Applause Magazine, November 15-December 22, 2019

APPLAUSE

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VOLUME XXXI • NUMBER 4 • NOV 2019 – JAN 2020

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TWELFTH NIGHT

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JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL LATIN HISTORY FOR MORONS JESUS CHRIST SUPERSTAR THE HIP HOP NUTCRACKER

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Claude Monet: The Truth of Nature

THROUGH FEB 2 , 2020

IMAGE: Claude Monet, Waterlilies and Japanese Bridge (detail), 1899. Oil on canvas; 35 5â „8 x 35 5â „16 in. Princeton University Art Museum: From the Collection of William Church Osborn, Class of 1883, trustee of Princeton University (1914-1951), president of the Metropolitan Museum of Art (1941-1947); given by his family, y1972-15. Photo Credit: Princeton University Art Museum/Art Resource, NY Claude Monet: The Truth of Nature is co-organized by the Denver Art Museum and the Museum Barberini, Potsdam.

It is presented with generous support from PNC Bank. Additional funding is provided by Barbara Bridges, Keith and Kathie Finger, Lauren and Geoff Smart, Fine Arts Foundation, the donors to the Annual Fund Leadership Campaign, and the citizens who support the Scientific and Cultural Facilities District (SCFD). This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Promotional support is provided by 5280 Magazine, CBS4, Comcast Spotlight, and The Denver Post.

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SIGHTLINE

BY JANICE SINDEN

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VO LU M E X X X I • N U M B E R 4 • N OV 2 0 1 9 – JA N 2 0 2 0

EDITOR: Suzanne Yoe ASSOCIATE EDITOR: John Moore DESIGN DIRECTOR: Kyle Malone DESIGN THIS ISSUE: Brenda Elliott CONTRIBUTING DESIGNERS: Casey Eickhoff, Lucas Kreitler CONTRIBUTING WRITERS: Sylvie Drake, Robert Loerzel, Cheyenne Michaels

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Welcome to the Denver Center for the Performing Arts.

We are so glad you’re here!

This holiday season is a bit unusual for us. Our annual production of A Christmas Carol is on hiatus while the 40-year-old Stage Theatre is renovated. Plus two productions are not located under the glass canopy of the Arts Complex.

Camp Christmas is Off-Center’s newest offsite, immersive experience. Located in The Hangar at Stanley Marketplace, this over-the-top holiday extravaganza showcases yuletide traditions of the past and present. Designed by local artist Lonnie Hanzon, Camp Christmas features built-in photo opportunities for the whole family and is sure to be Denver’s new favorite holiday experience.

Across the street from the Arts Complex, our Education and Theatre Company production team is delighted to entertain tiny tots ages Pre-K through third grade with a musical adaptation of the beloved children’s book, Goodnight Moon.

While Broadway delights audiences with the return of Jesus Christ Superstar and Dr. Seuss’ How the Grinch Stole Christmas!

The Musical, not everything is holiday fare. We’re presenting a one-night engagement of John Leguizamo in Latin History for Morons, Jimmy Buffett’s Escape to Margaritaville and the always unexpected antics of The Improvised Shakespeare Company®.

Just because Dickens’ famous ghost story is taking a break does not mean our Theatre Company is resting on its laurels.

Instead, we’re presenting Shakespeare’s Twelfth Night under the direction of our own Artistic Director, Chris Coleman. Plus we’re gearing up for two all-new productions just after the first of the year with twenty50 and You Lost Me. With so many activities, it’s hard to choose just one…so we hope you come for them all. Your support, both in person and through your generosity, makes the work on our stages, in our classrooms and throughout the community possible.

As we reach the end of our calendar year, please consider a donation. Your gift can help us send a child to their very first performance at Goodnight Moon, place a chair in a renovated theatre in time for the return of A Christmas Carol next season, or make sure we can continue to attract top shows and talent from across the country.

Thank you for being with us today. To you and yours, have a very happy holiday season.

Warm regards,

Janice Sinden President & CEO

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APPLAUSE • NOV 2019 – JAN 2020 • 303.893.4100 • DENVERCENTER.ORG

Applause is published eight times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved.

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

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

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

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TWELFTH NIGHT

B Y S Y LV I E D R A K E

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Among his many achievements, William Shakespeare is also known for something slightly less laudable: the habit of stealing and adapting plots rather than inventing them.

