Applause Magazine, Oct. 10-Nov. 12, 2014 by The Publishing House

APPLAUSE

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VOLUME XXVI | NUMBER 2 | OCT – NOV 2014

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VANYA AND SONIA AND MASHA AND SPIKE

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KINKY BOOTS

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EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore DESIGNERS: Kim Conner, Brenda Elliott, Kyle Malone

LETTER FROM THE EXECUTIVE DIRECTOR, BROADWAY

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As I hope you have noticed, the Denver Center for the Performing Arts has taken on a major initiative to complement our world-class theatrical programming. We are redoubling our efforts throughout the organization to further improve the customer experience for you, our patrons. You may have noticed a number of changes of late including a newly expanded online news center at denvercenter.org/news-center. Now an integral part of our website, you will find breaking news, behind-the-scenes information, actor profiles, community news and much more. There is much to enjoy at the DCPA. Let us know how we can help you plan your next unforgettable shared experience. See you at the theatre,

RANDY WEEKS Executive Director Denver Center for the Performing Arts - Broadway

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BOARD OF TRUSTEES Daniel L. Ritchie, Chairman and CEO Donald R. Seawell, Chairman Emeritus Randy Weeks, President William Dean Singleton, Secretary/Treasurer Robert Slosky, First Vice Chair Margot Gilbert Frank, Second Vice Chair Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond Thomas W. Honig W. Leo Kiely III Mary Pat Link Trish Nagel Robert C. Newman Richard M. Sapkin Martin Semple Jim Steinberg Peter Swinburn Ken Tuchman Tina Walls Lester L. Ward Dr. Reginald L. Washington Judi Wolf Sylvia Young _______________________

HONORARY MEMBERS Jeannie Fuller Glenn R. Jones M. Ann Padilla Cleo Parker Robinson

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The fall season is off to a terrific start here at the Denver Center for the Performing Arts. Hopefully you had the opportunity to see the Denver debuts of the Theatre Company’s new adaptation of The Unsinkable Molly Brown and Pippin, which marked our tenth national tour opening. Both shows provided our guests with bragging rights to be the first to see new works right here in Colorado. The momentum continues with Kinky Boots, the hysterical Vanya and Sonia and Masha and Spike and not to forget our friends from Blue Man Group. There is much in store for the holidays including a diverse array of shows for a variety of audiences—How the Grinch Stole Christmas! The Musical, David Sedaris’ The SantaLand Diaries, and the much loved A Christmas Carol. Additionally, I am pleased to share with you that our third year of The Bobby G Awards (the Colorado component of the National High School Musical Theater Awards) is already filled to capacity with participation from 30 high schools from around the state. The awards ceremony is scheduled in The Buell Theatre May 28, 2015.

Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

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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 Minumum Width .75” Maximum Width 2”

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SENIOR MANAGEMENT STAFF Randy Weeks, President and Executive Director, Broadway Kent Thompson, Producing Artistic Director, Theatre Company Vicky Miles, Chief Financial Officer Jennifer Nealson, Chief Marketing Officer Clay Courter, Vice President, Facilities & Event Services Charles Varin, Managing Director, Theatre Company David Zupancic, Interim Director of Development

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Kinky Boots Tour. Photo by Matthew Murphy.

KINKY BOOTS CYNDI LAUPER’S HIGH-HEELED HIT

A N E XC LU S I V E I N T E RV I E W BY J O H N M O O R E

“If we all could just accept each other for who we are the world would be a beautiful place. And you know what? That’s also the message of Kinky Boots!” — CYNDI LAUPER

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You don’t need big, technicolor hair, fishnets and fingerless gloves to know that, even at age 61, Cyndi Lauper just wants to have fun. Now the woman who puts the “sex” in “sexagenarian” wants audiences to have fun…in the live theatre. Lauper wrote the music for the 2013 Tony Award-winning best musical Kinky Boots, which plays October 29 through November 9 at The Buell Theatre. This feel-good musical that broke all box office records at New York’s Al Hirschfeld Theatre is based on the true story of Steve Pateman, an Englishman who was struggling to save his family-run shoe factory from closure. Under pressure from changes in fashion, increasing competition and shortness of time, Pateman received an interesting, unexpected and altogether unconventional call. The outcome? A new line of women’s shoes in men’s sizes for an entirely new clientele—drag queens. Pateman’s heartwarming story served as the inspiration for a 2005 independent film. It caught the imagination of Broadway, and a first-class creative team was called in to perform a high-heeled, glitter-filled makeover.

And who could remake this fun-filled story better than ’80s pop music icon, Cyndi Lauper? In this era of safe Broadway musicals largely based on popular existing titles, Lauper has a pretty good idea why this exhilarating underdog story written by Harvey Fierstein broke through. “It’s because the show has a huge heart,” said Lauper. Like small independent films The Full Monty and Priscilla Queen of the Desert before it, Broadway has welcomed Kinky Boots with big, accepting arms lined with spikes, sparkles and gummy bracelets. Why? “It’s a story about love and acceptance and friendship and overcoming obstacles,” Lauper said, “and everyone can relate to that.” Lauper has sold more than 80 million records worldwide, charted 16 hit singles and conquered the disparate worlds of pop, blues and Broadway. As the queen of Queens herself might say…“Oh my gwwaaaaaaaad!” But live theatre historically struggles to attract young audiences. Lauper is proud that Kinky Boots has bucked that trend. “I tried really hard to write songs that

Kinky Boots Tour. Photo by Matthew Murphy.

could also live outside of the theater,” Lauper said. “Before radio, Broadway music was Top 40 popular music. People bought sheet music and played the music at home with their families. I really tried hard to honor that tradition with Kinky Boots by writing songs that people would want to listen to at home after leaving the theater, or without even seeing the show.” Lauper thinks it is essential for new musicals to capture the hearts of young adult theatregoers. “If young people don’t discover Broadway, then Broadway will die with this generation, and that would be a tragedy,” Lauper said. “So it’s important that Broadway musicals and plays are written to live in the modern world.” Crossover artists like Lauper might be the key to making that happen. Not only is she working on a new musical for the live theatre, “I am thrilled to see two of my favorites—David Byrne and Carole King—with shows on Broadway,” she said. This year, Lauper celebrated the 30th anniversary of her breakout album, She’s So Unusual. While that album charted top-five hits on the Billboard Hot 100 (“Girls Just Want to Have Fun,” “Time After Time,” “She Bop” and “All Through the Night”), it was her next record that produced perhaps her lasting legacy: True Colors. “When I recorded that song, a very good friend of mine was dying from AIDS,” Lauper said. “He had a horrific childhood. He had been abused. And the main reason he was abused was because he was gay. He became homeless really young. When he was dying he asked me to record a song so that he would not be forgotten.” She wrote “True Colors,” which has become an anthem of hope for disaffected communities. “I sang the song for Gregory and for everyone who has been rejected for being who they are or for anyone who feels unloved,” Lauper said. “I think that it still resonates today because unfortunately we still have bias

and we still have bullying. Maybe we have even more bullying because people can be cruel behind a computer instead of having the [courage] to say something ugly to someone’s face. “If we all could just accept each other for who we are the world would be a beautiful place. “And you know what? That’s also the message of Kinky Boots!” Last year, Lauper became the first woman in Broadway history to win the Tony Award for Best Score without a writing partner. One of the more endearing moments in recent Tony Awards history was seeing Lauper as she sat stunned in her seat as her name was called. Finally she stood and hugged Wheat Ridge, Colorado native Annaleigh Swanson, who was Tonynominated herself for playing sassy Lauren in the original Broadway cast. “I remember telling her, ‘Cyndi, you have to go to the stage now,’ ” Ashford said. “She was just like, ‘Oh my gwwaaaaaaaad!’ And she was crying. It was amazing.” Lauper remembers that moment as “simply incredible.” “The Broadway community is an amazing one, and to be welcomed the way they welcomed me to this very special family is something that still warms my spirit,” she said. When asked what Kinky Boots audiences are in for in Denver, she said simply: “An amazing show with a great heart that will lift you up.” Read John Moore’s entire interview with Cyndi Lauper on the DCPA’s News Center at denvercenter.org/news-center

