Applause -- In the Upper Room -- February 11-27 by The Publishing House

APPLAUSE VOLUME XXXII NUMBER 3 FEB – MAR 2022

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Rattlesnake Kate ...................... pg 12 Hamilton ...................................... pg 20 4

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

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 BY L E O A DA M B I G A

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

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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MUSIC Coming soon to the Denver Center, two music-ﬁlled plays that celebrate new voices in the theatre.

MAGIC

Apr 22 - May 29 | Kilstrom Theatre

May 13 - Jun 12 | Wolf Theatre

Pharus doesn’t ﬁt in at The Charles R. Drew Prep School for Boys. But this year, his talent and perseverance have paid oﬀ with a chance to lead the school’s choir. With its uplifting gospel music and electrifying dance, Choir Boy will inspire you to raise your voice and cheer.

In the ﬁctional modern-day Texas border town of La Plancha, Quixote and Sancho embark on a fantastical quest in search of long-lost love. Infused with imagination, comedy, and Tejano music, Quixote Nuevo reveals the joys and perils of facing down Death and becoming the hero of your own story.

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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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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.

REVIVING A LEGEND:

RATTLESNAKE KATE

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

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. Photo by Evan Zimmerman for MurphyMade.

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IN THE UPPER ROOM BY

BEAUFIELD BERRY

With Sydney Cole Alexander, Yvette Monique Clark, Matthew Hancock, Kayla King, Monnae Michaell, Chavez Ravine, Levy Lee Simon, Courtney A. Vinson Stage Managers: Kristin Sutter, Rick Mireles SCENIC DESIGN BY Efren Delgadillo Jr.

COSTUME DESIGN BY Angela Balogh Calin

SOUND DESIGN BY Jeff Gardner

DRAMATURGY BY Regina Victor

MOVEMENT BY Nile H. Russell

CASTING BY Grady Soapes, CSA and Bass/Valle Casting

LIGHTING DESIGN BY Charles R. MacLeod FIGHT DIRECTION BY Samantha Egle PRODUCTION MANAGEMENT BY Matthew Campbell

DIRECTED BY Gregg T. Daniel The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

THE KILSTROM THEATRE • FEBRUARY 11 – MARCH 13, 2022 In the Upper Room was developed at the DCPA Theatre Company’s 2019 Colorado New Play Summit. Presented by The Joan and Phill Berger Charitable Fund In the Upper Room is the recipient of an Edgerton New Play Award Supported in part by DCPA’s Women’s Voices Fund A DENVER CENTER WORLD PREMIERE

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IN THE UPPER ROOM

Chris Coleman, Artistic Director Charles Varin, Managing Director

IN THE UPPER ROOM

CAST

In Order of Appearance

John Berry............................................................................................................................................................... Matthew Hancock Delores Williams......................................................................................................................................................Monnae Michaell Janet Berry...................................................................................................................................................Sydney Cole Alexander Eddie Berry..................................................................................................................................................................Levy Lee Simon Jackie Williams...............................................................................................................................................Yvette Monique Clark Rose Berry...................................................................................................................................................................... Chavez Ravine Josephine Berry................................................................................................................................................. Courtney A. Vinson Yvette Berry............................................................................................................................................................................Kayla King Stage Manager.................................................................................................................................................................Kristin Sutter Assistant Stage Manager............................................................................................................................................... Rick Mireles Stage Management Apprentice............................................................................................................................Harper Hadley The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States.

SETTING The Berry family home in Omaha, Nebraska in the 1970’s There will be one 15-minute intermission.

