); Painted Alice (William Donnelly and Michael Mahler); Hot Mess in Manhattan (Cait Doyle).

EVA PRICE (Producer). B’way: John Grisham’s A Time To Kill, Peter and the Starcatcher (five Tony Awards), Annie (current revival), Lewis Black…, Frankie Valli and the Four Seasons, Kathy Griffin Wants a Tony, Colin Quinn: Long Story Short, The Merchant of Venice, The Addams Family, Wishful Drinking, Dr. Seuss’ How the Grinch Stole Christmas.

Selected Off-B’way and touring: Forever Dusty, Voca People, Ella, The Magic School Bus Live!, ’S Wonderful. Eva was recently named to Crain’s New York 40 Under Forty Rising Stars in Business and Blouin Art Info’s Top 25 Under 35 Emerging Broadway Players.

TOM SMEDES (Producer). B’way: Pippin (Tony), Next Fall (Tony Nom), [title of show]. London: The Musical of Musicals (The Musical!), Side by Side by Sondheim. Off-B’way: Natasha, Pierre and The Great Comet of 1812, Naked Boys Singing!, Dog Sees God. General Manager: Silence! The Musical, Desperate Writers, [title of show], The Musical of Musicals (The Musical!), Altar Boyz (OffB’way and tour). TomSmedes.com.

DISNEY THEATRICAL GROUP (Producer). With productions worldwide, a Disney musical is being performed professionally somewhere on the planet virtually every hour of the day. Their Broadway productions—Beauty and the Beast; King David; The Lion King; Elton John and Tim Rice’s Aida; Mary Poppins, a co-production with Cameron Mackintosh; Tarzan, The Little Mermaid, Peter and the Starcatcher and Newsies—

Peter and the Starcatcher

Who’s Who in the Cast

Peter and the Starcatcher

Who’s Who in the Cast have won a combined 19 Tony Awards. JAMIE DeROY (Co-Producer). Tony Aladdin, their newest musical, opens in Awards: Vanya and Sonia…, Norman Toronto this fall.

Conquests: Peter and The Starcatcher, Nice Work…, Addams Family, Catch Me, JANE DUBIN (Co-Producer). Tony Blithe Spirit, Thurgood, Asher Lev (OCC winner; Double Play Connections. Awards) among others.

Productions: Ann (B’way, Holland Taylor), unFRAMED, The Umbrellas of RADIO MOUSE ENTERTAINMENT Cherbourg (London), The 39 Steps, The (Co-Producer). Vanya and Sonia and Norman Conquests (Tony), Groundswell, Masha and Spike (Tony Award, Best Beebo Brinker Chronicles, MentalPause. Play), Peter and the Starcatcher, The Peewee Herman Show. www.radiomouse.com SUZAN & KEN WIRTH (Co-Producer).

Thrilled to be involved with this contin- P E T E R S T E R N ( C o - P r o d u c e r ) ued journey. Background in education and is a leading art attorney. Currently family along with four-decade financial co-producer B’way: Pippin (Tony service firm in Greenwich. Thanks to all. award). Co-Producer: Peter and the Starcatcher B’way and Off-B’way.

JACK LANE (Co-Producer) is the Kevin Member, Advisory Council of the Royal Kline Award-winning Executive Producer Shakespeare Company and supporter of of STAGES ST. LOUIS, a 27-year-old Matilda on B’way. regional musical theatre company. Peter marked his Broadway producing debut.

DAN SHAHEEN (Co-Producer) is also a producer of the hit comedy Buyer & MARTIN HUMMEL & R.K. GREENE Cellar and numerous Jones & Schmidt (Co-Producer). Martin Hummel (Big musicals including The Fantasticks and I River, Little Ham) and R.K. Greene Do! I Do! (StoryLineProject.com: Room Service, The Other Side of Newark) last produced RICH AFFANNATO (Co-Producer) is Starcatcher on Broadway and Love Child Executive Artistic Director of Nederlander Worldwide Productions; Ann on Broadway, off.

