Applause Magazine, September 6-November 24, 2019

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VOLUME XXXI • NUMBER 3 • SEP – NOV 2019

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A DOLL’S HOUSE & A DOLL’S HOUSE, PART 2

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BLUE MAN GROUP SPEECHLESS TOUR THE PHANTOM OF THE OPERA

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Illustration by Kyle Malone

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APPLAUSE

SIGHTLINE

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BY JANICE SINDEN

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VO LU M E X X X I • 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.

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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

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

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Denver Center for the Performing Arts is a not-for-profit organization that engages and inspires through the transformative power of live theatre.

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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.

IT ALL STARTS WITH YOU. GIVE A GIFT TODAY DENVERCENTER.ORG/SUPPORT-US OR 303.572.4593

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

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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

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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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Give children the opportunity to use their imaginations, discover basic acting skills and work with others through fun theatre games and activities.

MIDDLE & HIGH SCHOOL

Keep exploring foundational theatre skills, including scene work, monologues, improvisation, auditions and more while exploring where your craft can take you after graduation.

ADULT

Whether you’re a newcomer trying to activate your personal voice or a seasoned professional continuing to evolve your craft, we’re here to help reach your goals.

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

O SO M O IN N G !

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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

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Brett Mitchell, conductor Jason Shafer, clarinet

Kristin Chenoweth in Concert with the Colorado Symphony

Christopher Dragon, conductor

Presentation licensed by Disney Concerts. ©Disney.

All rights reserved. MPAA Rating: PG

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

MPAA Rating: PG © 1985 Warner Bros. Inc. All Rights Reserved .

SEP 15 SUN 2:00

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

Halloween Spooktacular!

NOV 3 SUN 2:30

HalfNotes

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!

presenting sponsor

NOV 15 & 17 FRI 7:30 SUN 1:00

OCT 18-20 FRI-SAT 7:30 SUN 1:00

Brett Mitchell, conductor Yumi Hwang-Williams, violin

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NOV 30 SAT 7:30

Christopher Dragon, conductor Capathia Jenkins and Ryan Shaw, vocalists

TICKETS: COLORADOSYMPHONY.ORG

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

Illustration by Kyle Malone

BY JOHN MOORE

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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.”

SEE

STORIES IN A NEW WAY

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present

A DOLL’S HOUSE BY

Henrik Ibsen ADAPTED BY

Frank McGuinness With Zachary Andrews*, Samuel Bird, Anastasia Davidson, Jessiah De Leon, Marianna McClellan*, Leif Norby*, Leslie O’Carroll*, Michael Schantz*, Barbra Wengerd*, Radley Wright Stage Managers: Heidi Echtenkamp*, D. Lynn Reiland*, Malia Stoner*

SCENIC DESIGN BY Lisa M. Orzolek

COSTUME DESIGN BY Meghan Anderson Doyle

LIGHTING DESIGN BY Jason Lynch

ORIGINAL MUSIC AND SOUND DESIGN BY Lindsay Jones

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

DRAMATURGY BY Lynde Rosario

PSYCHODRAMATURGY BY Barbara Hort, Ph.D.

CASTING BY Harriet Bass and Grady Soapes, CSA

PRODUCTION MANAGEMENT BY Matthew Campbell

DIRECTED BY Chris Coleman

A DOLL’S HOUSE was previously produced at the Playhouse Theatre in London by Thelma Holt.

Produced on Broadway by Bill Kenwright in association with Thelma Holt.

A DOLL’S HOUSE is presented by special arrangement with Dramatists Play Service, Inc., New York.

