Applause Magazine September-November 2013 by The Publishing House

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Volume XXV

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(l-r) Wade McCollum as Mitzi, Scott Willis as Bernadette and Bryan West as Felicia in the number “I Love the Nightlife” © JOAN MARCUS

August – September 2013

Priscilla Queen of the Desert The Musical ALSO PLAYING…

Peter and the Starcatcher

a r t s

Photo courtesy of University of Denver

Chairman’s LETTER

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.

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

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. Applause magazine is funded in part by

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

b y S y lv i e D r a k e

“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-

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,

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-

“I

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

“W

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

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Priscill a Queen of The Mus the Desert ical

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

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. HealthONE is devoted to supporting a variety of programs that improve the quality of life across our communities for our patients, their families and our more than 10,000 employees. 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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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)

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.

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”

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

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

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

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

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

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“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

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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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Student Matinee PHOTOS BY DCPA STAFF

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

Troika Entertainment and Nullarbor Productions Ltd. In association with MGM ON STAGE Darcie Denkert and Dean Stolber present

STEPHAN ELLIOTT & ALLAN SCOTT

Book By Based on the Latent Image/ Specific Films Motion Picture Distributed by Metro-Goldwyn-Mayer Inc. Starring

WADE MCCOLLUM

SCOTT WILLIS

BRYAN WEST

with

JOE HART

TAUREAN EVERETT NIK ALEXZANDER CHELSEA ZENO DAVID KOCH CHRISTY FABER TRAVIS TABER BABS RUBENSTEIN and

EMILY AFTON BRE JACKSON BRIT WEST JOHN CAPES

ANDREW CHAPPELLE SHANE DAVIS ALEX DELEO AMY HILLNER LARSEN CHRIS KLINK RALPH MEITZLER ALEX RINGLER WILL B.

Bus Concept & Production Design

BRIAN THOMSON

Costume Design

Original Broadway Lighting Design

Makeup Design

National Tour Lighting Design

Developed for the Stage By

Music Director

Music Coordinator

North American Music Supervisor

Tour Booking Agency

Flying By

TIM CHAPPEL & LIZZY GARDINER

Casting

TELSEY + COMPANY CRAIG BURNS, CSA

CASSIE HANLON

Orchestrations

NICK SCHLIEPER & JONATHAN SPENCER

STEPHEN “SPUD” MURPHY & CHARLIE HULL

BRENT FREDERICK

Production Stage Manager

Tour Marketing and Press

TOM BARTLETT

TALITHA FEHR

AMY KATZ COURTNEY DAVIS

Executive Producer

JONATHAN DEANS & PETER FITZGERALD SIMON PHILIPS JEFF MARDER

THE BOOKING GROUP

General Manager

RANDALL A. BUCK

Sound Design

NICK SCHLIEPER

Technical Supervisor

TOWNSEND TEAGUE

Direction Based Upon the Original New York Direction

DAVID HYSLOP

FOY

MB PRODUCTIONS

Choreography Recreated by

JOSHUA BUSCHER

Music Supervision & Arrangements

STEPHEN “SPUD” MURPHY Choreographer

ROSS COLEMAN Director

SIMON PHILIPS The original motion picture was written by Stephan Elliot, produced by Al Clark and Michael Hamlyn, executive producer Rebel Penfold-Russell and was financed with the assistance of the Film Finance Corporation of Australia Limited and the New South Wales Film and Television Office.

Sponsored in Denver by:

Priscilla Queen of the Desert

and Season Sponsors

Priscilla Queen of the Desert

Cast (in order of appearance) Divas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EMILY AFTON, BRE JACKSON, BRIT WEST Tick (Mitzi). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WADE MCCOLLUM Miss Understanding.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NIK ALEXZANDER Marion.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTY FABER Benji.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHANE DAVIS, WILL B. Farrah/Young Bernadette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRAVIS TABER Bernadette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SCOTT WILLIS Adam (Felicia). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRYAN WEST Shirley.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BABS RUBENSTEIN Jimmy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TAUREAN EVERETT Bob. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOE HART Cynthia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHELSEA ZENO Frank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID KOCH Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EMILY AFTON, NIK ALEXZANDER, JOHN CAPES, ANDREW CHAPPELLE, ALEX DELEO, TAUREAN EVERETT, CHRISTY FABER, BRE JACKSON, CHRIS KLINK, DAVID KOCH, ALEX RINGLER, BABS RUBENSTEIN, TRAVIS TABER, BRIT WEST, CHELSEA ZENO Dance Captain: RALPH MEITZLER; Assistant Dance Captain: AMY HILLNER Larsen; Fight Captain: RALPH MEITZLER UNDERSTUDIES Understudies never substitute for listed players unless a specific notice is posted at the time of the performance. Swings: AMY HILLNER Larsen, RALPH MEITZLER For Divas: CHRISTY FABER, AMY HILLNER Larsen, BABS RUBENSTEIN, CHELSEA ZENO; for Marion, Shirley: EMILY AFTON, AMY HILLNER Larsen; for Cynthia: AMY HILLNER Larsen; for Tick (Mitzi): CHRIS KLINK, RALPH MEITZLER; for Miss Understanding: ANDREW CHAPPELLE, TAUREAN EVERETT; for Farrah/Young Bernadette: RALPH MEITZLER, ALEX RINGLER; for Bernadette: JOHN CAPES, DAVID KOCH; for Adam (Felicia): ALEX DELEO, ALEX RINGLER; for Jimmy: NIK ALEXZANDER, ANDREW CHAPPELLE; for Bob: JOHN CAPES, DAVID KOCH; for Frank: JOHN CAPES, RALPH MEITZLER

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.

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.

