Applause -- Rattlesnake Kate -- February 4-March 13, 2022

APPLAUSE VOLUME XXXII NUMBER 3 FEB – MAR 2022

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Rattlesnake Kate ...................... pg 14 Hamilton .......................................pg 24 4

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In the Upper Room.................... pg 6

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EDITOR: Suzanne Yoe DESIGN DIRECTOR: Kyle Malone DESIGNER THIS ISSUE: Brenda Elliott CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler CONTRIBUTING WRITERS: Leo Adam Biga, Brittany Gutierrez, John Moore, Janice C. Simpson

Welcome to the Denver Center for the Performing Arts!

This issue of Applause is a celebration of storytellers. From our Middle and High School Playwriting Competition to one of the most successful Broadway musicals of all time, great theatre relies on a good plot that grabs your attention and doesn’t let go.

The DCPA celebrates playwriting at all levels. In January, our Education Department was in the final stages of its annual Middle and High School Playwriting program, complete with in-school workshops, a selection of both middle and high school finalists, and the announcement of three winners whose works are read as part of the Colorado New Play Summit.

The Summit is a presentation of four scripts in development — each of which is rehearsed and given public readings at which the playwrights observe audience reaction. Did the punchline land?

Was there a dry eye in the house? What was unexpected and caught the audience’s attention? These reactions inform rewrites in preparation for a future production.

After readings and workshops, a play might be fortunate to receive a full production. Such is the case with two of our current plays: Rattlesnake Kate and In the Upper Room, both of which were originally read as part of the 2019 Colorado New Play Summit. The former was inspired by a little known yet highly colorful character from Colorado’s history — Kate Slaughterback — who saved her son, killing 140 rattlesnakes in one courageous battle and becoming a global sensation. The latter recounts the Berry’s, a multi-generational African American family in the 1970’s whose lives orbit around a strong-willed matriarch whose secrets drive her relatives nuts.

Once a play receives its debut, the hope is that it will be produced by other regional theatres or even on Broadway. Ron Chernow’s biography about Alexander Hamilton inspired Lin-Manuel Miranda to write one song. It received such an enthusiastic response that he developed it into a full musical, which was workshopped and produced at The Public Theatre before transferring to Broadway’s Richard Rodgers Theatre. And the rest, as they say, is history.

The success of any play is a two-way street. It’s the playwright and a director. Then it’s a director and a cast. Finally, it’s a cast and an audience. We each have an important part to play in the evolution of the script. So listen carefully, lean in, laugh or cry, let the experience transport you…to a front porch, to the Wild West or way back to 1776. Enjoy!

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PLAYWRIGHT BEAUFIELD BERRY DRAWS ON HER OWN FAMILY FOR

IN THE UPPER ROOM

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Generations live strong in the memory and imagination of Omaha-based playwright Beaufield Berry.

Her original family drama In the Upper Room, a 2019 Colorado New Play Summit selection, gets a world premiere production by the DCPA Theatre Company this winter.

Set in 1974 Omaha, this Black American family drama draws closely on her own multicultural clan’s gumbo of Southern, Midwest, Afro-Puerto Rican and American Indian heritage. Her biracial background adds another lens on this complex household.

Dominated by matriarch Rose, keeper of family secrets, characters navigate mysteries, lies and love in that Black is Beautiful era. Their intertwined lives brim with socialcultural touchstones, rituals and traditions. In this emotional hothouse, spirits have their say, too. It’s a sweet, sad, funny mosaic of American gothic meets magic realism told from a Black feminist perspective.

Berry’s examination of family only happened after years spent searching for herself. Writing short stories and performing in plays since childhood, her self-taught craft remained the one constant as she led a scattered life in Atlantic City and Las Vegas. Her gypsy life intersected with Colorado when she worked at a Telluride ski lodge and ranch.

“I wasn’t settled with anything. I was kind of discovering where I belonged in the world of performance and theater,” she said.

During her vagabond period a short play of hers got accepted by the Great Plains Theatre Conference (now Great Plains Theatre Commons, GPTC) in Omaha.

In fact, Dramaturg Heather Helinsky was exposed to In the Upper Room at the GPTC, where it was workshopped

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and read in 2017 and was later a finalist in the Eugene O’Neil Theater’s National Playwrights Conference.

Unbeknownst to Berry, Helinsky submitted the piece to the Colorado New Play Summit.

“Our New Play Development Director at the time, the late Doug Langworthy, read it and he said this is something we should think about,” Theatre Company Artistic Director Chris Coleman said.

Coleman agreed, calling it “a big, human-centered American family drama.”

PROCESS INFORMS PRODUCTION

Dramaturg Jacqueline Lawton and director Gregg Daniel worked with Berry through the New Play Summit readings.

A strong reception earned the play a season spot that the pandemic pushed back to this winter.

“I didn’t know it was going to be something we produced, but Beaufield did such great work in the two weeks of that workshop, really digging deep into the script and the story so that when it performed for audiences they just kind of went nuts for it,” Coleman said. “It was one of the most successful workshops we had that year.”

Daniel, who’s directing the production, found in Berry a willing collaborator.

“She listened very carefully, she respected my ideas,” he said. “I knew she’d be a terrific partner to go into mining this text and really uncovering this story. She wasn’t holding onto her words as some playwrights do. She wanted to improve upon the play, she wanted to make it as tight, as lean, as potent as it could be.

In Daniel, she found an ideal interpreter of her work. “I think every playwright wants to be taken care of by their director. That’s what I need, a director who respects me

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and listens and who I can give that back to. That is Gregg Daniel in a nutshell. He’s decisive. He also refers to me and puts me first, so I trust him to make great decisions for our show.”

Workshopping has led her to more fully embrace theatre’s collective practice.

“As a younger writer I thought writing was a lonely machine fueled by heartbreak, whiskey and cigarettes. But like so many other truths in life, it takes a village.”

A play, she said, “passes through hands and hearts, and everyone leaves their mark, and it lives, breathes and grows with every incarnation.”

PULL OF FAMILY

Not one to shy away from the mystical, Berry found her ancestors, specifically grandma Rose, actively serving as her muses.

“As a child I had what I call now spiritual visitings. I asked the universe not to have one again for a very long time and I guess Rose just decided the rules didn’t apply to her and so she broke on through.”

The spectral visits by Rose were vivid. “Her voice was so strong and loud in my ear that it was very real to me.” Other ancestors weighed in as well. Feeling inspired and guided, Berry wrote 100 pages in three days.

Most of what she wrote “under the influence” has remained intact. “They ended up giving me a marvelous gift.”

BIGGER-THAN-LIFE MATRIARCH

It’s fitting that Rose, the bossy fulcrum on which the play revolves, should have “dictated” her own story. In death, as in life, she’s a tyrant and enigma who defies easy analysis.

“The secrets, the relationships, the dynamics – those things are so universal to American families regardless of race and generation and whatever,” she said. “But it is exciting to me that this is specifically a Black family. They are unapologetically themselves. It’s a fly on the wall of Black family life but also showing that Black family life is the same as any other family life.”

FIRST IN A CYCLE

She projects Upper Room as the first in a seven-play cycle. She’s developing new works in the cycle that deal with various issues: Branch and Bone (growing up biracial), Ivory (Black mental health), Spectrophobe (life in the deep South), and Mulatto (identity).

Coleman won’t be surprised if a new play by Berry finds its way to DCPA. “She is fearless, she is hilarious. I just really enjoy her personally as well as the quality of her writing.”

HONORING OUR ELDERS We invite our audiences to join the DCPA as we honor our Elders for the care of the land on which we perform with an official land acknowledgement. These words are shared at company meetings, first rehearsals, public forums and in the pages of Applause to recognize and respect Indigenous Peoples, their traditional territories and the care they have shown to all who reside here.

The Denver Center for the Performing Arts honors and acknowledges that it resides on the traditional and unceded territories of the Ute, Cheyenne, and Arapaho Peoples. We also recognize the 48 contemporary Indigenous Tribes and Nations who have historically called Colorado home.

We pay our respects to Elders past, present, and future, and to all those who have stewarded the land and water for generations.

May this acknowledgment express the DCPA’s commitment to grow and deepen its relationships with the vibrant Indigenous communities who continue to thrive and uphold their sacred relation to this land.

(l-r) Director Gregg T. Daniel, Playwright Beaufield Berry and Dramaturg Regina Victor

IN THE UPPER ROOM FEB 11 – MAR 13, 2022 DOROTA AND KEVIN KILSTROM THEATRE

ASL Interpreted, Audio-Described performance: Mar 6 at 1:30pm

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Learn more about land acknowledgements.

February 6–May 8, 2022 Explore the enduring legacy of Mexico’s La Malinche—one of history’s most enigmatic and fascinating figures.

Image: Alfredo Ramos Martínez, La Malinche (Young Girl of Yalala, Oaxaca), 1940. Oil paint on canvas; 50 x 401⁄2 in. Phoenix Art Museum: Museum purchase with funds provided by the Friends of Mexican Art, 1979.86. ©The Alfredo Ramos Martínez Research Project, reproduced by permission.

Traitor, Survivor, Icon: The Legacy of La Malinche is organized by the Denver Art Museum. This exhibition has been made possible in part by a major grant from the National Endowment for the Humanities: Democracy demands wisdom. Additional funding is provided by Furthermore: a program of the J. M. Kaplan Fund, University of Denver: College of Arts, Humanities & Social Sciences, the donors to the Annual Fund Leadership Campaign, and the residents who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by 5280 Magazine and CBS4. Special thanks to the National Institute of Anthropology and History and Mexico’s Secretary of Culture.

Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.

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Feb 26–27 + Mar 4–5 • See the world premiere productions of Neyla Pekarek (of The Lumineers) and Karen Hartman’s Rattlesnake Kate and Beaufield Berry’s In the Upper Room.

• Hear readings of fresh scripts from Kimber Lee, Leonard Madrid, and Kirsten Potter.