It was a shortcut, practiced also by fellow playwrights. Why bother to invent when so many were there for the taking? It saved time and you could improve on them. Or not.

When it came to characters and imagery though, Shakespeare excelled. And, as with the other playwrights of his day, his refashioned plots indulged in elaborate deceit and vindication in all its forms while his subplots usually involved comic rubes and fools who dispensed malapropisms and sly wisdom by the mouthful.

His best comedies are the fuel of great fun, propelled by lust, swept away by giddy humor, always dabbling in music while devolving into repeated antics that lead to happy endings. Consider A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It and Twelfth Night. Check out the variations on favorite themes: lovers in distress, disguises, mistaken identities, soldiers and sages, sisters and brothers, lofty peers and silly peons — and, in The Comedy of Errors, more than one set of twins.

Twelfth Night has all of these elements and, if not identical twins, then a brother and sister separated by shipwreck and reunited when, thanks to the sister’s decision to disguise as a man, the two are mistaken for one another and revealed to be who they really are. Joy ensues because in Shakespeare’s comedies, joy always ensues.

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These are some of the reasons why Chris Coleman, the DCPA Theatre Company’s Artistic Director, not only chose to do Twelfth Night but also to direct it.

“I knew I wanted Shakespeare to be part of this season,” he wrote in an informal exchange of emails. “Having the opportunity to continue exploring his work was one of the draws of this job. I also knew that our last outing was with Macbeth, so it made sense for it to be a comedy. Twelfth Night is among his very best writing in terms of fun of plot, richness of characters and delicious confusion of desire.

“Everyone is falling for the ‘wrong’ person in this play.

Some kind of desire gets awakened [that] is not aligned with the individuals’ sense of identity or history. The tension around that is very interesting, and very current. I also think there’s a great sense of music and mayhem in the piece that [is] fun to try and capture.”

Music opens and ends the play, with plenty of room to add as much or as little of it as you wish, and mayhem influences all of the action in between.

“There is both delightful humor and depth of feeling,” Coleman added. “It begins with heartache: Viola thinks her brother is drowned; Olivia grieves the loss of her father and brother; Orsino aches for Olivia’s love, which is scaldingly unreturned. The emotional layers feed the comedy, but also give it resonance.”

Good point. The everpresent clowns in these comedies also have a serious function. They counteract the cloying

APPLAUSE • NOV 2019 – JAN 2020 • 303.893.4100 • DENVERCENTER.ORG

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THE BREEZY ROMANCE OF

potential of all that unrequited loopy love. And the ragged bunch of hangers-on in Twelfth Night are at once more closely related to the primary characters and considerably more cruel than his usual clowns.

The moocher, Sir Toby Belch, Olivia’s uncle or cousin (he’s mentioned as both), is a layabout in the household who has no trouble inviting her clown Feste and her attendant Fabian or his own nebbishy friend Sir Andrew Aguecheek to join him in abusing Olivia’s largesse. They’re a roguish crew, aided and abetted in their games by Maria, Olivia’s “gentlewoman,” an elevated title for a housekeeper with a sense of humor who’s the mastermind behind the mischief, especially the nasty prank they play on her stuck-up steward, Malvolio.

The entire action takes place in a period Coleman loosely calls “Renaissanceish Mediterranean,” circa 1500, a decent match for Shakespeare’s Illyria, vaguely assumed to be Croatia’s enchanting Dalmatian coast. So the mood for romance is all there.

In tune with our times, the cast is a stew of ethnicities, including four actors who also play musical instruments and several artists with lengthy ties to the Denver Center: Larry Hecht, Kim Staunton, Larry Paulsen, Rodney Lizcano and Sam Gregory. Stalwarts Charles MacLeod designed the lighting and Kevin Copenhaver the clothes.

Twelfth Night is among his very best writing in terms of fun of plot, richness of characters and delicious confusion of desire.

— CHRIS COLEMAN, DIRECTOR

“My intentions with Shakespeare,” Coleman said, “are always to try and uncover the fundamentals of the language first: get to the heart of the sense of the language and why these humans need to speak these words. Then it’s about helping the actors fully inhabit the truth of the story’s circumstances and fully honor what the characters are up against.”

A final footnote: Perhaps to make up for the thread of maliciousness in Sir Toby and friends or the mean trick played by them on the hapless Malvolio or perhaps simply because the words came to him at that moment, one of Shakespeare’s most astonishing rhymed couplets is in this play, only to go largely unheard. Why? Because the words are spoken by Antonio, a peripheral character, in the midst of a heated argument.