Silence! The Musical, Broadway Rox. C A T H E R I N E S C H R E I B E R www.AffannatoProductions.com (Co-Producer). Tony-winning producer, Clybourne Park. Scottsboro Boys (Young MARY COSSETTE PRODUCTIONS Vic London), Scottsboro Boys B’way, (Co-Producer). Tony Award winner: Next Fall, Stick Fly, The King’s Speech, Vanya and Sonia and Masha and Spike.

Desperate Writers (Off-B’way), El Chico Other B’way productions: Peter and the de Oz (Peru).

Starcatcher, Will Rogers Follies, That Championship Season, The Addams Family, Bonnie and Clyde. Off B’way:

Mindgame and Winner Brighton Festival, UK Woody Sez. PROBO PRODUCTIONS (Co-Producer). Broadway: The Norman Conquests (Tony Award), Next Fall, The Scottsboro Boys. Off-Broadway: Groundswell, The 39 Steps.

BEAM REACH ENTERTAINMENT (Co-Producer). Partners Paula Kaminsky Davis and Bruce Joseph share a love of theater, sailing and risk. Is a proud supporter of: Tours: La Cage and Ghost.

Broadway: Dead Accounts, Cinderella and Vanya…

JULIE BOARDMAN (Co-Producer) Recent: Dreamgirls, Submissions Only & Witness Uganda. Proud graduate of the University of Southern California www. boardmanproductions.com DANIEL FRISHWASSER (Co-Producer). Cinderella, Clybourne Park (Tony), Memphis (Tony). Movies: Girl Most Likely, Mister & Pete, Freezing People Is Easy, Life of An Actress.

MICHAEL & GABRIELLE PALITZ (Co-Producers). Michael: Two-time Tony winner. Gabrielle: Avid theater lover.

Upcoming together: Empire, the Musical; The Scottsboro Boys (London).

FREEDBERG & DALE (Co-Producer).

Avram Freedberg and Marybeth Dale formed Maximum Entertainment, a developing, investing and producing company, in 2006. Numerous Broadway, OffBroadway and touring productions.

SEPT 18 - OCT 27 Garner Galleria Theatre Sponsored by

with

and

303.893.4100 • denvercenter.org GROUPS: 303.446.4829 • TTY: 303.893.9582

STAFF for PETER AND THE STARCATCHER GENERAL MANAGEMENT 321 Theatrical Management Nina Essman Marcia Goldberg Ken Silverman JIM CARNAHAN CASTING Jim Carnahan, CSA Jillian Cimini Carrie Gardner, CSA Stephen Kopel, CSA Lain Kunin Logan Reid TOUR PRESS & Marketing Allied Live Laura Matalon Marya Peters Jacqueline Smith Production and Technical Supervision by PHOENIX ENTERTAINMENT Stephen B. Kane Michael McFadden Shawn Pennington Scott Orlesky Bruce Perry www.phoenix-ent.com Company MAnaGer................ Erica Norgaard PRODUCTION STAGE MANAGER....Shawn Pennington Assistant Stage Manager........... McKenzie Murphy Management Associate...................... Alicia Quirk Dramaturg...................................... Ken Cerniglia Associate Producer.......................Daniel Posener Associate Scenic Designer.........Michael Carnahan Assistant to Scenic Designer.........Craig Napoliello Associate Costume Designer........... Irma Brainard Assistant to Costume Designer..........Caitlin Conci Costume Intern................................Ruth Mongey Hair Consultant...... Brandon Dailey, J. Jared Janas Associate Lighting Designer................Cory Pattak Assistant to Lighting Designer..........Peter Mitchell Associate Sound Designer............... Charles Coes Technical Director........................... Scott Orlesky Assistant Carpenter.................Tim “Rizzo” Dhority Production Electrician............. John J. Anselmo Jr. Head Electrician............................... Michael Bert Spotlight Operator....................Lionel “Train” Riley Moving Light Programmer....................Colin Scott Production Sound......................... Gabriel Bennett Head Sound................................... Jarrett Krauss Assistant Sound............................ Jeremy Oleska Production Props......................... Jonathan Knust Prop Supervisor.................................. Darcy Bert Assistant Prop Supervisor..............Daniel R. Naish Wardrobe Supervisor........................... Kim Lozan Production Assistants...........Jen Ash, Allison Long Merchandise........... Broadway Merchandising, Inc. Banking.............. Signature Bank/Thomas Kasulka Payroll.............................Castellana Services Inc. Director of Finance......................... John DiMeglio Accountant.....FK Partners CPAs LLP/Robert Fried Insurance.............AON/Albert G. Ruben Insurance Legal Counsel.... Brooks & Distler/Tom Distler, Esq. Travel Agent...................................... Road Rebel

The buell theatre is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues.