KINKY BOOTS OCT 29 – NOV 9 BUELL THEATRE Accessible Performances: Nov 9, 2pm Tickets: 303.893.4100 | denvercenter.org 800.641.1222 | TTY: 303.893.9582 Groups (10+): 303.446.4829

NEXT UP FROM CABARET:

FORBIDDEN BROADWAY Forbidden Broadway: Alive & Kicking! (Nov 15 – Mar 1) skewers all things musical theatre, but you don’t have to be a Big Apple insider to enjoy it. “The writers have figured out a way to make it work for rabid musical theatre fans and more casual fans alike,” said actor Jordan Leigh, who is part of an all-local ensemble. This returning favorite offers a fresh and ever-changing comic parody of recent Broadway shows and tried-and-true classics. The evening features outrageous costumes, hilarious rewrites of songs you know, and dead-on impressions of actors and characters who have become part of pop culture. What shows will the writers take on specifically for Denver? That’s “forbidden” information. Every show in every city is different, but it’s a safe guess that Pippin, Kinky Boots, The Book of Mormon, Wicked and The Lion King will be fair game. Adding to the familiarity for Denver audiences will be a cast of performers who all call Denver home. Leigh was part of the longest-running show in Denver theatre history, I Love You, You’re Perfect, Now Change, which ran for four years at the Garner Galleria Theatre. He calls Forbidden Broadway a win-win for the local theatre community—and the audience. “I feel lucky to have the opportunity to be working at the highest level that Denver has to offer and to share the stage with incredible talent,” Leigh said. “Plus, I think audiences like seeing actors that they know.” From left: Joshua Archer, Chad Reagan, Sarah Rex, Jordan Leigh and Lauren Shealey. Not pictured: Katie Drinkard. Photo by John Moore.

Cyndi Lauper Photo by Jo Ann Toy

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DaVita Creative Classroom Collaborative

Like many novice actors, when the moment came for LaKenya Golden to walk onstage…she just couldn’t. Not to recite her deeply vulnerable poem, “Untitled Song.” It was too much for a 16-year-old girl who is, in many ways, herself an unfinished song. That’s when mentor and hip-hop artist Molina Speaks asked if they could read her poem into a microphone from backstage. In the comforting pitch black. Just LaKenya and teacher and her words and the darkness. She said she would try. And through her tears…she got through it. LaKenya is a student at Venture Prep Academy, a rigorous Denver charter school whose mission is to prepare at-risk students for college and career success through project-based learning—the perfect school to draw from for a new pilot program called the Creative Classroom Collaborative. The genus began when Colorado Symphony, the Denver Center for the Performing Arts (DCPA) and Youth On Record submitted separate grant proposals to DaVita, a community-minded health-care company. Known as a leader in the medical field, DaVita takes its mission to serve others well beyond the hospital, clinic and physician’s office. Working with the Public Education Business Coalition, DaVita challenged the three arts organizations to pool their creative energies and afford these at-risk students an opportunity to transform their own words into a performance. The three organizations set out to create a pilot program that could be expanded into a national model for schools across the country. The result? A raw and emotionally charged performance complete with slam poetry, dances, songs and scenes written by the students with these teaching professionals.

“The process was kind of difficult because I kept telling myself, ‘I’m not an actor,’ ” Senior Gabriel Ramirez said. “And yet, here I am doing a play today…. I found that I can be more than I thought I was.” On the first day, DCPA teaching artist Heather Nicolson challenged the students to write a scene from a play in 15 minutes. Each would start with just two people in a room… and a door…and a conflict. Next, Colorado Symphony Assistant Principal Violist Catherine Beeson and Keyboardist Jessica Mays introduced the students to the concept of underscoring their scenes by adding mood music. Then, Diana Rose Francis from Youth On Record led the students in a singing exercise that helped them understand how their diaphragms assist in breathing during performance. Over the next weeks, the students were taken through writing exercises meant to develop their final performance piece. They ended up with a hip-hop-infused theatrical presentation called The Path that blends many other performance elements. DCPA Associate Director of Education Allison Watrous called the Creative Classroom Collaborative “an opportunity for these students to stand in front of their community and say, ‘Hey, you might have made assumptions that aren’t quite right, and this is who I am. I am smart. I am confident. I am powerful.’ ” To read see the video and full article, visit denvercenter.org/news-center.

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VANYA AND SONIA AND MASHA AND SPIKE:

ILLUSTRATIONS BY KYLE MALONE

CHEKHOV-LITE IS CHECKHOV FUNNY

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When some people hear Christopher Durang’s newest comedy has undertones of Anton Chekhov, they might mistake the play for “spinach theatre.” You know the kind: You take it because you know it’s good for you, but you don’t particularly like it going down. But in Vanya and Sonia and Masha and Spike, characters are running around in their underwear. They rant and rave. They are dressed as dwarfs—and a highly dubious Snow White. For those in the know, Durang’s 2013 Tony® Award winner for Best Play is smart, silly entertainment with wonderful literary roots. But Chekhov isn’t the spinach. It’s the cherry on top. And curiously enough, Russia’s hilariously dour dramatist has become an unlikely hot commodity of late. Chekhov takeoffs by Durang, Donald Margulies (The Country House) and Aaron Posner (Stupid F***ing Bird) abound. Why, he’s become the most popular 154-year-old in theatre. Just don’t blame it on Durang. He didn’t set out to write the next big comic play to sweep the nation. He just did. Durang says he took Chekhov themes and characters and put them into a comic blender. But he emphatically denies that what poured out into the juice cup is a parody of Chekhov. But if not, then what is it? Perhaps it’s easier to say what it isn’t. The play is not set in pre-revolutionary Russia. It’s set in Bucks County, Pennsylvania. “They don’t have samovars, and they don’t pay for things with rubles,” Durang wrote of his own play. It also isn’t a play with a cast of characters named Nikolayevna, Konstantin, Irina or Boris— and that doesn’t begin to hint at the middle and last names. Instead, it’s “Chekhov-lite.” “I’m as old as Uncle Vanya,” Durang said in an interview with Applause from his home in Pennsylvania. “I read all the major Chekhov plays when I was in my 20s, so I’d always been a young man empathizing with the older characters but not really identifying with them as I do now. “Unlike Vanya or Konstantin, I did try the things I wanted to do with my life and had some nice luck getting my plays done. From there I went into a kind of ‘what-if’ mode. What if…I had not? What if…I had gone to college, but then gone back home and then my parents got sick and blahblah-blah…? That was my jumping-off point. And as I was writing, the play just took on a life of its own.” A life that is poignant, pointed and very funny. Vanya and Sonia and Masha and Spike reflects the themes and characters

of Chekhov—regret, reflection, selfdoubt and pain. It just so happens that pain, in the live theatre, is often quite funny. Durang had written a draft of Vanya and Sonia and Masha and Spike before being offered a commission from the McCarter Theatre at Princeton, and also had started a political play he had not yet finished. “I did an unusual thing,” he said. “I asked them if I could have a reading of Act One of Vanya and Sonia and Masha and Spike and Act One of this unfinished political play. I wanted to see which one they preferred, secretly hoping that they would go for Vanya and Sonia and Masha and Spike.” Well, now we know they did. The McCarter then invited Lincoln Center to co-produce. Did he have any idea that this quirky little comedy would become a hit? “I did not. It was a lovely surprise,” said Durang, whose writing has been described as “manic,” “wicked,” “ferociously funny” and “ecstatically angry.” “Early in my career I had two plays on Broadway: A History of the American Film (1978) and Beyond Therapy (1982). They weren’t disasters, but they weren’t very successful, either, and had short runs. “I sort of made peace with the fact that seemingly my plays didn’t work for Broadway.” Who would have thought that Vanya and Sonia and Masha and Spike would not only make it to Broadway, but also win the Tony? Not Durang.

CHRISTOPHER DURANG, PLAYWRIGHT

…in Vanya and Sonia and Masha and Spike, characters are running around in their underwear. They rant and rave. They are dressed as dwarfs—and a highly dubious Snow White.

