Applause Magazine, October 22-27, 2019 by The Publishing House

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VOLUME XXXI • NUMBER 3 • SEP – NOV 2019

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Blue Man Group Speechless Tour. Photo: Lindsey Best

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BLUE MAN GROUP SPEECHLESS TOUR

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A DOLL’S HOUSE & A DOLL’S HOUSE, PART 2 THE PHANTOM OF THE OPERA

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SIGHTLINE

BY JANICE SINDEN

VO LU M E X X X I • N U M B E R 3 • S E P – N OV 2 0 1 9

EDITOR: Suzanne Yoe ASSOCIATE EDITOR: John Moore DESIGN DIRECTOR: Kyle Malone DESIGN THIS ISSUE: Brenda Elliott CONTRIBUTING DESIGNERS: Casey Eickhoff, Lucas Kreitler CONTRIBUTING WRITERS: Cameron Mackintosh, Cheyenne Michaels Applause is published eight 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.

Greetings and welcome to the DCPA! We’re glad you’re here. To evolve with the changing needs of our community, the Denver Center for the Performing Arts has recently revised its mission statement. Each word was carefully chosen, weighed and analyzed to make sure it represents why we do what we do — on our stages, in our classrooms and in partnership with our community.

Applause magazine is funded in part by

Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com

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We engage and inspire through the transformative power of live theatre. We aim to live up to this mission in everything we do. For instance, we will open our third Theatre for Young Audiences production this fall when we welcome more than 40,000 preschool through second grade children to Goodnight Moon (Oct 4 – Feb 16). They are actively engaged in pre-show, hands-on activities that inspire creativity. Then, these tiny tots will sit enthralled as the timeless tale of Bunny’s goodnight ritual comes to life before their eyes. This musical is likely to be their first exposure to theatre, but we hope, not nearly the last. Another example is our Bobby G High School Musical Theatre Awards, which recognizes schools and students from across the state. Believe me, when the entire audience spontaneously breaks into a song from Les Misérables, the audience members are not only engaged, they are enthralled. Ultimately, two individuals are selected to represent Colorado at the National High School Musical Theatre Awards. Since our program began seven years ago, many of our representatives have been recognized with a scholarship award and one has gone on to be cast in the upcoming national tour of once. These lives are indeed being transformed. As you sit in the theatre, we hope you will lean in to catch the hysterical antics of our blue friends in Blue Man Group, sing “All I Ask of You” all the way home after seeing The Phantom of the Opera, and talk with your fellow theatregoers after our first-inthe-country repertory presentation of A Doll’s House and A Doll’s House, Part 2. You are the most critical piece of our mission. The work on our stages is made complete with a captive and appreciative audience. Thank you for giving purpose to our journey. Warm regards,

Janice Sinden President & CEO

APPLAUSE • SEP – NOV 2019 • 303.893.4100 • DENVERCENTER.ORG

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BOARD OF TRUSTEES Martin Semple, Chairman Robert Slosky, Vice Chairman William Dean Singleton, Secretary/Treasurer Dr. Patricia Baca Joy S. Burns Fred Churbuck Isabelle Clark Navin Dimond L. Roger Hutson Ruth Krebs Robert C. Newman Roberta Robinette Manny Rodriguez Alan Salazar Hassan Salem Richard M. Sapkin June Travis Brisa Trinchero Ken Tuchman Tina Walls Dr. Reginald L. Washington Judi Wolf Sylvia Young

Lester L. Ward, President Emeritus L. Roger Hutson David Miller Robert C. Newman Hassan Salem Robert Slosky June Travis Dr. Reginald L. Washington

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HONORARY TRUSTEES Margot Gilbert Frank Jeannie Fuller M. Ann Padilla Daniel L. Ritchie Cleo Parker Robinson Lester L. Ward HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES William Dean Singleton, President Martin Semple, Vice President Judi Wolf, Secretary/Treasurer

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EXECUTIVE MANAGEMENT Janice Sinden, President & CEO Chris Coleman, Artistic Director, Theatre Company John Ekeberg, Executive Director, Broadway & Cabaret Lydia Garcia, Executive Director, Equity & Organization Culture Gretchen Hollrah, Chief Operating Officer Lisa Mallory, Vice President, Marketing & Sales Vera Morales, Vice President, Human Resources Yovani Pina, Vice President, Information Technology Shelley Thompson, Vice President, Development Charles Varin, Managing Director, Theatre Company Allison Watrous, Executive Director, Education & Community Engagement Jane Williams, Vice President, Finance

EVERY STORY HAS A

UPCOMING

SHOWS Indecent Now – Oct 6 Erma Bombeck: At Wit’s End Now – Sep 22

YOU ARE THE SPARK

A Doll’s House & A Doll’s House, Part 2 in repertory Now – Nov 24 Miss Saigon Sep 10 – 22 Goodnight Moon Oct 4 – Feb 16 The Improvised Shakespeare Company® Oct 15 – Mar 22 Blue Man Group Speechless Tour Oct 22 – 27 The Phantom of the Opera Nov 6 – 17

Avery is intrigued when a DCPA teaching artist uses theatre to teach math at her school.

Twelfth Night Nov 15 – Dec 22

The cast of Oklahoma! Photo by Adams VisCom.

Camp Christmas Nov 21 – Jan 5

Her class then takes a fieldtrip to see Oklahoma! and she sees history in a new way.

Hip Hop Nutcracker Nov 23 – 24 Jesus Christ Superstar Nov 26 – Dec 1 Dr. Seuss’ How the Grinch Stole Christmas! The Musical Dec 3 – 8 Mannheim Steamroller Christmas by Chip Davis Dec 14 – 15 Jimmy Buffett’s Escape to Margaritaville Dec 23 – Jan 5

Inspired, Avery enrolls in an acting class where she gains confidence and creativity.

You Lost Me Jan 17 – Feb 23

Photos by John Moore

SUMMER: The Donna Summer Musical Jan 28 – Feb 9 twenty50 Jan 31 – Mar 1 Mystery Science Theater 3000: LIVE Feb 15 RENT 20th Anniversary Tour Feb 28 – Mar 1

Your support makes this story possible. Help more students like Avery discover their voice.

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The SpongeBob Musical Mar 10 – 22 FOR A COMPLETE LIST, VISIT DENVERCENTER.ORG Tickets for some shows are currently unavailable.

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BY CAMERON MACKINTOSH

It’s been 35 years since my first acquaintance with the Phantom. One cold February morning in 1984 while I was soaking myself in a long hot bath, Andrew Lloyd Webber telephoned me for a gossip. He dropped into the conversation the idea of making a musical out of The Phantom of the Opera. Even in my prune-like condition, I recognised Andrew had come up with another great idea. We screened copies of the 1925 Lon Chaney silent movie and the later wartime version with Claude Rains as the Phantom. Though very enjoyable, neither one made us shout “Eureka!” So we found a copy of the novel by Gaston Leroux, which was out of print, and decided that we preferred that original storyline. To my surprise, Andrew’s initial idea for the score was to use famous classical works and write only the incidental music himself. Thanks to the encouragement of the first director we met with to discuss the project, Jim Sharman (original director of Jesus Christ Superstar and The Rocky Horror Show) — in Kyoto, Japan of all places — Andrew later decided to write an entirely original score that was undoubtably also inspired by his wife Sarah’s extraordinary vocal range. However, a superlative score was not Andrew’s only major contribution to the success of Phantom; his instinct to make the emotional centre of the story a love triangle between the Phantom, Christine and Raoul is the crucial difference between our musical, the original novel, and other versions of the story. The original production went into rehearsal in London on August 18, 1986. Director Hal Prince and choreographer Gillian Lynne assembled a wonderful cast and after several

weeks of exhilarating mayhem Phantom opened at Her Majesty’s Theatre on October 9. It immediately became one of London’s greatest musical hits. Eighteen months later our trio of original stars — Michael Crawford, Sarah Brightman and Steve Barton — opened to rapturous applause on Broadway at the Majestic Theatre. The production is still playing there and it reigns as the longest-running musical in Broadway’s history. Phantom has become the most phenomenal success of all time, breaking box office records worldwide in countless sell-out productions. Since 1986, only the original version has been presented around the world (with the exception of Poland and Hungary, which were non-replica productions) and its brilliant design by Maria Björnson has become synonymous with Andrew’s sensational score. Just before Maria died at a tragically early age she and I had started discussing a different set design, one that would do more to contrast the Phantom’s darker backstage world with that of the traditional opera world onstage. Andrew agreed that it was time to give Phantom a fresh look, so in 2008 I approached theatre and opera designer Paul Brown to see if he was interested in taking over the baton from Maria. It turned out that Maria had a special place in Paul’s life as at the beginning of his career he had been a young assistant to her at the Royal Opera House. The result of Paul’s long-developed ideas for this project is a new version of Phantom that uses a more visceral dramatic approach to create a visual feast, giving audiences the chance to see their favourite musical all over again through new eyes.

APPLAUSE • SEP – NOV 2019 • 303.893.4100 • DENVERCENTER.ORG

The Company performs “Masquerade.” Original Tour Cast. Photo: Alastair Muir

A NEW CHANDELIER

COMING UP FROM BROADWAY

Putting together the rest of the new creative team for this Phantom was a daunting but invigorating task. My choice of director was always going to be Laurence Connor who I first met when he became the Associate Director on the London production of Phantom. Since then he has directed acclaimed versions of Miss Saigon and Oliver!, and co-directed the hugely successful new production of Les Misérables. He also recently staged the triumphant 25th anniversary production of Phantom at the Royal Albert Hall. As choreographer, we both wanted to work with Matthew Bourne’s talented protégé, Scott Ambler. To light the show we are lucky enough to have one of the world’s greatest lighting designers, Paule Constable, and to create the sound the incomparable Mick Potter. Maria still remains at the heart of the new Phantom with her glorious costumes, some of which are designs found in her archive that she created for the original and were never used.