ACT I The Overture DOWNTOWN SYDNEY “It’s Raining Men”..............................................................................The Divas, Tick and Company “What’s Love Got to Do With It?”...................................................................... Miss Understanding “I Say a Little Prayer”.................................................................................................................. Tick “Don’t Leave Me This Way”..............................................................Bernadette, Tick and Company “Material Girl”....................................................................................................Felicia and the Boys “Go West”.............................................................................. Bernadette, Tick, Adam and Company THE BLACK STUMP “Holiday/Like a Virgin”................................................................................ Adam, Tick, Bernadette “I Say a Little Prayer” (reprise).............................................................................Tick and the Divas BROKEN HILL “I Love the Nightlife”............................................ Shirley, Bernadette, Mitzi, Felicia and Company “True Colors”..............................................................................................Bernadette, Mitzi, Felicia THE ROAD TO NOWHERE “Sempre Libera”................................................................................................ Felicia and the Divas THE MIDDLE OF NOWHERE “Colour My World”................................................................ Adam, Tick, Bernadette and Company “I Will Survive”.......................................................Bernadette, Felicia, Mitzi, Jimmy and Company ACT II WOOP WOOP “Thank God I’m a Country Boy”..................................................................................The Company “A Fine Romance”........................................................................... Young Bernadette and Les Girls “Thank God I’m a Country Boy” (reprise)...................................................................The Company “Shake Your Groove Thing”................................................ Mitzi, Bernadette, Felicia and the Divas “Pop Muzik”....................................................................................................Cynthia and Company “A Fine Romance” (reprise).......................................................................................................... Bob THE BACK OF BEYOND “Girls Just Wanna Have Fun”............................................................................. Adam and the Divas COOBER PEDY “Hot Stuff”......................................................................................Felicia, the Divas and Bernadette “MacArthur Park”.............................................................Bernadette, Tick, the Divas and Company ALICE SPRINGS “Boogie Wonderland”...................................................................................................The Company “The Floor Show”............................................................... Mitzi, Bernadette, Felicia and Company “Always on My Mind”.......................................................................................................Tick, Benji “Like a Prayer”................................................................................................. Felicia and Company “We Belong”....................................................................... Felicia, Mitzi, Bernadette and Company “Finally Medley”..........................................................................................................The Company THERE WILL BE ONE 15 MINUTE INTERMISSION Priscilla Orchestra Music Director/Keys: Brent Frederick Associate Music Director/Keys: Wayne Green Woodwinds: Dave Stambaugh Trumpet: Walter White Trombone: James Nelson Guitar: Ralph Agresta Bass: Michael Epperhart Drums: Mark Pardy Percussion: Jeremy Meronuck Band Tech: Mark Pardy Music Coordinator: Talitha Fehr (TL Music International) For musicians’ bios visit: www.inthepitontheroad.com

Priscilla Queen of the Desert

SCENES & MUSICAL NUMBERS

Priscilla Queen of the Desert

Who’s Who WADE MCCOLLUM (Tick/Mitzi) Jersey Boys (Chicago/San Fran), Velociraptor of Faith in Triassic Parq the Musical (Off Broadway), Emcee in Cabaret (Dallas Theatre Center), Dracula in Steven Dietz’s Dracula (GEVA/IRT), Prior in Angels in America (Portland Playhouse), Woody in Toy Story the Musical (Disney/Pixar Workshop), The Narrator in Fly By Night, a new musical (TheatreWorks Palo Alto), Crumpet in The Santaland Diaries, Charlotte in I Am My Own Wife (Portland Center Stage), Hedwig in Hedwig and the Angry Inch (Los Angeles Celebration Theatre, Garland Award and LA Critic’s Circle Award: Best Actor). TV: Nolan Grigsby in season 2 of Broadway’s favorite sitcom: “Submissions Only” www.submissionsonly.com. www.wadesong.com SCOTT WILLIS (Bernadette) Who would have guessed twenty-six years ago when Scott was backpacking through the Outback of Australia that he would now be making the very same trip to Ayers Rock in a bus named PRISCILLA? Scott has performed in numerous Broadway and National Touring productions including the 30th Anniversary production of Annie as “Rooster Hannigan,” Rodgers and Hammerstein’s State Fair, the Tony Award® winning Crazy For You, David Merrick’s 42nd Street and the 50th Anniversary production of The Fantasticks in New York. Annually, he stars as “Santa Claus” with the Radio City Rockettes in their Christmas Spectacular across America. BRYAN WEST (Adam/Felicia) is thrilled to join the Priscilla tour direct from its fabulous Broadway run. Other Broadway credits include Hairspray, Wicked and Legally Blonde. First National Tours of Hairspray and Wicked and Wicked’s Los Angeles company. Recording artist BMG Records Europe. Love to my family both in New York and across the country. To all the youth out there doubting themselves...It Gets Better! Proud member of Actors’ Equity. JOE HART (Bob) Original Broadway Companies: Bonnie & Clyde, Best Little Whorehouse Goes Public. National Tours: Annie Get Your Gun, Best Little Whorehouse in Texas with Alexis Smith, reprising his Aggie role in the film with Dolly Parton. Ovation Award-Best Supporting Actor, Angles of Lemnos; Ovation Nomination-Best Actor, Woman in Black (both Road Theater).

Other awarding winning shows: Bouncers (LA Drama Critics Circle), Anything Goes (Ovation), Napoli Milionaria (Ovation). Film, TV, Commercials available IMDB. Proud member of MTG and AEA. Representation Talent House. Heartfelt thanks to David, Josh & Creative Team. Love to Linda, Hudson and Spencer.

team, Telsey + Co., Gotham Talent, Friends & Family. This is for Aust, Ma and Dad for their undying love and support. DAVID KOCH (Frank, u/s Bernadette, Bob) NY: Original Broadway casts of Billy Elliot, The Pirate Queen and Jekyll & Hyde; also The Pajama Game and Chess. Tours: The Producers (Roger Debris/Franz), Copacabana (Rico), Jerome Robbins’ Broadway and Joseph and the Amazing Technicolor Dreamcoat starring Donny Osmond. TV: “Showboat” (PBS), and more importantly, “Dance Fever” (WINNER!!!).