City & County of Denver Michael Hancock, Mayor

Arts and Venues Kent Rice, Director

For information call: 720.865.4220

321 Theatrical Management Bob Brinkerhoff, Amy Merlino Coey, Mattea Cogliano-Benedict, Veronica Decker, Tara Geesaman, Tracy Geltman, Andrew Hartman, Adam Jackson, Ryan Lympus, Brent McCreary, Alex Owen, Rebecca Peterson, Susan Sampliner, Haley Ward EXCLUSIVE TOUR DIRECTION Stephen Lindsay Brett Sirota The Road Company www.theroadcompany.com peterandthestarcatcher.com SPECIAL THANKS Wendy Lefkon, Broadway Green Alliance, Tom Casserly, Paul Jepson, Chris Ashley, Dana Harrel, Gabriel Greene, Jim Nicola, William Russo, Bill Darger, Kris Kukul, Amanda Charlton, Williamstown Theatre Festival, Michele Steckler, Neil Patel, Joe Huppert, Eric Stahlhammer, Kelly Devine, Adrienne Campbell-Holt, Amy Groeschel, Steve Rosen, Eric Love, Adam Green, Danny Deferarri, Rob O’Hare, all the actors who helped us along the way.

CREDITS Scenery and Rigging by Showman Fabricators, Inc., Daedalus, & Scenic Solutions Costumes by Artur & Tailors, Inc., Giliberto Designs, Inc., Katrina Patterns, Marie Stair Millinery by Jeffrey Wallach and Rodney Gordon, Inc. Fabric Dyeing & Painting by Jeff Fender Studios.

Sound by Masque Sound.

Lighting by Christie-Lites.

Props by Paper Mache Monkey, PropStar/Kathy Fabian, Tom Carroll, Daniel Moss, Jessica Provenzale The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

United Scenic Artists represents the designers and scenic painters for the American Theatre.

The Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

This production is produced by members of The Broadway League in collaboration with our professional union-represented employees.

Denver Center Attractions Staff D. Randall Weeks. . . . . . . . . . . . . . Executive Director/President Jeff Hovorka . . . . . . . . . . . . . Director of Media and Marketing John Ekeberg . . . . . . . . Director of Programming & Operations Heidi Bosk . . . . . . . . . . . . . . . . . . . . PR & Promotions Manager Alicia Giersch. . . . . . . . . . . . . . . . . . . . . . . . . Business Manager Emily Lozow . . . . . . . . . . . . . . . . . . . . . . Marketing Coordinator

DCPA Marketing Staff Jennifer Nealson . . . . . . . . . . . . . . . . . Chief Marketing Officer Jeff Hovorka . . . Director of Media, DCA Marketing and Sales Sylvie Drake. . . . . . . . . . . . . . . . . . . . . . Director of Publications Brianna Firestone. . . . . . . . . . . . . . . . . . . Director of Marketing,

Denver Center Theatre Company Janet Flesch. . . . . . . . . . . . . . . . . . . . . . . . Director of Marketing,