In Nature there’s no blemish but the mind.

None can be called deform’d but the unkind.

Words to live by, yet their throwaway spot in the scheme of things underscores how guilelessly Shakespeare squandered his eloquence. There are almost no lines of his you can dissect that don’t possess pith or elegance.

Which explains why, after more than 400 years, his works are still with us and likely to remain with us for another 400.

SYLVIE DRAKE is a translator, writer, and former theatre critic and columnist for the Los Angeles Times. She is a member of the American Theatre Critics Association, a contributor to culturalweekly.com and occasional contributor to American Theatre magazine and the Los Angeles Times.

TWELFTH NIGHT NOV 15 – DEC 22 • SPACE THEATRE ASL interpreted and Audio described performance: Dec 8 at 1:30pm

COSTUME COLUMN When DCPA Theatre Company Artistic Director Chris Coleman arrived in Denver, a member of his new staff asked him to describe his artistic tastes. One of the things he responded with: “Wouldn’t it be radical to set a Shakespeare play in Shakespearean times?” Following up on that promise, Twelfth Night (Coleman’s first presentation of Shakespeare at the DCPA) is set in roughly the same location and time period that the Bard intended.

Ancient Illyria was located in modern-day Slovenia, Croatia, Bosnia and Herzegovina where trade routes from the Far East ended, making it a multicultural marketplace. It is fitting, then, that costume designer Kevin Copenhaver’s costumes are a melting pot themselves: “I’m borrowing a little Spanish influence, French influence, of course Italian,” with additional traces of Romani and German.

Theatre Company regulars may recognize Copenhaver’s distinguishable work for its bold patterns, lush colors and exaggerated silhouettes. Now in his 30th season with the Theatre Company, he has designed such recognizable shows as A Christmas Carol, Crowns, Animal Crackers, Sweeney Todd, and The Who’s Tommy. After Coleman began conversations with Copenhaver about Twelfth Night, he used two words to describe Kevin’s aesthetic: “Renaissance Copenhaver.”

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WHY WON’T BE JUST ANOTHER JUKE-BOX MUSICAL

Chris Clark as Tully, Sarah Hinrichsen as Rachel in Jimmy Buffett’s Escape To Margaritaville. © Matthew Murphy

B Y R O B E R T LO E R Z E L , P L AY B I L L

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The first time Jimmy Buffett saw a rehearsal of Escape to Margaritaville, the new musical based on his songs, it was pretty obvious that he was having a good time. “He was smiling and laughing,” recalls Greg Garcia, co-writer of the musical’s book, who was sitting just in front of Buffett. “I kept looking back at him, and he was just loving it.

Afterward, I go, ‘That’s the first Jimmy Buffett concert that you’ve ever been to, isn’t it?’ And he looked at me and smiled and said, ‘Yeah, man!

I see what the fuss is all about!’”

Of course, Escape to Margaritaville isn’t exactly a Jimmy Buffett concert. But its creators say that it does have a tropical party vibe similar to the festive mood at Buffett’s rollicking live shows. Like other so-called jukebox musicals, it takes a set of popular songs and constructs a story around them. Just as Mamma Mia! concocted a plot to connect the hits of Abba, this new show celebrates Buffett’s greatest hits while telling a romantic-comedic story — about a character who’s a bit like Buffett in his younger days as a busker singing songs on the beach.

What’s the secret to making a jukebox musical feel more like a real musical, and not just a string of hit tunes? “Every song has to feel inevitable and necessary to the story,” says original Broadway director, Christopher Ashley. “Or it has to be such a pleasurable left turn that you say, ‘Wow, I didn’t see that coming, but I’m so happy about how they used that song.’ Nothing can ever feel shoehorned.”

Ashley (who won the 2017 Tony Award for Best Direction of a Musical for his work on Come From Away) is the artistic director at La Jolla Playhouse near San Diego, which staged the first production of Escape to Margaritaville in May 2017 before heading on to Broadway in February 2018.

San Diego Union-Tribune critic James Hebert wrote that the show “delivers just about every bit of what the phrase ‘Jimmy Buffett musical’ promises, from the splashy colors to the steel-drum beats to the palm-fronded beach bar slinging fruity cocktails.” But he also noted that the musical smartly taps into “the undercurrent of wistfulness and regret that runs through even some of Buffett’s more upbeat story-songs.”