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REVIVING A LEGEND:

RATTLESNAKE KATE

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It’s been three years since Colorado New Play Summit audiences got a sneak peek at Rattlesnake Kate, which back then wasn’t much more than a promising idea in the imagination of Neyla Pekarek.

Simply put: “The Rattlesnake Kate world premiere musical that you will see today is dramatically different from the concert version you may have seen in 2019,” DCPA Theatre Company Artistic Director Chris Coleman said.

There are at least a dozen new songs, Pekarek said, and only one that remains unchanged. The cast has been expanded from six actors to 14. There is now a fully developed script and a score that’s been expanded threefold. “It’s a completely different show,” said Pekarek.

The Aurora native, cellist and composer began developing the largely unknown story of Colorado frontierswoman Kate Slaughterback into a concept album back in 2015. The hook: Back in 1925, the self-reliant single mother came upon a migration of rattlesnakes near her farm in Hudson while on horseback with her 3-year-old adopted son. So, naturally, she proceeded to wipe out all 140 of them. “At first she killed them with her rifle, but she ran out of bullets,” Pekarek said. “So then she plucked a ‘No Hunting’ sign from the ground and just started bludgeoning those snakes to death.”

Pekarek had recently left the Grammy-nominated band The Lumineers and was pursuing her own artistic identity

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when she discovered a kindred spirit in Slaughterback.

Born near Longmont in 1894, she was a nurse during World War II who held a variety of jobs, including taxidermist, midwife and bootlegger. She was divorced six times and made her way farming her own land.

Pekarek wove Slaughterback’s biography into a 2018 concept album called Rattlesnake. Coleman then commissioned Pekarek, with the help of Brooklyn playwright Karen Hartman, to transform the album into a fully fleshed stage musical. Hartman, playing big-time catch-up, came to the Summit with 40 pages of script in hand – “and we immediately threw 30 of them away,” she said with a laugh.

But Coleman was so taken by the songs and the theatrical potential of this uniquely Colorado story that he immediately slated Rattlesnake Kate for a full production in January 2021.

Then came COVID. “The delay gave us time to expand the story and integrate some of the deeper conversations that we are having about America right now,” Hartman said.

The story is now framed as a group of contemporary storytellers who come in all shapes, genders, ages, colors and clothes, inviting us to gather around a campfire to hear a story of the past. “The very first line of the show is Neyla singing: ‘This is a tale about the West,’ ” Hartman said. And

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even though Kate’s story took place 100 years ago, Pekarek added: “This is really the universal story of anyone who has been invisible.”

To underscore that point: Kate is being played by three different actors of differing ages and races. “After our last workshop, we talked a lot about diversifying the cast so that storytellers look like the Colorado that we see today,” Pekarek said.

One of those lock-opening creative conversations came when African American choreographer Dominique Kelley (DCPA Theatre Company’s Oklahoma!) read Hartman’s script and discovered this White woman from the early part of the 20th century who was fiercely authentic in a way that rubbed up against the system of the day.

“And when I finished reading it, I thought, ‘Well, that’s my story.

I’m Kate,’ ” said Kelley. That’s when Coleman knew the story his team had to tell was larger than just one snake-killing loner. “The hope is that lots of people can see themselves in Kate,” he said.

Slaughterback experienced a fleeting taste of international celebrity when word of the snake attack started to spread in 1925.

Hartman says that’s one thing Slaughterback and Pekarek have in common: “Both of them had this ‘shot-out-of-a-cannon’ experience with fame as a young person, and then they had to reinvent themselves,” said Hartman. After the glory comes the question: “What now?” The rattlesnake attack happened when Kate was just 32, and her life didn’t end there. She had 44 more years of “What now?” to go.

“This is really the universal story of anyone who has been invisible.”

— NEYLA PEKAREK, COMPOSER

That’s why one of the writers’ biggest creative challenges was deciding how and when to stage the rattlesnake attack in the musical. The solution came from Broadway orchestra arranger Christopher Jahnke (Dear Evan Hansen), who suggested they tease the incident early in the musical, and revisit it later. Like a classic musical reprise.

“The second time you see it, you see it in all its glory, and Kate is reliving the experience for a contemporary, younger person to hear and understand,” Hartman said. “When you see it again, you see it in the larger context of her entire life, and it is much more meaningful.”

The overriding question that has driven Hartman and Pekarek: “Why now? Why do we need to see this story today?” Hartman said. She hopes they have produced “a powerful and previously untold story that a lot of people can relate to.”

Pekarek counts herself among the many who have emerged from the quarantine wanting to approach their lives differently.

“I am the kind of person who is a people-pleaser,” she said.

“I really do not like to ruffle feathers. It’s really hard for me to advocate for myself. And here’s Rattlesnake Kate, a woman who lived completely authentically to who she was all the time, regardless of cost or consequences. I know that’s more of who I want to be.

“She was kind of a misfit, and I think this is a story for misfits.”

RATTLESNAKE KATE FEB 4 – MAR 13, 2022 • MARVIN & JUDI WOLF THEATRE ASL Interpreted & Audio Described performance: Feb 20, 2pm

COMING UP FROM BROADWAY

TOOTSIE

Get ready for the official love letter to the theatre that will have you laughing out of your seat. Based on the 1982 film, the Tony Award-winning Tootsie tells the story of an actor whose reputation for being difficult catches up to him, which prompts him to adopt a new identity as Dorothy Michaels to land the role of a lifetime on Broadway.

What changes will fans of the film notice on stage? In the film, Michael Dorsey (as Dorothy Michaels) auditions for a role in a lead soap opera and the musical centers around a role on Broadway. Tootsie Book Writer Robert Horn shared with the Chicago Tribune during the pre-Broadway engagement, “by moving the show to Broadway, we get the chance both to pay tribute to the theater and make fun of it.”

What else can audiences expect?

Tootsie Composer David Yazbek (The Full Monty and The Band’s Visit) tells the Chicago Tribune to not expect to see recreations of the ‘80s music from the film and to expect the exact opposite with a more upbeat and funky sound.

See the hilarious comedy Tootsie at The Buell Theatre, Mar 29 – Apr 10, 2022.

The cast of the National Tour of Tootsie.

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RATTLESNAKE KATE Neyla Pekarek BOOK BY Karen Hartman

MUSIC AND LYRICS BY

With Gina Naomi Baez*, Jada Simone Clark*, Leana Rae Concepcion*, Steven Grant Douglas*, Matthew Bryan Feld*, Andrea Frierson*, Michael Genet*, Jordan Goodsell*, Isaac Huerta, Alyse Alan Louis*, Neyla Pekarek*, Marco Robinson*, Esteban Suero*, Lily Talevski*, Keith White*, Erin Willis* Stage Managers: Heidi Echtenkamp*, Margaret Kayes*, Malia Stoner* SCENIC DESIGN BY Klara Zieglerova

COSTUME DESIGN BY Sara Ryung Clement

MUSIC DIRECTION AND CONDUCTING BY Angela Steiner FIGHT DIRECTION BY Alexis Black

LIGHTING DESIGN BY Elizabeth Harper

MUSIC SUPERVISION BY Christopher Jahnke

INTIMACY CHOREOGRAPHY BY Samantha Egle

CASTING BY Grady Soapes, CSA and Binder Casting Chad Eric Murnane, CSA & Amber Snead, CSA

SOUND DESIGN BY Ken Travis

ORCHESTRATIONS AND ARRANGEMENTS BY Christopher Jahnke

VOICE AND DIALECT BY Kathryn G. Maes

DRAMATURGY BY Heidi Schmidt, PhD

PRODUCTION MANAGEMENT BY Matthew Campbell

CHOREOGRAPHY BY Dominique Kelley

DIRECTED BY Chris Coleman Rattlesnake Kate received developmental support at the Hedgebrook Woman Playwrights Festival, Whidbey Island.

Rattlesnake Kate was developed at the DCPA Theatre Company’s 2019 Colorado New Play Summit.

This project is supported in part by an award from the National Endowment for the Arts.

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

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RATTLESNAKE KATE

Chris Coleman, Artistic Director Charles Varin, Managing Director

RATTLESNAKE KATE

CAST

In Order of Appearance

Brownie........................................................................................................................................................................... Neyla Pekarek* Brownie (Feb 6, Feb 8-9, Feb 17, Feb 23, Mar 2, Mar 9)...............................................................................Lily Talevski* Rattlesnake Kate (Katie).......................................................................................................................Leana Rae Concepcion* Rattlesnake Kate (Kate)..................................................................................................................................... Alyse Alan Louis* Rattlesnake Kate (Katherine)............................................................................................................................ Andrea Frierson* Ernie..................................................................................................................................................................................Esteban Suero* Colonel (Buckskin Bill)............................................................................................................................................. Michael Genet* Jack................................................................................................................................................................... Steven Grant Douglas* Pa / Revenue Man / Judge..........................................................................................................................................Keith White* Restaurant Owner / Lady Reporter / Water Gal..............................................................................................Lily Talevski* Restaurant Owner / Lady Reporter / Water Gal (Feb 6, Feb 8-9, Feb 17, Feb 23, Mar 2, Mar 9)......................................................................................................Erin Willis* Claude Hampton..................................................................................................................................................... Marco Robinson* Quincy Cullen...................................................................................................................................................Matthew Bryan Feld* Annie Oakley..............................................................................................................................................Leana Rae Concepcion* Celia............................................................................................................................................................................Gina Naomi Baez* Fantasy Kate........................................................................................................................................................Jada Simone Clark* Fantasy Buckskin Bill......................................................................................................................................................Isaac Huerta Ensemble................................................................Gina Naomi Baez*, Jada Simone Clark*, Leana Rae Concepcion*, Steven Grant Douglas*, Matthew Bryan Feld*, Andrea Frierson*, Michael Genet*, Isaac Huerta, Alyse Alan Louis*, Neyla Pekarek*, Marco Robinson*, Esteban Suero*, Lily Talevski*, Keith White* SWINGS Jordan Goodsell*, Erin Willis* UNDERSTUDIES For Katie: Gina Naomi Baez*, for Kate and Brownie: Lily Talevski*, for Katherine, Lady Reporter, and Celia: Erin Willis*, for Colonel (Buckskin Bill): Keith White*, for Ernie and Jack: Marco Robinson*, for Quincy, Pa, and Claude: Jordan Goodsell* Additional Arrangements........................................................................................................................................ Angela Steiner Associate Choreographer.............................................................................................................................Jada Simone Clark* Dance Captain.........................................................................................................................................................Jordan Goodsell* Fight Captain......................................................................................................................................................................Keith White* Additional Dramaturgical Support.................................................................................................................Lisa Marie Rollins Stage Manager..........................................................................................................................................................Margaret Kayes* Assistant Stage Manager................................................................................................. Heidi Echtenkamp*, Malia Stoner* Stage Management Apprentice...................................................................................................Katy Gentry, Sage Hughes *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

SETTING A campfire tale. Also Kate’s world, mostly the high plains of Colorado, about fifty miles north of Denver, 1909-1969.