Denver Center for the Performing Arts Suzanne Yoe . . . . . . . . . . . . . . . Director of Marketing Services Marketing Services Nathan Brunetti. . . . . . . . . . . . . . . . . . . . . . . . . . . Email Designer Kim Conner . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic Designer Anita Edwards. . . . . . . . . . . . . . . . . . . . . Web Services Manager Brenda Elliott. . . . . . . . . . . . . . . . . . . . Senior Graphic Designer Kyle Malone . . . . . . . . . . . . . . . . . . . . Senior Graphic Designer Ken Mostek. . . . . . . . . . . . . . . . . Videographer/Cinematographer Marketing and Sales Heidi Bosk . . . . . . . . . . . . . . . PR & Promotions Manager, DCA Simone Gordon. . . . . . . . . . . . . . . . . . . . . Marketing Coordinator Alexandra Griesmer. . . . . . . PR & Promotions Manager, DCTC Carol Krueger. . . . . . . . . . . . . . . . . . . Theatre Services Manager Emily Lozow. . . . . . . . . . . . . . . . . Marketing Coordinator, DCA Jane McDonald. . . . . . . . . . . . . . Marketing Coordinator, DCTC Mark Onderdonk. . . . . . . . . . . . . . . . . . . . . . . Business Manager Tina Risch. . . . . . . . . . . . . . . . . . . Community Services Manager FloraJane DiRienzo. . . . . . . . . . . . . Business Relations Manager Nick Brown. . . . . . . . . . . . . . . . . . . . . . . Account Sales Manager Jennifer Kemps. . . . . . . . . . . Groups Sales Business Coordinator Jill Schwager. . . . . Student Matinee and Group Tours Associate Jennifer Lopez. . . . Assoc. Director of Ticket Services/Operations Kirk Petersen. . . . . . . . . . . . . Assoc. Director of Ticket Services/

Patron Relations David Smith . . . . . . . . Assoc. Director of Subscription Services Brandon Beston . . . . . . . . . . . Manager of Subscription Services Tristan Jungferman. . . . . . . . . . . . . . . . . . . . Box Office Manager Adam Quinney. . . . . . . . . . . . . . . . . . . . . . . Box Office Manager Anthoney Sandoval. . . . . . . . . . . . . . . . . . . . Box Office Manager Katherine Clow, Christopher Robin Donaldson, Kevin Dykstra, Amy Hibbeln, Katherine Murphy,.. . . . . . . . . . . . . . . . . . . . . . . . . . . Counter/Show Leads Trevor Curtis, Sarah Padilla, Greg Swan. . . Subscription Agents Chris Arneson, Michael Bisbee, Ashley Brown, Patye Gibbons, Rebecca Hibbert, Chase Huffman, Noah Jungferman, Steven LeValley, Scott Lix, Dane Madsen, Jacob Randall, LC Tribit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ticket Agents

Information Services

Denver Center Attractions gratefully acknowledges the following support in its 2013/14 season

Bruce Montgomery. . . . . . . . . . Director of Information Services Jim Hipp. . . . . . . . . . Associate Director of Information Services Bobby Jiminez . . . . . . . . . . . . . Senior Audience View Specialist

Development Department Dorothy Denny. . . . . . . . . . . . . . . . . . Executive Vice President Tiffany Grady . . . . . . . . . . . . . . . . . . . . . . . . Associate Director Linda Mitchell . . . . . . . . . . . . . . . . . . . . . . . . Associate Director David Zupancic . . . . . . . . . . . . . . . . . . . . . . Associate Director Jeremy P. Anderson . . . . . . . . . . . . . . . . . . . . Associate Director Mary Mosher. . . . . . Manager, Membership Groups/Major Gifts Megan Fevurly . . . . . . . . . . . . . . . . . . . . . . . . Business Manager Kelly Hasbrouck. . . . . . . . . . . . . . . . . . . Development Assistant

Peter and the Starcatcher

The Denver Center for the Performing Arts

staff

Peter and the Starcatcher

r holiday p u o y arties now! ok 303.446.4829 o B BOULDER ENSEMBLE THEATRE COMPANY’S

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sep 3 – 15, 2013 Buell Theatre

sep 24 – oct 6, 2013 Buell Theatre

AL

G TRUE STORY INSPIRED BY THE ELECTRIFYIN

ORIGINAL BROADWAY COMPANY, PHOTO BY FRANK OCKENFELS

North American Tour Cast. Photo by Paul Natkin.

WAY MUSIC ® THE TONY AWARD -WINNING BROAD

M illion D ollar Q uartet l ive . coM

jan 15 – 26, 2014 Buell Theatre

feb 25 – mar 9, 2014 Buell Theatre

may 6 – 18, 2014

303.893.4100 GROUPS: 303.446.4829 TTY: 303.893.9582

20

APPLAUSE

d e n v er center. or g

Present

Buell Theatre

Cody Slaughter as Elvis Presley in The National Tour of Million Dollar Quartet, Photo by Paul Natkin; Ta’Rea Campbell in Sister Act, Photo by Joan Marcus.

the shows

with

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Give your child the ticket to a brighter future.