EMILY AFTON (Diva, u/s Marion, Shirley) Broadway: Hair. 1st National Tours: Hair, I Love a Piano. Regional: Goodspeed, MSMT, Mac-Haydn, APAC. BFA Emerson College. Much gratitude to Dave, Telsey+Co, the creative team, my family, and all my teachers. So thrilled to be spreading the love CHRISTY FABER (Marion, u/s Divas) and joy with this show. Namaste. Broadway: Les Misérables (revival). OffBroadway: I Love You, You’re Perfect, BRE JACKSON (Diva) B.F.A. Musical Now Change, The Marvelous Wonderettes, Theatre 2012 University of Michigan. Dr. Sex. Regional: Damn Yankees, Mame, Regional: Muny 2011 Legally Blonde, The The Baker’s Wife, Annie, My Way. B.F.A. Little Mermaid (Mersister), Little Shop of University of Michigan. Many thanks to Horrors (Chiffon). Go Blue! H&H, Telsey + Co. and my incredible family and friends. www.christyfaber.com BRIT WEST (Diva) National Tours: Legally Blonde The Musical (Pilar), Nickelodeon’s TRAVIS TABER (Farrah / Young Storytime Live! Education: B.A. SUNY Bernadette) Broadway National Tour: Purchase College. Infinite thanks to the Mamma Mia (u/s Sky). Off-Broadway: For West Family Mafia, The Mine, and Telsey. Lovers Only. Other Favorite roles include: Proud member of Actors’ Equity. www. She Loves Me (George), City of Angels briterrinwest.yolasite.com. (Stone), and I Love You, You’re Perfect, Now Change (Man 1/Man 2). Thanks to my TAUREAN EVERETT (Jimmy, u/s Miss awesome family, Ali, and Craig! Understanding) is so proud to be a part of this incredible Priscy cast! Most recent BABS RUBENSTEIN (Shirley, u/s Divas) Regional Credits: Legally Blonde (Nikos, is excited to join Priscilla! Regional credits: Cape Playhouse), Damn Yankees (Paper Mill Fat Camp, Little Shop of Horrors, Chicago, Playhouse), Curtains (Paper Mill Playhouse), Rent, All Shook Up. Babs appears in her Peter Pan (Paper Mill Playhouse/Cathy monthly critically acclaimed show, We’re Rigby is...). Love and thanks to the Priscilla Having a Dinner Party. Love to my parents, Team, 4D, The Mine, F&F!! Joe, Carm, and my family. BFA: The Boston Conservatory. N I K ALEXZA N DER (Miss Understanding, u/s Jimmy) is so excited JOHN CAPES (Ensemble, u/s Bernadette, about Priscilla being his Actors’ Equity Bob, Frank) London: The Phantom of the debut. Recent credits: Jesus Christ Superstar. Opera; 110 in the Shade; Strike Up The Other credits include: The Wiz, Dreamgirls, Band; Murderous Instincts. Broadway/ Hairspray, Working and Les Misérables. Nik US National Tour: Les Misérables; Joseph would like to thank Devon Sims, Mommy, and the Amazing Technicolor Dreamcoat; Da, Jerrial Young, Dave Secor, Annie Kate Kiss of the Spider Woman. TV: “Curb Your and God for his Mercy. Enthusiasm” (HBO); “Holby City” (BBC); “History File” (BBC); “Great Performances” CHELSEA ZENO (Cynthia, u/s Divas) (PBS). UCLA, Northwestern, Vienna Off-Broadway: 8 Million Protagonists. Conservatory. Regional: Little Shop of Horrors, Spring Awakening. Tour: Nickelodeon’s Storytime ANDREW CHAPPELLE (Ensemble, u/s Live. Gratitude: The wonderful creative Miss Understanding, Jimmy) joins Priscilla

directly from playing Eddie on Broadway in Mamma Mia! Regional: Annie and Cinderella (NCT), Dreamgirls and West Side Story (WVPT), and Daniel in Once On This Island (CRT). Big Thanks to Craig and Cesar at Telsey + Co. and the awesome creatives. www.AndrewChappelle.com

new cast members which have included Huey Lewis, Usher, Brian McKnight, Lisa Rinna, George Hamilton and Sofia Vergara. Other Broadway credits include La Cage, Blue Room, Rocky Horror Show, An Ideal Husband, Jekyll & Hyde, and A Few Good ALEX RINGLER (Ensemble, u/s Adam/ Men. Felicia, Farrah, Young Bernadette) is excited to kick up his heels with Priscilla! Broadway: ROSS COLEMAN (Choreographer) Ross West Side Story. Off-Broadway: Icons. is known for his immense contribution as Tours: 1st Nat’l A Chorus Line (Greg), West director/choreographer to Australia’s musical Side Story (Action), CATS (Alonzo). Film: theatre. Credits include Urinetown, Grease, Welcome to New York. Cast, Crew, Creative Cabaret and Priscilla. Ross passed away you’re fabulous! Much love to family & in 2009 and is greatly missed by everyone friends! www.alexringler.com involved with Priscilla.

Ralph and his “son” Rexy are ecstatic to travel the country together!! Favorites: Sonny (Xanadu), Matthew (Altar Boyz), Wicked in Japan. Love and Appreciation to T, Trish, Dad, and “My Rock!”