This new version of Phantom premiered in the UK in 2012 and was immediately embraced by both audiences and critics alike, breaking records throughout its sellout British tour. It has proved a worthy complement to the soaring achievement of Hal Prince and Gillian Lynne’s brilliant original, and at the same time showing afresh how masterful and durable the music and libretto of Andrew Lloyd Webber and Charles Hart’s legendary creation is. For the American production we have been able to build on our British success and fine-tune some of the staging, including making the famous chandelier even more spectacular. We all believe that you will fall in love with the music of the night all over again, as the Phantom is reborn for the 21st Century.

THE PHANTOM OF THE OPERA NOV 6 – 17 • BUELL THEATRE ASL interpreted, Audio-described and Open Captioned performance: Nov 16 at 2pm

1. “Margaritaville” originally appeared on which Jimmy Buffet album: a) Son of a Sailor b) Changes in Latitudes, Changes in Attitudes c) Havana Daydreamin’ 2. At its height, the song hit what place on the Billboard Hot 100 chart: a) #1 b) #3 c) #8 Emma Grimsley as ‘Christine Daaé’ and Jordan Craig as ‘Raoul’ Photo: Matthew Murphy

— CAMERON MACKINTOSH, PRODUCER

It was only a matter of time before someone compiled your favorite Jimmy Buffet songs into a musical. Escape to Margaritaville (Dec 23 – Jan 5) uses his iconic song “Margaritaville” as the basis of a singing bartender who falls for an uptight career woman. One margarita and many familiar songs later, the duo is bound to find love over a cheeseburger in paradise. Test your love of “Margaritaville” with a few trivia questions.

3. “Margaritaville” was inducted into the Grammy Hall of Fame in what year? a) 1977 b) 1999 c) 2016 4. The song inspired a chain of restaurants called Parrothead, which ultimately spun off into hotels, stores and casinos. a) True b) False 5. The album Changes in Latitudes, Changes in Attitudes was the first Jimmy Buffet album to go gold. a) True b) False 6. How many albums did Jimmy Buffet release? a) 33 b) 46 c) 58 7. Jimmy Buffet has appeared in ___ films and documentaries a) 11 b) 25 c) 33 8. Jimmy Buffet is one of the only seven authors to have a #1 book on both the New York Times fiction and non-fiction best sellers list. a) True b) False 1-b. 2-c. 3-c. 4-b (The chain is called Margaritaville). 5-b (It was the first to go platinum). 6-c (27 studio albums, 9 compilation albums, 14 live albums, 8 specialty albums.) 7-b. 8-a (4 fiction and 1 nonfiction).

[Andrew Lloyd Webber’s] instinct to make the emotional centre of the story a love triangle between the Phantom, Christine and Raoul is the crucial difference between our musical, the original novel, and other versions of the story.

ESCAPE TO MARGARITAVILLE

ALL AGES. ALL SKILL LEVELS. ALL YEAR LONG. DCPA EDUCATION FALL CLASSES NOW ON SALE When you love theatre as much as we do, there’s always room to learn more. No matter who you are and where you want to go with your acting skills, we have something to take your craft to the next level.

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Discover all of our class offerings for fall and register today at denvercenter.org/education

O SO M O IN N G !

S E P T E M B E R

O C T O B E R

N O V E M B E R

Bobby McFerrin with the Colorado Symphony Chorus

Tchaikovsky Symphony No. 4 conducted by Brett Mitchell

Disney in Concert: Tim Burton’s The Nightmare Before Christmas

OCT 4-6 FRI-SAT 7:30 SUN 1:00

NOV 1-2 FRI-SAT 7:30

SEP 7 SAT 7:30

Bobby McFerrin, vocalist Colorado Symphony Chorus, Duain Wolfe, director

■

Brett Mitchell, conductor Jason Shafer, clarinet

Kristin Chenoweth in Concert with the Colorado Symphony

Christopher Dragon, conductor

The Goonies in Concert

SEP 14 SAT 7:30

OCT 11 FRI 7:30

Kristin Chenoweth, vocalist

Christopher Dragon, conductor

HalfNotes

Rick Steves - A Symphonic Journey with the Colorado Symphony

SEP 15 SUN 2:00

OCT 12-13 SAT 7:30 SUN 2:00

Halloween Spooktacular! NOV 3 SUN 2:30

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Bertie Baigent, conductor

Mozart Symphony No. 40

Music of Selena

NOV 8-10 FRI- SAT 7:30 SUN 1:00 ■

Douglas Boyd, conductor Jeffrey Kahane, piano

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Bertie Baigent, conductor Rick Steves, narrator

Christopher Dragon, conductor Isabel Marie Sánchez, vocalist

Renée Fleming - The Brightness of Light- Colorado Premiere

Opening Weekend: Mendelssohn Violin Concerto featuring Yumi Hwang-Williams

Dvořák Symphony No. 7

SEP 20-22 FRI-SAT 7:30 SUN 1:00

Alexander Shelley, conductor Cicely Parnas, cello

Brett Mitchell, conductor Renée Fleming, soprano Rod Gilfry, baritone

Latin Beats: Sonidos de las Américas

Verdi Requiem – 35th Anniversary Celebration – Colorado Symphony Chorus

Tchaikovsky Violin Concerto

SEPT 25 WED 7:00

OCT 26-27 SAT 7:30 SUN 1:00

Brett Mitchell, conductor Angelo Xiang Yu, violin

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Bertie Baigent, conductor In partnership with the Mexican Cultural Center and Denver Arts & Venues

Rhapsody & Rhythm: The Gershwin Concert Experience SEPT 28 SAT 7:30

Christopher Dragon, conductor Michael Andrew, vocalist Natalie Cordone, vocalist Richard Glazier, piano

Brett Mitchell, conductor Amber Wagner, soprano Jennifer Johnson Cano, mezzo Issachah Savage, tenor Aleksey Bogdanov, baritone Colorado Symphony Chorus, Duain Wolfe, director

NOV 22-24 FRI-SAT 7:30 SUN 1:00 ■

Home Alone in Concert NOV 29 FRI 7:30

HalfNotes

Brett Mitchell, conductor Colorado Symphony Chorus, Duain Wolfe, director MPAA Rating: PG

Aretha: A Tribute HalfNotes Please join us for family-friendly activities 1 hour before the concert. These performances include FULL SCREENING OF THE FEATURE FILM!

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IBSEN AND HNATH: TWO PLAYWRIGHTS, ONE CHARACTER, 140 YEARS APART

Illustration by Kyle Malone

BY JOHN MOORE

14 14

The fictional Nora Helmer doesn’t just close the door on her old life at the end of Henrik Ibsen’s revolutionary 1879 masterpiece A Doll’s House. She slams the door on it — and the reverberations continue to echo down into the #MeToo movement of today. In the course of the play, Nora transforms from a submissive wife and dutiful mother into an independent single woman who is willing to leave her three sweet children behind for a taste of modern independence. But 140 years ago, Nora was not walking into a world that was suddenly a welcome land of female liberation. She was walking into a whole lot of trouble. “The odds for a single woman in that era were pretty grim,” said DCPA Theatre Company Artistic Director Chris Coleman. “You were either a cleaning woman or a prostitute. I don’t know how Nora would have survived. It’s not like she walks out the door with an extensive resumé. I don’t think it would have been pretty.” What happened after the slam heard ’round the world has been the subject of mass literary conjecture ever since. But after playwright Lucas Hnath (The Christians) committed his own ideas to paper in 2017, A Doll’s House, Part 2, went on to become one of the most performed plays in the country. Fifteen years later, our proto-feminist heroine has come knocking on that very same door in need of a favor — not forgiveness. In Hnath’s view, Nora has gotten along just fine all these years. How? (Prepare for rim shot.) Among other things, by writing books telling women how to leave their husbands. (OK, rim shot.) When performances begin in The Ricketson Theatre on September 6, the DCPA Theatre Company will become the first company anywhere to present both Ibsen’s original play and Hnath’s contemporary sequel at the same time in repertory. Coleman is directing Ibsen’s domestic manifesto, while his newly named Associate Artistic Director, Rose Riordan (Sweat), helms Part 2. “Part 2 stands on its own as a play, but it’s going to be a much better meal if you have part one under your belt first,” said Riordan. “Part one is going to give the audience so much context that they wouldn’t have otherwise, and that will make the whole experience much more meaningful.” Coleman found the idea to present the plays in tandem irresistible. “I have never had the experience as a theatregoer or as an artist where you are presenting a play written more than a century ago, juxtaposed against an answer to that play — in this case, one written by a young, totally contemporary writer,” Coleman said. “I think that is delicious. I think it’s a really rich conversation-starter that should be super fun.” The DCPA Theatre Company began as a repertory company in 1979, which by definition simply means a company presenting more than one play at the same time, often with the same actors. Ibsen’s original involves 10 characters while the sequel has only four, all returning