“It was not aimed for Broadway,” he confirmed. “I did no major rewrites, just semi-important rewrites at McCarter and then a little more at Lincoln Center. But the audience response was very strong.” Durang admits he was “totally surprised” when Broadway producers came calling. It was the validation of a life’s work and of his very idiosyncratic skewed puppy-dog wit and off-beat style, much admired when he was young and now finally welcomed into the mainstream. This article was complied from an interview by Sylvie Drake, former DCPA Director of Publications, and materials available at McCarter Theatre.

VANYA AND SONIA AND MASHA AND SPIKE OCT 10 – NOV 16 RICKETSON THEATRE Accessible Performances: Nov 15, 1:30pm Tickets: 303.893.4100 | denvercenter.org 800.641.1222 | TTY: 303.893.9582 Groups (10+): 303.446.4829

JUDI WOLF’S COSTUME COLUMN At first glance, Vanya and Sonia and Masha and Spike would not appear to be a costume designer’s dream. More like a snooze. The play opens with adult siblings in modern dress wearing muted earth tones. But from the moment their sister Masha walks in, “there is just this explosion of Hollywood color,” says Costume Designer Meghan Anderson Doyle. In Christopher Durang’s Tony-winning comedy rooted in the anachronistic world of Anton Chekhov, Masha is a successful actor, and her siblings are living off her largess. “We laughed most about figuring out the Masha celebrity look,” said Doyle. “We came up with everything from Kim Kardashian’s mother to The Real Housewives of New York.”

Then, out of nowhere, Durang tosses Doyle a bright, technicolor bouquet: They’ve all been invited to a costume party. And Masha—a woman in her 50s—has decided that she will be going as Snow White and her siblings as dwarfs. For Doyle, “It’s like getting to design two plays in one.” The Disney party costumes are very much drenched in cartoon colors—“vibrant yellow, blue and red,” said Doyle. “She’s got the traditional blue bodice with the yellow skirt, and the big red bow in her hair.” But is there a bright red, poisonous apple to go with Masha’s costume? You’ve got to laugh along with this sibling rivalry to find out.

HOST A PARTY

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NOV 28 – DEC 28 STAGE THEATRE A CHRISTMAS CAROL By Charles Dickens Adapted by Richard Hellesen Music by David de Berry

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Let us host your holiday party with a customized pre-show cocktail reception and discounted tickets to any one of our holiday shows. We’ll work with you personally to give your group of up to 1,000 guests a year-end celebration to remember. Holiday packages for groups of 10+ start as low as $100 per person. Inquire today.

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CELEBRATING THE TITANIC ROMANCE OF A DENVER ICON

More than 400 guests, including members of Best of Broadway and Directors societies, celebrated a slice of Colorado history at the opening night of The Unsinkable Molly Brown. Since it is well-known that Molly was quite a philanthropist in her day, we used the occasion to bestow the eighth Florence K. Ruston Award for Philanthropy in the Arts to Hilja K. Herfurth. Adding to the festivities were NBC Entertainment Chairman Robert Greenblatt, Tony winners Kathleen Marshall (director/choreographer) and Dick Scanlan (book writer), and Broadway producer Kevin McCollum. Everyone agreed that the Theatre Company struck it rich with this Denver debut.

1 Kevin Heupel & Alexandre Garrett 2 Molly Brown Supporting Partners L. Roger & Meredith Hutson 3 Catherine & Doug Benson 4 Molly Brown Producing Partner June Travis & Amy Fitch 5 Bill Hybl of The El Pomar Foundation, Molly Brown Producing Partner Joy S. Burns & Dr. Stephen Jordan of Metro State University, Denver 6 Molly Brown Book Writer Dick Scanlan 7 Dawn & Kevin Collins 8 Scott Landis, Freddie Gershon, Molly Brown Director / Choreographer Kathleen Marshall & George Lane 9 Adrienne Ruston Fitzgibbons & Jack Fitzgibbons 10 Molly Brown Contributing Partner Judi Wolf with Molly Brownâ&#x20AC;&#x2122;s great granddaughter Helen Benzinger.

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LOGO WITH SUBDIVISIONS

Kent Thompson, Producing Artistic Director

Christopher Durang With

Sam Gregory, Eddie Lopez, Kathleen McCall, Socorro Santiago, Lesley Shires, Amelia White SET DESIGN BY Lisa Orzolek

COSTUME DESIGN BY Meghan Anderson Doyle

DRAMATURGY BY Allison Horsley

LIGHTING DESIGN BY Shannon McKinney

VOICE AND DIALECT COACHING BY Kathryn G. Maes Ph.D

DIRECTOR OF PRODUCTION Jeff Gifford

SOUND DESIGN BY Tyler Nelson

CASTING BY Elissa Myers Casting / Paul Foquet, CSA

STAGE MANAGER A. Phoebe Sacks

DIRECTED BY Jenn Thompson

Producing Partners Margot & Allan Frank, Robert & Judi Newman Originally produced on Broadway by: Joey Parnes, Larry Hirschhorn, Joan Raffe/Jhett Tolentino, Martin Platt & David Elliot, Pat Flicker Addiss, Catherine Adler, John O’Boyle, Joshua Goodman, Jamie deRoy/Richard Winkler, Cricket Hooper, Jiranek/Michael Palitz, Mark S. Golub & David S. Golub, Radio Mouse Entertainment, Shadowcatcher Entertainment, Mary Cossette/Barbara Manocherian, Megan Savage/Meredith Lynsey Schade, Hugh Hysell/Richard Jordan, Cheryl Wiesenfeld/Ron Simons, S.D. Wagner, John Johnson in association with McCarter Theatre Center and Lincoln Center Theater Originally commissioned and produced by McCarter Theatre, Princeton, N.J. Emily Mann, Artistic Director; Timothy J. Shields, Managing Director; Mara Isaacs, Producing Director; and produced by Lincoln Center Theater, New York City under the direction of Andre Bishop and Bernard Gersten in 2012. VANYA AND SONIA AND MASHA AND SPIKE is presented by special arrangement with Dramatist Play Service, Inc., New York.

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

THE RICKETSON THEATRE | OCTOBER 10–NOVEMBER 16, 2014

VANYA AND SONIA AND MASHA AND SPIKE

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VANYA AND SONIA AND MASHA AND SPIKE

CAST

(in order of appearance) Vanya....................................................................................................................................................................................Sam Gregory Sonia..................................................................................................................................................................................... Amelia White Cassandra..................................................................................................................................................................Socorro Santiago Masha..............................................................................................................................................................................Kathleen McCall Spike....................................................................................................................................................................................... Eddie Lopez Nina.........................................................................................................................................................................................Lesley Shires

Stage Manager.......................................................................A. PHOEBE SACKS Production Assistant.............................................................D. LYNN REILAND Production Intern..........................................................................ELIZA CAPLITZ

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.

Time: Late August Place: Bucks County, PA There will be one 15-minute intermission.

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ACTING COMPANY SAM GREGORY (Vanya). At the Theatre Company: Over 40 productions. World Premieres: The Most Deserving, Plainsong, Eventide, Two Things You Don’t Talk About At Dinner. Other Favorites: Shadowlands, Hamlet, The 39 Steps, Doubt, The Voysey Inheritance, Ruined, A Midsummer Night’s Dream, Noises Off, A Flea in Her Ear, Hotel on Marvin Gardens, You Can Never Tell, Tartuffe. Other Theatres: Seattle Rep, Cincinnati Playhouse, Milwaukee Rep, Cleveland Play House, San Jose Rep, American Players Theatre, Eureka Theatre, George Street Playhouse, O’Neill Theatre National Playwrights Conference, Alabama/California/ Colorado Shakespeare Festivals, Boulder Ensemble Theatre Company, Paragon. TV/Film: “NY Undercover,” “One Life to Live,” “As the World Turns.” EDDIE LOPEZ (Spike). At the Theatre Company: Debut. New York: Throne of Blood (BAM). Regional: Animal Crackers, Medea/Macbeth/ Cinderella, The Pirates of Penzance, WillFull, Henry IV Part II, She Loves Me, The Music Man, Henry VIII, The Clay Cart, A Midsummer Night’s Dream, The Comedy of Errors (Oregon Shakespeare Festival); Paradise Lost: Shadows and Wings (The Theatre @ Boston Court, LA); What to Wear? (directed by Richard Foreman, Center for New Performance at REDCAT, LA); The Man Who Came to Dinner, Into the Woods, Woman in Mind (Summer Repertory Theater, Santa Rosa CA); Hedwig and the Angry Inch (CalArts). TV/Film: Redwood Highway. Training: BFA, CalArts. www.eddie-lopez.com KATHLEEN MCCALL (Masha). At the Theatre Company: 10 seasons. Kathleen has been a professional actress for over 25 years working on Broadway, off-Broadway, national