The depth of those songs attracted Garcia and cowriter Mike O’Malley. The Emmy Award-winning Garcia, creator of television shows such as the TBS series The Guest Book, says he grew up listening to Buffett’s records. “I was always drawn to songs that told stories,” he says. “Jimmy’s songs, a lot of them tell stories. They have characters within them. Certainly, some of them also have a humorous vibe.” Garcia became something of a Parrothead, as Buffett fans are known, and Buffett later became a fan of Garcia’s NBC series My Name Is Earl.

O’Malley — who starred in Garcia’s sitcom Yes, Dear from 2000 to 2006 — says listeners are attracted by the “spirit of fun” in Buffett’s songs.

“But there’s also this real depth in other parts of his songs,” O’Malley observes. Buffett has an “ability to write songs about what people yearn for, what they regret in their own behavior, and what they strive for in friendships and relationships,” he says.

When Garcia and O’Malley started working on a script four years ago, they knew they’d have to include certain Buffett hits. “You don’t have to be a genius to figure out which ones have to be in it,” Garcia says. “Jimmy says there are ten songs he plays or gets killed.” Those include “Come Monday,” “Cheeseburger in Paradise” and, of course, Buffett’s breakthrough hit from 1977, “Margaritaville.”

As Garcia explains, “It was pretty easy to compile the list. But then what do you do? You’ve got this big list of songs. How do you get them in? The trick for us was, we listened to the songs and we started creating characters based on the songs.”

The central character they came up with is Tully, a bartender and singer at an island resort (played by Chris Clark). “A guy who lives on the beach,” Garcia says. “A carefree, fun-loving guy. He has relationships that last a week. But then somebody comes into his life that’s a little bit more of a challenge.”

That somebody is Rachel, played by Sarah Hinrichsen. She’s “an ecological scientist who has a real career drive, and is not interested in hanging out and getting drunk,” Ashley says. “We created her as the un-Jimmy Buffett character.” And when these two characters fall in love, it pushes them to rethink their attitudes about life.

Buffett has an “ability to write songs about what people yearn for, what they regret in their own behavior, and what they strive for in friendships and relationships.”

— MIKE O’MALLEY, CO-WRITER

“When I look at the TV shows that I do, there’s a theme of personal growth,” Garcia relates. “My Name Is Earl was about a guy who wanted to be a better person. And this is a show where you watch these two people help each other become better.”

Buffett’s songs take on new meanings when we see these characters singing them. Now, they’re stories about these people. “‘Margaritaville’ is a great song if you’re not the person singing it,” O’Malley muses. “There’s great regret and sadness in that song. How did this woman get away? What did I do in terms of the choices that I made that caused me to be sitting here, wasting away in Margaritaville? When you put yourself in the point of view of a character singing that song, there can be a different emotion than when you’re just shouting it to the rooftops.”

In addition to Buffett’s vibrant music, the show draws energy from the choreography of Kelly Devine, who worked with Ashley on the Tony-winning Broadway show Come From Away, and earned a Tony nomination herself.

“The dance vocabulary is surprising and athletic and sexy and rock ’n’ roll and imaginative,” Ashley says. “We have real triple threats—people who really can act, really can sing, and really can dance.”

The show’s creators often talked with Buffett, seeking his advice and feedback. Garcia says it’s been a “real thrill” to watch Buffett whenever he lights up with joy during a performance. “When you sit down to write the Jimmy Buffett musical — I’ll be honest with you — there’s really only one audience member I care about at the end of the day,” he says. “And it’s Jimmy Buffett.”

COMING UP FROM BROADWAY

SUMMER:

THE DONNA SUMMER MUSICAL SUMMER: The Donna Summer Musical (Jan 28 – Feb 9) flows from one scene to the next with a disco soundtrack of hits. Here’s a brief timeline of her successful career.

Dec 31, 1948: Donna Adrian Gains is born 1959: She sings in public for the first time at her church.

1967: Donna moves to Germany to perform in Hair and records her first record.

1974: She signs a recording contract with producer/songwriters Giorgio Moroder and Pete Bellotte. Their first American hit is “Love to Love You Baby.”

1978: Donna collaborates with songwriter Paul Jabara on “Last Dance,” which wins an Academy Award for Best Original Song.

1977: She releases “I Feel Love,” which sparks the electronic dance music genre.