APPLAUSE •• SEP SEP –– NOV NOV 2019 2019 •• 303.893.4100 DENVERCENTER.ORG APPLAUSE • DENVERCENTER.ORG

[It’s] going to be a much better meal if you have part one under your belt first. [It gives] the audience so much context that they wouldn’t have otherwise, and that will make the whole experience much more meaningful. — ROSE RIORDAN, DIRECTOR, A DOLL’S HOUSE, PART 2

from the original: Nora; her clueless husband, Torvald; their now grown daughter, Emmy; and the nanny, Anne-Marie — the only character who will be played by the same actor (Leslie O’Carroll). While actors commonly play characters who span 15 years or more in the same play, Coleman thought it was essential to have different actors play Nora to emphasize not only the physical changes she would have undergone, but to underscore the idea that Nora is now a truly different woman. So the audience will see a younger and softer ingenue at the beginning of the original give way to what Coleman calls “a hardened ball-buster” who holds forth with enormous confidence in Part 2. “For those who watch the original play, I really do not want it to feel like it’s a foregone conclusion that Nora is going to find the backbone to walk out that door by the end of the play,” Coleman said. “I want her to feel like someone who is still finding her core. That Nora needs to be somebody young enough to still be in formation. That is such a stark contrast to the Nora we meet in Part 2, and I think we need to honor their differences.” Another central difference, Coleman and Riordan both say: Part 2 is really funny. Riordan calls Hnath’s sequel a full-out comedy. Consider that Nora predicts in her 1894 return that, “In 30 years, people won’t even believe in marriage!” A third distinction is the vernacular. “Tonally, these two plays could not be more different,” Coleman said. Riordan calls the transition from the original to Part 2 like moving from winter to spring. “When you come to see Part 2, you are expecting it to be old-fashioned,” Coleman added. “But instead the language becomes very contemporary.” And yet the all-important point regarding a woman’s freedom, love and responsibility remains consequential. Scholars have suggested that when Nora famously slammed the front door back in the original, she instantly propelled world drama into the modern age. It’s easy to see now how a play in 1879 that shows a woman leaving her husband and her children would shake the world to its foundations. But the conflicting pressures of motherhood and self-fulfillment are still clearly working in opposition today. Many still find the idea of any woman walking out on her family to be upsetting. And for one intractable reason, Riordan says: Basic biology. “We’re programmed to think that way,” she said. “We’re human beings, and first and foremost we are here to procreate. I think what’s modern is this notion that maybe we don’t have to do that. “Now we understand the world moves at a glacial pace when it comes to our ideas about love. And anything that subjugates women takes a very long time to change.”

A DOLL’S HOUSE AND A DOLL’S HOUSE, PART 2 SEP 6 – NOV 24 • RICKETSON THEATRE ASL interpreted and Audio-described performances: Oct 20 at 2pm and 7pm respectively, Nov 2 at 2pm (Part 2 only)

COSTUME COLUMN Meghan Anderson Doyle is no stranger to the DCPA. The A Doll’s House and Part 2 costume designer has been a part of the DCPA family for 14 seasons as the inhouse Costume Design Associate, designing for a total of 37 Theatre Company, Off-Center, Cabaret and Education productions. Yet somehow, A Doll’s House and its sequel will be the first time she will have the full force of the DCPA’s costume shop building nearly all of her designs from scratch, simply by nature of the Victorian time period the plays are set in. “It’s really exciting that I get to see so many things I’ve designed go into their hands and that they’ll make them absolutely stunning,” Doyle said. “The drapers and tailors we have in our shop are so incredibly talented that I can’t wait to see what they’ll bring to the project.” It’s somewhat fitting that this opportunity for Doyle has come up while working on these plays seeing as they are a coming-of-age tale for their protagonist, Nora. “In ‘part one,’ she’s part of a matched set. She plays a very specific role as a wife and mother, and she makes sure her family is presented in a certain way. In Part 2, it is very much about her. We’ve heightened her color scheme and there’s a little bit of a contemporary vibe in the silhouette of her clothes because at this point she answers to herself.”

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BMGNET Touring, LLC presents

JONATHAN KNIGHT

Written by

MICHAEL DAHLEN

BLUE MAN GROUP

Composers ANDREW SCHNEIDER JEFF TURLIK Blue Men

MERIDIAN

MIKE BROWN

CORKY GAINSFORD Set Designer JASON ARDIZZONE-WEST

STEVEN WENDT

Musicians

ROBERT GOMEZ

Lighting Designer JEN SCHRIEVER

ADAM ZUICK JERRY KOPS

Costume Designer EMILIO SOSA

Sound Designer CREST FACTOR

Video Designer LUCY MACKINNON

Blue Man Character Costumes PATRICIA MURPHY

SFX Designer BILL SWARTZ

Creative Director JONATHAN KNIGHT

Production Stage Manager RICHARD HERRICK

Music Director BYRON ESTEP

Company Manager STACY MYERS

Production Stage Manager ANNA K. RAINS

Head Carpenter ZACHARY FEIVOU

General Management GENTRY & ASSOCIATES GREGORY VANDER PLOEG

Tour Booking, Marketing and Publicity Direction BOND THEATRICAL GROUP

Production Management NETWORKS PRESENTATIONS WALKER WHITE

Line Producer JENNIE RYAN

Executive Producers BENOIT MATHIEU & SETH WENIG Directed by

JENNY KOONS Original Creators - MATT GOLDMAN, PHIL STANTON, CHRIS WINK A CIRQUE DU SOLEIL Entertainment Group and NETWORKS Presentation Additional Music Composer and Collaborators - Lotic & Holly Original Direction by Blue Man Group and Marlene Swartz Original Executive Producer - Maria Di Dia Original Associate Producers - Akie Kimura Topal & Broadway Line Company Original New York production presented in a workshop production at La MaMa E.T.C. blueman.com

SPONSORED IN DENVER BY

ATTENTION Strobe lights and other atmospheric effects will be used during this performance. Please be aware that certain physical elements of the show, including paint and other non-toxic materials, may reach some members of the audience. Audience interaction is also part of this production. Please speak to any staff member if you have any questions about this performance.

The photographing or sound recording of any performance without the written permission of management is prohibited.

BLUE MAN GROUP SPEECHLESS TOUR

SEASON SPONSORS

BLUE MAN GROUP SPEECHLESS TOUR

WHO’S WHO MERIDIAN (Blue Man Captain) received his Bachelor of Fine Arts in Theatre from Lawrence University and his Master of Fine Arts from the National Theatre Conservatory. He has performed as a Blue Man in New York, Boston, Chicago, Las Vegas, and all over the United States as part of the group’s first North American Tour. Internationally he has performed as a Blue Man in Australia, New Zealand, the Philippines, China, South Africa, Mexico, Russia, and Canada as part of the World Tours. He is thrilled to be going back on the road with the cast and crew of the Blue Man Group Speechless Tour. MIKE BROWN (Blue Man) has been Blue for over a decade and a half. For him it has all been a dream come true. He would not be where he is today without the love and support of his family and friends. He is grateful for you all! Mike hopes you enjoy the show and that you get a chance to pick up a good book this year. STEVEN WENDT (Blue Man) hails from Kansas City, MO. When not on tour, Steven performs Blue Man Group in New York City. Steven is also a professional puppeteer, Hand Shadow Master, and Goldsmith. Visit www.studiowendt.com. ADAM ZUICK (Blue Man) has been living the dream of being a Blue Man since 2013! Previous Blue Man Group companies include Orlando, the company’s first North American tour, Chicago and New York. Special shout out to Adam Berger and love to my supportive family and friends. CORKY GAINSFORD (Drummer) has been a Blue Man Group drummer for 18 years, primarily in their Las Vegas Production and The Complex Rock Tour. He’s also a producer, songwriter and recording engineer, releasing original music through his band Code Red Riot. ROBERT GOMEZ (Resident Music Director/Band Captain) is a resident of Las Vegas, NV. Robert graduated from Las Vegas Academy of the Arts where he honed his ability as a studied multiinstrumentalist. Both performer and technician, Robert has worked with Blue Man Group for eleven years.

JERRY KOPS (Musician/Strings) is a New York-based multi-instrumentalist who has been performing with Blue Man Group since 2006. He also played guitar with the original Broadway cast of Rock of Ages from 2009-2010. From 2010 through 2012, Jerry was a member of the Blue Man Group North American Tour playing Zither and Chapman Stick. When not performing with Blue Man Group, Jerry can be found writing, recording and performing with his band Mortars. JONATHAN KNIGHT (Creative Director) is a Creative Director for Blue Man Group. In that role he develops new work in various mediums for the company. He is currently the Creative Director for the new Blue Man Group Speechless Tour having most recently completed work on Blue Man Group Berlin, and the Blue Man Group World Tour which opened in Singapore and has since been touring steadily in Europe, Asia, Africa and the Middle East. Knight is a long time member of Blue Man Group starting as a video operator for the Astor Place show in New York. Outside of Blue Man Group, Knight works as a writer and filmmaker having founded a small boutique production company in 2006 that focuses on social justice documentary, education and experimental artist collaborations. He has been an adjunct professor in the schools of the City University of New York teaching courses in video production, film theory, and film history. MICHAEL DAHLEN (Senior Creative Director/Writer) began his career with Blue Man Group as a Blue Man performer in the New York City Astor Place Theatre production. From there he took on the role of Performer Director where he developed, cast and trained new Blue Man performers for all of the North American and international productions. As an Artistic Director he oversaw the creation, development, evolution and direction of existing Blue Man Group creative material and productions. In his current role as a Creative Director, Michael oversees the creation of new material for Blue Man Group current and new productions. For the Blue Man Group Speechless Tour, Dahlen serves as a Writer. During Dahlen’s tenure at Blue Man Group, his highlights