tours, and at regional theatres throughout the country, as well as in television and film. She is an inductee of Marquis Who’s Who of American Women in the Arts and a Lunt/ Fontanne Fellowship Recipient. Training: London Academy of Music and Dramatic Art. kathleenmccall.net SOCORRO SANTIAGO (Cassandra). At the Theatre Company: Living Out. Broadway: The Bacchae (Circle in the Square). OffBroadway: Lark, 59E59 Theater, Ensemble Studio Theatre, New York Theatre Workshop, The Public Theater, Naked Angels, Here, Intar. Regional: Sundance Theatre Lab (So Go The Ghosts of Mexico Part II, The Good Book by Lisa Peterson and Denis O’Hare), Chatauqua Theatre Institute (The Guadalupe, directed by Ethan McSweeney), Long Wharf Theatre (Macbeth 1969 and John Patrick Shanley’s Italian American Reconciliation, both directed by Eric Ting), Sundance Theatre Lab (Like Water for Chocolate by Quiara Alegria Hudes), Alliance Theatre (26 Miles by Quiara Alegria Hudes), Huntington Theatre (Boleros for the Disenchanted by Jose Rivera, IRNE actress nomination). Film credits: The Other Woman, Ornament of Faith, All Good Things, and Freedomland. TV: “The Good Wife,” “Unforgettable,” “Bored To Death,” and all the “Law & Orders.” American Latino Media Arts (ALMA) Award for her work as Isabella Santos on “All My Children.” LESLEY SHIRES (Nina). At the Denver Center: Debut. Other Theatres: OffBroadway: Happy Birthday (TACT), OffOff Broadway, The Gin Baby (IRT). Regional: Barefoot in the Park (Dorset Theatre Festival); Homestead Crossing (world premiere, Berkshire Theatre Group, Merrimack Repertory and Portland Stage Co.); Laughing Stock (Pioneer Theatre Company); Gruesome Playground Injuries (Boise Contemporary Theater); The Little Prince, Crimes of the Heart, Amadeus and Romeo and Juliet (PlayMakers Repertory). TV/Film: “The Good Wife,” “Law and Order: SVU,” “Person

of Interest,” “Rescue Me,” The Fly Room. Training: East Carolina University, BFA; NYU Grad Acting, MFA; Guthrie Experience. www.lesleyshires.com AMELIA WHITE (Sonia). At the Theatre Company: Under Milkwood, Wings. On Broadway she appeared in Crazy for You, The Heiress and OffBroadway in The Butter and Egg Man at Atlantic Theater Company. The Accrington Pals at Hudson Guild Theatre (Theatre World Award). Regional theatre includes Chicago (Weston Playhouse), Noises Off (Dorset Theatre Festival), A Small Family Business (The Cleveland Play House), The Mask of Moriarty and Loot (The Old Globe), A Penny for the Guy (Studio Arena), Pericles (Hartford Stage Company), On the Verge, Top Girls (Cincinnati Playhouse), A Christmas Carol (Guthrie Theater) and Silent Sky (So. Coast Rep). PLAYWRIGHT CHRISTOPHER DURANG (Playwright). Christopher Durang’s plays include A History of the American Film (Tony nomination, Best Book of a Musical), The Actor’s Nightmare, Sister Mary Ignatius Explains It All For You, Beyond Therapy, Baby With The Bathwater, The Marriage of Bette and Boo, Laughing Wild, and Durang Durang. In 1996, he was commissioned by the Rodgers and Hammerstein Foundation to write a new book for the popular musical Babes in Arms. Sex and Longing was commissioned by Lincoln Center Theater and was presented on Broadway in fall 1996 starring Sigourney Weaver. The Idiots Karamazov, a full-length play with music written with Albert Innaurato, was revived at the American Repertory Theatre. His play Betty’s Summer Vacation (Drama Desk Award nomination) had its world premiere at Playwrights Horizons in 1999. His new musical (with music by Peter Melnick), Adrift in Macao, premiered at New York Stage and Film in the summer of 2002. Mrs. Bob Cratchit’s Wild Christmas Binge was commissioned by Pittsburgh’s City

VANYA AND SONIA AND MASHA AND SPIKE

WHO’S WHO

VANYA AND SONIA AND MASHA AND SPIKE

Theater and had its world premiere in November 2002. He has an MFA from the Yale School of Drama. Early in his career, he won a Guggenheim, a Rockefeller, the CBS Playwriting Fellowship, the Lecompte du Nouy Foundation grant, and the Kenyon Festival Theatre Playwriting Prize. In 1995 he won the prestigious threeyear Lila Wallace Readers Digest Award; as part of his grant, he ran a writing workshop for adult children of alcoholics. Since 1994 he has been co-chair with Marsha Norman of the Playwriting Program at the Juilliard School in Manhattan. He is a member of the Dramatists Guild Council. DIRECTOR JENN THOMPSON (Director). At the Theatre Company: Debut. Jenn is Co-Artistic Director of NYC’s TACT/ The Actors Company Theatre, where she has directed multiple productions including the Drama Desk nominated revival of Lost in Yonkers and New York Times “Top Ten Pick,” The Eccentricities of a Nightingale. Other NYC Theatre: Rattlestick, Abingdon, NYMF, FringeNYC. Regional: Pittsburgh’s City Theatre, Hartford Stage (Connecticut Critics Circle nomination, Outstanding Direction), Pioneer Theatre, Portland Stage Company, and four seasons at the Dorset Theatre Festival where she serves as a Resident Director. ARTISTIC STAFF MEGHAN ANDERSON DOYLE (Costume Designer). At the Theatre Company: Jackie & Me, The Giver, Superior Donuts, Well, and Ed, Downloaded. Off-Center (CULT FOLLOWING seasons 1-4), DCPA Cabaret (I Love You, You’re Perfect, Now Change! and Five Course Love), Curious Theatre Company (Good People, The Brothers Size, A Number, Up, tempOdyssey), The Aurora Fox (Metamorphoses), National Theatre Conservatory Rep (16 productions). Special/Awards/ Training: Theatre Company Costume Design Associate 2006-present; BA Theatre, University of Denver; MFA Costume Design, University of Florida.

ALLISON HORSLEY (Dramaturg). At the Theatre Company: Animal Crackers, New Play Summits, Death of a Salesman, The Giver, Eventide, Plainsong, 1001. Broadway/West End: Jersey Boys, Dracula, Chaplin (development). Other Theatres: O’Neill National Music Theater Conference, Oregon Shakespeare Festival, Kitchen Dog Theater, La Jolla Playhouse, Dallas Theater Center, Centerstage, Yale Repertory Theatre. Special/Awards/Training: MFA from Yale School of Drama; BA from University of Denver in Russian and Theatre. Associate Professor, University of Denver. KATHRYN G. MAES Ph.D (Voice and Dialect Coach). At the Theatre Company: The Unsinkable Molly Brown, Animal Crackers, Shadowlands, Hamlet, black odyssey, A Christmas Carol, Jackie & Me, The Most Deserving, Just Like Us, Death of a Salesman, When We Are Married, Fences, The Three Musketeers, Heartbreak House, Great Wall Story. Other Theatres: Royal Shakespeare Company, Royal National Theatre (Arthur Miller’s American Clock). Special/ Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, Head of Voice at DCPA Theatre Company and the National Theatre Conservatory 1989 to 1992. Ph.D. in Theatre Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Speech and Drama, London, England. SHANNON MCKINNEY (Lighting Designer). At the Theatre Company: Debut. Other Theatres: Colorado Shakespeare Festival (The Tempest, The Merry Wives of Windsor), The Arvada Center (Memphis, Tarzan, End of the Rainbow, Man of La Mancha), Curious Theatre Company (Venus in Fur, The Brothers Size, Red, Eurydice), Indiana Repertory Theatre, Steppenwolf Theatre, The Court Theatre, Lookingglass Theatre. Special/Awards: CTG Henry Award for Outstanding Lighting Design (The Whipping Man, Painted Bread, Man of La Mancha, Red), Company Member of Curious Theatre. ELISSA MYERS CASTING, Paul Foquet, CSA (Casting). For PBS “Poisoner’s Handbook,” “Becoming Helen Keller” and the mini-series Mystery of Matter. Other PBS