RICKETSON THEATRE • SEP 6 - NOV 24, 2019

SEASON SPONSORS

PRESENTED BY

Martin & Jo Semple and Susan Fox Pinkowitz & Ted Pinkowitz

A DOLL’S HOUSE

Chris Coleman, Artistic Director Charles Varin, Managing Director

A DOLL’S HOUSE

CAST

In Order of Appearance Nora Helmer ...........................................................................................................................................MARIANNA MCCLELLAN* The Messenger, Nils Krogstad..............................................................................................................ZACHARY ANDREWS* Torvald Helmer..................................................................................................................................................MICHAEL SCHANTZ* Helene...................................................................................................................................................................BARBRA WENGERD* Kristine Linde...............................................................................................................................................ANASTASIA DAVIDSON Dr. Rank..................................................................................................................................................................................LEIF NORBY* Anne-Marie........................................................................................................................................................... LESLIE O’CARROLL* Helmer Children.........................................................................SAMUEL BIRD, JESSIAH DE LEON, RADLEY WRIGHT

Stage Manager................................................................................................................................................ HEIDI ECHTENKAMP* Assistant Stage Manager................................................................................................................................. D. LYNN REILAND* Rehearsal Assistant Stage Manager................................................................................................................MALIA STONER* Stage Management Apprentice.....................................................................................................................................TESS NEEL Stage Management Intern.................................................................................................................................KRISTA CHOATE Associate Sound Designer.......................................................................................................................................ADAM SMITH Children’s Supervisor..................................................................................................................................... LAUREN LACASSE

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SETTING The Helmers’ Living Room. A small Norwegian town. 1879.

There will be one 15-minute intermission.

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

present

A DOLL’S HOUSE, PART 2 BY

Lucas Hnath With Anastasia Davidson, Leif Norby*, Leslie O’Carroll*, Barbra Wengerd* Stage Managers: Heidi Echtenkamp*, Rick Mireles*, D. Lynn Reiland*

SCENIC DESIGN BY Lisa M. Orzolek

COSTUME DESIGN BY Meghan Anderson Doyle

LIGHTING DESIGN BY Jason Lynch

ORIGINAL MUSIC AND SOUND DESIGN BY Lindsay Jones

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

DRAMATURGY BY Lynde Rosario

PSYCHODRAMATURGY BY Barbara Hort, Ph.D.

CASTING BY Harriet Bass and Grady Soapes, CSA

PRODUCTION MANAGEMENT BY Matthew Campbell

DIRECTED BY Rose Riordan

Originally produced on Broadway by Scott Rudin, Eli Brush, Joey Parnes, Sue Wagner, and John Johnson.

Commissioned and first produced by South Coast Repertory.

A DOLL’S HOUSE, PART 2 benefited from a residency at New Dramatists.

A DOLL’S HOUSE, PART 2 is presented by special arrangement with Dramatists Play Service, Inc., New York.

RICKETSON THEATRE • SEP 14 - NOV 24, 2019

SEASON SPONSORS

PRESENTED BY

Robert & Judi Newman

A DOLL’S HOUSE, PART 2

Chris Coleman, Artistic Director Charles Varin, Managing Director

A DOLL’S HOUSE, PART 2

CAST

In Order of Appearance Anne-Marie........................................................................................................................................................... LESLIE O’CARROLL* Nora ......................................................................................................................................................................BARBRA WENGERD* Torvald....................................................................................................................................................................................LEIF NORBY* Emmy...............................................................................................................................................................ANASTASIA DAVIDSON

Stage Manager...................................................................................................................................................... D. LYNN REILAND* Assistant Stage Manager........................................................................................................................... HEIDI ECHTENKAMP* Rehearsal Assistant Stage Manager...................................................................................................................RICK MIRELES* Stage Management Apprentice.....................................................................................................................................TESS NEEL Stage Management Intern.................................................................................................................................KRISTA CHOATE Associate Sound Designer.......................................................................................................................................ADAM SMITH

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SETTING Norway. Inside the Helmer house. 15 years since Nora left Torvald.

A Doll’s House, Part 2 will be performed without an intermission.

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

“BAD GUY” Words and Music by BILLIE EILISH O’CONNELL, FINNEAS O’CONNELL (c) UNIVERSAL MUSIC CORP. ON BEHALF OF ITSELF, AND DRUP (ASCAP) (c) KOBALT SONGS MUSIC PUBLISHING ON BEHALF OF LAST FRONTIER (ASCAP) Not for broadcast transmission.