include direction of 5G shows in New York, Boston and Chicago, creation and direction of Blue Man Group Berlin, creation and direction of Blue Man Group’s 2013 Hollywood Bowl appearance and recent updates to the Blue Man Group Chicago production. ANDREW SCHNEIDER (Composer) is the Head of Music and Sound Production for Blue Man Group. He oversees all recording, mixing and produces audio content for a wide variety of applications including show and performance content, recording releases, video releases, marketing releases and more. He is an active and enthusiastic participant in the creation and composition of Blue Man Group’s music and sounds. Schneider engineered Blue Man Group’s debut album Audio, mixed their sophomore release The Complex and co-produced, mixed and engineered the group’s third record THREE. Currently, Schneider serves as Musical Composer for the Blue Man Group Speechless Tour. Growing up in an artistic household, music and performance has been a part of Schneider’s life from an early age. He began touring around the world in bands and recording music at the age of 18. As a freelance producer, mixer and engineer he has worked on nearly 1,000 Indie and major label releases with multiple Grammy and Juno nominations to date. Schneider earned a Fine Arts degree in Media from Massachusetts College of Art. He currently enjoys music, film, performance and spending time with his family. JEFF TURLIK (Composer) oversees all aspects of music and recorded sounds for Blue Man Group as Creative Director and Music Supervisor. In Turlik’s role as Composer for the Speechless Tour, he has created a brand-new musical experience for Blue Man Group’s second-ever North American theatrical tour. Turlik has been with the entertainment phenomenon since 1999, beginning as a band member in the Boston resident show. Shortly after, he turned his sights toward music writing and directing in New York to support Blue Man Group’s domestic and global expansion. In addition to creating and mounting shows around the world, his career highlights include two performances at the Coachella

JENNY KOONS (Director) is thrilled to join the Blue Man family, as this tour marks her first-time collaboration with Blue Man Group. Recent productions include Between Us: The Deck of Cards (Denver Center for the Performing Arts), A Midsummer Night’s Dream (The Public Theater Mobile Unit), The Tempest (The Juilliard School), Burn All Night (American Repertory Theater), Gimme Shelter (Why Not Theatre, Toronto 2015 Pan Am Games), and A Sucker Emcee (National Black Theatre, LAByrinth Theater Company). Jenny was the co-curator of the 2016 Toronto ThisGen Conference and co-founder of Artists 4 Change NYC (National Black Theatre). She has taught young artists here and abroad, and as an Asian-American woman, is a vocal advocate of equity in the arts. She is a proud 2017 Lilly Award recipient who grew up in Minneapolis, Minnesota and in the mountains of Montana. jennykoons.com JASON ARDIZZONE-WEST (Set Designer) is an Emmy awardwinning set designer & production designer. Recent projects include Jesus Christ Superstar (NBC); Lana Del Rey (Arena Tour); Uncle Vanya (Old Globe Theater / Hunter Theatre Project); Good Grief (The Vineyard Theatre); Native Gardens; The Royale (The Cleveland Playhouse); Circus – Wandering City, Ethel String Quartet (BAM Next Wave Festival); Next To Normal; Caroline, Or Change (Tantrum Theatre); One Thousand Nights and One Day (Prospect Theatre); The Michaels; Illyria; The Gabriels (The Public Theater, w/ Susan Hilferty); Bullets Over Broadway (National Tour, NETworks Presentations); Adele Live

in NYC (Radio City Music Hall, with Es Devlin). Jason has designed events for Cornell, Princeton, Duke, (Herson Group Ltd) and The New 42nd Street. Prior to focusing on set design, Jason was an architect, working with Mitchell Kurtz Architect PC to design theater and cultural arts spaces including: Playwrights Horizons, The Chautauqua Institution’s Bratton Theater, & El Teatro Heckscher. Jason received a Bachelor of Architecture from Cornell University, College of Architecture, Art & Planning, a Masters of Fine Arts from New York University, Department of Design for Stage & Film and is a member of USA 829. JEN SCHRIEVER (Lighting Designer) is a NYC based lighting designer whose work has been seen on Broadway and Off, across the US, and internationally. Favorite projects include: What the Constitution Means to Me, The Lifespan of a Fact and Eclipsed on Broadway; The Soundtrack of America which opened the McCourt theatre at The Shed in NYC, A Strange Loop at Playwrights Horizons, Angels in America at Berkeley Rep and operas At The Metropolitan Opera in NYC, English National Opera and The Mariinksy in St. Petersburg Russia. Visit her at Jenschriever.com. EMILIO SOSA (Costume Designer) Broadway: On Your Feet!, Motown: The Musical, Lady Day at Emerson Bar and Grill, The Gershwins’ Porgy and Bess (Tony nom.), Topdog/Underdog. London: Motown: The Musical, Father Comes Home From the Wars, Topdog/ Underdog. Off-Broadway: By the Way Meet Vera Stark (Lucille Lortel Award, Drama Desk nom.), Venus, Crowns, Trust, Invisible Thread, Romeo and Juliet, Capeman, The Misanthrope, Sex with Strangers. Regional: Ma Rainey’s Black Bottom, Ruined, Señor Discretion Himself (Helen Hayes nom.), Witness Uganda, Twist (2011 LA Ovation Award), Fences. Radio City Musical Hall Spring Spectaculars, NY Knicks City Dancers, “Project Runway,” “Project Runway All Stars,” Trustee American Theater Wing. @esosafashion CREST FACTOR (Sound Designer) With over 28 years of experience in professional audio, Marcus Ross commands a diverse expertise in all aspects of audio reproduction and reinforcement for live events. He

began his interest in live entertainment as a musician and quickly learned that his inquisitive mind and analytical qualities were a great asset as an audio engineer. After touring with bands early in his career, Marcus began to branch out into many different disciplines. He has been monitor engineer for such bands as Slayer and The Black Crowes; mixed front of house for Patti LaBelle; worked as the Audio System Designer and Crew Chief for Van Halen; was Lead Audio for multiple Broadway touring shows ranging from large scale musical comedies such as The Producers and Spamalot to the one-man shows, such as, 700 Sundays with Billy Crystal; and most recently has worked as the Resident Designer for Blue Man Productions, overseeing all new projects and installations as well as maintaining the current shows. After more than 20 years in the industry, Marcus returned to higher education and obtained a Master’s Certificate in Music Production from Berklee College of Music, while still actively working in the industry. He has maintained various certifications from manufacturers in the industry and, most recently, has become Head of Application Tour Support, US & Canada for L’Acoustics. Marcus oversees design and implementation of audio systems for music, theatre, and corporate events with Tony Pittsley through his company Crest Factor. Tony Pittsley enjoys the technology that is audio reinforcement. He has toured extensively with Broadway shows including The Phantom of the Opera, Billy Elliot, Spamalot, The Full Monty, A Christmas Story and others. In his off time, he enjoys wood working and spending time with his wife, children, and his dogs Zoe and Xena. LUCY MACKINNON (Video Designer) Broadway credits include The Lifespan of a Fact, Six Degrees of Separation and Deaf West’s revival of Spring Awakening. Off-Broadway credits include After the Blast (Lincoln Center), The Treasurer (Playwrights Horizons), and Yen (MCC). As a video and projections designer, she has worked with some of the most innovative theater directors on and off Broadway, including Michael Arden, David Cromer, Trip Cullman, Sam Gold, Tina Landau, Craig Lucas, and Lila Neugebauer. As a graphic artist, she has contributed work to educational institutions such as The New York

BLUE MAN GROUP SPEECHLESS TOUR

Valley Music and Arts Festival, two sold out nights at the Hollywood Bowl with the L.A. Philharmonic, The Area2 Tour (supporting David Bowie, Busta Rhymes and Moby), The Complex Rock Tour, The Megastar world tour, The Tokyo Summersonic Music Festival, The Royal Variety Performance for Queen Elizabeth II in Cardiff, Wales, Carnival in Salvador, Brazil and various television appearances. A native of Pittsburgh, Turlik attended Berklee College of Music in Boston. He spent his early career as a guitarist in hard rock bands, recording, touring, sleeping on floors, and has since worked as a musician, arranger, composer, music producer and music educator.