projects include “The Abolitionists,” “Dolly Madison,” “Alexander Hamilton,” “John and Abigail Adams,” “Benjamin Franklin” (Emmy Award), “Liberty” (Peabody Award), “God in America,” “People vs. Leo Frank,” “Louisa May Alcott,” as well as PBS “Great Performances” (Artois Award for Outstanding Achievement in Casting). Additionally three “Movies of the Week,” as well as five pilots. Feature films include Hank and Asha (Audience Award at Slamdance 2013) and The Union. Theatre includes seven Broadway shows, including Tony nominated Having Our Say, as well as 25 OffBroadway shows. Regional casting in the past few years includes the Theatre Company, Geva Theatre, Cleveland Play House, Alabama Shakespeare Festival, Magic Theatre, Arena Stage, Alley Theatre, George Street Playhouse, and Arizona Theatre Company. The office has so far received 16 nominations and has won three Artois awards for Outstanding Achievement in Casting. TYLER NELSON (Sound Designer). At the Theatre Company: The Most Deserving, The Giver and Ed, Downloaded. Off Center: DATE*, Square of Ice, Cult Following Season 1, The L&J&J Project, HipHop Jambalaya, Wii: The Ultimate Baseball Game. Other Theatres: Applebox Theatre Company (Buried Child, Summertree). Training: Bachelor’s Degree in Sound Engineering, University of Colorado Denver. LISA ORZOLEK (Set Designer). At the Theatre Company: (200+ productions/22 seasons) Shadowlands, Jackie & Me, Death of a Salesman, Great Wall Story, The Liar, Superior Donuts, Othello, Well, The Voysey Inheritance, The Trip to Bountiful, Gee’s Bend, Third, The Pillowman, Living Out, After Ashley, A Lovely Sunday for Creve Coeur, Boston Marriage, Visiting Mr. Green, Blue/Orange. Other Theatres: A Midsummer Night’s Dream, Macbeth, Complete Works of Shakespeare (Abridged), Richard II (Colorado Shakespeare Festival); Love...Perfect...Change, Five Course Love, Girls Only, The Taffetas, My Way (DCPA Cabaret); Twelfth Night, God’s Country (National Theatre Conservatory). Training: BFA in Scenic Design, Boston University.

A. PHOEBE SACKS (Stage Manager). At the Theatre Company: 12 seasons, over 30 productions, including most recently: Shadowlands, The Legend of Georgia McBride, Death of a Salesman. Training: BA in Technical Theatre, University of Northern Colorado. EXECUTIVE STAFF KENT THOMPSON (Producing Artistic Director) is in his tenth season as Producing Artistic Director of the Theatre Company. In Denver he directed productions of Hamlet, Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Amadeus, The Liar and Measure for Measure, among others. Two of Kent’s major accomplishments since moving to Denver have been the establishment of the Colorado New Play Summit, a premier national festival for new American plays, and the Women’s Voices Fund, an endowment that supports the development of new plays by women. Prior to moving to Denver he was Producing Artistic Director of the Alabama Shakespeare Festival for 16 years. In 1991 Kent created the Southern Writers’ Project (SWP), designed to commission and develop new plays that presented 16 world premieres during his tenure. He served for eight years on the Board of Directors for Theatre Communications Group (TCG) and as its president for three years. He has served on peer review panels for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others. CHARLES VARIN (Managing Director) and his team are responsible for administrative, financial and business operations related to producing the Theatre Company’s season of productions and other artistic and educational initiatives. Prior to DCPA, Charles was General Manager for Geva Theatre Center in Rochester, NY and also has worked at Glimmerglass Opera, Asolo Repertory Theatre

and Florida Studio Theatre. Charles serves on the board of the Mile High Freedom Band and plays tuba with the organization. BRUCE K. SEVY (Associate Artistic Director and Director of New Play Development) has directed such memorable Theatre Company productions as Animal Crackers, When We Are Married, Heartbreak House, Mariela in the Desert, The Voysey Inheritance, A Prayer for Owen Meany, Doubt, All My Sons, Master Class, Mrs. Warren’s Profession, A Christmas Carol, Cat On a Hot Tin Roof, The Little Foxes, Molly Sweeney, Amy’s View, Valley Song, Pierre, Dinner With Friends and The Cripple of Inishmaan. As Director of New Play Development, he oversees both the artistic and practical components of the Theatre Company’s successful Colorado New Play Summit, including commissions from outstanding American playwrights. He has directed for Arizona Theatre Company, Cleveland Play House, Lark Play Development Center, Kansas City Repertory Theatre, Virginia Stage Company, Alabama Shakespeare Festival, Northlight Theatre, San Jose Repertory Theatre, Eugene O’Neill Theater Center, Pioneer Theatre Company, A Contemporary Theatre, Seattle Repertory Theatre, Empty Space and Intiman Theatre in Seattle, the Kimo Theatre in Albuquerque, and Utah Shakespearean Festival. His popular production of 2 Pianos, 4 Hands has been seen at more than 20 theatres nationally, including the Theatre Company’s successful 2003 production. JEFF GIFFORD (Director of Production) is in his second season at the DCPA and oversees every thing you see on stage except the actors. Guiding world premieres to their first opening night is especially gratifying and Jeff has worked on more than 35 of them. Among his favorites are Dinner with Friends, The Violet Hour, The Beard of Avon, Mr. Marmalade, and the new musical FLY. Jeff holds an MFA from California Institute of the Arts. MATTHEW LOPEZ (Denver Center Playwriting Fellow) is the author of The Legend of Georgia McBride, which premiered last season at the

Denver Center and The Whipping Man, also seen last season at Curious Theatre Company. Since its debut at Luna Stage Company and its New York premiere at Manhattan Theatre Club, The Whipping Man has become one of the most widely produced new American plays of the last several years, with productions in over 50 U.S. cities and abroad. His play Somewhere premiered at the Old Globe Theatre in San Diego and recently completed a successful run at Hartford Stage, where his newest work, Reverberation, is set to premiere in the winter of 2015. Other plays include Zoey’s Perfect Wedding and The Sentinels, which premiered in London. Matthew currently holds new play commissions from Hartford Stage, Manhattan Theatre Company, Roundabout Theatre Company, and South Coast Rep. He was a staff writer on the HBO series “The Newsroom” and is currently adapting Javier Marias’ “Your Face Tomorrow” trilogy for Brad Pitt’s Plan B film company.