All rights reserved. DO NOT DUPLICATE

ACTING COMPANY ZACHARY ANDREWS (A Doll’s House: Nils Krogstad). DCPA Theatre Company credits include Romeo & Juliet, A Christmas Carol, Three Musketeers. Regional credits include Spike in Vanya and Sonia and Masha and Spike (Kansas City Rep. and Baltimore Center Stage). Local credits last year include Paper Cut (Local Theatre Company), Pride & Prejudice (Boulder Ensemble Theatre Company). He is also a returning member of the Arvada Center Black Box ensemble (2 seasons) and maintains a parallel career as a photographer and filmmaker. MFA, UMKC. SAMUEL BIRD (A Doll’s House: Helmer Child). Recent Credits: A Christmas Carol, The Who’s Tommy (DCPA Theatre Company); Sir Peter in Ella Enchanted, Beast in Beauty and the Beast (Mizel Arts and Culture Center). Training: Rocky Mountain Ballet Academy, DCPA Education, Neighborhood Music. Sam is a third grader at Denver Waldorf School.

ANASTASIA DAVIDSON (A Doll’s House: Kristine Linde / A Doll’s House, Part 2: Emmy). Regional credits include Anna Karenina (DCPA Theatre Company); King Charles III, Love’s Labour’s Lost (Colorado Shakespeare Festival); The Curious Incident of the Dog in the Night-Time, Pride & Prejudice, Going To A Place Where You Already Are, Silent Sky (Boulder Ensemble Theatre Company); The Humans, Detroit ‘67 (Curious Theatre); You on the Moors Now (The Catamounts); In the Next Room: or The Vibrator Play (Bloomsburg Theatre Ensemble).

Film: Remembering Us (BS Filmworks). Anastasia is an ensemble member at BETC and is represented

by Radical Artists Agency. Training: MFA, Penn State University.

JESSIAH DE LEON (A Doll’s House: Helmer Child).

Jessiah is excited to be making his theatre debut in this production of A Doll’s House. He has done commercial, film and modeling work. He is on the Craig Realty Group’s modeling team and enjoys doing TV and fashion show segments with them. He is in first grade and loves to read, play the piano and swim.

MARIANNA MCCLELLAN (A Doll’s House: Nora Helmer). OffBroadway: NYC premiere of Stupid F**king Bird (Pearl Theatre); Cherry Smoke, Underground, Apartment 3A (Clockwork Theatre Co). Marianna performed at the DCPA’s 2019 Colorado New Play Summit in the reading of You Lost Me. Regionally she has performed at the Humana Festival, The Contemporary American Theatre Festival, Portland Center Stage, among others.

Marianna is an ensemble member of Virago in NYC. TV/Film: “The Blacklist,” “High Maintenance,” Two Plains and a Fancy, L for Leisure, How to Score Your Life, and the upcoming Straighten Up and Fly Right.

LEIF NORBY (A Doll’s House: Dr. Rank / A Doll’s House, Part 2: Torvald). A Doll’s House and A Doll’s House, Part 2 marks Leif’s debut with DCPA. Other credits include: Tiny Beautiful Things, Astoria 1 and 2, The Oregon Trail, Othello, Our Town, The 39 Steps, Ragtime (Portland Center Stage); And So It Goes, Red Herring, The Seafarer (Artist Rep.); In The Next Room, The Homecoming (Profile Theater); Grace and Mystery of Irma Vep (Third Rail Rep); Les Misérables, Dirty Rotten Scoundrels (Broadway Rose); Man of LaMancha, Sweeney Todd (Lakewood); Beauty and the Beast (Pixie Dust). TV credits include: “Leverage,” “Portlandia.” Leif is a proud member of Actors’ Equity.