1979: “Bad Girls” was released and became her longest-running number-one hit.

1980: Donna became the first woman to win a Grammy in the newlyrecognized Rock category as Best Female Rock Vocal Performance for “Hot Stuff.”

1980: Donna wins three American Music Awards.

1983: Restaurant attendant Onetta Johnson inspires “She Works Hard for the Money.”

1992: Donna is honored with a star on the Hollywood Walk of Fame 2012: She passes away.

2013: Donna Summer is inducted into the Rock and Roll Hall of Fame.

140 MILLION RECORDS SOLD

Modified and reprinted with permission of Playbill.

5 GRAMMY AWARDS

JIMMY BUFFET’S ESCAPE TO MARGARITAVILLE DEC 23 – JAN 5 • BUELL THEATRE ASL Interpreted, Audio-described and Open Captioned performance: Jan 5 at 2pm

1 OSCAR AWARD

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HOW THE GRINCH STOLE CHRISTMAS f The book debuted in December 1957. f The Grinch turned green when he was animated in 1966.

Originally, he was black and white with pink eyes. Rumor has it that the animator was inspired after he rented a car that was painted an ugly and unique shade of green. f Dr. Seuss wrote all of the lyrics to the songs in the TV special. f The Grinch was named the fifth-greatest cartoon character of all time by TV Guide in 2002.

Philip Huffman as The Grinch and the 2016 Touring Company of Dr. Seuss’ How The Grinch Stole Christmas! The Musical.

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL f The musical came to life in 1994 at the Children’s Theatre Company in Minneapolis. f It appeared on Broadway in 2006, where it broke records during holiday season. f Max the Dog, who only had two lines in the TV special — “Yipee!” and “Raaahhh!” — now narrates this classic holiday tale for the whole family.

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL DEC 3 – 8 • BUELL THEATRE ASL interpreted, Audio-described, Open Captioned performance: Dec 7 at 3pm

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BEGINNING YOU ARE THE SPARK

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

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

Photos by John Moore

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

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TWELFTH NIGHT BY

William Shakespeare With Corey Allen*, Seth Dhonau*, Mehry Eslaminia*, Cameron Folmar*, Runner Francisco, Erick González*, Sam Gregory*, Lawrence Hecht*, Rodney Lizcano*, Krystel Lucas*, Larry Paulsen*, Alex Purcell*, Kim Staunton*, Kirk Taylor* Stage Managers: Kurt Van Raden*, Corin Davidson*

SCENIC DESIGN BY Robert Mark Morgan

COSTUME DESIGN BY Kevin Copenhaver

LIGHTING DESIGN BY Charles R. MacLeod

SOUND DESIGN BY Jason Ducat

ORIGINAL MUSIC BY Tom Hagerman

MUSIC DIRECTION BY Angela Steiner

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

RESEARCH DRAMATURGY BY Douglas Langworthy

PSYCHODRAMATURGY BY Barbara Hort, Ph.D.

CHOREOGRAPHY BY Grady Soapes

FIGHT DIRECTION BY John E. Armour

CASTING BY Harriet Bass and Grady Soapes, CSA

PRODUCTION MANAGEMENT BY Matthew Campbell

DIRECTED BY

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

SPACE THEATRE • NOV 15 – DEC 22, 2019 This production is part of Shakespeare in American Communities, a program of the National Endowment for the Arts in partnership with Arts Midwest.

SEASON SPONSORS

PRODUCING PARTNERS

Alan & Katie Fox, Diana & Mike Kinsey, Singleton Family Foundation

TWELFTH NIGHT

Chris Coleman, Artistic Director Charles Varin, Managing Director

TWELFTH NIGHT

CAST

In Order of Appearance Orsino............................................................................................................................................................................COREY ALLEN* Curio/First Officer.....................................................................................................................................RUNNER FRANCISCO Valentine/Second Officer.................................................................................................................................. SETH DHONAU* Viola/Cesario...................................................................................................................................................MEHRY ESLAMINIA* Captain/Fabian........................................................................................................................................................... KIRK TAYLOR* Sir Toby Belch.................................................................................................................................................LAWRENCE HECHT* Maria.............................................................................................................................................................................KIM STAUNTON* Sir Andrew Aguecheek............................................................................................................................ CAMERON FOLMAR* Feste/The Fool....................................................................................................................................................LARRY PAULSEN* Olivia.......................................................................................................................................................................... KRYSTEL LUCAS* Malvolio....................................................................................................................................................................... SAM GREGORY* Antonio................................................................................................................................................................ ERICK GONZÁLEZ* Sebastian .................................................................................................................................................................. ALEX PURCELL* Priest.................................................................................................................................................................... RODNEY LIZCANO* Stage Manager.................................................................................................................................................KURT VAN RADEN* Assistant Stage Manager.............................................................................................................................CORIN DAVIDSON* Stage Management Apprentice.....................................................................................................................ZACH MADISON

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

There will be one 15-minute intermission.