There will be one 15-minute intermission.

ACT ONE “Western Woman: Invitation and Land Acknowledgement”................................................Brownie and Company “Train Song”........................................................................................................................................................ Katie and Company “Western Woman: Conjuring The Land”............................................................................................... Katie and Company “I Want Everything” .......................................................................................................Katie, Kate, Katherine, and Brownie “Hold On Tight Preprise”........................................................................Katie, Kate, Katherine, Brownie and Company “The Attack”.........................................................................................................................Kate, Ernie, Brownie and Company “Hold On Tight”........................................................................................................................................ Kate, Brownie and Ernie “Better than Annie”.......................................................................................................................... Annie, Kate, and Reporters “I’ll Make History”............................................................................................................................................... Kate and Company “Jack’s Request”.................................................................................................................................................................................Jack “Miffed Preprise”...............................................................................................................Kate, Katie, Katherine, and Brownie “Riding Through The West: Chapter I”............................................................................................................................ Colonel “Letters to the Colonel”...........................................................................................................................................Colonel & Kate “Earn Our Bread”................................................................................. Kate, Ernie, Celia, Cullen, Brownie, and Company “Testimony”..................................................... Kate, Cullen, Judge, Katie, Katherine, Ernie, Brownie, and Company “Miffed”...............................................................................................................................Kate, Katie, Katherine, and Company

ACT TWO “Western Woman: Hymn in the Wind”............................................................................................Brownie and Company “Earn Our Bread Reprise”...............................................................................................................Cullen, Ernie, and Workers “Letters to the Colonel Reprise”.....................................................................................................................Colonel and Kate “The Best is Yet To Come Preprise”.................................................................................................................................Brownie “Celia’s Request “............................................................................................................................................................................. Celia “Land Of Opportunity”......................................................................................................................................Celia and Workers “Letters to the Colonel Reprise 2”......................................................................................................... Brownie and Colonel “Dear Boy”.............................................................................................................................................. Katherine, Katie, and Kate “Riding Through the West: Chapter II”............................................................................................................................ Colonel “I’m Getting Out”..............................................................................................................................................................................Ernie “The Best is Yet to Come”......................................................................................................................Brownie and Company “Letters to the Colonel Reprise 3”................................................................................................................................ Katherine “Riding Through the West: Chapter III”........................................................................................................................... Colonel “Letters to the Colonel Reprise 4”.................................................................................................................................Katherine “Well, Actually”...............................................................................................................Colonel, Cullen, Pa, Claude, and Jack “Brownie’s Goodbye”...............................................................................................................................................................Brownie “Arsenic”................................................................................................................................................................Celia and Company “Will You Remember Me”...................................................................................................................................................Katherine “The Attack Reprise”....................... Katherine, Kate, Katie, Brownie, Ernie, Water Delivery Gal, and Company “I Want Everything Reprise”.......................................................................................................... Katherine, Katie, and Kate “Her Story”......................................................................... Kate, Katherine, Katie, Ernie, Brownie, Celia, and Company

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MUSICAL NUMBERS

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WHO’S WHO ACTING COMPANY GINA NAOMI BAEZ (Celia/Ensemble).

(She/Her/Hers).

Off-Broadway & New York credits include: A Christmas Carol (Madison Square Garden); Chautauqua! (The Public Theater); Women on Fire (Royal Family Productions); Love Song (Feinstein’s 54 Below); A Taste of Things to Come (The York Theatre Company); Fatty Fatty No Friends (OPERA AMERICA/NYMF), and Under Fire (NYMF). Regional credits include: The Hunchback of Notre Dame (The Argyle Theatre); Man of La Mancha (Colorado Springs Fine Arts Center); In the Heights (Montclair Operetta); Oliver! (New Paradigm Theatre Company), and Little Shop of Horrors (Fulton Theatre). TV/Film: She’s Gotta Have It, “Orange is the New Black”, “FBI” and Triple Threat. Gina is also a singer/songwriter, YouTuber, and Influencer known for her infamous “Truth Hurts x Hocus Pocus” viral parody music video recognized by LIZZO & Bette Midler. @GinaNaomiBaez and GinaNaomiBaez.com.

JADA SIMONE CLARK (Fantasy Kate/Ensemble).

(She/Her/Hers).

Born in Baltimore, Maryland, Jada has always been surrounded by music and creativity. Jada began her formal dance training at age 7, attending Baltimore Dance Tech where she studied Ballet, Modern, Jazz, Tap, Hip Hop, and Liturgical Dance. She has also had the privilege of training at the Alvin Ailey Summer Intensive throughout high school. Jada is currently a Senior studying at Pace University (NYC), under the leadership of Director Rhonda Miller, where she is working towards her BFA in Commercial Dance. She continues to utilize her creativity and passion for expression outside of dance through songwriting and singing.

LEANA RAE CONCEPCION (Katie/Annie Oakley/ Ensemble) (She/Her/ Hers) is beyond elated to be making her DCPA debut in Rattlesnake Kate.

Most recently she was seen as Michele Weinberger in the NY workshop of Romy & Michele: The Musical. Thank you to Justin for being her #1, Ross and her entire team at A3 for continuing to believe in her. Big love to her mom, Norman, DG, Jason, and her forever friends. Thank you to Chris, Neyla, Hartman, Dominique, Angela, Jahnke, Binder Casting, and everyone at DCPA for saying “Yes!” Proud Filipina and grateful to be back where she belongs. @leanarae STEVEN GRANT DOUGLAS (Jack Slaughterback/ Ensemble). DCPA debut. Broadway National Tours: SUMMER: The Donna Summer Musical (Bruce Sudano) and Ghost The Musical (Sam Wheat). Regional: Chad in All Shook Up (Flat Rock Playhouse), Cliff in Cabaret (The Gateway), Sam Wheat in Ghost The Musical (White Plains PAC), and Dennis in the world premiere of A Sign of the Times (Delaware Theatre Company).

Training: B.F.A. Musical Theatre from the University of Minnesota Duluth. @stevengdouglas MATTHEW BRYAN FELD (Quincy Cullen/Ensemble) (He/Him/His) is thrilled to be continuing his Rattlesnake Kate journey after performing in its origin at the 2019 Colorado New Play Summit. Credits include: Voca People (International Tour); Vocalosity (National Tour); Fiddler on the Roof (Portland Center Stage); Les Misérables (West Virginia Public Theatre). Film/TV: Fashionista, “Power,” among other various short films, commercials and voiceovers.

Special Awards/Training: Downbeat Award, 1st Place Sunshine District

Barbershop Quartet Ebbets Field; The Barrow Group, Master of Music from Manhattan School of Music.

ANDREA FRIERSON (Katherine/ Ensemble) is a twotime Helen Hayes Award nominee and the author and star of Me & Ella, which ran at the York Theatre in New York City in 2017. Broadway: The Lion King (Rafiki); Once on This Island (Erzulie, Goddess of Love, original Broadway cast); George Wolfe’s Bring in ‘Da Noise/Funk (‘Da Singer); For Colored Girls (original Broadway production); Marie Christine (Prisoner #2) and Julie Taymor’s Juan Darien: A Carnival Mass (The Mother), both at Lincoln Center Theater. Television: “Quantico,” “Pose,” “Red Oaks,” “Elementary,” and the new Amy Poehler, Tracy Oliver, Pharrell Williams series, “Harlem,” streaming now on Amazon. Andrea is a Dramatist Guild Fellow, a Library of Congress award-winner (ethnographic research), and a graduate of the Academy for Classical Acting’s MFA program. She is currently in development for her first documentary film about her parents, both New York City opera singers.

MICHAEL GENET (Colonel Buckskin Bill/Ensemble).

Broadway: The Prom, Choir Boy, Wicked, Lestat, Hamlet, A Few Good Men. OffBroadway: Is God Is, A Soldier’s Play, American Son, Fences, The Whipping Man, Resurrection, The Tempest, The Colored Museum. Film: She Hate Me, 25th Hour, Booty Call, One Fine Day. Television: “Billions,” “Bull,” “Blue Bloods,” “Dr. Death,” “Fosse/Verdon,” “The Affair,” “Mysteries of Laura,” “Ugly Betty,” “The Following,” “The Americans,” Tyler Perry’s “House Of Payne.” Writer: “Talk to Me” (Focus Features). Winner: NAACP Image Award for Outstanding Writing in a Motion Picture, She Hate Me (with Spike Lee), Hallelujah (American Playhouse), Pork Pie (DCPA). Winner: Kennedy Center Award for New American Plays.