LESLIE O’CARROLL (A Doll’s House and A Doll’s House, Part 2: Anne-Marie). At the Theatre Company: 23 seasons, favorites include The Whistleblower, A Christmas Carol, Benediction, When We Are Married, Eventide, Plainsong, The Diary of Anne Frank, All My Sons. Other theatres: Pride & Prejudice, Silent Sky (Boulder Ensemble Theatre Company); As You Like It, Charles III, You Can’t Take It With You, Noises Off, Twelfth Night, Romeo and Juliet (Colorado Shakespeare Festival); Tartuffe, Mrs. Mannerly (Arvada Center); Parallel Lives (FAC Colorado Springs); Much Ado About Nothing, Grapes of Wrath, Our Town (Theatreworks); Good People (Curious Theatre). TV/ Film: “Breaking Bad,” “Longmire,” “Footloose.” Awards/ Training: Best of Westword, Denver Post Ovation Award; MFA, NTC. MICHAEL SCHANTZ (A Doll’s House: Torvald Helmer).

Off-Broadway credits include: Life Sucks starring Austin Pendleton with Wheelhouse Theatre Company, of which he is a co-founder; Othello (New York Theatre Workshop, directed by Sam Gold); You Got Older (Page 73, directed by Anne Kauffman); Fashions for Men (The Mint); among others. Regional: Coriolanus (The Shakespeare Theatre of New Jersey), Love in the Wars (Bard Summerscape), The Great Gatsby (Virginia Stage Company), A Few Good Men (Alley Theatre), Arms and the Man (Guthrie Theatre.) TV/Film: “Wu-Tang: An American Sage,” “FBI,” “The Blacklist.” Goodnight Death, Interference. Training: MFA, NYU. BARBRA WENGERD (A Doll’s House: Helene / A Doll’s House, Part 2: Nora). Regional: Sweat with Dallas Theater Center; To Kill a Mockingbird, Baskerville with Syracuse Stage; The Glass Menagerie with Arizona Theater

A DOLL’S HOUSE & A DOLL’S HOUSE, PART 2

WHO’S WHO

A DOLL’S HOUSE & A DOLL’S HOUSE, PART 2

Company; Romeo and Juliet, The Merry Wives of Windsor, Coriolanus, Cyrano de Bergerac with The Old Globe; A Midsummer Night’s Dream, Romeo and Juliet with National Shakespeare Company (US tour); Leaving Iowa at The Royal George.

Off-Broadway: Torch Song with Second Stage, Separate & Equal at 59E59, Taming of the Shrew at The Duke on 42nd, Wilder Christmas with Peccadillo. TV/Film: “New Amsterdam,” “Law & Order: SVU,” “The Family,” “I Shudder,” Barren.

Training: MFA, University of San Diego.

RADLEY WRIGHT (A Doll’s House: Helmer Child). At the DCPA Theatre Company: The Who’s Tommy.

Radley lives in Evergreen, Colorado with his family and new kitten. He is a second grader at Bergen Meadow Elementary and enjoys building Legos and playing outside with his friends.

PLAYWRIGHTS HENRIK IBSEN (A Doll’s House) is known as one of the most-performed dramatists in the world. Ibsen (18281906) is revered in Norway as its most famous author and a national symbol, even though he spent much of his life abroad in Italy and Germany. He was largely responsible for the rise of realism in the theatre.

In works that possess revelatory power, Ibsen challenged his audiences to question conventional morality and social conditions. Often controversial, his works were deeply unsettling to many of his Victorian contemporaries. He is now widely regarded as the “father of modern drama” and one of the greatest dramatists who ever lived.

FRANK MCGUINNESS (Adaptation of A Doll’s House) was born in Buncrana County, Donegal, lives in Dublin, and lectures in English at University College, Dublin. His plays include: The Factory Girls, Baglady, Observe the Sons of Ulster Marching Towards the Somme, Innocence, Carthaginians, Mary and Lizzie, The Bread Man, Someone Who’ll Watch Over Me, The Bird Sanctuary, Mutabilitie, Dolly West’s Kitchen, Gates of Gold. His translations include Ibsen’s Rosmersholm, Lorca’s Yerma, Peergynt, Chekhov’s Three

Sisters, Brecht’s The Threepenny Opera, Hedda Gabler, Uncle Vanya, A Doll’s House (which earned a Tony Award for Best Revival), The Caucasian Chalk Circle, Sophocles’ Electra, Ovstrovsky’s The Storm, Miss Julie, Euripides’ Hecuba, his adaptation of Du Maurier’s Rebecca , and his version of Phaedra. Frank’s play There Came A Gypsy Riding was produced by the Almeida Theatre in 2007.