WHO’S WHO ACTING COMPANY COREY ALLEN (Orsino).

Shakespeare Theatre: An Oresteia, Macbeth; Huntington Theatre Company: A Raisin in the Sun, Ma Rainey’s Black Bottom; Pioneer Theatre Company: Two Dollar Bill, A Few Good Men; Great River Shakespeare Festival: Othello, A Midsummer Night’s Dream; Utah Shakespeare Festival: Cyrano de Bergerac, The Two Gentlemen of Verona; Repertory Theatre of St. Louis: Alabama Story, The Fall of Heaven; Orlando Shakespeare Theatre: Best of Enemies.

Television: “Happy!,” “Mindhunter,” “Manh(a)ttan,” “Power.” Training: University of Illinois: (MFA).

SETH DHONAU (Valentine/Second Officer). DCPA Cabaret: Xanadu and First Date. As You Like It, Love’s Labour’s Lost, Cyrano de Bergerac, King Charles III (Colorado Shakespeare Festival). Other regional credits include Shakespeare in Love (Colorado Springs Fine Arts Center) and Bright Star (Arvada Center for the Arts and Humanities). Training: Northwestern University.

MEHRY ESLAMINIA (Viola/Cesario).

DCPA credits: world premiere Appoggiatura, A Christmas Carol, Off Center’s Lived/ Re-Lived, and multiple Colorado New Play Summits.

Colorado credits: world premiere Wisdom From Everything (Local

Theater Co.); The Happiest Song Plays Last (Curious Theater Co.); Dirty Rotten Scoundrels, Guys and Dolls, August: Osage County (Creede Repertory); Taming of the Shrew (Colorado Shakespeare Festival Tour). Other credits: world premiere The Corpse Washer (Actor’s Theatre of Louisville, Humana Festival); You Can’t Take It With You, Noises Off!, The Curious Incident of the Dog in the Night-Time (Indiana Repertory Theater); Hamlet (Indianapolis Shakespeare Co.); A Midsummer Night’s Dream, I <3 Juliet (Illinois Shakespeare Festival.) @mehryiris CAMERON FOLMAR (Sir Andrew Aguecheek).

Broadway: The 39 Steps. Off Broadway: Martin Luther On Trial, Five

By Tenn (MTC, Drama League nomination); The Merchant Of Venice, The Jew Of

RUNNER FRANCISCO (Curio/ First Officer). He has appeared in The Diary of Anne Frank (Arvada Center for the Arts and Humanities), Miss You Like Hell (Aurora Fox Arts Center), Discount Ghost Stories (Local Theater Company), Superior Donuts (Stagedoor Theatre), and Beauty and the Beast, Someone Save My Baby Ruth, and Mary Poppins (CarryAnn Productions).

ERICK GONZÁLEZ (Antonio). OffBroadway: El Coronel No Tiene Quien Le Escriba, Valor Agravio y Mujer, En el Nombre de Salomé, El Loco por Fuerza, Aire Frío (Repertorio Español); Marfa Lights (INTAR Theatre); Noche Tan Linda (Pregones/PRTT). Regional: Native Gardens (Portland Center Stage at The Armory, Geva Theatre and Syracuse Stage); Farragut North (Premiere Stages). Other NY Credits: A Midsummer Night’s Dream, Macbeth, The Taming of the Shrew, Cymbeline (Frog and Peach); Measure for Measure, Much Ado About Nothing, Julius Caesar (Hip to Hip).

TV/Film: “Madam Secretary,” “StarUp,” A Nice Girl Like You. Member of the Upstart Creatures in NYC. erickgonzalezactor.com SAM GREGORY (Malvolio). Sam last appeared at the Denver Center as Stan in Sweat. At the Theatre Company: 49 productions.