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VIP

2013-14 Evenings

presents

Best Seats to the Best Shows!

Experience a VIP Evening at The Denver Center for the Performing Arts…

A great way to entertain family and friends or celebrate a special occasion. f Center Orchestra Seating f Pre-show cocktails, hors d’oeuvres and catered dinner f A tax-deductible contribution included with each ticket purchase f Priority seating is on a first-come first-served basis.

VIP Evening Series Sponsors

Thur, Nov 14 • $375

AL

NG TRUE STORY INSPIRED BY THE ELECTRIFYI

Thur, Dec 12 • $225

North American Tour Cast. Photo by Paul Natkin.

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Student MatineeS

2013/14

student matineeS

How to engage young students in the arts and build champions for tomorrow’s workforce

Theatre can be an experience that impacts a student’s academic career and outlook on life forever.

Over the years, thousands of students have enjoyed Denver Center Theatre Company (DCTC) productions that expand understanding and inspire creativity and change.

15,000 33 students

student matinees

Want the student or classroom in your life to experience Jackie & Me ?

Call 303.446.4895 24

A P P L AUSE

d e n ver center. or g

Illustration by Kyle Malone

...students who take part in arts programs achieve higher scores on statewide assessment tests in reading, writing and science.

During the 2013/14 season, more than 15,000 students will be invited to watch dramatic literature come to life. This year, the program offers 33 matinees of eight productions that blend classic and contemporary work. It’s a sure-fire way to nurture theatregoers of the future.

But student matinees are not just about building audiences. They are about opening up young minds to the pleasures, ethics and emotions of being human, fostering an awareness of what that means and spurring a quest for greater academic achievement.

Years of research by The President’s Committee on the Arts and Humanities show a consistent tie between high-quality arts education and strong educational outcomes. Colorado’s own study indicates students who take part in arts programs achieve higher scores on assessment tests in reading, writing and science. They demonstrate better preparation for the workplace and higher levels of independent thought, reasoning and imagination.

A highlight of the student matinee program this season is DCTC’s production of Jackie & Me, adapted

by Steven Dietz from the novel by Dan Gutman. In it, Joe Stoshack, a young baseball fanatic is teased by his teammates because of his Polish heritage. What’s more, Joey has a difficult relationship with his separated parents, a looming history assignment—and a very short fuse.

For his history report, Joey travels back in time to meet baseball great Jackie Robinson and understand how he broke baseball’s color barrier. While he planned on a prize-winning report, Joey did not expect a temporary change of skin color nor a permanently altered view of history and definition of courage.

Student MatineeS

...DCTC is grateful to the Colorado community for helping to make an indelible difference in the lives of its students.

The lessons learned here are obvious and such experiences in the theatre are, well, priceless. But there is a cost. Donations from corporations and individuals allow DCTC to offer sliding scale pricing for student matinees, with a focus on Title 1 schools (those that receive supplemental funding from the US Department of Education to help meet the needs of at-risk students).

With tickets ranging from $10 to $18 per student, DCTC can bring young people to the theatre who might not otherwise have that opportunity.

Support from individuals, foundations and corporations assists DCTC in its ongoing quest to broaden students’ exposure to theatre. Whether it’s a donor giving $10 to send a student to a show, a business partner underwriting a matinee ($5,000) or an individual serving as a Producing Partner, DCTC is grateful to the Colorado community for helping to make an indelible difference in the lives of its students. n

Impact Students

enrich community

create change

If you are interested in supporting the Denver Center Theatre Company’s Student Matinee program, contact Jeremy Anderson at 303.446.4813 or janderson@dcpa.org for more information.

303.893.4100

A P P L AUSE

25

ART PARTNERS

FAEGRE BAKER DANIELS Empowering people by supporting the arts “We want to help the DCPA educate our community about theatre in hopes of enabling them to experience it differently—with more depth and appreciation.”