LUCAS HNATH’S (A Doll’s House, Part 2) plays include Hillary and Clinton, Red Speedo, The Christians, A Public Reading of an Unproduced Screenplay About the Death of Walt Disney, Isaac’s Eye, and Death Tax. His work has been produced at Actors Theatre of Louisville/Humana Festival of New Plays, Ensemble Studio Theatre, Gate Theatre, Mark Taper Forum, New York Theatre Workshop, Playwrights Horizons, Royal Court Theatre, Soho Rep, Traverse Theatre, Victory Gardens, among others. He has been a resident playwright at New Dramatists since 2011. He is a member of Ensemble Studio Theatre and a New York Theatre Workshop Usual Suspect. He has received the Kesselring Prize, a Guggenheim Fellowship, the Whiting Award, two Steinberg/ATCA New Play Award Citations, an Outer Critics Circle Award for Best New Play, and an Obie. His work is published by Dramatists Play Service and Overlook Press.

DIRECTORS CHRIS COLEMAN (A Doll’s House and Artistic Director) is passionate about the connection between stories and community. He joined the DCPA Theatre Company as Artistic Director in November of 2017 and recently directed Oklahoma! and Anna Karenina. Previously, Chris served as Artistic Director for Portland Center Stage in Oregon for 18 years. Under his leadership, PCS renovated the city’s historic Armory into a new home, saw annual attendance nearly double, workshopped 52 new plays that went on to productions at over 100 theaters around the U.S. and U.K., and became a national leader in how theaters engage with their community.

In 1988, Chris founded Actor’s Express in Atlanta (in the basement of an old church), a company that continues to be a cultural force in the

Southeast today. He has directed at major theaters across the country, including Oregon Shakespeare Festival, the Alliance Theater, Dallas Theater Center, Baltimore Center Stage, Actors Theatre of Louisville, ACT/Seattle, the Asolo, Pittsburgh Public, 59E59, and New York Theater Workshop. He and his husband, actor/writer Rodney Hicks, live in Stapleton with their 100 lb. English blockhead yellow lab and their 18 lb. terrier mix. Since moving to Colorado, he has hiked Dominguez Canyon, wondered at the Cliff Dwellings of Mesa Verde, explored a working mine in Creede, and rafted down the Arkansas River.

ROSE RIORDAN (A Doll’s House, Part 2 and Associate Artistic Director) joined the DCPA Theatre Company as the Associate Artistic Director in July 2019 and most recently made her Denver debut directing Sweat. Rose spent 22 seasons as the Associate Artistic Director for Portland Center Stage and directing credits include: Tiny Beautiful Things, A Life, Kodachrome, Our Town, The Pillowman, The Thugs and LIZZIE the musical. In 1999, she founded the annual JAW: A Playwrights Festival.

JAW has been instrumental in developing new work and supporting playwrights.

CREATIVE TEAM FOR A DOLL’S HOUSE and A DOLL’S HOUSE, PART 2 HARRIET BASS (Casting). New York: Broadway’s Gem of the Ocean. OffBroadway: Radio Golf, Jitney. Public Theater’s: New Works Now, Minetta Lane, Women’s Project, La MaMa, Epic Theatre, Drama League, Jewish Repertory Theatre, Women in Film and Television. Regional: Hartford Stage, Mark Taper Forum, Arena Stage, Trinity Rep, Syracuse Stage, Huntington Theatre, Portland Center Stage, Dallas Theatre Co., Berkeley Rep, Playmaker’s Rep, Alliance Theatre, Virginia Stage, Geva, CenterStage, Long Wharf Theatre, Arizona Theatre Co. Film: Pushing Hands, Gravesend, First We Take Manhattan. Audition Coach at many of the nation’s top universities and actor training programs.