ISAAC HUERTA (Fantasy Colonel Buckskin Bill/ Ensemble). Credits include: Ezralow Dance, Invertigo Dance Theatre, Hysterica Dance Co, KDV Dance Ensemble, PonyBox, Wonderbound, Heidi Duckler Dance, Andrea Pena, and Artists, and BrockusRED. He has been in music videos for: Taylor Swift (choreography: Tyce Diorio), Katy Perry (choreography: Daniel Ezralow), Foxygen (choreography: Erin Murray), and Natalita (choreography: Derek Nemechek). He has been in productions of: Aida (Pacific Symphony, choreography: John Todd); The Firebird (LA Philharmonic); The Tales of Hoffman (LA Opera (choreography Kitty McNamee).

Training: Orange County School of the Arts.

ALYSE ALAN LOUIS (Kate/Ensemble).

Broadway: Amelie, Disaster, Mamma Mia!. Drama Desk nominee for her performance as Hillary in David Henry Hwang and Jeanine Tesori’s Soft Power (The Public Theater). Most recently, Michael R.

Jackson’s White Girl in Danger (NYSAF). Off-Broadway: TEETH (NAMT); A New Brain (Encores OffCenter); Pretty Filthy (Abrons); Subways are for Sleeping and The Day Before Spring (The York). Regional: Soft Power (CTG, Curran); Amelie (CTG, Berkeley Rep); Fall Springs (Barrington Stage); The Rocky Horror Show (Bucks County Playhouse); Pop! Who Shot Andy Warhol? (City Theatre). Original Cast Recordings: Soft Power (Grammy nominated); Amelie, A New Brain (Encores), Pretty Filthy, The Michael Friedman Collection: The Abominables. @alyselouis NEYLA PEKAREK (Brownie/Ensemble).

(She/Her/Hers).

Neyla Pekarek began playing cello at age 9 in her hometown of Aurora, Colorado.

She studied Musical Theatre and earned a degree in Music Education at UNC in Greeley, CO. In 2010, she joined the Denver folk-rock group The Lumineers as a cellist and vocalist, and after 8 years touring and recording with the band, Neyla parted ways and released her debut solo album, Rattlesnake, on S-Curve records. Neyla is a proud member of Sweet Adelines International and The Barbershop Harmony Society, two organizations that nurture the craft of Barbershop Quartet Singing.

MARCO ROBINSON (Claude Hampton/ Ensemble). At the DCPA: A Christmas Carol, Wild Fire, Xanadu, This Is Modern Art, and The Wild Party. Other Colorado credits: I Do! I Do! (Arvada Center); Love’s Labours Lost, Twelfth Night, Romeo & Juliet, Cyrano de Bergerac, and King John (CO Shakespeare Festival); Museum of Broken Relationships (Theatre Aspen). Training: B.A. University of Northern Colorado.

ESTEBAN SUERO (Ernie/Ensemble) (He/Him/His) is an actor/singersongwriter. Recent credits include: “New Amsterdam” on NBC and lead vocalist on The Rockin’ Road to

Dublin Tour. Esteban is excited to be jumping into this western adventure and feels immense gratitude to be sharing the stage with so many wonderful souls! Follow along @theofficialeros and Eros (anywhere music can be found) to listen to his debut album!

LILY TALEVSKI (Lady Reporter/Restaurant Owner/Ensemble).

(She/Her/Hers). New York credits include: How to Repair a Mechanical Heart (Green Room 42); Within Elsewhere (Stella Adler). Regional credits include: Once (Northern Stage); Hedwig and the Angry Inch (Detroit Public Theatre); The Wolves (TheatreSquared). TV/ Film: “FBI,” “The Watcher,” Ovid and the Art of Love, The Pickle Recipe. Training: BFA Oakland University.

KEITH WHITE (Pa/ Judge/Ensemble).

(He/Him/His).

Broadway: A Bronx Tale (Original Broadway Cast).

National Tours: Jersey Boys.

Regional: Dirty Rotten Scoundrels, Company, Hairspray (Summer Repertory Theatre in Santa Rosa); BIRDY (Commonwealth Shakespeare Company); Big River, Witness for the Prosecution (Barnstormers Theatre). TV: CBS’s “Unforgettable,” STARZ’s “Godfather of Harlem.” Published writer in Drew Gasparini’s We Aren’t Kids Anymore (“I’ll Stick Around”). Find Keith’s original music on his Instagram @itsyaboykeithwhite and YouTube.

BFA in Musical Theatre from The Boston Conservatory at Berklee.

ERIN WILLIS (Female Swing).

National tour: My Fair Lady (First National Tour). She has appeared in over 11 DCPA productions, most recently in Oklahoma!, The Who’s Tommy, and The Wild Party.

Other Regional: Travlin’ and Memphis (Arvada Center); Ain’t Misbehavin’ (Milwaukee Repertory Theatre); Ragtime (Cohoes Music Hall); Dreamgirls (Asbury Park). NY/ Regional Workshops: Amazing Grace,

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JORDAN GOODSELL (Male Swing). NY Theatre: Songs for a New World (Gateway Playhouse); Juliet and Her Romeo (Kraine Theatre). Other Theatre: Frozen at Disney’s California Adventure (World Premiere; Original Cast); Allegiance (Los Angeles Premiere; East West Players); 1776 (La Mirada Theatre, McCoy/Rigby Entertainment); Man of La Mancha (A Noise Within); A Wonderful Life (Broadway Palm); The Unauthorized Musical Parody of Hocus Pocus (Rockwell Table & Stage); The Addams Family (3-D Theatricals); Forever Plaid (Palos Verdes Performing Arts Center); Hairspray (Chance Theatre). TV/Film: “Blue Bloods,” “Jigsaw,” “Angie Tribeca,” “Solve,” “Young Black Peter Pan.” Touring Musical Groups: Under the Streetlamp (also vocal music director), Shades of Bublé. Training: BFA, Chapman University.

SpringboardNYC alum. @jordan_goodsell

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Tender Mercies, Celia A Slave, and Discount Ghost Stories. Erin also provides vocals and keyboards for the Indie Rock band Kenji Urada. Training: The Boston Conservatory.

PLAYWRIGHT KAREN HARTMAN (Book)’s work will launch VOLT at 59e59 Theaters in 2022, an unprecedented festival of three New York premieres by a single author simultaneously: New Golden Age (Primary Stages); Goldie, Max & Milk (MBL Productions); and The Lucky Star (The Directors Company).

In 2019, she received a Guggenheim Fellowship and her Good Faith: Four Chats about Race and the New Haven Fire Department premiered at Yale Repertory Theater. Roz and Ray (McKnight Fellowship, Edgerton New Play Prize), premiered at Seattle Rep and Victory Gardens. The Lucky Star (as The Book of Joseph) premiered at Chicago Shakespeare Theater and broke box office records at Everyman Theater in Baltimore. Hartman is developing Project Dawn (People’s Light, NEA Art Works Grant, NNPN Rolling World Premiere) for Population Media Center as a television series, and another project for 20th Television. She wrote the book for Alice Bliss (music: Jenny Giering, lyrics: Adam Gwon, based on Laura Harrington’s novel) which won the 2019 Weston-Ghostlight New Musical Award. Her prose has appeared in the New York Times and the Washington Post. A former Fulbright Scholar, Hodder Fellow, and New Dramatist, Hartman served as Senior Artist-inResidence at University of Washington School for five years, and lives in Brooklyn with her family.

NEYLA PEKAREK (Music and Lyrics) See bio under Acting Company.

DIRECTOR CHRIS COLEMAN is passionate about the connection between stories and community. He joined the DCPA Theatre Company as Artistic Director in November of 2017 and has directed Shakespeare’s Twelfth Night, A Doll’s House, Anna Karenina and Oklahoma!.

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 US and UK, 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 Reunion 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 Dwelling of Mesa Verde, explored a working mine in Creede, and rafted down the Arkansas River.

CREATIVE TEAM BINDER CASTING, CSA (Casting) Binder Casting was founded by Jay Binder nearly 40 years ago and has been part of RWS Entertainment Group since 2016. The office has cast 150+ Broadway, Off-Broadway, and National Touring productions, in addition to countless national and international projects spanning both stage and screen. Binder was featured prominently in the Broadway documentary, Every Little Step, and is a proud 12-time recipient of the Artios Award for Excellence in Casting.

The office infuses its work with both a deep respect for their roots and a commitment to growth. www.bindercasting ALEXIS BLACK (Fight Director) (She/Her/Hers) has choreographed fights and/or intimacy for over 60 productions in regional theaters, New York City, Europe, and Asia. Regional credits include: The Three Musketeers (Birmingham Children’s Theatre); Equivocation (Virginia Repertory Theatre), and Romeo and Juliet (Shakespeare Theatre Company).

Broadway: assistant choreography on Fool for Love and the spring 2022 production of Macbeth starring Daniel Craig and Ruth Negga. Black is resident fight/intimacy director for Hope Summer Repertory Theatre, a certified intimacy director/lead instructor with Intimacy Directors and Coordinators, and Assistant Professor of Movement at Michigan State University. Member: SDC, AEA, ATME.

MATTHEW CAMPBELL (Production Manager). (He/Him/His). Matthew is incredibly grateful to be back at work supporting our outstanding production team and guest artists creating extraordinary theatre after so many difficult months away. He started at the DCPA in 2010 as a stage manager and in 2016 joined the production management team.

Previously a stage manager at several local theatres and an Assistant Professor of Theater at Brooklyn College. Training: MFA, University of Iowa.

SARA RYUNG CLEMENT (Costume Design). (She/Her/Hers). OffBroadway: Somebody’s Daughter (Second Stage Uptown); Fruiting Bodies (Ma-Yi Theatre). Regional credits include the Guthrie Theater, Oregon Shakespeare Festival, South Coast Repertory, DCPA Theatre Company, Geffen Playhouse, Actors Theatre of Louisville, Folger Theatre, Pasadena Playhouse, Seattle Rep, Artists Rep, Mixed Blood, TheatreWorks, Center Stage Baltimore, Boston Court, Perseverance Theatre, East West Players, Cornerstone Theater Company, A Noise Within, Yale Repertory Theatre, and others.