SHANE DAVIS (Benji) Regional credit: Joseph and the Amazing Technicolor Dreamcoat. Other stage credits: Footloose, Bye Bye Birdie, Camp Rock 2 and performed a duo act with his younger brother on Carnival Cruise Lines. TV & Films: Knight of Cups opposite Christian Bale, “Wobworld,” “The Amazing Clown Show” and “Future Stars Showcase.” Special thanks WILL B. (Benji) Actor/Singer, works with to God, Delly Fortgang, Susan Swanson, and Cool Blue Talent, Vegas Kids TV, Hands Off his loving family. Our Children. Has been live on radio stations, festivals, schools. Songwriter L-Jay, recorded ALEX DELEO (Ensemble, u/s Adam/ songs on YouTube as “willbasuperstar.” The Felicia) is bursting with glitter to be on tour “B” is for BELIEVE. He is proud to be a part with Priscilla! Credits: Muny, North Shore of Priscilla. Music Theatre, BCT, Atlanta’s Fox, Carnegie Hall, Cincinnati Conservatory of Music, STEPHAN ELLIOTT (Book) Stephan saw WHS, Pace. Thanks to my family, friends, a drag queen’s feathered plume rolling down Avalon Artists, and to my parents for their the street like a tumbleweed from a Sergio love and support. AEA. Leone western. In that single moment he created Priscilla Queen of the Desert. The AMY HILLNER Larsen (Swing, image still haunts him. Assistant Dance Captain, u/s Divas, Marion, Shirley, Cynthia) TV: Tracy Turnblad on the ALLAN SCOTT (Book, Producer) Allan “66th Annual Tony Awards.” Webseries: Scott has written and produced more than “Gigi: Almost American” opposite Josh 20 feature films, some of which have won Gad. Tour: Hairspray. Regional: Footloose, awards and some his children praised. He Seussical, Fiddler on the Roof, Hairspray graduated from McGill University and the (Hollywood Bowl). Love to the fam, and CBC. He has been chairman of a public endless thanks to my amazing husband company and a trade union at the same time. Kevin. I love you mas. This probably led him to Priscilla. CHRIS KLINK (Ensemble, u/s Tick/Mitzi) Credits include: The Producers (Broadway/ Las Vegas), We Will Rock You (Las Vegas), Chitty Chitty Bang Bang (1st National), A Chorus Line (Papermill Playhouse), White Christmas (Walnut Street Theatre), It’s Superman (Dallas Theatre Center), Dirty Rotten Scoundrels (North Shore Music Theatre). Indiana University Alum, Proud AEA member. RALPH MEITZLER (Swing, Dance Captain, Fight Captain, u/s Tick/Mitzi, Farrah, Young Bernadette, Frank) is honored to undertake such a fiiiiiiiiiiierce workload, hazing into the Priscilla Family!! Recently from Broadway’s Rock of Ages,

JOSHUA BUSCHER (Associate Choreographer) is making his Associate Choreographer debut with Priscilla. Having recently performed in both the Broadway and North American productions of Priscilla, he’s thrilled that audiences across America can experience this amazing show. Joshua has staged multiple TV appearances such as the Tony Awards, Macy’s Day Parade, America’s Got Talent to name a few. Other credits include: Diesel, in the 2009 revival of West Side Story, NBC’s “Smash,” “America’s Got Talent.” Much love B.

ANDREW HALLSWORTH (Original Associate Choreographer) Theatre choreography: The Boy From Oz, The Drowsy Chaperone, Carousel, The Boy Friend, EuroBeat - Almost Eurovision, Leader of the Pack, Mame, Sideshow Alley, Wombat Stew, Newly Discovered, The Merry Widow. Co-choreography: Bye Bye Birdie, The Music Man, Priscilla Queen of the Desert. TV choreography: “We SIMON PHILLIPS (Director) During the Can Be Heroes,” “The Librarians,” “Dead past 30 years, Simon has worked as a director Gorgeous.” and dramaturg on new works, classics, musicals and operas in Australasia, Japan and BRIAN THOMSON (Scenic Design) An Europe. In 2000 he was appointed artistic Aussie, Brian’s international scenic design director of the Melbourne Theatre Company works include The Rocky Horror Show, and most recently he received Best Director Jesus Christ Superstar at London’s Palace awards for his Australian productions of The Theatre and The Rocky Horror Picture 25th Annual Putnam County Spelling Bee, Show. For Broadway, London: Housewife August: Osage County and Richard III. Superstar!!! The King and I (Tony Award) and Dame Edna: Back With a Vengeance. DAVID HYSLOP (Associate Director) He designed the Sydney 2000 Olympic was the Production Stage Manager for the Games Closing Ceremony, the Sydney New Broadway production of Priscilla Queen Year’s Eve Bridge Effect and was awarded an of the Desert. Part of his duties at Chicago, Order of Australia (AM) in 2005. which he has been affiliated with since 2005, have been to rehearse dozens of

Priscilla Queen of the Desert

Who’s Who in the Cast

Priscilla Queen of the Desert

Who’s Who in the Cast TIM CHAPPEL and LIZZY GARDINER (Costume Design) At 25 years of age, Lizzy and Tim won an Academy Award, a British BAFTA Award and an Australian Film Industry Award for their costumes for the film Priscilla Queen of the Desert. For the Oscars, Lizzy wore a dress made completely out of American Express Gold Cards that became an iconic moment in history. Lizzy and Tim’s work on Priscilla the Musical has also won Olivier, Helpmann, Green Room and Broadway World Toronto Awards for Best Costume. NICK SCHLIEPER (Lighting Design) Nick Schlieper regularly designs lighting for all of the major performing companies in Australia. Work in Europe includes productions for the Royal Shakespeare Company and the state theatres of Berlin, Hamburg and Munich, as well as productions in Vienna, Stuttgart, at the Hamburg State Opera and Theatre Clwyd in Wales. Notable credits include Wagner’s Ring Cycle in Adelaide, Hedda Gabler and A Streetcar Named Desire in Washington and New York. JONATHAN SPENCER (Lighting Design) Lives in New York city regularly working on Broadway, off-Broadway, national touring, regional and international productions. More at www.JSpencerDesign.com. JONATHAN DEANS (Sound Design) most recent credits include Spider-Man, La Cage aux Folles. His work with Cirque du Soleil includes Viva Elvis, Love, Kà, “O” and more at Designingsound.com. Nominated for a 2010 Tony award. PETER FITZGERALD (Sound Design) Current: Freckleface Strawberry, Burn the Floor. Noted designs: You’re Welcome America, Movin’ Out, Paul Simon’s The Capeman and 42nd Street. President of Sound Associates. With wife Maritza the proud parent of daughters Lori and Mallori. ST EPH EN “ SPU D ” M U R PH Y (Orchestrations, Musical Supervision, Arrangements) Green Room Award, Helpmann Award nom. for Priscilla. Other credits: Godspell, Evita, Reg Livermore’s Firing Squad and Big Sister (co-composer), Buddy, Shout, Dusty (2006 Helpmann, Best Musical Direction). Film: Thunderstuck.