BLUE MAN GROUP SPEECHLESS TOUR

Historical Society, The National Center for Civil and Human Rights and the National Liberty Museum. PATRICIA MURPHY (Blue Man Character Costume) has worked on the Broadway productions of Black and Blue, The Phantom of the Opera, The Lion King, Dracula and Wicked, among others. She has worked with many ballet companies, on several movies including the features Dracula and Far From Heaven and on Bette Midler’s Kiss My Brass tour. Other credits: Tick, tick...BOOM!; Once Around the City; The Bubbly Black Girl Sheds Her Chameleon Skin; Bright Lights, Big City. BILL SWARTZ (SFX Designer). Celebrating 18 years with Blue Man Group, Bill Swartz currently serves as a Creative Director. While in this role, he founded and continues to run the creative Research and Development Lab for production design elements, including musical instruments, video surfaces, lighting and special effects. For the Blue Man Group Speechless Tour, Swartz has put his unique skillset to work in the role of SFX Designer. A native of Chicago, Swartz began his career as a freelance designer/builder while also making records and touring with his own bands. Since joining the global entertainment phenomenon of Blue Man Group, he has opened shows in Germany, Canada, England, Holland, Switzerland, Sweden, Austria, Japan, and Australia, and worked special events as a musician, technical director and production manager, worldwide. Swartz earned his undergraduate degree in Music Performance/Technical Theater from DePauw University and attended Indiana University for post-graduate work in Jazz Studies. In his spare time, he enjoys traveling with his family. RICHARD HERRICK (Production Stage Manager) is the Production Stage Manager for the Blue Man Group Speechless Tour, marking his 19th Blue Man Group production. Herrick first worked for Blue Man Group as the resident Production Stage Manager on the London production in 2005. Since then he has served in this same role for the majority their new productions, and has opened Blue Man Group shows across Europe, Asia, Australia and North America. Additionally, Herrick has served as Production Stage

Manager for the German production of War Horse and is the Production Stage Manager at Berlin’s Friedrichstadt Palast for their 2018 show Vivid and their new show opening in 2020. Prior to Blue Man Group he was the Stage Manager for Les Miserables in the West End, and worked as a Stage Manager for the Scottish Opera for eight years, working on over fifty main house productions. When he is not acting as a freelance Production Stage Manager, working on shows and events throughout the UK and Europe, he resides with his wife and daughter in a small market town, Ossett in West Yorkshire, UK. BYRON ESTEP (Senior Music Director). Started playing Chapman Stick in the Blue Man Group band in 1994 as part of the “TUBES” show at the Astor Place Theater in New York City. Since then, he has been involved in the opening and direction of many Blue Man Group shows throughout the world. He currently works as a Music Director for Blue Man Productions and plays both Chapman Stick and Zither in the band. He has also played guitar and/or banjo on numerous recordings outside of Blue Man Group and composed several movie and video game soundtracks. STACY MYERS (Company Manager) Most recently: Director of Artistic Operations at KCRep. National/ International Tours: Nice Work If You Can Get It, American Idiot, Shrek, Young Frankenstein, Chicago, Jersey Boys, Sweet Charity and Rent. Regional: New York Stage & Film, WVPT, La Jolla Playhouse. Kansas City proud! For HKMKE. ANNA K. RAINS (Production Stage Manager). Touring: The Phantom of the Opera, An American in Paris, Blue Man Group. Las Vegas: Blue Man Group. Regional: North Carolina Theatre, Juilliard, Virginia Rep. Proud NC State University alum. Love and thanks to Mom, Dad and the dogs at home. JENNIE RYAN (Line Producer) Jennie’s variety of expertise includes producing, tour management, production finance, touring logistics, stage management, artist management, with extensive touring and international work in India, Europe, United Kingdom, Asia, Australia and Southwest Asia. Jennie has produced shows in the most

challenging domestic and international venues…. like active aircraft carriers, arenas, theaters, studios, ballrooms, and tropical beaches. As a Producer for Blue Man Group, shows include Speechless, Australia Tour, Las Vegas Monte Carlo, NCL Epic, Tokyo, Casino Tour, and multiple corporate events and TV appearances. As Creative Producer Jennie lead an international creative team in developing Badaling a theatrical show in Beijing China. Selected other recent tour credits include Chely Wright, Shinedown, Gary Sinise, Jeff Foxworthy, Bill Engvall, NBA trophy tour, Miss Teen, Taylor Hicks, Wilmer Valderrama, Blue Angels, Salute to Troops (HBO). Jennie resides in New York and has dual US/EU citizenship. BENOIT MATHIEU (Executive Producer) serves as the Senior Executive Producer, Blue Man Group & Executive Managing Director, Blue Man Productions. In this position, Mathieu heads the development and expansion of the Blue Man Group franchise into additional global markets, insures coherence across the current resident shows and touring productions, and explores additional opportunities for the Blue Man Group brand to connect with consumers. Prior to joining Blue Man Group in April 2018, Mathieu was a member of the Cirque du Soleil family for 18 years serving in various roles. These roles include Project Manager, Production Manager for two creations (Kooza and Ovo), Senior Director of Artistic and Production Services, VP of Costumes & Creative Spaces and, most recently, VP of Creative Development where he led Cirque’s Creative R&D arm and seconded the Chief Creative Officer of the Group. In many different capacities, ranging from truck driver to electrician to co-producer, and by leveraging various talents, including technical direction and theatre construction oversight, Mathieu has contributed to productions in Canada’s top theatrical spaces, such as Théâtre du Nouveau Monde, Compagnie Jean-Duceppe, L’Opéra de Montréal and Théâtre Beaumont St-Michel in Quebec. Raised in the Great White North (very far north of Montreal), Mathieu contemplated a career in aviation, obtaining his private and glider pilot wings, before identifying his passion for professional theatre. Mathieu received his degree in Theatre Production from the Collège

SETH WENIG (Executive Producer) has been with NETworks since its inception in 1995. He spearheaded the international tours of Fosse starring Ben Vereen and Ruthie Henshall. Seth has produced the Lincoln Center Theater production of Rodgers & Hammerstein’s South Pacific and the National Theatre production of War Horse. Together with Cameron Mackintosh, Seth served as Executive Producer for both the U.S. and U.K. tours of the National Theatre’s My Fair Lady, the 25th Anniversary U.S. Tour of Les Misérables, the new The Phantom of the Opera tour, Miss Saigon, A Bronx Tale, Blue Man Group and The Band’s Visit. He is most proud of his greatest productions – Marlo and Camden. BLUE MAN GROUP (Producer) is a global entertainment phenomenon, known for its award-winning theatrical productions, iconic characters and multiple creative explorations. Blue Man Group performances are euphoric celebrations of human connection through art, music, comedy and nonverbal communication. Since debuting at New York’s Astor Place Theatre in 1991, the live show has expanded to additional domestic residencies in Boston, Chicago, Las Vegas and Orlando, an international residency in Berlin, and multiple North American and World tours, reaching more than 35 million people worldwide. Blue Man Group is universally appealing to a broad range of age groups and cultural backgrounds, and continually injected with new music, fresh stories, custom instruments and sensory stimulating graphics. Blue Man Group is owned and operated by Cirque du Soleil Entertainment Group. For more information, please visit Blueman.com CIRQUE DU SOLEIL ENTERTAINMENT GROUP (Producer) is a world leader in live entertainment. On top of producing world-renowned circus arts shows, the Canadian organization brings its creative approach to a large variety of entertainment forms such

as multimedia productions, immersive experiences, theme parks and special events. It currently has 4,500 employees from nearly 70 countries. Going beyond its various creations, Cirque du Soleil Entertainment Group aims to make a positive impact on people, communities and the planet with its most important tools: creativity and art. For more information about Cirque du Soleil Entertainment Group, please visit CDSentertainmentgroup.com. NETWORKS PRESENTATIONS (Producer) From its inception over 20 years ago, has been an industry leading producer and manager of touring musical theatre productions and remains committed to delivering quality entertainment to audiences worldwide. Having toured over 70 productions internationally, NETworks’ current and upcoming touring productions include Cameron Mackintosh’s The Phantom of the Opera, Les Misérables, A Bronx Tale, Blue Man Group, Falsettos, Fiddler on the Roof, Once On This Island, Nickelodeon’s The SpongeBob Musical, Waitress, Cameron Mackintosh’s Miss Saigon and The Band’s Visit. GENTRY & ASSOCIATES, INC. (General Management) has been managing domestic and international touring productions for more than 20 years. Gentry & Associates has managed more than 70 touring productions internationally. Current and upcoming productions include Cameron Mackintosh’s The Phantom of the Opera, Les Misérables, A Bronx Tale, Blue Man Group, Falsettos, Fiddler on the Roof, Once On This Island, Nickelodeon’s The SpongeBob Musical, Waitress, Cameron Mackintosh’s Miss Saigon and The Band’s Visit. BOND THEATRICAL GROUP (Tour Booking, Marketing and Publicity Direction) is a fully independent booking, marketing and publicity company for live entertainment productions. Current tour marketing and booking projects include Blue Man Group, CATS, Clueless, Girl from the North Country, First Date, Jesus Christ Superstar, Kathleen Turner’s Finding My Voice, Latin History for Morons, An Officer & A Gentleman, Once on this Island and Spamilton. Current marketing and publicity projects include Anastasia, The Band’s Visit, Dear Evan Hansen, Diana, Dr.