Multiple seasons for the Colorado, California, and Alabama Shakespeare Festivals. He

has appeared at the Seattle, Milwaukee and San Jose Repertories, Hartford TheatreWorks, Cleveland Play House, Cincinnati Playhouse in the Park, American Players Theatre, George Street Playhouse, Eugene O’Neill Theatre Center: New Playwrights Festival, Chautauqua Theatre Company, Two River Theatre Company, Northern Stage and the Eureka Theatre. Occasionally, he appears in local commercials. And a long time ago, when he lived in New York City, he did some TV shows.

LAWRENCE HECHT (Sir Toby Belch). Mr. Hecht is pleased to return to DCPA, where he acted, taught and directed for 20 years. While here, he served as Head of Acting for the National Theatre Conservatory. Last year, he appeared in Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures at the Curious Theatre Company. He has also worked with the Colorado Shakespeare Festival, Creede Rep, Sys Tryst Theatre Company and the University of Denver. Lawrence was a company member at the American Conservatory Theatre in San Francisco for 25 years. His ventures into film include Wes Craven’s “Scream” Trilogy.

RODNEY LIZCANO (Priest). At the Denver Center: The Book of Will, American Mariachi, Constant Wife, Frankenstein, Hamlet, American Night, Merchant of Venice, Spinning Into Butter, Inna Beginning, Tempest, Gross Indecency, The Rivals, Winter’s Tale, A Christmas Carol. Other Theatres: Colorado Shakespeare Festival (Richard III, Much Ado, Othello, Tempest, Merry Wives, Henry IV Parts 1 & 2, Henry V, Henry VI Parts 1 & 3, Equivocation, Cymbeline, Twelfth Night), The Old Globe, Orlando Shakespeare Theatre, Dallas Shakespeare, Theatre Aspen, Arvada Center. TV/Film: Silver City directed

by John Sayles and “Stage Struck” on Bravo. Training: Southern Methodist University (BFA) National Theatre Conservatory (MFA).

KRYSTEL LUCAS (Olivia). DCPA: The Christians. New York: Couriers and Contrabands (The Barrow Group), Love’s Labour’s Lost (Shakespeare in the Parking Lot). Regional: Hamlet (Shakespeare Theatre DC); Pride and Prejudice (Dorset Theatre Festival); Disgraced (Cincinnati Playhouse); Twelfth Night, The Book of Will (Hudson Valley Shakespeare Festival); Our Town (Triad Stage); Good People (Alley Theatre and Dorset Theatre Festival); The Merchant of Venice, A Midsummer Night’s Dream (The Old Globe); In the Next Room (Syracuse Stage and Repertory Theatre of St. Louis); Death and the King’s Horseman, Macbeth (Oregon Shakespeare Festival). TV: “Jessica Jones,” “The Blacklist.”

Training: MFA, NYU. LARRY PAULSEN (Feste/The Fool).

DCPA: The 39 Steps and When We Are Married. Most recently, Larry has performed in Alabama Story and as Polonius in Hamlet at the Repertory Theatre of St Louis, and Scapino at Gulfshore Playhouse. Over four decades his work has been seen at The Shakespeare Theatre, eight seasons at the Oregon Shakespeare Festival, the Huntington Theatre, Gulfshore Playhouse, Seattle Rep, ACT Theatre, Intiman Theatre, Alliance Theatre, La Jolla Playhouse, Kansas City Rep, and the Cleveland Play House, as well as the South Coast Rep, the Milwaukee Rep, Mark Taper Forum, among many others.

ALEX PURCELL (Sebastian). OffBroadway: Public Enemy and Stupid Fu**ing Bird (Pearl Theatre). New York: Lear: That Old Man I Used To Know, Romeo & Juliet, A Midsummer Night’s Dream (Smith Street Stage); Hot L Baltimore (Harold Clurman Lab Theatre). Regional: Disgraced (Hangar Theatre and Portland Stage Co.); Vanya & Sonia & Masha & Spike, Peter & The Starcatcher, A Christmas Carol (Cincinnati Playhouse).

Graduate of the Stella Adler Studio of Acting; BFA in Film/TV Production from NYU. AlexGPurcell.com

TWELFTH NIGHT

Malta (TFANA); Volpone (Red Bull); The 39 Steps, Waiting For Godot.