WHO’S WHO MATTHEW HANCOCK (John Berry). Theatre SYDNEY COLE credits: An Octoroon ALEXANDER (Janet (Fountain Theatre); Hit Berry). (She/Her/Hers). the Wall (LA LGBT Recent credits include: Center); This Bitter Earth The American Tradition (The Road Theatre); (New Light Theater Trans Scripts Part I Project). Film/TV: (American Repertory); “Severance” (Apple TV), The View Upstairs She’s Gotta Have It (Celebration Theatre); The Brother Size, (Netflix), “Limitless” Between Riverside and Crazy, Hype Man: (CBS). Sydney is a graduate of Purchase A Break Beat Play, I and You (Fountain College with a BFA in acting and attended Theatre). TV: “Seal Team,” “NCIS,” “Kidding,” LaGuardia High School for the Performing “Westworld,” “I’m Dying Up Here,” “Giants,” Arts in Manhattan. “Five Points,” and “Prince of Peoria.” Matthew enjoys musical endeavors as Michael Siren. YVETTE MONIQUE He is a LA Drama Critics Circle, Stage Raw CLARK (Jackie award winner and an NAACP and Ovation Williams). Credits include: The Mountaintop Nominee. BFA from Adelphi University. Instagram: @imatthewhancock. (Depot Theatre); Ain’t Misbehavin’ KAYLA KING (Yvette (International Tour & Berry) (She/Her/Hers) is Depot Theatre); The excited to be making her Little Mermaid, To Kill a professional debut in In Mockingbird (Arrow the Upper Room. She Rock Lyceum Theatre); Gun and Powder graduated, class of 2020, (Signature Theatre); Smokey Joe’s Café from Syracuse University (National Tour and Gateway Performing Arts where she was seen as Center), Hairspray (National Tour and Lady in Orange in For Theatre by the Sea). Chicago, Thoroughly Colored Girls...Other Modern Millie, Show Boat (MacHayden educational experiences include performing Theatre); The Wiz, Unison, Merry Wives of as Hester Pryne in The Scarlet Letter at the Windsor (Oregon Shakespeare Festival). Edinburgh Fringe Festival and Othello in scenes from Othello at Shakespeare’s Globe in London. TV/Film: “The Binge,” “Bull,” “FBI: Most Wanted.” ACTING COMPANY

MONNAE MICHAELL (Delores Williams) celebrates her career in theater, TV, and film. Nominated for an NAACP Theater Award: King Hedley III (Mark Taper Theater); Emmy nomination consideration for Flight ’93. At the DCPA: Seven Guitars. Credits include: Citizen: An American Lyric (Fountain Theater), Boy Gets Girl (Geffen Playhouse), A Raisin in the Sun (Lincoln Center Archives), Beehive (Actor’s Theater of Louisville). TV: “NCIS,” “How to Get Away with Murder,” “The Good Place,” “The Office,” “Young and the Restless,” “CSI,” “The Defenders.” Film: 42, Two Birds, The Drop. CHAVEZ RAVINE (Rose Berry). Off-Broadway: Cullud Wattah (The Public Theatre), The Bluest Eye (The Duke 42nd, Steppenwolf Theatre and The Arden Theatre), The Medicine Show. Regional: Santa Cruz Shakespeare, Portland Center Stage, OSF Theatre, The Goodman Theatre, Virginia Stage Company, Congo Square Theatre, Chicago Shakespeare Theatre, Barrington Stage Company, Virginia State Theatre, Bailiwick Repertory Theatre, Pegasus Players Theatre, Heartland Theatre, LookingGlass Theatre. BTAA for Best Lead in Drama and Drammy