SPECIAL THANKS TO SWINGLE TREE COMPANY

SUPPORTING PARTNERS

VANYA AND SONIA AND MASHA AND SPIKE

STAGE MANAGEMENT

VANYA AND SONIA AND MASHA AND SPIKE

STAFF EXECUTIVE Kent Thompson, Producing Artistic Director Charles Varin, Managing Director Bruce K. Sevy, Associate Artistic Director Jeff Gifford, Director of Production

ARTISTIC Kent Thompson, Producing Artistic Director Bruce K. Sevy, Director of New Play Development Douglas Langworthy, Literary Manager/Dramaturg Chad Henry, Literary Associate Emily Tarquin, Artistic Associate/New Play Coordinator Grady Soapes, Artistic Coordinator Matthew Lopez, Denver Center Playwriting Fellow

PRODUCTION Jeff Gifford, Director of Production Melissa Cashion, Associate Production Manager Julie Brou, Production and Artistic Office Manager Scenic Design Lisa M. Orzolek, Director of Scenic Design Scenic Design Assistants: Matthew Plamp, Nicholas Renaud Lighting Design Charles R. MacLeod, Director of Lighting Lighting Design Assistant: Lily Bradford Multimedia: Charlie I. Miller, Resident Multimedia Specialist Multimedia Assistant/Operator: Topher Blair Sound Design John E. Pryor, Director of Sound Sound Designers: Craig Breitenbach, Jason Ducat, Tyler Nelson Sound Intern: Elizabeth Jamison Stage Management Christopher C. Ewing, Production Stage Manager Stage Managers: Paul Behrhorst, Matthew Campbell, Rachel Ducat, A. Phoebe Sacks, Kurt Van Raden Production Assistant: D. Lynn Reiland Stage Management Interns: Natalie Kratochvil, Anna Davis, Julian Ramirez Scene Shop Eric Rouse, Technical Director Robert L. Orzolek, Associate Technical Director Josh Prues, Assistant Technical Director Lead Technicians: Albert “Stub” Allison, Louis Fernandez III Scenic Technicians: Mike Hamer, Justin Hicks, Brian “Marco” Markiewicz, Keli Sequoia, Ross Wick

Prop Shop Robin Lu Payne, Properties Director Eileen Garcia, Assistant Properties Director Props Artisans: Jamie Stewart Curl, Charles Dallas, Georgina Kayes, David Hoth, Katie Webster Paint Shop Jana L. Mitchell, Charge Scenic Artist Lead Scenic Artist: Melanie Rentschler Scenic Artists: Kristin Hamer, Brian Proud, Jeni Raddatz Paint Intern: Wren Nunns Costume Shop Janet S. MacLeod, Costume Director/ Costume Design Associate Meghan Anderson Doyle, Costume Design Associate Drapers: Stephanie Cooper, Jane Nelson-Rud, Carolyn Plemitscher, Louise Powers, Jackie Scott First Hand: Cathie Gagnon Tailor: Sheila P. Morris Stitchers: Belinda Haaland, Kelly Jones, Kaylyn Kilkuskie, Teresia Larsen, Jeanne Legrand, Jenny Milne, Sereena Ojakian, Zoe Pielsticker, Barb Shively, Brooke Valasich Costume Crafts Kevin Copenhaver, Costume Crafts Director Costume Crafts Artisans: Judy Craigo-Robb, Karen King Wigs Diana Ben-Kiki, Wig Master House Crew Doug Taylor*, Supervising Stagehand Stagehands: Mariah Becerra*, Jim Berman*, Nina Bluewaters, Jennifer Guethlein*, Frank Haas, Andrew Hamer, Stephen D. Mazzeno*, Dana Nelson, Miles Stasica*, Tyler Stauffer, Mike VanAartsen, Matt Wagner* (*IATSE Local 7 Stagehands) Production Electrician: Reid Tennis Wardrobe Brenda Lawson, Director Wig Assistants: Jocelen Barnett, Maria Y. Davis Dressers: Robin Appleton, Amber Donner, Kelly Jones, Kaylyn Kilkuskie, Amoreena Kissel, Teresia Larsen, Anthony Mattivi, Tim Nelson, Alan Richards, Brooke Vlasich

ADMINISTRATION Charles Varin, Managing Director Ryan Meisheid, Associate Managing Director Alyssa Stock, Company Manager Allison Taylor, Assistant Company Manager Cassie Brown, Business Administrator

PLEASE BE ADVISED LATECOMERS are seated at designated breaks. PHOTOS & VIDEO RECORDING are prohibited. TURN OFF cell phones and alarm watches. CHILDREN 4+ are welcome in our theatres. COUGH DROPS are available at Patrons Services. The Directors and Choreographers are members of the Stage Directors and Choreographers Society, an independent national labor union. The actors and stage managers employed in these productions are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.) Scenic, Costume, Lighting and Sound designers in LORT theatres are represented by United Scenic Artists Local USA-829, IATSE Member of the Colorado Theatre Guild

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from Arts & Venues Denver; the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Theatre Company is a division of The Denver Center for the Performing Arts, a not-for-profit organization serving the public through the performing arts. The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. The Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for the American theatre.

MARKETING Brianna Firestone, Director of Marketing Hope Grandon, PR & Events Manager Emily Kent, Marketing Associate

The costumes, wigs, lighting, props, furniture, scenic construction, scenic painting, sound and special effects used in connection with this production were constructed and coordinated by the Theatre Company’s Production Staff.

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AT BOETTCHER CONCERT HALL IN THE DENVER PERFORMING ARTS COMPLEX

BLUE MAN GROUP BRINGS

Blue Man Group National Tour. Photo: Blue Man Group

ENERGY AND ENIGMA TO DENVER

It’s 10 minutes to show time at Blue Man Group, and the noise in the theatre is so loud it feels like a rock concert. People are boisterous, anticipation is high, the buzz is electric. And when the Blue Men appear, the audience screams with delight. How often do you see theatre audiences so revved up at the end of most shows, let alone before one has even begun? The decibel level rises as the evening goes on. By the end, the atmosphere is euphoric. Why all the excitement? It’s impossible to say exactly. Blue Man Group is totally off the grid—a contemporary comedic piece, performed by three silent, bald-and-blue characters who engage in a variety of set pieces ranging from primitive to sophisticated that combine music, comedy, science, technology and mind-boggling creativity with something for everyone. “We’ve done surveys to figure out who our audience is, and we’ve found that our demographic ranges from eight to 85 years old,” says Puck Quinn, creative director of character development and appearances. “That’s when we know we’re doing something right. A kid can come to the show and just enjoy the rhythm or the mess or the colors or the spectacle. Adults can come and do the exact same thing, but they might also come away with something to think about. When we do our work well, the show succeeds on multiple levels.”

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Amid the riot of colors and music, the eating and flying food, are the LED screens displaying sometimes silly, sometimes witty, sometimes thought-provoking messages. There also is a sonorous pre-recorded voice guiding the audience through a variety of topics such as modern plumbing, technology and choreography. But the Blue Man Group show is mostly visual and aural— as opposed to oral. The Men are mute by choice. Beating paint-covered drums and creating cascades of color has visceral appeal in any culture, and the “feast”—in which a member of the audience joins the Blue Men onstage to dine on… a Twinkie—retains its humor and sweetness wherever it plays. “I think the reason the show works goes back to our ideas about the character,” says Phil Stanton, co-founder of Blue Man Group with Matt Goldman and Chris Wink. “It might sound heady to talk about it this way, but the Blue Man is a kernel of humanity or a kind of Everyman. The blue paint gets rid of race and nationality.” Adds Quinn: “The show deals with topics and issues that are common to every culture: Communication. Sensory overload. Beating music and heavy rhythm. Dancing. All of that crosses every border. We have things that we want to say, and the message is there if you want to hear it, but we don’t care if you don’t. We just want everyone to have fun.” The relationship between the Blue Men and the audience

“The relationship with the audience is everything because at the end of the day, the Blue Man is really just trying to connect.” — MATT GOLDMAN is the most intriguing part of this phenomenon. The audience could be considered an additional—and unpredictable—character. It’s not just that viewers in the first few rows are so close to the action that they’re given ponchos to wear in case stuff lands on them. It’s that the audience response catalyzes the Blue Men. “The relationship with the audience is everything,” underscores Matt Goldman, “because at the end of the day, the Blue Man is really just trying to connect. He knows, either intellectually or at gut level, that in order to get to that ecstatic, heightened moment, he must connect with these strangers. That’s why the Blue Man is so respectful [of his viewers]. He wants their trust. It’s all about connection.” Clearly, Blue Man Group is connecting. “Usually, if people see a play they liked, they’ll tell their friends to go see it,” says Quinn, “but with our show, people want the experience of seeing it with their friends. And that creates energy and intensity from the start…. It’s not a passive experience. It’s more like going to a sporting event. “I tell people that you don’t really start seeing the layers of the onion peeled back until you see the show for the second or third time. I also think people come back for very specific reasons: they want to really listen to the music or pay attention to a particular moment because they couldn’t quite figure out how it was done. And they come back because they want to see how the show is different from night to night. The other thing is, we change the show. Every couple of years we swap out a whole bunch of material. We want it to be relevant to time and period.” The finale—one of Blue Man Group’s most celebrated hallmarks—is now completely new; replacing it, its creators say, took guts. “We always wanted the show to feel like it was working toward that moment, that ending, when all the things that make us fragmented in the modern world go away and we become one group,” says Stanton. “That’s what the arc of the evening is about: two cultures encountering each other and realizing by the end that there are no barriers between them…. “There aren’t many places where you can be with strangers and have this shared experience. The finale has a similar concept, and the same goal: to make the audience look around and encounter other people. Visually, we’re taking it to another level. We hope audiences will find it powerful.”