— Heather Carson Perkins, Denver office leader

A proud sponsor of the 2013 VIP Evening Series

W

illiam Shakespeare mentions attorneys more than any other profession in a majority of his plays. He saw the natural ability of attorneys to connect with others on a very personal level, by provoking thought and influencing change.

Service to the community stands as one of Faegre Baker Daniels LLP’s core values. The desire to create intimate, meaningful relationships is a key driver in the client-centric and community-minded philosophy of Faegre Baker Daniels. Underscoring its commitment to strengthening institutions that are critical to the health and vitality of our community, the firm is serving as a 2013 VIP Evening Series Sponsor for The Denver Center for Performing Arts (DCPA). As part of this program, the firm’s funding goes directly to create and support educational initiatives and empower people to experience theatre who may not otherwise have that opportunity.

“We want to help the DCPA educate our community about theatre in hopes of enabling them to experience it differently—with more depth and appreciation,” said partner Heather Carson Perkins, who serves as the firm’s Denver office leader.

Partner John Marcil, who leads the firm’s Boulder office, added, “Faegre Baker Daniels uses its sponsorship, pro bono and for charitable opportunities as a reminder that our purpose is to serve other people.” The firm’s

sponsorship represents a deep commitment to the Colorado community in promoting the vitality and growth of the arts. Perkins commented, “The Denver Center for the Performing Arts perpetuates one of our oldest and most communal art forms. Faegre Baker Daniels is happy to play a part in enhancing DCPA’s role in our community.”

As a theatre patron growing up Perkins explained that “the theatre experience inspires people in a creative and exciting way, vastly different from sports or other entertainmentrelated events.”

In addition to community sponsorships, Faegre Baker Daniels attorneys also dedicate an extensive amount of time to pro bono work.

Throughout the year, the firm’s professionals provide legal counsel to low-income and disadvantaged populations in Colorado.

With more than 750 legal and consulting professionals worldwide, and 100 in the Denver/ Boulder area, Faegre Baker Daniels is proud to support the vision of The Denver Center for Performing Arts in offering, state of the art world-class entertainment to the Denver community. n For more information, visit www.faegrebd.com or call 303.607.3500.

26

APPLAUSE

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Million Dollar Quartet

Photo courtesy of Cirque Productions

Part of the VIP Evening Series

The National Tour of Million Dollar Quartet • Photo by Jeremy Daniel

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BOX OFFICE: MON-FRI 10 AM - 6 PM; SAT 12 PM - 6 PM

Premium subscription

I M PAC T CRE TIVIT Y

Photo Credit: Jenny Anderson

A

Impact Creativity is an urgent call to action to save theatre education programs in 19 of our largest cities. Impact Creativity brings together theatres, arts education experts and individuals to help over 500,000 children and youth, most of them disadvantaged, succeed through the arts by sustaining the theatre arts education programs threatened by today’s fiscal climate. Impact Creativity is an unprecedented, nationwide consortium of theatres, companies and individuals striving together to enrich our society. www.impactcreativity.org ($200,000 or more) The James S. and Lynne P. Turley Ernst & Young Fund for Impact Creativity Clear Channel Outdoor CMT/ABC

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Y MUSICAL ® THE TONY AWARD-WINNING BROADWA

($50,000 or more) AOL ORIGINAL BROADWAY COMPANY PHOTO BY FRANK OCKENFELS

North American Tour Cast. Photo by Paul Natkin.

TRUE STORY INSPIRED BY THE ELECTRIFYING

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Members receive the ultimate

theatre experience package:

V The Best Seats – Front and Center Orchestra V Personalized Ticketing and exchange options V Pre-Show Dinners at Restaurant Kevin Taylor V T ickets to the VIP Evening for The Book of Mormon on November 14 – cocktails and dinner in the Seawell Grand Ballroom

V Private Intermission Service in The Wolf Room V Concierge Service V Networking with the who's who of Denver V F irst opportunity to purchase excellent seats for all added attractions V And Much More!