LEVY LEE SIMON (Eddie Berry) is originally from Harlem and a graduate of the University of Iowa Playwright’s Workshop, MFA. As an actor, he has performed on Broadway, off Broadway, regional theatres, England and the Caribbean. He was a cast member in the Pulitzer Prize-winning and Tony-nominated The Kentucky Cycle (The Royale Theatre), Ms. Ever’s Boys (Barbican Theatre, England), Odyssey – Race and Racism (Whitefire Theatre). Film/TV: The Last Revolutionary. Playwright credits include: The Bow Wow Club, For the Love of Freedom trilogy, Same Train, The Guest at Central Park West, and many more. COURTNEY A. VINSON (Josephine Berry). (She/ Her/Hers). New York credits: Georgia: The Play (777 Theatre, Actors Fund Art Center); In the Attic, Behind the Window (Theatre for the New City); DEEPLY (Manhattan Repertory Theatre); The Veritas Times (Hudson Guild Theatre). Regional theatre credits include: Vanya and Sonia and Masha and Spike (Shakespeare & Company), Making Love Legal (DC Fringe Festival). Seen in ad campaign for Lifetime network mini-movie event A Merry and Bright Makeover and National TV ad for BJ’s Restaurant & Bar “Last Bite.” Training: MFA, The New School for Drama. PLAYWRIGHT BEAUFIELD BERRY is a Midwest-based playwright, novelist, and arts education professional. Her work specifically takes on the drama, history and joy of the Black diaspora and often includes magical surrealism and musical or mixed media components. Beaufield’s adventurous work has been performed across the country and in multiple conferences, including the Great Plains Theater Conference, Philadelphia Sparkfest, Manhattan Rep, and Colorado New Play Summit. She has served as a guest artist with Inge Fest in Independence, Kansas, on several panels and boards. Beaufield’s next work is the regional premiere of Buffalo Women; A Black Cowgirl Musical. DIRECTOR GREGG T. DANIEL August Wilson’s Seven Guitars and Gem of the Ocean (A Noise Within Theatre -Ovation Nominee-Best Production of a Play); Lanie Robertson’s Lady Day at Emerson’s Bar & Grill and Katori Hall’s The Mountaintop (Garry Marshall Theatre). West Coast premieres of Mfoniso Udofia’s Her Portmanteau (Boston Court Theatre); and Tearrance Arvelle Chisolm’s

Br’er Cotton (Lower Depth Theatre); Lorraine Hansberry’s Les Blancs (Rogue Machine Theatre - Ovation-nominated, Best Director), the L.A. premiere of Greg Kalleres’ Honky (nominated Best Director, Comedy); Lorraine Hansberry’s A Raisin in the Sun (A Noise Within - Ovation nominated, Best Director). DRAMATURG REGINA VICTOR (They/Them/Pharoah) is a Black director, multidisciplinary artist, and cultural critic. Presently Sideshow Theatre’s Artistic Director, Victor has helped develop world premieres by Antoinette Nwandu, Anna Deavere Smith (Notes from the Field), and Sarah Ruhl. Victor co-founded Rescripted in 2017, an arts journalism platform by and for artists, and has written for other publications including American Theatre, Howlround, and Chicago Reader. Other notable artistic collaborations include Actors Theatre of Louisville, Steppenwolf Theater, Denver Center, Berkeley Repertory Theater, Timeline Theatre, California Shakespeare Theatre, The Sappho Project, and Bard at the Gate at McCarter Theater. Learn more at www.reginavictor.com. CREATIVE TEAM BASS/VALLE CASTING (Casting). New York: Broadway’s Gem of the Ocean. Off- Broadway: Radio Golf, Jitney. Public Theater’s: New Works Now, Minetta Lane, Women’s Project, La MaMa, Epic Theatre, Drama League, Jewish Repertory Theatre, Women in Film and Television. Regional: Hartford Stage, Mark Taper Forum, Arena Stage, Trinity Rep, Syracuse Stage, Huntington Theatre, Portland Center Stage, Dallas Theatre Co., Berkeley Rep, Playmaker’s Rep, Alliance Theatre, Virginia Stage, Geva, CenterStage, Long Wharf Theatre, Arizona Theatre Co. Film: Pushing Hands, Gravesend, First We Take Manhattan. Audition Coach at many of the nation’s top universities and actor training programs. ANGELA BALOGH CALIN (Costume Designer). (She/Her/Hers). At the DCPA: Two Degrees, The Nest, Shadowlands, To Kill a Mockingbird, The Great Wall Story, Absurd Person Singular, The Miracle Worker. Recent credits include: Into the Breeches (Cleveland Playhouse, Asolo Rep.); Outside Mullingar, The Roommate (South Coast Rep.); Gem of the Ocean, Alice (A Noise Within); Shakespeare in Love (Alliance Theatre). Other theatres: Old Globe, Milwaukee Rep, Pasadena Playhouse, Orlando Shakespeare, Georgia Shakespeare, Hollywood Bowl, Antaeus Resident artist at A Noise Within. Theatre Drama Critic’s Circle, Ovation, Backstage, Drama Logue Awards. Film credits in the US and her native Romania MFA in Scenic and Costume Design Academy of Arts Bucharest- Romania