Seuss’ How the Grinch Stole Christmas! The Musical, Escape to Margaritaville, Fiddler on the Roof, Moulin Rouge!, Oklahoma!, The Color Purple, The Phantom of the Opera on Broadway and The Prom. STAFF FOR Blue Man Group Speechless Tour EXECUTIVE PRODUCERS Benoit Mathieu & Seth Wenig GENERAL MANAGEMENT GENTRY & ASSOCIATES, INC. Gregory Vander Ploeg Elisabeth Bayer Nicole Gehring Steve Varon Pearce Landry-Wegener BLUE MAN PRODUCTIONS OPERATIONS LIASON Mary Grisolano PRODUCTION MANAGEMENT NETworks Presentations LLC Jason Juenker Hector Guivas Emma Downey Evan Rooney Walker White COMPANY MANAGER Stacy Myers EXCLUSIVE TOUR DIRECTION BOND THEATRICAL GROUP bondtheatrical.com TOUR BOOKING Temah Higgins Mollie Mann Wendy Roberts Brittany Halberstadt Madison St. Amour Evan Millican MARKETING & PUBLICITY DIRECTION DJ Martin Marc Viscardi Nicole Musto Tori Viggiano Phillip Aleman Nicholas Jaech Matthew Lerner Trish McKeon Benjamin Nissen Associate Director....................... Helen Handelman Associate Scenic Designer...................Zoe Hurwitz Assistant Scenic Designer............ Anton Volovsek Production Carpenter...........................................pesci Head Carpenter..................................Zachary Feivou Assistant Carpenter............................. Austin Phillips Flyman................................................................. Al Osuna Associate Costume Designer....................Annie Le Head Wardrobe.............................Kathryn Trantham Associate Lighting Designer.................Aaron Tacy Production Electrician........................... Justin Petito Moving Lights Programmer......................Brad Gray Head Electrician....................................Meghan Hong Assistant Electrician.........................Tracey Burbank Associate Sound Design..............Anthony Pittsley Production Sound Engineer.............. Chad Parsley Head Audio.............................................. Justice Bigler Assistant Audio..................................... Steph Gorden Associate Video Design..................Brian McMullen Associate Video Design...................Geordy van Es Video Programmer..................................... Ido Levran Head Video...................................................Jeremy Ives Assistant Video Technician........ Jada Hutchinson Head Props..................................................Megan Kraft Additional Musical Instrument Design.................................Aron Sanchez Assistant Props....................................... Laura Choate Production Props........................Kurtis ‘Kash’ Rivers Production Wardrobe........Meagan Becker Bellao

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Lionel-Groulx in Quebec and has since spent his entire career in the world of live entertainment. When not working, Mathieu explores the world of culinary wonders with his wife of 27 years, Dany, and dabbles in the art of pizza-making. The couple have three children and reside in both New York and Montreal.

BLUE MAN GROUP SPEECHLESS TOUR

Production Management Assistant.............................................Kyle E. Techentin Production Stage Manager...............Anna K. Rains Assistant Stage Manager.............. Elena Chapman Production Assistant.............................Kate Carolan MIT.................................................Ben Flint, Nick Scout FOR BLUE MAN PRODUCTIONS FOUNDERS: Chris Wink, Phil Stanton, Matt Goldman EXECUTIVE MANAGEMENT Senior Vice President, Affiliated Business & Head of BMG..........................................Davide Pisanu Executive Managing Director.......Benoit Mathieu Executive Assistant & Office Manager..................... Alice Farrell-Pearlman Senior Resident General Manager................................Mary Grisolano Global Head of Marketing & Sales.......Paul Iaconis Senior Director, Creation & Production..................................................Anita Shah Assistant Manager, Business & Creative Strategy..........Amanda Lenti CREATION Creative Director.................................Michael Dahlen Creative Director..........................................Jon Knight Creative Director...........................................Bill Swartz Music Supervisor........................................... Jeff Turlik Manager, Creation.................................. Allison Grant Head of Music & Sound Production.......................Andrew Schneider Supervising Sound Editor........................ Rich Phillis PRODUCTION Project Manager....................................... Mike Savage Associate Manager, Production Operations.....................Stephanie Usis Technical Director...................Michael Zimmerman Technical Manager, Musical Instruments.......................................Ben Flint Technical Manager, Media Studio...............................Xander Points-Zollo Manager, Show Quality & Training....... Tim Aumiller PROJECTS Line Producer, NAT..................................Jennie Ryan MARKETING & SALES Director of Marketing............................. Leah Tucker Director of Public Relations...... Johanna McCabe Creative Producer, Social Content & Strategy...................Hailey Jester Marketing Manager.......................Danielle Yannetta Senior Editor & Camera Operator...............................Stephen Halton Social Coordinator.................................... Tori Mueller SHOW QUALITY Senior Music Director.............................Byron Estep Senior Artistic Director.............................David Bray Senior Artistic Director.................... Randall Jaynes Director, Casting & Training.......Tascha Van Auken Blue Man Trainer & Casting Associate....................................Tim Aumiller INFRASTRUCTURE Director, Real Estate & Facilities............................................ Simon Bogigian Facilities Engineer................................... Joseph Ford IT Team Lead...................................................Tim Zabel IT Analyst.............................................Arisa Kobayashi TALENT Talent Partner........................................Cynthia Harms Talent Coordinator.............................Keri McFadden FOR NETWORKS PRESENTATIONS Chief Executive Officer............................Ken Gentry President........................................................... Orin Wolf

Chief Financial Officer................. Scott W. Jackson Chief Operating Officer................................. Jennifer Ardizzone-West Chief Producing Officer.......................... Seth Wenig Executive Producers............................Charlie Stone, Trinity Wheeler Director of Administration....................Curt Owens Executive Assistant to the President......................................... Hannah Rosenthal Senior Director of Finance..................... John Kinna Controller..............................................Jennifer Gifford Director of Tour Accounting.......... Laura S. Carey Tax Director..................................................Pat Guerieri Associate Tax Accountant.............. Kim Ngan Tran Health and Safety Coordinator........Emma Downey Senior Director, Booking and Engagements..............Mary K. Witte Director, Booking and Engagements......Colin Byrne Booking and Administrative Assistant................................................. Jenny Wallisch Director of Marketing/PR...................Heather Hess Senior Director, General Management........Gregory Vander Ploeg General Managers............................ Elisabeth Bayer, Steve Varon Associate General Manager.............................. Pearce Landry-Wegener General Manager Associate........... Nicole Gehring Senior Director, Production Management................. Jason Juenker Senior Production Manager.............Hector Guivas Production Managers......................Emma Downey, Evan Rooney, Walker White Music Coordinator................................... John Mezzio IT Manager........................................................ Tim Pizza Office Manager................................. Buddy Piccolino Office Assistant......................................... Carol Jewell Warehouse Manager...................................Brad Korff Warehouse Costume Manager.........................................Bobby Maglaughlin Tax and Financial Consulting, Accounting Services CliftonLarsonAllen LLP Brian Enverso, Kathleen Thies Financial Services and Banking Arrangements by SunTrust Bank Insurance Broker Services Maury Donnelly and Parr, Inc. Robert B. Middleton, Sr. and Meghan Coleman

Blue Man Group is presented in L-ISA Hyperreal Sound by L-Acoustics, the world leader in premium professional sound systems for live events. L-ISA is a groundbreaking audio technology which goes beyond traditional systems to offer extremely realistic, ultra-high definition sound. This result is a deeper sense of involvement in the spectacular antics, music and mayhem that is Blue Man Group. CREDITS Scenery built by SCENIC SOLUTIONS Lighting rental provided by CHRISTIE LITES. Video rental provided by WORLD STAGE. Select SFX provided by J&M. Lab equipment and props provided by BMP. Additional writing provided by ELIZABETH BIRKENMEIER. Voiceover Artist: LITHA P JOHNSON. Official Rubik’s Cube provided by RUBIK BRAND LTD.

Billy Bass Fish usage courtesy of GEMMY INDUSTRIES. Rehearsed at SIR Studios in New York, NY SPECIAL THANKS Scott Galbraith and the Walton Arts Center, Fayetteville, AR Follow @bluemangroup on Facebook, Twitter, Instagram and YouTube. blueman.com All stage work performed by employees represented by IATSE.

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2019/20 BROADWAY SEASON

PLEASE BE ADVISED • LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas. • PHOTOS, RECORDING & CELL PHONE USE are prohibited. • CHILDREN 6+ are welcome in our theatres and must be ticketed. • DRINKS are allowed in provided containers. • ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you. • BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@dcpa.org or 303.893.4836. Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719 Linda Ackerschott Carrie Breidenbach Vonnie Clough Janel Clough Craig Cory Cyndie Cory Laura Cotugno Steve Davies Anne Davis Carolyn Dore Deborah Guess AnnSue Gunter

Judy Holabird Leslie Lambert Sharon Millikan-Hale Callie Morrow Laura Payne Yolanda Pollock Dave Poole Liz Spadi Amy Tepel Marybeth Tscherpel Barb Wilson

DPAC House Crew Mark Anthony Perry Elliot James R. Gralian EJ Posselius

Albert Sainz, Sr Jay Schenk David A. Wilson

THE BUELL THEATRE is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues. CITY & COUNTY OF DENVER Michael Hancock, Mayor ARTS AND VENUES Ginger White-Brunetti, Executive Director For information call: 720.865.4220

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I “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.” — Phil Stanton, co-founder of Blue Man Group

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. Yet after 27 years observing humanity, today’s show is a fresh approach. “It’s Blue Man Group’s continued commitment to push boundaries, and think bigger and bolder with every new exploration, that excites me most about this opportunity,” said new director Jenny Koons. “Speechless will feature material that fosters communal moments, debut the evolution of our tube-based instruments to support all new music, and include largescale audience participation.” 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 Speechless continues to be mostly visual. The Men are mute by choice. “It is my hope that this show will deliver on its name, said Koons, “and continue Blue Man Group’s legacy to transcend words and inspire audiences through non-verbal connections.”

APPLAUSE • SEP – NOV 2019 • 303.893.4100 • DENVERCENTER.ORG

Photo: Daniel Boczarski

SPEECHLESS TOUR: UNEXPECTED YET FAMILIAR

“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 Blue Man 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 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.” “We always wanted the show to feel like it was working toward that ending moment 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. We hope audiences will find it powerful.” Material for this article is courtesy of Blue Man Group.

ll people A are equal Moments are shared Differences are valued Discussion is encouraged We respect that everyone experiences our stories differently.