MATTHEW CAMPBELL (Associate Production Manager) is in his tenth season at the DCPA, a member of the production management team since 2016 and a stage manager the seven previous seasons. Continuously

MEGHAN ANDERSON DOYLE (Costume Designer). Denver Center: select shows include Xanadu, American Mariachi, First Date, The Wild Party; DragOn; The Glass Menagerie; Sweet & Lucky; Fade; Tribes; One Night In Miami; Cult Following; Perception; Appoggiatura; Vanya and Sonia and Masha and Spike; Lord of the Butterflies; Jackie & Me; I Love You, You’re Perfect, Now Change!; Five Course Love; Ed, Downloaded; The Giver; Superior Donuts; and Well. Other Theatres: Colorado Shakespeare Festival, Arvada Center, The Aurora Fox, Curious Theatre Company, Local Theatre Company, Theatre Aspen, National Theatre Conservatory.

Training: M.F.A in Costume Design, University of Florida.

BARBARA HORT, PH.D. (Psychodramaturg) has maintained a private practice in Portland, Oregon for three decades, based on the work of Swiss psychoanalyst Carl Jung. Dr. Hort has served as psychodramaturg on numerous productions, including: Sweeney Todd, Fiddler on the Roof, Othello, A Streetcar Named Desire, Astoria, Fun Home at Portland Center Stage; Oklahoma!, Anna Karenina at DCPA. She provides material on the play’s psychological dynamics that is used by the artists creating the production.

LINDSAY JONES (Original Music Composer and Sound Designer).

Broadway: Slave Play, The Nap, Bronx Bombers, A Time To Kill.

Off-Broadway: Privacy (Public), Bootycandy (Playwrights Horizons), Rx (Primary Stages) and many others. International: Royal Shakespeare Company (England), Stratford Festival (Canada).

Regional: Arena Stage, Goodman, McCarter, Old Globe, Steppenwolf, Guthrie, Hartford Stage, Chicago Shakespeare, La Jolla Playhouse and many others. Film scoring: The Brass

Teapot for Magnolia Pictures, A Note of Triumph (2006 Academy Award Winner) for HBO Films. Awards: seven Joseph Jefferson Awards and 24 nominations; two Ovation Awards and three nominations; among many others. lindsayjones.com JASON LYNCH (Lighting Designer).

At DCPA Off-Center: The Wild Party and DragOn. Regional Credits: Alley Theatre, Dallas Theater Center, The Goodman Theatre, Steppenwolf Theater Company, Chicago Shakespeare Theater, Oregon Shakespeare Festival, The Repertory Theatre of St. Louis, Victory Gardens Theater, Northlight Theatre, among others. Jason is also the recipient of the 2019 Michael Maggio Emerging Designer Award which recognizes emerging theatrical designers within the Chicago area. He is also a proud member of The Association of Lighting Designers and alumnus of The Santa Fe Opera.

KATHRYN G. MAES, PH.D. (Voice and Dialect). Vietgone, The Constant Wife, A Christmas Carol, Anna Karenina (DCPA Theatre Company); The Man Who Came to Dinner (Royal Shakespeare Company); Arthur Miller’s American Clock (Royal National Theatre). Special Awards/ Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, Head of Voice at the Denver Center Theatre Company and the National Theatre Conservatory.

LISA M. ORZOLEK (Scenic Designer).

At the DCPA: (250+ productions/28 seasons) The Whistleblower, Human Error, Native Gardens, Disgraced, The Nest, Tribes, One Night in Miami, Benediction, Vanya and Sonia and Masha and Spike, Shadowlands, Jackie & Me, Death of a Salesman, The Liar, Superior Donuts, Othello, Well, Gee’s Bend, The Pillowman, A Lovely Sunday for Creve Coeur, and more (DCPA Theatre Company); Corduroy, The Snowy Day (DCPA Education); DragOn, Sweet & Lucky (DCPA Off-Center); Xanadu, First Date, An Act of God, Love... Perfect...

Change, Forbidden Broadway, Girls Only, and more (DCPA Cabaret).