management team. Previously a stage manager at several local theatres and an Assistant Professor of Theater at Brooklyn College. Training: MFA, University of Iowa. EFREN DELGADILLO JR. (Scenic Designer). (He/Him/His). At the DCPA: Smart People, Indecent. New York: The Three Musketeers (The Acting Company); Mycenaean (BAM, Brooklyn Academy of Music). Regional credits include: American Mariachi (South Coast Rep., Arizona Theatre Company), Romeo and Juliet (Oregon Shakespeare Company), BLKS (Woolly Mammoth), Bordertown Now (Pasadena Playhouse), Othello (Hartford Stage), Mojada: A Medea in Los Angeles (The Getty Villa/Boston Court), Prometheus Bound (The Getty Villa/Center for New Performance). MFA: California Institute of the Arts. BFA in Studio Arts from University of California, Irvine. Efren is an Assistant Professor of Scenic Design at UC Irvine. SAMANTHA EGLE (Fight Director). (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. JEFF GARDNER (Sound Designer) (He/ Him/His) is an award-winning sound designer, foley artist and actor. Jeff has designed and performed throughout the country including the Geffen Playhouse, The Kirk Douglas Theatre, The Wallis Annenberg Center, A Noise Within, Antaeus Theatre Company, Circle X Theatre, Echo Theater, Rogue Machine Theatre, IAMA Theatre, The Shakespeare Theatre (DC), Arena Stage, The Kennedy Center, Williamstown Theatre Festival as well as the Edinburgh Fringe Festival in Scotland. Jeff can be seen at L.A. Theatre Works where he regularly performs live sound effects.

CHARLES R. MACLEOD (Lighting Designer). At the DCPA (300+ productions/39 seasons): Recent designs include: As You Like It, Sweat, Native Gardens, One Night in Miami, Appoggiatura, The Diary of Anne Frank, Lydia, The Merry Wives of Windsor, 1001, The 39 Steps, Gem of the Ocean, All My Sons, Death of a Salesman, Lord of the Flies. For DCPA Cabaret: The Other Josh Cohen, The Improvised Shakespeare Company®, Xanadu, First Date, The Secret MATTHEW CAMPBELL (Production Comedy of Women (Denver and National Manager). (He/Him/His). Matthew is Tour), The Last Five Years, Always…Patsy incredibly grateful to be back at work supporting our outstanding production team Cline. For DCPA Education: Corduroy, Goodnight Moon. Mr. MacLeod has been a and guest artists creating extraordinary theatre after so many difficult months away. member of the Theatre Company since 1983. www.charlesmacleod.com He started at the DCPA in 2010 as a stage manager and in 2016 joined the production

IN THE UPPER ROOM

Award for Best Lead. Film/TV: Barbershop II, Death of a President (Toronto International Film Festival Award), Sleepwalk with Me, April Fools, Tapioca, Southern Cross (Cannes Film Festival Award), “Prison Break.”