Set design faculty at UCLA School of Theater, Film and Television. MFA, Yale School of Drama (Donald and Zorca Oenslager fellowship); AB Princeton University. Sararyungclement.com SAMANTHA EGLE (Intimacy Choreographer). (She/Her/Hers). Her work has been seen on the stages of the Denver Center for the Performing Arts, Opera Colorado, Arvada Center for Arts and Humanities, Denver Children’s Theatre, Athena Project Festival, Lagoon Theme Park, Upstart Crow, New York Fringe Festival, The BiTSY Stage, Mizel Center for Arts and Culture, University of Denver, University of Northern Colorado, and numerous other educational institutions in Colorado. She was a Resident Artist as an Intimacy Director at Arena Stage. She is a Certified Teacher and the Regional Representative for the Rocky Mountain Region with the Society of American Fight Directors.

ELIZABETH HARPER (Lighting Designer) (She/Her/Hers) is thrilled to return to the DCPA after Indecent.

Additional credits include: Between Two Knees (Oregon Shakespeare Festival and Yale Rep); Office Hour starring Sandra Oh (South Coast

CHRISTOPHER JAHNKE (Music Supervisor/Orchestrator/ Arrangements). Orchestrations: Porgy and Bess (2012 Tony nomination), new orchestrations for Les Misérables (performed worldwide since 2006), A Man of No Importance, Dessa Rose, Dear Evan Hansen (additional orchestrations with Alex Lacamoire), King Kong, Legally Blonde, Cry Baby, Lady Gaga (The Sound of Music Tribute - 2015 Oscars with Stephen Oremus), Radio City Rockettes, Coheed and Cambria, and Emily Bear.

Music Supervisor: Memphis, Escape to Margaritaville. Film: Better Nate Than Ever (2022). Apprentice to legendary orchestrator William David Brohn: Ragtime, Sweet Smell of Success, The Witches of Eastwick, The Secret Garden, Mary Poppins and Wicked.

DOMINIQUE KELLEY (Choreographer). (He/Him/His).

Dominique is happy to be back choreographing at DCPA! At the DCPA: Oklahoma! and Indecent.

Other theatre credits: Sophisticated Ladies, Singin’ in the Rain (ZACH).

TV: “Mariah Carey’s Magical Christmas Special,” “Dancing with the Stars,” “Masked Singer,” “Flirty Dancing,” “Alter Ego.” Live Shows: Cirque Du Soleil’s VOLTA. Recording Artists: Janet Jackson, Mariah Carey, P!nk, Ariana Grande, Jennifer Hudson, Camila Cabello, Taylor Swift, and FKA Twigs. Dominique is also an Adjunct Professor at PACE University, was the character reference for Dr. Facilier in Disney’s The Princess and The Frog and has served as Movement Coach for Meryl Streep in The Prom.

KATHRYN G. MAES (Voice and Dialect). At the DCPA: 50+ productions, most recently, A Doll’s House and A Doll’s House, Part 2, Twelfth Night, You Lost Me, Anna Karenina, The Constant Wife, Vietgone, and A Christmas Carol (since 1990). Other Theatres: The Royal Shakespeare Company, The Royal National Theatre (London), numerous professional companies in the US, served as Head of Voice at the

National Theatre Conservatory from 1989 to 1992. Special Training: Ph.D., Theatre Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Speech and Drama, London, England.

HEIDI SCHMIDT PhD. (Dramaturg).

At the DCPA: Oklahoma!, Disgraced, The Christians, Tribes, Bite-Size: An Evening of Micro Theatre. Other credits include: 15+ productions at the Colorado Shakespeare Festival, including The Book of Will, Pericles, King John, King Charles III, and others. The Intelligent Homosexual’s Guide… (Curious Theatre Co); Faith (Local Theater Co). Playwriting: Fair Verona, finalist for the American Shakespeare Center’s Shakespeare’s New Contemporaries project. Heidi is the Resident Dramaturg and Asst.

Director of Outreach at the Colorado Shakespeare Festival and holds a PhD in Theatre History, Criticism, and Dramatic Literature from CU Boulder.

GRADY SOAPES, CSA (Casting). (He/ Him/His). Grady is the Director of Casting and Artistic Producer with DCPA. Selected casting credits include Goodnight Moon, Indecent, 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. Mr. Soapes also works as a Casting Director for Sylvia Gregory Casting where he has cast commercials for Subaru, Fruit of the Loom and several other TV, film and video games projects. Choreography credits include Goodnight Moon, 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.

ANGELA STEINER (Music Director/ Conductor/Additional Arrangements).

At the DCPA: The Who’s Tommy, Oklahoma!, Indecent, Twelfth Night.

Select regional theater music director and/or conductor credits include: Hair! (The Old Globe); Sweeney Todd (Asolo Rep); Rodger and Hammerstein’s Cinderella (Alabama Shakespeare Festival). Angela holds a masters in collaborative piano from the University of Northern Colorado.

KEN TRAVIS (Sound Designer). At the DCPA: The Who’s Tommy, American Mariachi. Broadway: In Transit, Aladdin (and all international companies), Jekyll and Hyde, A Christmas Story the Musical, Scandalous, Newsies, Memphis, The ThreePenny Opera, Barefoot in the Park and Steel Magnolias. Regional and OffBroadway: Colorado Shakespeare Festival, The Public Theater, The New Group, The Civilians, Atlantic Theater Company, Soho Rep, Classic Theater Company, Playwrights Horizons, Signature Theater, Mabou Mines, Old Globe, Alliance Theater, Shakespeare Theater Company, ACT Seattle, 5th Avenue Theater, La Jolla Playhouse, Seattle Repertory Theater, LA CTG, The Guthrie Theater, McCarter Theater, Papermill Playhouse KLARA ZIEGLEROVA (Scenic Design). Broadway: Sister Act, The Farnsworth Invention, Jersey Boys, The Search for Signs of Intelligent Life in the Universe. West End: Sister Act, Jersey Boys. Numerous Off-Broadway and regional productions all over the United States, Europe, and Asia.

Ms. Zieglerova designed the interior of New World Stages, NYC (Lumen Award). Other awards: Tony Award nomination, Green Room Award Australia, The Best Set Design of the Theatregoers’ Choice Award London (for Jersey Boys); Drammy Award for Best Set Design; Carbonell Award for Best Set Design; sets for the Best Touring Production, L.A. Ovation Award. PQ 2023 Curator (www.pq.cz).

STAGE MANAGEMENT HEIDI ECHTENKAMP (Assistant Stage Manager). At the DCPA Theatre Company: A Christmas Carol, You Lost Me, A Doll’s House, A Doll’s House Part 2, The Whistleblower, The Constant Wife, Native Gardens, American Mariachi, 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). Stage Manager for Seven Devils Playwrights Foundry. Teatro ZinZanni: Venue

RATTLESNAKE KATE

Repertory Theatre); The Cake (La Jolla Playhouse); Play Dead directed

by Teller. World premieres by Academy Award Winner Lucy Alibar, Kemp Powers, Julia Cho and Michael Mitnick. Additional credits include designs for Kansas City Rep, The Mark Taper Forum and Seattle’s 5th Avenue Theatre. Elizabeth is the assistant professor of lighting design at the University of Southern California.

RATTLESNAKE KATE

Manager and Production Manager.

Assistant Production Manager for The Catamounts A Whiskey Tasting.

MARGARET KAYES (Stage Manager).

(She/Her/Hers). Credits include: Aubergine (South Coast Repertory); Good People, Always…Patsy Cline, Driving Miss Daisy, Talley’s Folly, Souvenir (New Harmony Theatre); Brighton Beach Memoirs, Pygmalion (University of Southern Indiana); Dido and Aeneas, Madama Butterfly (Opera San Jose); Bright Star (Musical Theatre West); Peter Pan and Tinkerbell: A Pirate’s Christmas, Aladdin and His Winter Wish (Lythgoe Family Panto); Billy Elliot (San Diego Musical Theatre); The Mole Hill Stories (First Stage Children’s Theatre); Sweeney Todd, One Man, Two Guvnors (Lyric Stage Company of Boston); Twelfth Night, Othello (Commonwealth Shakespeare Company); The Secret Garden, The Unbleached American, Something’s Afoot, The Marvelous Wonderettes (Stoneham Theatre).

MALIA STONER (Assistant Stage Manager). (She/Her/Hers). At the DCPA: A Christmas Carol, A Doll’s House, The SantaLand Diaries. I Do! I Do!, Million Dollar Quartet (Arvada Center for the Arts); Small Mouth Sounds, Around the World in 80 Days (TheatreWorks); Beehive the 60’s Musical (Lone Tree Arts Center); Newsies, Man of La Mancha, Beauty and the Beast, Music Man, Cinderella, the Slipper and the Rose, 42nd Street, Forever Plaid, A Wonderful Life, Evita and Kiss Me, Kate (Candlelight Dinner Playhouse); Gypsy, Addams Family, Aida, Godspell (Little Theatre of the Rockies); Nutcracker (Colorado Dance Theatre).

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 Off-Center 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: Sky Bradle, Andy Bruening, Mike Carbonell, Nicholas Cozzo, Charles Dallas, Lisa Ehrle, Michael Ginzel, Carl Jackson, Amoreena Knabb, Katarina Kosmopoulos, David La Beaux, Henry Makman, Nikki Mayer, Sheila Morris, Viktoria Padilla, Connor Robertson, Kelley Russell, Amanda Short, Kylie Stetler, Niki Traxler, Destin Woods, Jayanna Young DCPA and the authors remember with gratitude: Peggy Ford Waldo who provided original research and many interviews from her lifetime of investigating Rattlesnake Kate and dramaturg Doug Langworthy, who brought this creative team together.

Special thanks to the Greeley History Museum (greeleymuseums.com) and their Hazel E. Johnson Research Center, which houses the Kate Slaughterback Collection (1987.32), an archive of letters, news clippings, and family photographs. This archive was instrumental in developing the musical Rattlesnake Kate.