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Blue Man Group National Tour. Photo: Blue Man Group

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The Unsinkable Molly Brown Now – Oct 26 You Say Tomato, I Say Shut Up! Now – Oct 19

Denver Center for the Performing Arts’ biggest stars step into the spotlight — actors, designers, students and you.

William Golding’s Lord of the Flies Now – Nov 2 Vanya and Sonia and Masha and Spike Now – Nov 16 Blue Man Group Now – Oct 12 Kinky Boots Oct 29 – Nov 9 Forbidden Broadway: Alive & Kicking! Nov 15 – Mar 1 A Christmas Carol Nov 28 – Dec 28 The SantaLand Diaries Nov 28 – Dec 24

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Jersey Boys Dec 10 – 14 Dr. Seuss’ How the Grinch Stole Christmas! The Musical Dec 17 – 28 Appoggiatura Jan 16 – Feb 22 Dancing Pros: Live Jan 23 – 24 Benediction Jan 30 – Mar 1

5 For complete photo coverage, visit the DCPA’s News Center at denvercenter.org/news-center.

denvercenter.org

1 & 2 BROADWAY: More than 200 audience members stayed to meet the Pippin cast in what will become a regular series of Talkbacks at select performances of our Broadway tours. 3 EVENTS: Living up to its reputation, the Seawell Grand Ballroom is once again entirely transformed into a sleek lounge for the 500 guests of Allergan. 4 THEATRE COMPANY: Fourth Wall members Erin McLauthlin and Sally Bird enjoyed a post-show drink with The Unsinkable Molly Brown actor Paolo Montalban. 5 EDUCATION: More than 7,300 students streamed into The Space Theatre for one of our 17 Student Matinee performances of Lord of the Flies.

Rodgers + Hammerstein’s Cinderella Feb 3 – 15 STOMP Mar 10 – 15 One Night in Miami... Mar 20 – Apr 19 Mark Twain Tonight! Mar 21 The 12 Mar 27 – Apr 26 Motown the Musical Mar 31 – Apr 19 Joseph and the Amazing Technicolor Dreamcoat Apr 22 – 26 Defending the Caveman Apr 22 – Jun 28 Annie Apr 29 – May 10 Wicked Jun 3 – Jul 5 The Book of Mormon Aug 11 – Sep 13

MADAMA BUTTERFLY GIACOMO PUCCINI November 15|18|21|23 Ellie Caulkins Opera House

303.468.2030 OperaColorado.org

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Atlantic Trust

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“ Atlantic Trust is proud to make a positive difference through ongoing community outreach across Colorado.” — WANDA COLBURN, ATLANTIC TRUST MANAGING DIRECTOR

denvercenter.org

What’s your vision for family wealth? That’s the first important question we ask of any client or prospective client. Your answer will be as varied as your family. Your answer also helps us begin to unfold your family’s financial picture and bring to life what you want—now and for the generations to come. At Atlantic Trust, we’ve been engaged in only one business since 1923*—private wealth management for affluent individuals and families. We also partner with private foundations and endowments for investment management. Additionally, Atlantic Trust professionals have served as trustees or investment committee members for numerous eleemosynary organizations in the arts, education, hospital, community, to name a few. We believe this involvement deepens our understanding of our clients’ needs and further develops a best-practices approach. The Denver Center for the Performing Arts (DCPA) is one of the organizations we are pleased to support. Atlantic Trust’s sponsorship dollars directly support the DCPA’s Arts in Education programs in the schools and at the Center. More than

500,000 children throughout the metro Denver area have experienced theatre through the DCPA’s education programs. In 2013 alone, the DCPA welcomed 16,000 middle and high school students to one of its 33 matinees. According to the Colorado Council on the Arts, students who participate in arts programs achieve higher scores on assessments, develop into more creative thinkers and more imaginative learners, and demonstrate better preparation for the workplace. “We’re extremely proud of our 11year sponsorship of the DCPA’s Best of Broadway Society,” says Wanda Colburn, managing director for Atlantic Trust. “Atlantic Trust is proud to make a positive difference through ongoing community outreach across Colorado.” Atlantic Trust is pleased to have sponsored The Best of Broadway Society for more than a decade, and we look forward to seeing what our partnership can help accomplish. *Through predecessor firms. This article is intended for educational purposes only and should not be construed as an offer to buy or sell any security.

HILJA HERFURTH

A LEADER IN PHILANTHROPY

Denver Center for the Performing Arts is pleased to announce the selection of Hilja K. Herfurth as the recipient of its 2013/14 Florence Ruston Award for Philanthropy in the Arts. Named in memory of one of the DCPAâ&#x20AC;&#x2122;s most generous supporters, this award is presented annually to donors who, through their contributions to support the Denver Center for the Performing Arts, have provided exemplary leadership in philanthropy. Hilja recently made a significant gift that provided funds to transform an underutilized space into The Directors Room, a warm and inviting rental venue perfect for intimate gatherings and private events. Hilja made the donation to honor her father, Hans Heuberger, who introduced and instilled in her a deep appreciation for the arts. A 15-year member of the Best of Broadway Society, Hilja also supports the DCPAâ&#x20AC;&#x2122;s Saturday Night Alive, which annually benefits 50,000 students through theatre education programs. Fittingly, this award was presented to Hilja at the opening night celebration of The Unsinkable Molly Brown, whose own heroine embodied the same spirit of philanthropy. Please join the DCPA in recognizing Hilja K. Herfurth for being a leader in philanthropy. PAST RECIPIENTS OF THE FLORENCE K. RUSTON AWARD FOR PHILANTHROPY IN THE ARTS:

Joy S. Burns, 2013 Diana and Mike Kinsey, 2012 Jim Steinberg, 2011 Alison and Jim Shetter, 2010 Leo and Susan Kiely, 2009 Margot and Allan Frank, 2008 Robert and Judi Newman, 2007

1: The Directors Room 2: Hilja with Smokey Robinson 3: Sandy Colavita & Hilja 4: Producing Artistic Director Kent Thompson, Hilja and Megan Mather 5: Friends and family congratulate Hilja for receiving the Florence K. Ruston Award for Philanthropy in the Arts

5 denvercenter.org

Photo: Studio JK Photography

YOU’VE BEEN PLANNING FOR A WHILE. SO HAVE WE. With more than 100 years of theatrical experience, our team of on-site designers, event managers and technical specialists are ready to make your wedding—and every detail that brings it to life—unforgettable. Your love is our inspiration. And we’ll do everything we can to earn a standing ovation.

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VANYA AND SONIA AND KINKY AND BLUE MEN Here’s a quick quiz on our latest DCPA shows and the people who make them ACROSS

1 “Girls Just Wanna Have __________” 6 Lauper toured with her through Denver this year 8 A kind of “Nightmare” 11 British actress Maggie 13 Wheat Ridge’s Annaleigh __________ earned a Tony nom for Kinky Boots 14 First celebrity to try paint-drumming alongside the Blue Men: Ricky __________ 15 Durang’s “Beyond __________ 17 “The Marriage of __________ and Boo” 20 The Blue Men’s paint type 21 Famous writer who called Chekhov an amateur 22 Lauper appeared on Broadway in “The ThreePenny __________” 23 These queens are anything but a __________ 24 Chekhov’s profession for 10 years

DOWN

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

denvercenter.org

2 Album title: “She’s So __________” 3 Aurora native Andy __________ plays Charlie on Broadway 4 State Bucks County is in 5 Jamie __________ played the Theatre Company’s Uncle Vanya 7 Vanya cast member who just starred in I Hate Hamlet at Colorado Shakespeare Festival 9 Kinky Boots: Think “__________” people meet “show” folk 10 Joel __________ played Charlie in 2005 “Kinky Boots” film 12 A rabbit, or “Kinky” book writer 16 Sigourney __________ first played Masha on Broadway 18 How many “Sisters”? 19 “The __________ Orchard”

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Salute!

one of downtown denver’s best happy hours Join us daily from 3:30-6:30 pm ENTARY COMPLIM VALET

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DCPA patrons receive a free bottle of Canvas wine and a $10 hotel parking credit with the purchase of two dinner entrees.