Other Theatres: Love Letters (Lone Tree Arts Center); A Midsummer Night’s Dream, Macbeth, Richard II (Colorado Shakespeare Festival).

Training: BFA in Scenic Design, Boston University.

LYNDE ROSARIO (Dramaturg) is Dramaturg and Literary Manager for the DCPA Theatre Company.

Dramaturgy credits at DCPA: A Doll’s House; A Doll’s House, Part 2; You Lost Me; Choir Boy; Off-Center’s Camp Christmas; Untitled CryptoJudaism Project reading; Colorado New Play Summit reading of You Lost Me. Memberships: Co-VP of the Literary Managers and Dramaturgs of the Americas, Mountain West region and Board Member of the National New Play Network’s Board of Directors. Training: B.A. in Drama, Hofstra University; M.F.A. in Dramaturgy, The American Repertory Theatre/Moscow Art Theatre Institute for Advanced Theatre Training at Harvard University. @literarylynde GRADY SOAPES, CSA (Casting) is the Director of Casting and Associate Producer with DCPA. Selected casting credits include A Doll’s House and A Doll’s House, Part 2 in repertory, Oklahoma!, Last Night and the Night Before, The Constant Wife, The Who’s Tommy, The Wild Party, A Christmas Carol, This Is Modern Art and casting associate on many other Denver Center productions.

Choreography credits include Anna Karenina, As You Like It, Drag Machine, Lord of the Butterflies, DragOn (DCPA); Comedy of Errors (Colorado Shakespeare Festival); The Music Man (Perry-Mansfield). Grady is the producer of the Colorado New Play Summit and former producer of the Colorado New Play Festival.

STAGE MANAGEMENT HEIDI ECHTENKAMP (A Doll’s House: Stage Manager / A Doll’s House, Part 2: Assistant Stage Manager). At the DCPA Theatre Company: The Whistleblower, The Constant Wife, Native Gardens, American Mariachi, A Christmas Carol, The Christians, workshop production of Lady Day at Emerson’s Bar and Grill. At DCPA Off-Center: Between Us: The Whiskey Tasting, The Wild Party. Regional credits include: American Musical Theatre of San Jose (Wizard of Oz, West Side Story, Gypsy, A Chorus Line, Tapestry, Christmas Dream Land); STAGES Theatre (Always... Patsy Cline); Carousel Dinner Theatre (Thoroughly Modern Millie); Lone Tree Arts Center (39 Steps, Sylvia); Arvada Center for the Arts and Humanities (Putting it Together, Children of Eden). Teatro ZinZanni: Venue Manager and

A DOLL’S HOUSE & A DOLL’S HOUSE, PART 2

grateful to support and work alongside our marvelous staff and guest artists creating unforgettable, amazing theatre. Some Theatre Company favorites while on the stage management team: Frankenstein, The 12, Animal Crackers, Lord of the Flies and Sweet & Lucky with OffCenter. Previously a stage manager at several local theatres and an Assistant Professor of Theater at Brooklyn College. Training: MFA, University of Iowa.

A DOLL’S HOUSE & A DOLL’S HOUSE, PART 2

Production Manager. Catamounts: Entertainment Director for FEED: DREAMS. RICK MIRELES (A Doll’s House, Part 2: Rehearsal Assistant Stage Manager). DCPA Off-Center: Remote Denver, This Is Modern Art, The Wild Party, Travelers of the Lost Dimension, The SantaLand Diaries. Other credits: Intern at the Creede Repertory Theatre, Montana Shakespeare in the Parks and Schools, Eugene O’Neill Theatre Center. Training: BA and MA, theatre, University of Texas Pan-American; MFA, stage management, University of Illinois Urbana Champaign. Rick hails from South Texas.

D. LYNN REILAND (A Doll’s House Assistant Stage Manager/A Doll’s House, Part 2 Stage Manager). 16 seasons at the DCPA Theatre Company including: The Whistleblower, Oklahoma!, Human Error, Macbeth, A Christmas Carol, The Nest, Tribes, Appoggiatura, Vanya and Sonia and Masha and Spike, The Legend of Georgia McBride, Sweet & Lucky, Perception (Off-Center). Other theatres: Curious Theatre Company, Phamaly Theatre Company, Seven Devils Playwrights Conference.