IN THE UPPER ROOM

NILE H. RUSSELL (Movement) (He/Him/His) is originally from Baltimore, MD. He received a B.A. in Dance from Connecticut College, where he had the guidance of wonderful teachers including Dan Wagoner, Lan Lan Wang, Jeff Rebudal, Robyne Watkin, David Dorfman, Eddie Taketa, and Jeremy Nelson. He moved to New York in 2004, where he danced with Silver-Brown Dance, LeeSaar the Company, Luis Lara Malvacias, Stefanie Nelson Dance Group, and Naganuma Dance. In 2009, Nile joined Pilobolus Dance Theater as a dancer and later became Dance Captain. He moved to Denver in 2014, where he continues to teach, choreograph, and perform. 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. STAGE MANAGEMENT KRISTIN STUTTER (Stage Manager). (She/ Her/Hers). National Tours: Something Rotten!, A Christmas Story: The Musical, and The Buddy Holly Story. International: Something Rotten! (Korea), The Buddy Holly Story (Canada). Other credits include: Bright Star, A Christmas Carol, Million Dollar Quartet, Elf (Arvada Center); The Christians (Riverside Theatre); Footloose, Ring of Fire, The Marvelous Wonderettes, …Spelling Bee (West Virginia Public Theatre); Caroline or Change, Band Geeks!, Lombardi, Avenue Q, Sweeney Todd (Human Race Theatre Company); Crazy for You, Bonnie & Clyde (Ocean Professional Theatre Company); Love Quirks (World Premiere, NYC); Grease (Eldorado Casino); Ring of Fire (Laguna Playhouse). Training: BFA, Wright State University. RICK MIRELES (Assistant Stage Manager) (He/Him/His) hails from south Texas where he earned his BA and MA in theatre from the University of Texas Pan-American. He also holds an MFA in stage management from the University of Illinois Urbana - Champaign. Regional credits include: Montana Shakespeare in the Parks, The Catamounts, Creede Rep., Breckenridge Backstage Theatre, BETC, and Eugene O’Neill Theatre Center. At the DCPA (selected): The Wild Party, Vietgone, Remote Denver, Goodnight Moon, Between Us, and DragOn. Rick has also worked with Meow Wolf-Denver, Black Ink Prod. (LA), and AEG (Denver).

THEATRE COMPANY LEADERSHIP TEAM CHRIS COLEMAN (Artistic Director) is passionate about the connection between stories and community. He joined the DCPA Theatre Company as Artistic Director in November of 2017 and 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 Dwellings of Mesa Verde, explored a working mine in Creede, and rafted down the Arkansas River. 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: Mike Carbonell, Nicholas Cozzo, Charles Dallas, Lisa Ehrle, Michael Ginzel, Amoreena Knabb, Katarina Kosmopoulos, Henry Makman, Nikki Mayer, Connor Robertson, Kelley Russell, Kylie Stetler, Niki Traxler, Destin Woods, Jayanna Young

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.

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 #IntheUpperRoom #TheatreCompany Playwright: Beaufield Berry @BeautifulBeau84 Director: Gregg T. Daniel Scenic Designer: Efren Delgadillo Jr. @efren.delgadillo.jr Costume Designer: Angela Balogh Calin Lighting Designer: Charles R. MacLeod Sound Designer: Jeff Gardner @iseesoundjeff Movement: Nile H. Russell @nile.h.russell Photos and the video and/or audio recording during any part of the performance by any means whatsoever are strictly prohibited.

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 kpetersen@dcpa.org or 303.893.4585.

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 non-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.

Our new exhibition is really striking a chord.

FREE

with Museum Admission

Visit DMNS.ORG/GUITARS for more information.

“GUITAR: The Instrument That Rocked The World” is a Touring Exhibition of The National GUITAR Museum.

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?

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.

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 20

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.

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.

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

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Jordana Grolnick Matthew Murphy Photography

wouldn’t say anything, he would just start typing furiously. He was absolutely unerring in terms of knowing when to respond to what I had said and when not to respond.

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

“ 22

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Join the DCPA for a night of world-class entertainment! Transport yourself to a spectacular soiree in Montmartre, home of the Moulin Rouge, at the Saturday Night Alive gala, supporting DCPA theatre and education programs. Romantic passion, unbridled glamour and bohemian extravagance await you at the biggest social event of the year. Cocktail Hour Three-Course Dinner Luxury Online Auction Moulin Rouge! The Musical at the Buell Theatre

Purchase tickets at DENVERCENTER.ORG/SNA Can’t make it this year? Participate in the luxury online auction, which will be open for public bidding.

FOSTERING TOMORROW’S

PLAYWRIGHTS

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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Applause -- In the Upper Room -- February 11-27

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