CASTING BINDER CASTING Mark Brandon, CSA, Chad Eric Murnane, CSA; Amber Snead, CSA Kyle Coker; Anthony Pichette Jarrett Reiche

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 #RattlesnakeKate #DenverCenter Playwright: Karen Hartman @itskarenhartman Music and Lyrics: Neyla Pekarek @neylapekarek Director: Chris Coleman @chriscdenver Choreography: Dominique Kelley @domkelley Scenic Designer: Klara Zieglerova @klarazieglerova Costume Designer: Sara Ryung Clement @sararyung Lighting Designer: Elizabeth Harper Sound Designer: Ken Travis @kenstravisty Music Direction: Angela Steiner @ivory_tickler89 Music Supervisor/Orchestrator/Arrangements: Christopher Jahnke Photos and the video and/or audio recording during any part of the performance by any means whatsoever are strictly prohibited.

Part of RWS Entertainment Group Ryan Stana, CEO

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 • FACIAL COVERINGS are required for everyone 2+ at all times.

• 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.

• 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 kpeterson@dcpa.org or 303-572-4585.

The Denver Center for the Performing Arts (DCPA) is one of the largest non-profit theatre organizations in the nation, presenting Broadway tours and producing theatre, cabaret, musicals, and innovative, immersive plays. In its 2019/20 season, the DCPA engaged with more than 672,000 visitors, generating a $131 million economic impact in ticket sales alone.

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.

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DCPA DCPATEAM TEAM

DCPA Janice Sinden..........................President & CEO Gretchen Hollrah..............................................COO Lydia Garcia .........................Executive Director, Equity & Organization Culture Donna Hendricks..................President & CEO Executive Assistant Julie Schumaker...................... Manager, Board Relations & COO Executive Assistant BROADWAY & CABARET John Ekeberg...................... Executive Director Administration Ashley Brown.......................Business Manager Alicia Bruce ............................. General Manager Garner Galleria Theatre Abel Becerra......................... Technical Director Anna Hookana+ ...................Core Stagehands DEVELOPMENT Jamie Clements...........................Vice President Megan Fevurly..........................................Manager, Grants & Reports Amanda Gomez.......Manager, Annual Fund Kaylie Groff..........................................Coordinator Marc Ravenhill ....................Associate Director, Donor Relations Whitney Staloch................Associate Director, Major Gifts Megan Stewart........................Manager, Events Erin Walker ...................................Senior Director EDUCATION & COMMUNITY ENGAGEMENT Allison Watrous ................. Executive Director Stuart Barr ............................. Technical Director Claudia Carson.......................Teaching Artist & Manager, Playwriting & Bobby G Leslie Channell .......................................... Director, Business Operations Emily Doherty.... Teaching Artist & Manager, Theatre for Young Audiences Programming Rya Dyes ................................Assistant Registrar Patrick Elkins-Zeglarski........................ Director, Education & Curriculum Management Linda Eller.....................................................Librarian Jesús Quintana Martínez ....................... Director, Community Engagement Timothy McCracken................Head of Acting David Saphier .... Teaching Artist & Manager, In-School Programming Elizabeth Schmit......................Office Manager Melissa Sumner........................................Registrar Charlotte Talbert ......................................Librarian Rachel Taylor.... Teaching Artist & Manager, Literary Engagement & Resiliency Justin Walvoord ....................Teaching Artist & Manager, Shakespeare in the Parking Lot Samuel Wood.........................Teaching Artist & District Liaison

Michael Kimbrough....Manager, Engineering Brian McClain .....................Manager, Custodial Casey Meschievitz ...................................Manager, Environmental Health & Safety Steven Bilbao, Ken Long, Carmen Molina, Judith Primero Molina, Juan Loya Molina, Jermaine Parker .................................Custodians

Lane Randall, Liz Sieroslawski*, Sam Stump, Andrew Sullivan*, Emmalaine Wright*....................Ticket Agents Adam Bush...................Subscription Manager Billy Dutton...........................Associate Director, Operations Roger Haak .................VIP Ticketing Manager Danielle Freeman, Kassandra Lopez, Ella Mann..........................Box Office Managers EVENT SERVICES Kirk Petersen .......................Associate Director, Savanna Campbell, Patron Relations Samantha Egle........................Event Managers Colin Dieck, Anne Fitzgerald, Group Sales Hunter Premschak, Jessica Bergin........................................... Manager Seth Miller..............................................Technicians Maddie Young ...................................Coordinator Thomas Duffin .........................................Manager, Event Technology Theatre Services Cody Gocio .......................... Event Coordinator Carol Krueger............................................ Manager Stori Heleen-O’Foley ....Lighting, Team Lead Aaron McMullen ........................Interim Theatre Services Manager John Hess.............Manager, Sales & Business Shane Hotle.................................Audio Engineer Bryan Faciane.........................Interim Assistant Theatre Services Manager Tara Miller........... Manager, Event Operations Brook Nichols ...................... Technical Director Nora Caley, Jacob Foster, Will Stowe ....................Audio/Video Engineer Teresa Gould, Kaylyn Kriaski, Robin Lander, Myrisa Martin, Ian Wells ........................................Video Engineer Margaret Ohlander ..............House Managers Brooke Wyatt........Manager, Event Logistics Aaron McMullen, MARKETING, SALES & PATRON SERVICES Lisa Mallory.....................................Vice President Marketing Heidi Bosk ...........Associate Director, Press & Promotions, Broadway & Cabaret Emmy Cook.......................................Coordinator, Broadway & Cabaret Brenda Elliott, Paul Koob..............Senior Graphic Designers TJ Forlenza ............................................Copywriter Claire Graves............................................... Director, Produced Programs Brittany Gutierrez...................................Manager, Communications Jeff Hovorka .... Director, Sales & Marketing, Broadway & Cabaret Emma Hunt........................................Coordinator, Communications & PR Emily Kent........Director, Insights & Strategy Lucas Kreitler .........Junior Graphic Designer Linda Lang.................................Project Manager David Lenk.......................................Videographer Michael Ryan Leuthner ........................ Director, Digital Marketing Emily Lozow ..............................................Manager, Broadway & Cabaret Kyle Malone................................Director, Design Katie Mount..........Manager, Email Marketing Whitney Testa..................Executive Assistant, Marketing & Broadway Janelle Vargas...........Manager, Web Content Austin Walker............................................Manager, Growth & Acquisition Juliana Whelan.................................Coordinator, Produced Programs Suzanne Yoe.......................Director, Content & Communications

Production Jeff Gifford ...................................................Director Julie Brou................Administrative Assistant/ Office Manager Matthew Campbell......Production Manager Scenic Design Lisa Orzolek .................................................Director Kevin Nelson, Nicholas Renaud..................................Assistants Lighting Design Charles MacLeod......................................Director Lily Bradford..............................................Assistant Reid Tennis+.................Production Electrician Sound Design Alexander Billman..............................Supervisor Wesley Halloran+, Meagan Holdeman+, Timothy Schoeberl..........................Technicians

Stage Management Michael Morales ..................................Production Stage Manager Corin Davidson, Heidi Echtenkamp, Anne Jude, Maggie Kayes, Rick Mireles, Kristen Mun, Malia Stoner, Kristen Sutter ...........................Stage Managers Leilani Lynch, Stacy Norwood, Andie Burns, Katy Gentry, Valerie Schaefer, Elliott Shields, Mathew Strika...................Assistant Managers Harper Hadley, Sage Hughes....................Stage Management Apprentices ACCOUNTING & FINANCE Jane Williams......................................................CFO Scene Shop Sara Brandenburg................................... Director, Eric Moore.............................. Technical Director Accounting Services Albert “Stub” Allison, Robert L. Orzolek, Michaele Davidson .....Treasury Accountant Josh Prues ....Associate Technical Directors Jennifer Jeffrey....................Director, Financial Tyler Clark, Amy Wynn Pastor, Planning & Analysis Kyle Scoggins .....................Scenic Technicians Valerie Lingbloom...................General Ledger Louis Fernandez III ... Lead Scenic Technician Accountant Brian “Marco” Markiewicz ....Lead Carpenter Jennifer Siemers ...........Director, Accounting Prop Shop Robin Lu Payne .........................................Director HUMAN RESOURCES Jamie Curl, Tory Fink, Elvira Morales................................Vice President Georgina Kayes, Ashley Lawler.......Artisans Brian Carter, Lizette Collazos..........Directors Meghan Markiewicz ..Associate Supervisor Kaitlyn Faust...................................Administrator Paint Shop Paul Johnson...........................Payroll Specialist Jana Mitchell....................Charge Scenic Artist Monica Robles...............Supervisor, Mailroom Kristin Hamer MacFarlane, INFORMATION TECHNOLOGY Lisa Roebuck.................................Vice President Vincent Bridgers .....................Senior Ticketing System Analyst Jacquelyne Glover ........Software Developer Simone Gordon ..................Program Manager Brandon LeMarr ....................... Senior Systems Administrator Sarah Martinez, Allyssa Welker ..................Help Desk Analysts Jacob Parker ............................Manager, Data & Applications Joseph Reecher ........................Junior Systems Administrator

Melanie Rentschler .....................Scenic Artists

Costume Shop Janet Macleod... Director/Design Associate Meghan Anderson Doyle ....Design Associate Catherine Gagnon ..............................First Hand Carolyn Plemitscher ..................................Draper Costume Crafts Kevin Copenhaver....................................Director Chris Campbell.........................................Assistant Wigs Diana Ben-Kiki......................................Supervisor

House Crew Douglas Taylor+...................................Supervisor James Berman+, William Loving+, THEATRE COMPANY Stephen Mazzeno+, Kyle Moore+, FACILITIES Administration Viktoria Padilla+, Glen Lucero..................................................Director Ticketing & Audience Services Charles Varin .......................Managing Director Matt Wagner+ ...................................Stagehands Jennifer Lopez ...........................................Director Ann Marshall........................... General Manager Dwight Barela, Mark Dill, Joseph Price+ ...........................................Assistant Colton Ebersole, Clint Flinchpaugh, Christina Adamoli*, Jon Collins*, Sabina Rivera .................... Company Manager John Howard.......................................... Engineers D.J. Dennis*, Edmund Gurule*, Wardrobe Elias Lopez*, Jodi Benavides, David Bright, Artistic Anthony Mattivi^.................................Supervisor Hayley Solano* .............Counter/Show Leads Christopher Coleman........... Artistic Director Robin Appleton^, Andy Bruening, Benjamin Koenig, Anthony Saavedra.........Security Specialists Kirsten Anderson*, Scott Lix*, Melissa Cashion .....................Artistic Producer Amber Donner^, David La Beaux^, Judy Briggs...........................................Front Desk Brad Steinmeyer*, Charlie Miller .......Associate Artistic Director Lauren LaCasse, Lisa Parsons^........Dressers Greg Swan* .....................