TV: “In Sydney Today,” “Starstruck,” “The Pam Ann Show.” Mo and Rotary Awards. Artistic director, Sydney’s CaSPA; lecturer at Australian Institute of Music. Composer/ orchestrator for His Holiness Pope Benedict’s arrival in Sydney for World Youth Day (2008).

the Desert, Wizard of Oz, Come Fly Away, Mamma Mia!, A Christmas Story, Fiddler on the Roof, Jesus Christ Superstar, Cats, Chicago, Chitty Chitty Bang Bang, Chita Rivera A Dancer’s Life, Movin’ Out, and 101 Dalmatians. International tours: West Side Story, Sound of Music, Swing!, Cinderella, The King and I. Other: The Pirate Queen, CHARLIE HULL (Orchestrations) 2010 Winter Olympic Ceremonies. Responsible for orchestrations and synthesizer programming for major TELSEY + COMPANY (Casting) musicals and concerts in Australia, U.S., Broadway/Tours: First Date, Motown, UK, Singapore, Malaysia, Hong Kong and Kinky Boots, Jekyll & Hyde, Annie, Newsies, Japan: Priscilla, Burn the Floor, Saturday Spider-Man Turn Off the Dark, Rock of Night Fever, Fame and more. Ages, Wicked, Sister Act, Million Dollar Quartet. Off-Broadway: Nobody Loves JEFF MARDER (North American Music You (2nd Stage), Atlantic, MCC, Signature. Supervisor/Synthesizer Programmer) Regional: La Jolla, Paper Mill. Film: The Broadway (conducting/playing/synthesizing Odd Life of Timothy Green, Friends with programming): Priscilla Queen of the Kids, Joyful Noise, Margin Call, Sex and Desert, Newsies, Leap of Faith, Jesus Christ the City 1 & 2, I Love You Phillip Morris, Superstar, Guys and Dolls, Wicked, Shrek, Rachel Getting Married, Dan in Real Life, The Little Mermaid, The Book of Mormon, Across the Universe. TV: “Smash,” “The Big Beauty and the Beast. Other theatrical: C.” www.telseyandco.com Sister Act (LA/Atlanta), Radio City Christmas Spectacular, Cirque du Soleil’s MB PRODUCTIONS (Technical “O.” Discography: Broadway cast albums Supervisor) Founded in 2005 by Mike of Priscilla Queen of the Desert, Newsies, Bauder, MB Productions has managed and Leap of Faith; Keve Wilson’s Pure projects both domestically and abroad. Imagination (Composers Concordance). Recent projects include Spider-Man-Turn Piano concerto debut at age twelve with The Off the Dark (Broadway), Yo Gabba Gabba Philadelphia Orchestra. Live (National Tour), Chitty Chitty Bang www.mardermusic.com Bang! (First National) and the Universal Studios Hollywood Attraction Creature BRENT FREDERICK (Music Director) from the Black Lagoon. MB Productions is Broadway: Priscilla Queen of the Desert comprised of Mike Bauder, Sonya Duveneck, (Keyboards), Leap of Faith (Asst. Keyboard Andrew Deichman, and Jessica Diamond. Programmer), Newsies (Asst. Keyboard MB Productions can be found online at Programmer). Music Supervisor of Saturday www.mbproductions.com. Night Fever for RCCL. Tour: Fiddler on the Roof (Atlanta TOTS). Off-Broadway music TOM BARTLETT (Production Stage departments: The Kid (New Group), The Manager) Production Supervisor: Rent, Piano Teacher (Vineyard), I’m Still Getting Chicago, Dreamgirls. Broadway: Chicago, My Act Together (York). NYC: Stand Grease, Cabaret, Movin’ Out, Phantom Tall (NYMF), Christmas Up the Holler, of the Opera, Dreamgirls. Tours include Christmas Rappings. Regional: Spamalot Chicago, Come Fly Away, Legally Blonde, (Ogunquit). Thanks to lovely wife, Jacqueline Dreamgirls, Swing, Lost in Yonkers, South Petroccia and family! Pacific, Brighton Beach Memoirs, Song and www.BrentFrederickMusic.com. Dance, Rumors. Las Vegas credits: We Will Rock You, Hairspray and Spamalot. TALITHA FEHR TL MUSIC INTERNATIONAL CHAD LEWIS (Stage Manager) (Music Coordinator) strives daily to carry Broadway: Priscilla Queen of the Desert, on the contracting traditions of her mentor, Shrek the Musical, Monty Python’s Sam Lutfiyya. Broadway: A Christmas Story. Spamalot, La Cage aux Folles, Wicked, National tours: Sister Act, Catch Me If You Bombay Dreams, Reckless, The Frogs, Can, West Side Story, Priscilla Queen of Mamma Mia! (Tour 2). Other credits include:

But I’m a Cheerleader, Busker Alley, Cheer MICHAEL HAMLYN (Producer) Michael Wars, Experience Lincoln Center, Broadway has been a film producer for longer than he Bares. cares to remember. In 1990 he met Australian director Stephan Elliott and became involved RYAN J. BELL (Assistant Stage Manager) in the project The Adventures of Priscilla Tour: Disney’s The Lion King, Bring It On, Queen of the Desert. This film was made Movin’ Out; Broadway: Bring It On, Rent, three years later. The rest is history. Sweeney Todd, Disney’s Tarzan, Lennon, Movin’ Out, Grease. Off-Broadway: Lucky MGM ON STAGE (Producer) Veteran Guy. Workshops: Disaster!, Newsies, High film and theatre executives Denkert and School Musical 1&2, Harmony. MGSA Stolber conceived, developed and run Rutgers graduate. Love to Family, friends, MGM ON STAGE, the industry leader in and Ryan. developing and licensing film properties for live stage presentation. Productions include TOWNSEND TEAGUE (General Legally Blonde, Chitty Chitty Bang Bang, Manager) is manager for national touring Dirty Rotten Scoundrels, Minsky’s, and productions of Priscilla Queen of the Priscilla Queen of the Desert. Desert, Ghost, West Side Story, and Bring It On. Previous national tours include Catch RANDALL A. BUCK (Chief Executive Me If You Can, Cats, the 25th Anniversary Officer) has produced more than 50 Production of Les Misérables, Mel Brooks’ productions across the globe for Troika Young Frankenstein, and Mel Brooks’ Entertainment. Before joining Troika in 1999, The Producers (1st national & Las Vegas). Mr. Buck was Vice President and General Broadway credits include The Norman Manager for Livent in Toronto. While Conquests, Gypsy, Radio Golf, and The working for Livent, he managed productions Producers. Townsend received a Bachelor such as Fosse, Ragtime, Show Boat, Music of Arts degree in Arts Management from of the Night and Kiss of the Spider Woman. Indiana University’s Individualized Major Mr. Buck was a stage manager for more than Program and is a certified member of the 20 years, surviving a year with Mary Martin Association of Theatrical Press Agents and and Carol Channing in Jimmy Kirkwood’s Managers. Legends!, a year in Japan with Siegfried & Roy, opening The Phantom of the Opera GARRY McQUINN (Producer) Garry Music Box Company and opening Show began his career in Australia and has been Boat on Broadway. Since beginning as an lucky enough to work around the world apprentice with The Kenley Players in the for quite a few years with many wonderful late 60s, he has had the privilege of working shows and fine people. He oversees all closely with visionaries such as Twyla Tharp, international productions of Priscilla, and is Susan Stroman, Hal Prince, Joe Layton and developing a number of new projects with his Josh Logan, plus hundreds of stars. Mr. Buck regular collaborators and partners. had the privilege of recently serving on the board for the National Alliance of Music Liz Koops (Producer) Recently voted the Theater. Randy is currently living happily2012 Australian UK Woman of the Year ever-after in the Washington, DC area with and founder of Back Row Productions, Liz his wife, Angela, and their daughter Sierra Koops has produced shows internationally Ashley Buck. around the world for 20 years. During her tenure as Managing Director of the MICHAEL J. ORSINO (Chief Operating International Booking division at Clear Officer) has enjoyed nearly a decade working Channel Entertainment she was instrumental with Troika Entertainment. He first joined in consolidating the European and Asian the company on the road as stage manager touring circuit for first class musicals. Liz and later as company manager. Productions has produced countless shows spanning include South Pacific, Saturday Night Fever, over 37 countries. Liz was one of the original The Sound of Music (US and Asian Tours), lead producers on Priscilla and is now CEO and CATS. A graduate of DeSales University, of the Broadway Entertainment Group. Mr. Orsino has also worked at venues www.broadwayentertainmentgroup.com ranging from the Pennsylvania Shakespeare Festival to Busch Gardens in Williamsburg,

VA. After his many years on the road, he is pleased to have settled down in Maryland with his wife, Anissa, a fellow Troika tour veteran and their son, Cameron. DONALD KINDL (Chief Financial Officer) graduated from the University of Connecticut with a Bachelor of Science degree in Accounting in 1982 and again in 1988 with his Masters in Business Administration. He began his career with Combustion Engineering in Windsor, CT in 1982, and moved to Maryland in 1992 to assume the position of Comptroller for various theatrical productions. In his current position he oversees the daily operations of all aspects of finance and management information systems. Mr. Kindl and his lovely wife, Cindy, are the proud parents of three wonderful children: Stephen, Stacey and Scott. T RO I K A E N T E RTA I N M E N T (Producer) has been the innovator in touring musical theater productions for over two decades, producing shows throughout North America and the world. Each season, Troika tours to hundreds of cities across the U.S. and Canada. In addition, Troika has produced in European markets including Russia, Germany, Austria and Switzerland. Central/South American and Caribbean credits include touring CATS in Brazil, Chile, Colombia, Panama, Mexico, Venezuela, Costa Rica and Puerto Rico. As the first U.S. production company to tour a musical in Mainland China, Troika has toured extensively across the Pacific Rim in Japan, Korea, Hong Kong, Macau, Taiwan, Malaysia and Singapore, with productions of The Sound of Music, Swing!, 42nd Street and Chicago. The company is experienced in casino and leisure markets having produced for The Wynn, Caesars, Grand Casino, Hilton, Eldorado and Harrah’s (Las Vegas, Atlantic City, Biloxi, Lake Tahoe and Branson). Current and upcoming productions include West Side Story, Catch Me If You Can, Sister Act and The Wizard of Oz. With strong ties to the Broadway community, Troika prides itself on delivering top quality productions to audiences worldwide.