Membership — ­ $5,000 per person (a generous portion is tax deductible). For your convenience, payment may be made in four installments by automatic charge. To join, please visit denvercenter.org/premium or contact David Zupancic at 303.446.4811 or davidz@dcpa.org. Membership is limited.

denvercenter.org/premium • 303.446.4811 28

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($10,000 or more) Christopher Campbell/ Palace Production Center The Ralph and Luci Schey Foundation John Thomopoulos James S. Turley Wells Fargo ($5,000 or more) Christ Economos Mariska Hargitay Ogilvy & Mather ($1,000 or more) Nick Adamo Mitchell Auslander Steven Bunson Paula Dominick Ryan Dudley Bruce R. Ewing Steve & Donna Gartner Peter Hermann Jonathan Maurer and Gretchen Shugart Florence Miller Memorial Fund Theodore Nixon Lisa Orberg Carol Ostrow Isabelle Winkles

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owicki orge Sarg son and Ge Gail John

Wednesday, October 23 Seawell Grand Ballroom Event Chairs: Denise Bellucci & John Farnam

11:30am Social ~ wine & “sew” special Theatre Threads cocktail 12pm Catered luncheon courtesy of Epicurean Catering 1pm Costume Fashion Show Featuring costumes from DCTC productions Participating Models: Jeremy Anderson, Jamie Angelich, Fiona Baldwin, Murri Bishop, Keri Christiansen, Sharon Cooper, BJ Dyer, Terri Fisher, Adrienne Ruston Fitzgibbons, Alice Foster, Roger Hutson, Carmel Koeltzow, Gayle Novak, Stacy Ohlsson, Loretta Robinson, Jackie Rotole, Denisa Tova, Judi Wolf Tickets: $100 per person ($50 is tax deductible) Reservations: 303.446.4815 ~ denvercenter.org/threads

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Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829

next up

Looking ahead…

Tickets: 303.893.4100

denvercenter.org

Death of a Salesman Sept 20 – Oct 20, Space Theatre ASL interpreted & Audio Described • Oct 20, 1:30pm

A

Illustration by Kyle malone

rthur Miller’s Pulitzer- and Tony® Award-winning drama. Willy Loman, a downsized salesman whose dreams of greatness for himself and his sons go unrealized, is an authentic and heartbreaking portrayal of the American dream lost. This astonishing play is forever woven into the fabric of our country’s consciousness and dramatic literature.

Sister Act Sept 24 – Oct 6, Buell Theatre

ASL interpreted, Audio Described & Open Captioned • Oct 6, 2pm

T

his tribute to the power of friendship tells the story of wannabe diva Deloris Van Cartier, whose life takes a surprising turn when she witnesses a crime. The cops hide her in the last place anyone would think to look— a convent. Under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.

Just Like Us Oct 4 – Nov 3, Stage Theatre

ASL interpreted & Audio Described • Nov 3, 1:30pm

B Illustration by Kyle malone

ased on Helen Thorpe’s bestselling book, this world premiere play by Karen Zacarías follows four Latina girls in Denver through young adulthood—two who are documented and two who are not. Their close friendships start to unravel when immigration status dictates opportunity, or lack thereof, posing difficult yet essential questions as to what constitutes an American.

The Most Deserving Oct 11 – Nov 17, Ricketson Theatre

C

harged with awarding $20,000 to a deserving and needy local artist who represents “an under-represented American voice,” a small-town Kansas arts council erupts into comic chaos. This world premiere from playwright Catherine Trieschmann takes a broadly satirical look at how the arts collide with politics, self-interest, taste, relationships, egos and gossip.

CONNECT

Illustration by Kyle malone

ASL interpreted & Audio Described • Nov 10, 1:30pm

Spark a dialogue today by participating in our free CONNECT program. Designed to enhance your theatre experience, the CONNECT program offers a variety of opportunities, including moderated discussions with the cast and creatives, educational resources, tours and other special events.

For more information visit www.denvercenter.org/CONNECT. 303.893.4100

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Dramatic Events w i t h d r a m a - f re e p l a n ni ng

denvercenterevents.org 303.572.4466 Photo generously provided by our partners at Studio JK

ACT NOW! denvercenter.org/ACT 303.446.4892

Denver Center Theatre Academy

Photos by Brian Landis Folkins

at the Denver Center Theatre Company

Denver Center Theatre Academy is open to ages three and up. Acting lessons range from beginner to advancedâ&#x20AC;Ś Thereâ&#x20AC;&#x2122;s something for everyone!

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