Subscription Agents Quentin Crump........................................Manager, Grady Soapes ....................Artistic Producer & Jerome Horng, Security & Guest Relations Luis Bordoy, Eli Davis*, Shay Goddard, Director of Casting Marisa Sorce ................................Wig Assistants Merry Davis ..........................Financial Manager Jen Gray*, Chantel Healy, * Member, I.A.T.S.E. Local B-7 + Member, I.A.T.S.E. Local 7 Jane Deegan ..................................Administrator Natalie Jaramillo, Noah Jungferman*, Michael Mathey*, Jonce Palmer, ^ Member, I.A.T.S.E. Local 719 Staff list current through Jan 21, 2022

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THE MAN WHO FIRST BROUGHT US

HAMILTON — RON CHERNOW ON SERVING AS LIN-MANUEL MIRANDA’S

“RIGHT HAND MAN”

BY JANICE C. SIMPSON

Before Miranda wrote the show, Chernow wrote the best-selling biography on the once-forgotten Founding Father.

How involved was Chernow in the making of the musical? What does he think of Hamilton as hip-hop? And what would Hamilton, himself, think?

T

The story has already become Broadway lore: Lin-Manuel Miranda was on vacation from his Tonywinning musical In the Heights when he picked up a biography of Alexander Hamilton. Before Miranda finished the second chapter of the 800-page book, he began to think of Hamilton’s life as a series of hip-hop songs, performed by people of color. Mutual friends introduced him to the book’s author, Ron Chernow, and the rest, as they say, is history-making.

Chernow reveals what it was like for him — a musical newbie — to collaborate on the show that is now a phenomenon.

What did you think when you first heard the idea of turning your book into a musical?

Ron Chernow: The book had been optioned for a movie in Hollywood three times and, as so often happens, disappeared into a black hole. Lin started by telling me that Hamilton’s story was a classic hip-hop narrative.

Needless to say, I had no idea what he was talking about.

I know now. But I didn’t know then. I’m a little more hip now than I was at that point.

I think Hamilton worked for hip-hop because there was something so driven about him. He’s constantly talking and writing and reading and doing things, and so the pulsating hip-hop music and lyrics really match the tempo of his life.

And [Lin] asked me on the spot to be the historical advisor.

He said “I want the historians to take this seriously.”

Can you explain your involvement as the advisor?

RC: First order of business was simply my pointing out errors. As time went on, I commented about the portraits of the different characters, motivations, the dynamics of the different relationships, the dramatic arc.

Company - Hamilton National Tour - © Joan Marcus

How often were you in touch?

RC: I kept reentering this process — I would say at about two- or three-month intervals, when there was a first rehearsal, a first workshop, a first theatre festival, a first sing-through of the whole show, the sitzprobe. And then earlier when it was still at the Public Theater, I was seeing the show about every third or fourth night because Lin was still making changes.

How did the two of you work?

RC: Lin was a strong enough personality with a sense of integrity that allowed him to really have the biographer deeply involved in this way. Whenever there was a new version of the show, I had the opportunity to sit down with Lin for an hour or two and give him my reactions and he would sit there with his laptop. If I said to him something that was ridiculous, he would just stare at me. If I said something that — to him — made sense, he 24

APPLAUSE • FEB – MAR 2022

COLORADO NATIVE JORDANA GROLNICK COMES HOME IN

Do you remember how you felt the first time you saw the whole show?

RC: The first preview at the Public in January [2015] was indescribably emotional for me. I was just on the verge of tears through the whole performance. It was rather magical and dreamlike that these figures that I had written about were suddenly dancing and singing on this stage.

HAMILTON

What have you been listening to?

RC: Everything from Evita to Follies to A Chorus Line to Jesus Christ Superstar. It’s been a very nice education for me.

No 1776 [the musical]?

RC: I think that the image of 1776 [a bunch of late middle-aged white males] was in the back of my mind the first time that Lin invited me to a rehearsal with actors. I opened the door of this studio and I peeked in … and my first thought was, “Oh my God, they’re all Black and Latino.” I’m embarrassed to say, I hadn’t thought about the casting at all, but I just assumed that the Founding Fathers, you know…. And I sat down and I said to myself, “Oh boy, I’d better talk to Lin about this when this rehearsal is over.”

Number one: Within seconds you forget what racial or ethnic group they belong to. But then I also felt within a matter of minutes…this is an inspired idea because these young Black and Latino performers are not only bringing extraordinary talent, but freshness and passion and energy that I had never seen.

Even in this early rehearsal, they were already getting closer to the spirit of the American Revolution than anything I had seen either on stage or screen.

Why do you think the show has become such a phenomenon?

RC: There are a lot of different reasons.

I think that it has revolutionized musical theatre by taking three things that had never been fused together — hip-hop, Broadway show tunes and American history — in this brilliant mix.

I think the show really captures the changing demographics of the country.

People go into the theatre and as they are watching 18th-century America, they’re simultaneously seeing 21st-century America. Suddenly, the 18th century seems very immediate and very accessible in a way that it has never been before. The show is reacquainting Americans with their own origins.

What do you think Hamilton would think of all this?

RC: He would love it. You know Hamilton was not a bashful boy.

Company - Hamilton National Tour - © Joan Marcus

Had you been a fan of musicals before?

RC: I’d always preferred straight drama as opposed to musicals. But I must say, having been involved with this show has given me enormous respect for musicals and how difficult they are to do. I’ve actually spent the last few months listening to a lot of cast albums from earlier decades because I’ve just gotten interested in musicals.

W

When Hamilton returns to Denver, it’s a homecoming for Colorado native Jordana Grolnick, swing and co-dance captain. We talked with her about the show, COVID and coming home: DCPA: Why do so many Coloradans make it to Broadway? Is it the altitude?

Grolnick: Oh, for sure! People live here because they love it here, and that passion and conviction translates into following one’s dreams.

DCPA: A photo on your website shows you as a young child in a tutu.

Did you dance from a young age?

Grolnick: My mom put me in dance class at age three (thank you, Mom!!). I was obsessed with it and never stopped.

DCPA: How long was your Corona pandemic “hiatus”? How bad was it?

Grolnick: [Hamilton] got shut down for two weeks at first, so I traveled back to Colorado. Two weeks turned into two months, turned into “until further notice,” so I moved semipermanently back to Boulder.

DCPA: Can you feel a difference in audiences now?

Grolnick: I think people have been truly aching for communal experience. I’ll never forget the first time I sang “Yorktown” after the pandemic — “The world turned upside down” brought me to tears because I finally knew exactly what it meant. We had lived it and been given the chance to come back and tell the tale.

HAMILTON

FEB 16 – MAR 27, 2022 • BUELL THEATRE ASL Interpreted, Audio-described and Open Captioned performance: Mar 26, 2pm ASL Interpreted performance: Mar 18, 7:30pm

READ THE FULL Q&A

Jordana Grolnick Matthew Murphy Photography

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PROUD CORPORATE MEMBER OF THE DENVER CENTER FOR THE PERFORMING ARTS

T Through its community outreach program, Ameristar Cares, team members help those who need it most by volunteering time and making financial contributions.

This year, Ameristar Casino Resort Spa again joins the Denver Center for the Performing Arts as a proud sponsor. Through its world class productions, the DCPA has been entertaining audiences in the Denver community for decades. Also being in the business to entertain, it’s only natural that Ameristar would find a partner in DCPA. This mission to thrill and to create memorable moments for their guests is one that Ameristar takes seriously.

“Beyond fostering great entertainment,” said Sean Demeule, General Manager of Ameristar Casino Resort Spa, “Ameristar recognizes that all responsible organizations have an obligation to make a meaningful difference in their communities. Through our community outreach program, Ameristar Cares, team members help those who need it most by volunteering time and making financial contributions. Whether it is serving at a food bank or financially supporting one of many community health organizations, our team members have a passion to give back to Denver.”

It’s for this reason that Ameristar has continued year after year to partner with DCPA. It’s about having a passion not only to entertain, but also to change lives. To foster a vibrant community of giving and to contribute to causes which seek to create a better tomorrow. When the curtain falls, Ameristar will be standing with DCPA.

— SEAN DEMEULE, GENERAL MANAGER OF AMERISTAR CASINO RESORT SPA

“ 28

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FOSTERING TOMORROW’S

PLAYWRIGHTS

T

BY S U Z A N N E YO E

There’s an expression: Good writers are born not made.

Maybe…but good writers can become great when their talents are guided.

In 2013, DCPA Education set out to meet a growing need. High schools were asking for support for aspiring young writers, so the team offered in-school playwriting workshops and an annual one-act competition.

Once the program took off, it was no surprise that middle schools also expressed interest, so last year, the program expanded to encompass grades 6-8. To date, more than 25,000 students have participated in the program.

“It is so exciting to see the enthusiasm, creativity and talent of these young playwrights,” said Claudia Carson, DCPA Education Playwriting Manager. “Whether inspired by personal accounts, social issues or science fiction, the submissions are always highly entertaining, well written and engaging. We are so proud of our students!”