Priscilla Queen of the Desert

Who’s Who in the Cast

Priscilla Queen of the Desert

The Denver Center for the Performing Arts

staff PRISCILLA TOUR STAFF GENERAL MANAGER Townsend Teague TOUR MARKETING & PRESS Amy Katz, Courtney Davis COMPANY MANAGER Natalie Fleming TOUR BOOKING AGENCY The Booking Group Meredith Blair, Kara Gebhart www.thebookinggroup.com CASTING Telsey + Company Bernie Telsey CSA, Will Cantler CSA, David Vaccari CSA, Bethany Knox CSA, Craig Burns CSA, Tiffany Little Canfield CSA, Rachel Hoffman CSA, Justin Huff CSA, Patrick Goodwin CSA, Abbie Brady-Dalton CSA, David Morris,Cesar A. Rocha CSA, Andrew Femenella, Karyn Casl CSA, Kristina Bramhall, Conrad Woolfe, Amelia Nadler

TECHNICAL SUPERVISOR MB Productions Mike Bauder Andrew Deichman, Sonya Duveneck Production Stage Manager. . . TOM BARTLETT Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chad Lewis Assistant Stage Manager.. . . . . . . . . . . . . . . . . . Ryan J. Bell Assistant Company Manager. . . . . . . . . Shawn Mahoney Production Consultant. . . . . . . . . . . . . . . . . . . . Alecia Parker Associate Scenic Designer.. . . . . . . . . . . . . . Jerome Martin Associate Costume Designer. . . . . . . . . . . Brian J. Bustos Assistant Lighting Designer. . . . . . . . . . . . . . James Milkey Associate Sound Design. . . . . . . . . . . . . . . . . . . . Garth Helm Production Props. . . . . . . . . . . . . . . . . . . . . . . . . . . Clista Jarrett Moving Light Programmers.. . . Joe Allego, Chris Merriman Production Electricians. . . . Jeff “Swing” Holtz, Zak Knoll Production Sound. . . . . . . . . . . . . Colle Bustin, Alex Ritter Production Hair and Make-Up.. . . . . . . . . Kaylan Paisley Synthesizer Programmer.. . . . . . . . . . . . . . . . . . . Jeff Marder Assistant Synthesizer Programmer.. Taylor J. Williams HEAD CARPENTER. . . . . . . . . . MATTHEW BATES Automation Carpenters. . . Brian Rohde, Christopher “Clem” Zajac Assistant Carpenters. . . Dave “Sideshow” Burgdorf, Noah Smith Head of Properties. . . . . . . . . . . . . . . . . . . . . Andy Butkovich Assistant Properties. . . . . . . . . . . . . . . . . . . . . . . Jillian Bartels Head Electrician. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zak Knoll Assistant Electricians. . . Brittney Manning, Brian Pearson Head of Sound. . . . . . . . . . . . . . . . . . . . . . . . . . Deniz Akyurek Assistant Sound Engineer.. . . . . . . . . . . . . . . . Rhys Dawson Swing Tech.. . . . . . . . . . . . . . . . . . . . . . . . . . . . Keith Kolasinski Head of Wardrobe.. . . . . . . . . . . . . . . . . . . . . . . Gillian Austin Assistant Wardrobe. . . . Christine Goodall, Renee Jones Head of Hair and Make-Up. . . . . . . . . . . . . . . . . Tony Lauro Assistant Hair and Make-Up.. . . . . . . . Michael Ferguson Physical Therapy. . . . NEURO TOUR, Physical Therapy, Inc. Physical Therapist.. . . . . . . . . . Katrina Van Ostrand, MPT Medical Director. . . . . . . . . . . . . . . . . . . Charles Garten, MD Tutoring. . . . . . . . . . . . . . . ON LOCATION EDUCATION Tutor.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Janet Wallen Accounting. . . . . . . . . . . . . . . . Fried & Kowgios CPA’s LLP Employee Benefits. . . . . . . . . . . . . . . . . . The Capital Group Insurance. . . . . . . . . . . . . . . Maury, Donnelly and Parr, Inc. Legal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S. Jean Ward, Esq. Creative Services.. . . . . . . . . . . . . . . . . . . . . . . . . . . . G Creative Production Photography. . . . . . . . . . . . . . . . . . . Joan Marcus Merchandise Provider.. . . . . . . . . . . . . . . . . . Creative Goods For TROIKA Entertainment Chief Executive Officer. . . . . . . . . . . . . . . . Randall A. Buck Chief Operating Officer. . . . . . . . . . . . . Michael J. Orsino Chief Financial Officer.. . . . . . . . . . . . . . . . . Donald Kindl Associate Producer. . . . . . . . . . . . . . . . . . . . . . . . Jaime Prine General Managers.. . . Townsend Teague, Joe Christopher Assistant General Managers. . . Brian Schrader, Abram Best Production Coordinator. . . . . . . . . . . . . . . Ryan P. Murphy Marketing Manager. . . . . . . . . . . . . . . . . . . Courtney Davis Marketing Consultant. . . . . . . . . . . . . . . . . . . . . . . Amy Katz Booking Associate. . . . . . . . . . . . . . . . . . . . . . Doria Montfort Budgeting & Forecasting Manager. . . . George Lamberty Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ryan Rudzinski Staff Accountant. . . . . . . . . . . . . . . . . . . . . . . Lourdes Castillo Accounting Clerk. . . . . . . . . . . . . . . . . . . . . . Marite Espinoza Warehouse Manager. . . . . . . . . . . . . . . . . . . . . . Scott Garrish For Nullarbor Productions Managing Director. . . . . . . . . . . . . . . . . . . . . Garry McQuinn Executive Producer. . . . . . . . . . . . Bradley Stauffer-Kruse Associate Producer.. . . . . . . . . . . . . . . . . . . . . . . Kirsten Hann Financial Controller.. . . . . . . . . . . . . . . . . . . . . . . Collin Hinds Executive Assistant. . . . . . . . . . . . . . . . . . . . . Hannah Durose