BLUE MAN GROUP SPEECHLESS TOUR OCT 22 – 27 • BUELL THEATRE Audio-described performance: Oct 26 at 2pm

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REMEMBER YOUR FIRST PLAY?

BY S U Z A N N E YO E

It’s likely that every person reading this article right now can pinpoint the first performance they saw. Think about that. How many events can you remember with such clarity? Landing on the moon. 9-11. Fall of the Berlin Wall. JFK assassination. Launch of the iPhone. The American Revolution (ok, maybe we weren’t there but there was Hamilton). And your very first performance. When I was five, we left rural Arkansas to travel two hours to Tulsa. We stayed at the Crowne Plaza, shopped at the Tulsa Promenade, ate at Casa Bonita (oh yeah…it’s a chain), and saw the “Dance of the Sugar Plum Fairy” light up the stage. It changed my life. Three years ago, DCPA Education launched Theatre for Young Audiences to introduce children to the magic of theatre at a young age. Designed for ages preschool through third grade, the program gained quick popularity with teachers, caregivers, parents and schools. DCPA Theatre Company artisans give the full weight of their design talents while our Education team produces the play and develops post-show activities to more fully engage students from participating schools. In its first year, we presented The Snowy Day and Other Stories by Ezra Jack Keats. Originally published in 1962, the work was groundbreaking for placing an African American child at the heart of the story. We welcomed nearly 19,000 children to the play, more than half of whom attended on full or partial scholarship. The response was inspiring, leading one child to recognize that “Peter looks just like me!” Expanding our commitment, we presented Corduroy last fall for more than 26,000 children and their families and hope to welcome 40,000 this fall and winter with a musical production of Goodnight Moon.

Opening the world of theatre to the next generation is not only crucial to the development of future audiences, it gives purpose to our work. Arts education has been proven to boost academic achievement, cultivate creativity in the workforce and contribute to the economic vibrancy of our community. But more than that, it’s giving that five-year-old mirror image of myself the opportunity to say “I remember my first play.” Who knows, maybe we’ll inspire the next LinManuel Miranda, Audra McDonald, Beth Malone or even Suzanne Yoe. Suzanne Yoe is currently Director of Communications and Editor of Applause magazine. She has worked at the DCPA for 25 years.

GOODNIGHT MOON OCT 4, 2019 – FEB 16, 2020 Sensory-friendly performances: Oct 6 at 1:30 & 3:30pm ASL interpreted and Audio-described performance: Nov 9 at 1:30pm

APPLAUSE • SEP – NOV 2019 • 303.893.4100 • DENVERCENTER.ORG

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DCPA DCPA TEAM TEAM

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Grabiel Bustillos, Cameron Carranco, Juan Loya, Harry McPherson, Carmen Molina, Blanca Primero, Judith Primero, Maria Reyes Soto, Michael Thomas.....................................Custodians Events Dawn Williams...................Director, Event Sales & Marketing Tara Miller......................................... Senior Manager Danielle Bell, Savanna Campbell, Matt Leaver..................................................Managers BROADWAY & CABARET Brook Nichols......Director, Event Technology Tom Duffin...........Manager, Event Technology ADMINISTRATION John Ekeberg.........................Executive Director Colin Dieck, Stori Heleen, Will Stowe, Alicia Bruce................................. General Manager Ian Wells............Specialists, Event Technology Ashley Brown...........................Business Manager MARKETING, SALES & PATRON SERVICES GARNER GALLERIA THEATRE Janice Sinden..............................President & CEO Gretchen Hollrah..................................................COO Lydia Garcia.............................Executive Director, Equity & Organization Culture Maggie Lamb............CEO Executive Assistant Julie Schumaker........................... COO Executive Assistant & Manager, Board Relations

Abel Becerra.............................Technical Director Lisa Mallory........................................Vice President Anna Hookana+, Alex Reshetniak+......................Core Stagehands Patrick Berger.............Audience Development Manager Heidi Bosk.................................Associate Director, DEVELOPMENT PR & Integrated Marketing Shelley Thompson.........................Vice President Rachel Cadden......................... Communications Coordinator Rebecca Clark.......................................Coordinator Casey Eickhoff, Megan Fevurly.......................Associate Director, Brenda Elliott..........Senior Graphic Designers Individual Philanthropy Brianna Firestone..........Director of Marketing, Tamara Fox.................................... Manager, Grants Insights & Strategy Marc Ravenhill................Manager, Stewardship Rachel Garn..................................Email Developer Julie Voorhees....Manager, Capital Campaign Jacquelyn Glover.......Junior Web Developer/ Erin Walker..............Senior Director, Major Gifts Administration Brittany Gutierrez.................... Communications Associate EDUCATION & COMMUNITY ENGAGEMENT Donna Hendricks................Executive Assistant Jeff Hovorka......... Director, Sales & Marketing Allison Watrous..................... Executive Director Emily Kent................................Director, Marketing Patrick Elkins-Zeglarski............................ Director, Lucas Kreitler.............Junior Graphic Designer Education & Curriculum Management David Lenk.......................................Video Producer Stuart Barr..................................Technical Director Emily Lozow......Marketing & Digital Manager Claudia Carson.....Teaching Artist & Program Adam Lundeen...........Marketing Technologist Manager – Playwriting & Bobby G Kyle Malone.....................................Design Director Leslie Channell.............................................. Director, Business Operations Helen Masvikeni..........................Project Manager Hanna Dotson........................Assistant Registrar Carolyn Michaels....................................Copywriter Linda Eller........................................................Librarian Cheyenne Michaels.........Marketing Associate Timothy McCracken...................Head of Acting John Moore....................... Senior Arts Journalist Laura Morales....................Director, Community Anna Nunez........................Jr. Marketing Analyst Engagement Joseph Schurwonn.................Financial Analyst David Saphier.......Teaching Artist & Program Austin Walker.................Marketing Coordinator Manager – In School Programming Suzanne Yoe...........Director, Communications & Cultural Affairs Elizabeth Schmit..........................Office Manager Melissa Sumner............................................Registrar Rachel Taylor...............................Teaching Artist & Program Manager – Literacy Engagement and Resiliency Programming Justin Walvoord........................Teaching Artist & Program Manager – Shakespeare in the Parking Lot FACILITIES & EVENT SERVICES Facilities Timothy Courson.....................Director, Facilities Management Peter Sifter......Manager, Facilities Operations Dwight Barela, Mark Dill, James Ewald, Clint Flinchpaugh, Michael Kimbrough................................ Engineers Jane Deegan..................................Office Manager Dan Havens................................Manager, Security Quentin Crump, Cody Gocio.....................Lead Security Officers Steven Allen, Benjamin Koenig................Security Specialists Madison Stout......................Reception/Security Brian McClain.....................Custodial Supervisor

TICKETING & AUDIENCE SERVICES Jennifer Lopez....................Director, Ticketing & Audience Services Ticketing Services Kirk Petersen...........................Associate Director, Patron Relations Micah White.............................Associate Director, Subscription Services Billy Dutton....Associate Director, Operations Malcolm Brown..............Subscription Manager Amanda Gomez...........VIP Ticketing Manager Christina Gesford, Tristan Jungferman, Mariah Thompson..........Box Office Managers Roger Haak.............VIP Ticketing Coordinator Adam Busch, D.J. Dennis, Edmund Gurule, Rebecca Hibbert, Becca Saunders, Hayley Solano.......................................Show Leads Kirsten Anderson, Scott Lix, Brad Steinmeyer, Gregory Swan.....................Subscription Agents Bobby Bennett, Rena Bugg, James Bullock, Kelcee Covert, Jennifer Gray, Kristina Guarriello, Noah Jungferman, Cecillia Kim, Elias Lopez, Frank Millington III,

Jae Montoya, Clayton Nickell, Hayley Obremski, Liz Sieroslawski, Andrew Sullivan, Emmalaine Wright.........................Ticket Agents Theatre Services Carol Krueger............................................... Manager Ethan Aumann, Nora Caley, Samantha Egle, LeiLani Lynch, Aaron McMullen, Stacey Renee Norwood, Margaret Ohlander, Dylan Phibbs, Valerie Schaefer, Elizabeth Schreffler, Lauren Veselak ......................Theatre Company House Managers Volunteer Ushers................................................305+ Group Sales Jessica Bergin................Groups Sales Manager Patrick Naughton.....Group Sales Coordinator ACCOUNTING & FINANCE Jane Williams....................................Vice President Jennifer Jeffrey........................Director, Financial Planning & Analysis Jennifer Siemers...............Director, Accounting Sara Brandenburg.......... Accounting Manager Michaele Davidson, Linda Erickson.....................Senior Accountants Valerie Lingbloom...................Staff Accountant Vicky Miles..............Special Projects Associate HUMAN RESOURCES Vera Morales......................................Vice President Brian Carter, Karen Jewell.......................Director Jamie Hawkins......................................Coordinator Paul Johnson...............................Payroll Specialist Monica Robles...................Mailroom Supervisor INFORMATION TECHNOLOGY Yovani Pina.........................................Vice President Rick Bennett, David Tschan...................Director Eric Boone.............................Software Developer Vincent Bridgers....Ticketing System Analyst Simone Gordon......................Program Manager Christopher Hoge..................................IT Manager Phillip Johnson, Sarah Martinez ................IT Analyst; Help Desk Joseph Reecher............................Junior Systems Administrator THEATRE COMPANY ADMINISTRATION Charles Varin...........................Managing Director Ann Marshall............................... General Manager Allison Taylor Brinkhoff......Company Manager Katie Grayson.... Assistant Company Manager ARTISTIC Chris Coleman.............................. Artistic Director Charlie Miller.........Associate Artistic Director/ Off-Center Curator Douglas Langworthy............Literary Director/ Director of New Play Development Melissa Cashion.........................Artistic Producer Grady Soapes.....................Associate Producer/ Director of Casting Lynde Rosario.............................Literary Manager PRODUCTION Jeff Gifford..................Director, Production and Construction Project Management Matthew Campbell....... Associate Production Manager Julie Brou..............................Production & Artistic Office Manager