This year, DCPA Teaching Artists have offered 89 workshops to 1,680 students in 21 schools. Of those participants, the DCPA received 135 submissions to its annual playwriting competition.

All submissions are reviewed by DCPA artistic, literary and education professionals. In January, the team announced 10 high school finalists and three winners. The winning high schoolers’ scripts will have a professional staged reading during the annual Colorado New Play Summit in March.

The high school winners, along with the three middle school scripts, are then published in a theatre anthology.

“We invite our theatre family to read about the winning scripts on our website at denvercenter.org/write-a-play,” said Carson.

“Who knows? You might be reading the work of the future Lin-Manuel Miranda.”

The DCPA’s High School Playwriting Competition is made possible by the generous support of Chevron, The Robert and Judi Newman Family Foundation and Transamerica.

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RETURNING TO THE

SPOTLIGHT We congratulate the Denver Center for the Performing Arts for their resilience and salute the actors, directors, creative teams, leadership, and staff as they return to the spotlight.

Chris Balch, Chair 303.295.8000 cbalch@hollandhart.com 555 17th Street, Suite 3200 Denver, Colorado 80202 hollandhart.com

Proud Supporter of the Arts

HARDWOOD • CARPET • LAMINATE • VINYL • TILE • LUXURY VINYL

6367Arapahoe ArapahoeRd., Rd.,Boulder, Boulder,CO CO80301 80301 || 303.449.0011 303.449.0011 || McDonaldCarpetOneBoulder.com 6367 McDonaldCarpetOneBoulder.com Photos for illustrative purposes only. ©2017 Carpet One Floor & Home. All Rights Reserved

Photos for illustrative purposes only. ©2017 Carpet One Floor & Home. All Rights Reserved

PROUD SPONSOR OF DCPA’S BEST OF BROADWAY SOCIETY

SETTING THE STAGE FOR A BETTER TOMORROW

T “We are honored to know that our contributions have enhanced DCPA’s ability to positively impact nearly 2 million students through their education program, bringing them one step closer to realizing their ambitions.”

— WANDA COLBURN, MANAGING DIRECTOR, CIBC PRIVATE WEALTH AND NATE PALMER, MANAGING DIRECTOR, CIBC COMMERCIAL BANKING

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The arts help build rich, vibrant communities. That’s why CIBC is proud celebrate its 18th year as a supporter of the Denver Center for the Performing Arts’ Best of Broadway Society, and their ongoing efforts to enrich the Denver community. During this time, CIBC has seen firsthand the impact that the DCPA has made through arts education. CIBC is passionate about the role arts education plays in building confidence, fostering critical thinking and shaping tomorrow’s leaders. The CIBC team is honored to further this important work and committed to benefiting DCPA theatre and education programs.

CIBC also strives to ensure its clients’ successes. The company provides wealth management, private banking and commercial banking financial solutions to the Denver community through a team driven by its passion to be the leader in client relationships. CIBC strives to understand each client’s story, financial needs and goals because the team is committed to helping make their clients’ ambitions a reality. Distinguishing factors of CIBC include: • High touch client experience: Dedicated service and support from an experienced team in both wealth management and commercial banking • Dynamic investment management: Investing proactively to drive out performance in ever-changing markets • Strategic approach to private banking: Banking solutions aligned to client objectives and wealth plans.

• Comprehensive approach to commercial banking: Offering commercial lending, treasury management and access to capital markets to address complex business needs.

CIBC is proud to serve as a long-time sponsor of the DCPA and to further deepen its engagement with this worthy cause.

Learn more at cibc.com/US

Private banking solutions are offered through CIBC Bank USA, Member FDIC and Equal Housing Lender. CIBC Bank USA and CIBC Private Wealth Group, LLC are both indirect, wholly owned subsidiaries of CIBC. CIBC Private Wealth Group and its subsidiaries do not provide, and are not responsible for, the products and services offered by CIBC Bank USA. CIBC Bank USA (Bank) will not pay employees of CIBC Private Wealth Group or its subsidiaries for referring clients to Bank, but to the extent permitted by applicable laws and regulations, the referral of clients to Bank for eligible products or services may be considered by CIBC Private Wealth Group in determining discretionary compensation to employees. The CIBC logo is a registered trademark of CIBC, used under license. Investment Products Offered are Not FDIC-Insured, May Lose Value and are Not Bank Guaranteed. This ad is not to be construed as an offer to buy or sell any financial instruments. CIBC Capital Markets is a trademark brand name under which CIBC and some of its subsidiaries, including CIBC World Markets Inc., CIBC World Markets Corp., member of FINRA and SIPC, and CIBC Bank USA, provide different products and services. Capital Markets products are not FDIC insured; not deposits or obligations of, or guaranteed by, CIBC Bank USA; and are subject to investment risk, including loss of principal.

APPLAUSE • FEB – MAR 2022 • 303.893.4100 • DENVERCENTER.ORG

PROUD SPONSOR OF DCPA’S OFF-CENTER’S CAMP CHRISTMAS

Doing our part for the places we live and work is good energy.

X

Xcel Energy’s commitment to this community is a big part of everything the company does. Through sponsorships and community investments, they’re dedicated to fostering cultural expression and inclusion in organizations that inspire people, like arts education.

Xcel Energy is also committed to delivering safe, reliable, low-cost, clean energy and is advancing the clean energy transition, with a vision of delivering 100% carbon-free electricity by 2050. This means using the energy from the sun, the wind and you. Yes. Your energy. From switching to energy-efficient LED bulbs to driving an EV, it’s the people in Colorado and their bajillion million zillion volts of optimism that’ll help effect change.

Learn more at https://co.my.xcelenergy.com/s/community.

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APPLAUSE • FEB – MAR 2022 • 303.893.4100 • DENVERCENTER.ORG

Voted Denver's Favorite Pre + Post Show Destination for Dinner + Libations - Valet Parking Available for $8 with Validation

Located inside hotel teatro - just one block from the denver center for the performing arts 1100 14th street | thenickeldenver.com | 720-889-2128

2021-2022 NEWMAN CENTER PRESENTS

Taking care of each other is what community is all about.

We’re proud to serve our community with personal, compassionate care. As your Dignity Memorial® professionals, we’re dedicated to helping families create a unique and meaningful memorial that truly celebrates the life it represents.

Immersive Theatre!

Mar 22 & 23

Proud to support the performing arts in Denver.

Nashville Ballet’s Production of Lucy Negro Redux featuring Caroline Randall Williams, Rhiannon Giddens and Francesco Turrisi

Mar 29 & 30

newmancenterpresents.com 303-871-7720

OLINGER MORTUARIES & CEMETERIES

303-233-4611

Olinger Crown Hill Mortuary & Cemetery

PROUD PARTNER OF THE DENVER CENTER FOR THE PERFORMING ARTS

C “We are excited that in-person shows are returning. CBS4 is committed to covering arts and culture and is a proud partner of the DCPA. We cover Colorado first and invite you to tune in to CBS4 and visit www.cbsdenver.com for updates on performances in our community.

Enjoy the show!”

CBS4 has seen the impact COVID-19 has had on the local arts and cultural communities. Throughout it all, the station and its team have supported and highlighted the innovation and creativity taking place within arts organizations as they have shifted programs in order to continue serving the community. CBS4 encourages everyone to support the area’s beloved arts and cultural institutions and talented individual artists. CBS4 proudly supported Denver Arts Week, the “Arts Through It All” campaign managed by CBCA, Denver Arts & Venues and the SCFD, as well as the Colorado Music Relief Fund and the COVID Arts & Culture Relief Fund. The station understands the positive impact arts has on the community — it fosters community pride and a sense of belonging, contributes to a community’s economic vitality and enhances the quality of life for everyone.

— CBS4 GENERAL MANAGER TIM WIELAND

CBS4 covering Denver Arts Week at Meow Wolf with Anchor Michelle Griego.

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APPLAUSE • FEB – MAR 2022 • 303.893.4100 • DENVERCENTER.ORG

OUR STATE, YOUR SYMPHONY

An Evening with Leslie Odom, Jr. and your Colorado Symphony APR 2 | SAT 7:30

March

May

The Music of Queen with your Colorado Symphony

With a Voice of Triumph - European Tour Preview Performance

Magic Circle Mime Co - The Mozart Experience

Mahler Symphony No. 5

Respighi Pines Of Rome

Cleo Parker Robinson Celebration with your Colorado Symphony

FINAL FANTASY VII REMAKE Orchestra World Tour

Colorado Symphony Gala

Holst The Planets conducted by Peter Oundjian

Beethoven Symphony No. 9 with Colorado Symphony & Chorus

MAR 4-5 FRI-SAT 7:30 MAR 6 SUN 2:30

MAR 11-13 FRI-SAT 7:30 ✣ SUN 1:00

MAY 7 SAT 7:30

MAY 13-15 FRI-SAT 7:30 ✣ SUN 1:00 MAY 20 FRI 7:30

MAR 18-19 FRI-SAT 7:30

MAR 25-27 FRI-SAT 7:30 ✣ SUN 1:00

MAY 21 SAT 6:00

MAY 27-29 FRI-SAT 7:30 ✣ SUN 1:00

April An Evening with Leslie Odom, Jr. and your Colorado Symphony APR 2 SAT 7:30

See our full event listing at coloradosymphony.org

Rachmaninoff Piano Concerto No. 2 APR 8-10 FRI-SAT 7:30 ✣ SUN 1:00

Mahler Symphony No. 2 “Resurrection” APR 16 SAT 7:30

An Evening with Ben Folds and your Colorado Symphony

These performances include FULL SCREENING OF THE FEATURE FILM!

APR 23 SAT 7:30

PRESENTING SPONSOR

PROUDLY SUPPORTED BY

TICKETS: COLORADOSYMPHONY.ORG