Marketing Consultant. . . . . . . . . . . . . . . . . . . . . Jo Hutchison Legal Representation (UK/International). . . . Jeremy Summers for Pitmans Assistant to Michael Hamlyn. . . . . . . Christina de Briger Assistant to Allan Scott. . . . . . . . . . . . . . . . Joan Thompson For TROIKA Costumes Costume Director. . . . . . . . . . . . . . . . . . . . Michelle Harrison Assistant to the Costume Director. . . . . . . . Alison Smith Work Room Manager. . . . . . . . . . . . . . . . . . . . . . Helen Jones Lead Stitcher. . . . . . . . . . . . . . . . . . . . . . . . . . . Laura Browning Craft Manager.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Risa Ono Project Assistant. . . . . . . . . . . . . . . . . . . . . . . Kristina Lamdin Stitchers. . . . . . . . . . . . . . Kristin Czako, Sharon Landrum, Katherine Kraus, Marla Parker CREDITS Production Travel by ROAD REBEL ENTERTAINMENT TOURING, San Diego, CA. Scenery, Bus and Show Deck Automation by HUDSON SCENIC STUDIOS, INC., Yonkers, NY. Lighting Equipment by PRG LIGHTING, Secaucus, NJ. Sound by SOUND ASSOCIATES, Yonkers, NY. Original Props by PROOF PRODUCTIONS and THE RABBIT’S CHOICE. Costumes by TRICORNE, INC., SEAMLESS COSTUMES, PHIL REYNOLDS, JOHN SHEWARD, LORRAINE RICHARDS, JILL PASKIN, CHARACTER COSTUMES, AMANDA BARROW, FAY FULLERTON, MEIN ROBERTS, LEIGH CRANSTON, PARAGON PROPERTIES, ERIC WINTERLING, INC. Custom Millinery by LYNNE MACKEY, RODNEY GORDON, SEAN BARRETT, MONICA VIANNI, MARIAN JEAN HOSE, LLC. Costume Knitwear by MARIA FICALORA. Undergarments by BRA*TENDERS. TROIKA ENTERTAINMENT COSTUME SHOP. Custom Shoes by JITTERBUG BOY FOOTWARE and LADUCA SHOES. Custom Painting by Jeff Fender. Original Wigs by WIG SPECIALTIES LONDON. Custom Make-Up Masks by BOB FLANIGAN. Trucking by JANCO, LTD., Rick Rosenthal, Wayne, NJ. Special thanks to Rod McLaughlin. This tour is dedicated in memory of our colleague Tony Ray Hicks.

Village People characters and choreography are used with permission of their trademark owner, Can’t Stop Productions, Inc. Rehearsed at THE NEW 42ND STREET STUDIOS and Ripley-Grier Studios

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. The musicians employed in this production are members of the American Federation of Musicians. The International Alliance of Theatrical Stage Employees represents technicians, artisans, and craftspersons in the entertainment industry, including live theatre, film, and television production. The Director-Choreographer is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union. United Scenic Artists represents the designers and scenic painters for the American Theatre. This production is produced by a member of the Broadway League in collaboration with our professional union-represented employees.

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

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 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 Brandon Beston. . . . . . . . . . . Manager of Subscription Services Nick Brown. . . . . . . . . . . . . . . . . . . . . . Account Sales Manager Nathan Brunetti. . . . . . . . . . . . . . . . . . . . . . . . . . Email Designer Kim Conner. . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic Designer FloraJane DiRienzo. . . . . . . . . . . . Business Relations Manager Anita Edwards. . . . . . . . . . . . . . . . . . . . Web Services Manager Brenda Elliott. . . . . . . . . . . . . . . . . . . Senior Graphic Designer Simone Gordon. . . . . . . . . . . . . . . . . . . . Marketing Coordinator Alexandra Griesmer. . . . . . PR & Promotions Manager, DCTC Tristan Jungferman. . . . . . . . . . . . . . . . . . . Box Office Manager Jennifer Kemps. . . . . . . . . . Groups Sales Business Coordinator Carol Krueger. . . . . . . . . . . . . . . . . . Theatre Services Manager Jennifer Lopez. . Assoc. Director of Ticket Services/Operations Kyle Malone. . . . . . . . . . . . . . . . . . . . Senior Graphic Designer Jane McDonald. . . . . . . . . . . . . Marketing Coordinator, DCTC John Moore. . . . . . . . . . . . Assoc. Director of Content Strategy Ken Mostek. . . . . . . . . . . . . . . . Videographer/Cinematographer Mark Onderdonk. . . . . . . . . . . . . . . . . . . . . . Business Manager Kirk Petersen. . . . . . . . . . . . Assoc. Director of Ticket Services/ Patron Relations Adam Quinney. . . . . . . . . . . . . . . . . . . . . . Box Office Manager Tina Risch. . . . . . . . . . . . . . . . . . Community Services Manager Anthoney Sandoval. . . . . . . . . . . . . . . . . . . Box Office Manager Jill Schwager. . . . Student Matinee and Group Tours Associate David Smith . . . . . . . Assoc. Director of Subscription Services

Information Services 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

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

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North American Tour Cast. Photo by Paul Natkin.

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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 studentsâ&#x20AC;&#x2122; exposure to theatre. Whether itâ&#x20AC;&#x2122;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 Companyâ&#x20AC;&#x2122;s Student Matinee program, contact Jeremy Anderson at 303.446.4813 or janderson@dcpa.org for more information. 303.893.4100

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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

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.

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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I M PAC T CRE TIVIT Y

Photo Credit: Jenny Anderson

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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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.

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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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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

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

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

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

A P P L A US E

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!

A P P L AUSE

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