MALIA STONER (A Doll’s House: Rehearsal Assistant Stage Manager).

DCPA Off-Center: The SantaLand Diaries. Lone Tree Arts Center: Beehive. Candlelight Dinner Playhouse: Newsies, Man of La Mancha, Beauty and the Beast, Music Man, Slipper and the Rose, 42nd Street, Forever Plaid, A Wonderful Life, Evita and Kiss Me, Kate. Little Theatre of the Rockies: Gypsy, Addams Family, Aida, Godspell.

Colorado Dance Theatre: Nutcracker.

Additional companies include: Empire Entertainment, Performing Arts Academy, Mighty Fine Productions, Adam Baerd Music.

THEATRE COMPANY LEADERSHIP TEAM CHRIS COLEMAN (Artistic Director) See bio under Director.

CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial and business operations for Theatre Company and OffCenter productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the

artistic vision of the organization and facilitating the production of shows such as Sweet & Lucky, The Unsinkable Molly Brown, Sense & Sensibility The Musical, The 12, Sweeney Todd with DeVotchKa and many more. Charles is passionate about artistic innovation and firmly believes in DCPA’s long-standing commitment to new plays and new voices.

In addition to DCPA staff, the following crew worked on this production: Sara Barbour, Julia Braun, Lisa Ehrle, Cindy Kauffman, Marilyn Langeber, Jeanne Legrand, Ingrid Leutke, Jane Nelson-Rud. Special thank you to Indecent Music Director Angela Steiner.

The Director is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

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.

Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.) The scenic, costume, lighting and sound designers in LORT Theatres are represented

by United Scenic Artists, Local USA-829 of the IATSE.

PLEASE BE ADVISED • LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• CHILDREN 4+ 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.

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Theatre Company is a division of the Denver Center for the Performing Arts, a not-for-profit organization serving the public through the performing arts.

The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada.

The Theatre Company is constituent of Theatre Communications Group (TCG), the national organization for not-for-profit resident theatre companies.

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

TAKING PHOTOS AT THE THEATRE We welcome you to take photos in the theatre before and after the performance and during intermission. If you post photos on social media, please credit and tag the DCPA and the design team: @denvercenter #DCPATheatreCompany #DCPAToday #DCPADolls Playwrights: Henrik Ibsen and Lucas Hnath Directors: Chris Coleman @ChrisCDenver and Rose Riordan Scenic Designer: Lisa Orzolek Costume Designer: Meghan Anderson Doyle @mdoyle19 Lighting Designer: Jason Lynch Sound Designer: Lindsay Jones @mrlindsayjones Photos and the video and/or audio recording during any part of the performance by any means whatsoever are strictly prohibited.

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NOV 21, 2019 – JAN 5, 2020

NOV 23 – 24, 2019 JIMMY BUFFETT’S

BOOK BY &

GREG GARCIA TM

NOV 26 – DEC 1, 2019

TM

& © 1957, 2018 Dr. Seuss Enterprises, LP. & © 1957, 2018 Dr. Seuss Enterprises, LP.

DEC 3 – 8, 2019

DEC 14 & 15, 2019

MIKE O’MALLEY

©

MUSIC AND LYRICS BY

JIMMY BUFFETT

DEC 23, 2019 – JAN 5, 2020

DENVERCENTER.ORG BROADWAY SEASON SPONSORS

THEATRE COMPANY SEASON SPONSORS

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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

22

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?

OPENS FOR TINY TOTS GOODNIGHT MOON copyright © 1947, 1975 A Clark III and JT Hurd

BY S U Z A N N E YO E

I

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

26

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

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DCPA DCPA TEAM TEAM

DCPA

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

28

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.

A

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...

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(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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ADDITIONAL SUPPORT

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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

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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

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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Together4Colorado, we make a difference.

Together4 Colorado, we cover the arts.

32

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

34

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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