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Hyatt Regency Denver at Colorado Convention Center 650 Fifteenth Street, Denver, CO 80202 303 486 4434

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Park Meadows 303.790.7744 | Broomfield 720.887.6200

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PRIME RIB SUNDAYS $16.00 OPEN 4PM ON SUNDAY

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THINK DRINK EAT LOCAL

Show your tickets and receive a free appetizer with your purchase of two entrĂŠes. Offer good at both locations!

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Spend $60 on dinner & get any bottle of wine at 1/2 off

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Molson Coors

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…let’s celebrate the strength of this Denver community and our diverse and vibrant culture.

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PMS 286 100C/50M/10K

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Molson Coors is proud to play its part in bringing us all together for this performance. For more than 350 years, Molson Coors Brewing Company has delighted the world’s beer drinkers while investing in local communities. Molson Coors’ Rocky Mountain heritage began in 1873 just up Clear Creek in Golden, Colorado. Today, we rank as a top-five global brewer, with business units in the US, Canada, the UK, Central Europe and Asia. From our founding families and executive leaders, to our brewers and sales teams, Molson Coors people share a deep passion for our brands and for the communities where we live and work. From the beginning, brewing and building brands the right way has gone well beyond the high quality of our products. At Molson Coors, we’re committed to environmental sustainability, alcohol responsibility and treating each other with dignity and respect. Not only do we hold ourselves up to aggressive targets for growth and profitability, but also for our environmental and social performance. Our people consistently rate us above high performing company norms, and we are recognized as a great place to work. For the past two years, Molson Coors achieved listing on the prestigious Dow Jones Sustainability Index (DJSI), based on an independent evaluation of our business practices and results. While our heritage companies in the US, Canada, UK and Central Europe have now grown into one enterprise with an expanding global reach, our roots and character remain local. Molson Coors is made up of dozens of local breweries and offices where employees and iconic brands are woven into the fabric of the community. That is why in our headquarters city of Denver, we support leadership development in our educational and business institutions, assist those in need through United Way and its agencies, as well as work with water users to preserve and protect our Clear Creek Watershed. And that’s why we support the Denver Center for the Performing Arts, this world-class organization that connects us through the magic of music and theatre. As we come together to share in the thrill of today’s performance, let’s celebrate the strength of this Denver community and our diverse and vibrant culture. Cheers!

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The Denver Post

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Our partnership is founded on our mutual mission to improve and enrich the quality of life in our community.

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The Denver Post is proud to support the Denver Center for the Performing Arts (DCPA), both through sponsorship of its acclaimed theatre productions as well as with grant funding through Denver Post Community Foundation. Our partnership is founded on our mutual mission to improve and enrich the quality of life in our community. While the DCPA does that through the performing arts, The Denver Post does it through its Denver Post Community programs, which support nonprofit organizations and events in four areas of focus: arts and culture, children and youth, literacy and education, and the provision of basic human services. During this season of giving, the Post focuses on basic human services by continuing its legacy of raising and distributing funds to local nonprofit agencies through Season To Share, a campaign of Denver Post Charities, a McCormick Foundation Fund. Did you know that right here in Denver there are: • People who don’t have enough food to eat • Children who lack the education to succeed in the future • Families who have lost their homes and have nowhere to go • Folks who can’t afford basic healthcare?

Since 1992, more than $62 million has been distributed through Season To Share to help Colorado citizens who are in the most need of assistance. All contributions are matched at 50% by the McCormick Foundation and 100% of all donations (plus the match) go directly to Denverarea charities that help move people out of poverty. The Denver Post and the McCormick Foundation pay all administrative expenses. This year, more than 6,000 generous donors contributed $1,630,000. With the match from the McCormick Foundation, grants totaling a record $2,445,000 were distributed to 67 local nonprofits including Boys & Girls Clubs of Metro Denver, Children’s Hospital Colorado Foundation, Colorado Coalition for the Homeless, Food Bank of the Rockies, Goodwill Industries of Denver, Inner City Health Center, Volunteers of America and many more. Thanks to the generosity of thousands of donors and the hard work of the recipient agencies, millions of meals were provided, hundreds of nights of shelter were used and thousands of medical visits were completed last year.

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The Center Stage Club offers digital versions of Front Range performing arts magazines for patrons to read before performances. And, check out the calendar of upcoming metro-area performing arts events.

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The Center Stage Club is produced by Coloradoâ&#x20AC;&#x2122;s Performing Arts Publications

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Welborn Sullivan Meck & Tooley, P.C.

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…the firm has a great appreciation for the DCPA’s theatre program, which provides Colorado students with a rich exposure to the arts…

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BACK ROW: Steve Bain, Danielle Wiletsky, Joe Pierzchala, Dick Harring, Ken Jones, Jeff Flege, Sheryl Howe, Steve Sullivan, Sam Bacon, Scott Turner, Bill Rapson, Jennifer Cadena & Brian Tooley FRONT ROW: Tom McKee, Chelsey Russell, Jim Noble, Ken Barbe, Rebecca Watson & Keith Tooley NOT PICTURED: Amy Seneshen, Ed Blieszner, Carolyn Burr, Joshua Cannon, Norm Early, Kathryn Haight, Jens Jensen, Jennifer McDowell, John Meck, Hampton O’Neill, Lisa Perry, Jeff Peterson, Nora Pincus, Patrick Tolley, Jeff Welborn & Kelly Williams

denvercenter.org

The Denver-based law firm of Welborn Sullivan Meck & Tooley, P.C. (WSMT) is again delighted to be a sponsor of the Denver Center for the Performing Arts (DCPA) and this season’s exceptional Directors Society productions. WSMT is a home to diversity with a wide-ranging practice showcasing some of the best legal talent in the Rocky Mountain region, with regional offices in Casper, Wyoming and Salt Lake City, Utah. WSMT continues its community involvement and, during the first nine months of 2014, the firm supported a variety of community health and service efforts by contributing to the: • Children’s Law Center and its efforts to help abused and neglected children • Children’s Gala for Children’s Hospital Colorado Foundation to help children and families in need of services • Annual Fandango event in support of the Center of the American West • University of Colorado Boulder’s Beardsley Student Scholarship Endowment and the CU Foundation • Cure Dinner, which funds breast cancer initiatives at University of Colorado Hospital • University of Denver’s DU Law Stars program for funding the Student Law Office and the Judicial Fellows program • DPC Charity Ball benefiting Denver Kids, Junior Achievement and Leukemia & Lymphoma Society • Bonfils Blood Center Foundation concert to support its everyday lifesaving operations • Volunteers for Outdoor Colorado, which provides fire and flood

restoration assistance throughout Colorado as well as more than 55 highly diverse volunteer opportunities in both urban and wilderness areas • 15th Annual Wirth Chair Sustainability Awards • 50th Anniversary of Utah’s RirieWoodbury Dance Company to support its educational outreach. Being a DCPA sponsor is a good fit for WSMT. Members of the firm are not only long-time subscribers of DCPA productions, but the firm has a great appreciation for the DCPA’s theatre program, which provides Colorado students with a rich exposure to the arts in a way that inspires their future interests and endeavors. WSMT has been similarly inspired by experience and education as is reflected in its leadership and in fullservice attorneys who specialize in transactions, litigation, natural resources, water, and alternative and renewable energy. Firm attorneys are considered leaders and creative problem-solvers with keen insight into the complexities of the law. They apply their legal expertise coupled with extensive practical experience as geologists, engineers, landmen, inhouse counsel, Peace Corps volunteers advising emerging nations, military officers, district attorneys, federal prosecutors, educators, state and federal trial lawyers, mayors, city council members, as well as providing executive and legal services in the US Departments of Interior and Energy. The firm is very proud to continue its partnership with the DCPA.

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