APPLAUSE • SEP – NOV 2019 • 303.893.4100 • DENVERCENTER.ORG

Scenic Design Lisa M. Orzolek...............................................Director Kevin Nelson, Nicholas Renaud......................................Assistants Lighting Design Charles R. MacLeod....................................Director Lily Bradford..................................................Assistant Reid Tennis+......................Production Electrician Multimedia Gregory W. Towle..................Projections & New Technology Supervisor Sound Design Craig Breitenbach........................................Director Alex Billman+, Frank Haas+..............................Sound Technicians Stage Management Kurt Van Raden.....Production Stage Manager Rachel Ducat, Heidi Echtenkamp, Corin Davidson, Rick Mireles, Michael Morales, D. Lynn Reiland, Malia Stoner..................................Stage Managers Scene Shop Eric J. Moore..............................Technical Director Josh Prues, Robert L. Orzolek..........Associate Technical Directors Albert “Stub” Allison................................Assistant Technical Director Louis Fernandez III.................Master Carpenter Ian Macleod, Brian “Marco” Markiewicz...............Lead Technicians Tyler Clark, Amy “Wynn” Pastor, Kyle Scoggins, Mara Zimmerman................Scenic Technicians Prop Shop Robin Lu Payne....................Properties Director Eileen S. Garcia...................Assistant Properties Director Jamie Stewart Curl, Tobias Harding, Georgina Kayes, Tony Nguyen, Katie Webster..................................Props Artisans Paint Shop Jana L. Mitchell...................Charge Scenic Artist Melanie Rentschler...............Lead Scenic Artist Kristin Hamer MacFarlane............Scenic Artist Costume Shop Janet S. MacLeod.......................................Director/ Costume Design Associate Meghan Anderson Doyle......................Costume Design Associate Carolyn Plemitscher, Louise Powers, Jackie Scott, Corrine Serfass................Drapers Cathie Gagnon..........................................First Hand Sheila P. Morris..................................................... Tailor Costume Crafts Kevin Copenhaver.........................................Director Chris Campbell............................................Assistant Wigs Diana Ben-Kiki........................................Wig Master House Crew Doug Taylor+.................Supervising Stagehand Jim Berman+, Stephen D. Mazzeno+, Kyle Moore+, Miles Stasica+, Matt Wagner+.........................................Stagehands  Wardrobe Brenda Lawson..............................................Director Mary Capers, Jessica A. Rayburn^....................Wig Assistants Robin Appleton^, Amber Donner^, Anthony Mattivi^, Tim Nelson^, Lisa Parsons Wagner^, Alan Richards^..............................................Dressers + Member, I.A.T.S.E. Local 7 ^Member, I.A.T.S.E. Local 719

As of 8/15/2019

PROUD SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

The EPICurean Way — Proud Involved Partners of the DCPA and the Arts Community for over 30 years.

At Epicurean Catering Group, we distinguish ourselves by how we make people feel. In an ever-changing industry, the commitment we make to our people culture is our strategy for success and smart growth. From our customers to our team, and the underserved, we carefully prioritize each person’s needs to yield a positive outcome — cultivated hospitality. Deeply rooted in traditional, family values we believe that with hard work and dedication, anything is possible. Our team members embody enlightened hospitality. Collectively, we are only as good as the last memorable event orchestrated. At the culinary level, we use pure ingredients and thoughtful presentation to create unforgettable experiences for our guests. We are motivated by the idea that we set the industry standard — not follow it. Celebrating nearly four decades of treasured partnerships and memorable events is our deepest honor and privilege. With Hospitality... Larry DiPasquale

(Photos l-r) The Epicurean Culinary Team & Founders Larry and Jill DiPasquale at the 38th annual Saturday Night Alive Gala.

STEP INSIDE AN ENCHANTING, OVER-THE-TOP

HOLIDAY EXTRAVAGANZA

PICTURES WITH SANTA, SELFIE-WORTHY SETUPS, DELICIOUS DRINKS AND MORE! Not for the faint of festivity, this indoor immersive installation is Denver's newest holiday experience, where yuletide traditions of the past and present get merrily mashed together in a massive 10,000-square-foot wonderland. Come in from the cold with your whole family and get wrapped in the ooey-gooey, odd and sweet rituals that have brought light to the darkness of winter for thousands of years.

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ACROSS

Test your knowledge of

A Doll’s House, Man Group Applause Blue 2 2019-20: and The Phantom the Test your knowledge of A Doll's of House, BlueOpera Man Group and Phantom of the Opera 1 2

9 10

12 13

17 18 19

30 ACROSS

APPLAUSE • SEP – NOV 2019 • 303.893.4100 • DENVERCENTER.ORG APPLAUSE • SEP – NOV 2019 • 303.893.4100DOWN • DENVERCENTER.ORG

Each Blue Man Group show goes through

1,200 of these fashionable pieces are used

1 Each Blue Man Group show goes through about eight boxes of the cereal called Cap’n __________ 3 Blue Man Group appeared on the hit TV show “__________ Development” 6 First celebrity to try paint-drumming alongside the Blue Men: Ricky __________ 7 The treat Nora lies to Torvald about consuming (plural) 10 The wearing of a disguise could be called a __________ 13 The Opera’s resident soprano prima donna 15 Blue Man Group calls itself “The only show as colorful as __________” 16 A rodent, or a derogatory name Torvald calls Nora 18 To commemorate its 25th anniversary, Blue Man Group released its first-ever book, titled Blue Man __________ 19 Country where the events in A Doll’s House take place 20 Torvald’s profession __________Manager

DOWN

1 1,200 of these fashionable pieces are used during every performance of Phantom 2 U.S. President when The Phantom of the Opera opened on Broadway 3 The Helmer family’s nanny (two words) 4 The Phantom’s name in Gaston Leroux’s original novel 5 A Doll’s House, Part 2, received eight __________ Award nominations in 2017 8 It’s sure to fall in Phantom 9 Phantom song title: “__________ of the Night” 11 “Touch me, trust me, savor each __________” 12 City of the terrorized Opera House 14 Nora had to borrow money to save whose life? 17 The Blue Men communicate completely without __________

For answers please visit denvercenter.org/news-center

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PROUD MEDIA SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

CBS4 is a longtime proud partner of the Denver Center for the Performing Arts. We know Colorado is a special place and all of us who live here take an active interest in enjoying and protecting our home state. Together4Colorado, we make a difference.

Together4 Colorado, we cover the arts.

APPLAUSE • SEP – NOV 2019 • 303.893.4100 • DENVERCENTER.ORG

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T We are so grateful to our partners and to the thousands of donors and event participants over the years who have helped to improve and enrich the lives of those in our community. — THE DENVER POST COMMUNITY FOUNDATION

(Photos l-r) Author James McBride – Pen & Podium Literary Author Series, Ride The Rockies Grantee – Gunnison Valley Mentors and Pedal The Plains Bicycle Tour

The Denver Post is proud to support the Denver Center for the Performing Arts, both through sponsorship of its acclaimed theatre productions as well as with grant funding through The Denver Post Community Foundation. Our longstanding partnership with DCPA has given countless individuals of all ages the opportunity to experience and develop a lifelong appreciation for the arts. The Denver Post Community Foundation believes in giving back to the communities in which it serves and proudly supports hundreds of nonprofits’ programs and events. Support is given in many ways: through The Denver Post Community Foundation, employee volunteering, and in-kind advertising. Last year, more than $6,000,000 in value was contributed. The Denver Post Community Foundation, a recognized 501 (c) (3) nonprofit agency, raises funds through individual and corporate donations, through five unique Signature Events and Programs and through its annual holiday campaign, Season To Share. The overall mission is to improve and enrich the lives of those in our community through support of programs that benefit arts and culture; children and youth; education and literacy; and the provision of basic human services. To date, including recent Season To Share grants issued this spring, more than $4,886,750.00 has been raised and distributed. • Signature Events and Programs These well-established events and programs have become staples in the community with many lasting more than 30 years. They offer partners, participants and volunteers something unique each year. They include: Ride The Rockies and Pedal The Plains Bicycle Tours, Pen & Podium Literary Author Series, Passport To The Arts, and the Colorado State Spelling Bee. • The Denver Post Season To Share The Denver Post Season To Share holiday fundraising campaign is a program of The Denver Post Community Foundation with Denver Active 20-30 Children’s Foundation as the matching partner for the 2019/20 campaign. This past spring, $1,645,000.00 was granted to 54 metro Denver nonprofits, thanks to 4,000 kind donors and a generous match from DaVita. These grantees focus on program specific guidelines of children and youth, health and wellness, homelessness and hunger. Together We Can Make A Difference • denverpostcommunity.com

APPLAUSE • SEP – NOV 2019 • 303.893.4100 • DENVERCENTER.ORG

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