Regional: The Guthrie Theatre, Arena Stage, The Shakespeare Theatre Company (D.C.), McCarter, Denver Center, Seattle Rep., Studio Theatre (D.C.), The Kennedy Center, B Street Theatre, Shakespeare Santa Cruz.

International: The Royal Shakespeare Company (Stratford Upon Avon, UK).

TV: “Law And Order: Conviction,” “Criminal Intent.” Voice Over: “World of Warcraft: Cataclysm,” “Legion,” “The Battle For Azeroth,” “Heroes Of The Storm.” Training: Juilliard.

TWELFTH NIGHT

KIM STAUNTON (Maria). DCPA: Two Degrees, black odyssey, Fences, To Kill A Mockingbird, Ruined, A Raisin in the Sun, Radio Golf, Doubt, Gem of the Ocean, A Selfish Sacrifice, The Madwoman, Streetcar Named Desire, King Hedley II, Pork Pie. Other Colorado theatres: Lone Tree Arts, Lake Dillon Theatre, Colorado Shakespeare. She has been seen in 44 plays at 21 regional theaters, Broadway and Off-Broadway. Film: Extensive credits including Changing Lanes, First Sunday, Heat, Holy Man, Glory & Honor. TV: “This Is Us,” “Army Wives,” “The Nine,” “Bones,” “Judging Amy,” “Law & Order,” “New York Undercover.” Awards/Training: Ten Chimneys Lunt-Fontanne Fellow, Juilliard School.

KIRK TAYLOR (Captain/Fabian). A multi-faceted Actor/ Singer/Composer, hailing from New York City by way of Bridgeport, Connecticut. Stage credits include: Five Guys Named Moe (Broadway Tour), Jelly Roll!...(National Tour), Live the Dream (Carnegie Hall), Mowgli (Off Broadway), Our Town (South Coast Rep), Signed, Sealed & Delivered! (Las Vegas), Three Sisters (Actor’s Alley), War Party (OffBroadway). Television: “All My Children,” “Chicago Hope,” “Freedom Song” (TNT); “One Special Moment” (BET); “Law & Order,” “NCIS: LA.” Film: The Angriest Man In Brooklyn, Death Wish 3, Full Metal Jacket, The Last Dragon, MacArthur Park, Revival!, School Daze, The Sum of All Fears.

Training: BFA/NYU, Lee Strasberg & Stella Adler. Kirk now resides in L.A. PLAYWRIGHT WILLIAM SHAKESPEARE (Playwright) was born in late April 1564 in Stratford-upon-Avon. As a young actor, poet and playwright, he joined The Lord Chamberlain’s Men, one of the most successful acting troupes in London. In 1599, the troupe lost the lease of the theatre where it performed and built its own theatre across the Thames, south of London, which it called The Globe.

The new theatre opened in July of 1599 built from the timbers of the old theatre. In 1603, when James I

came to the throne, the new king designated the troupe as the King’s Company. Shakespeare entertained the people of London at The Globe until June 19, 1613, when a cannon fired from the roof of the theatre during a performance of Henry VIII set the thatch roof on fire and burned the theatre to the ground.

Shakespeare retired from the stage but continued to write until his death in 1616 on his 52nd birthday. To this day, Shakespeare is the most widely admired and well-known poet and playwright in English literature.

DIRECTOR 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 recently directed Oklahoma!, Anna Karenina and A Doll’s House.

Previously, Chris served as Artistic Director for Portland Center Stage in Oregon for 18 years. Under his leadership, PCS renovated the city’s historic Armory into a new home, saw annual attendance nearly double, workshopped 52 new plays that went on to productions at over 100 theaters around the U.S. and U.K., and became a national leader in how theaters engage with their community.

In 1988, Chris founded Actor’s Express in Atlanta (in the basement of an old church), a company that continues to be a cultural force in the Southeast today. He has directed at major theaters across the country, including Oregon Shakespeare Festival, the Alliance Theater, Dallas Theater Center, Baltimore Center Stage, Actors Theatre of Louisville, ACT/Seattle, the Asolo, Pittsburgh Public, 59E59, and New York Theater Workshop. He and his husband, actor/writer Rodney Hicks, live in Stapleton with their 100 lb. English blockhead yellow lab and their 18 lb. terrier mix. Since moving to Colorado, he has hiked Dominguez Canyon, wondered at the Cliff Dwellings of Mesa Verde, explored a working mine in Creede, and rafted down the Arkansas River.

CREATIVE TEAM JOHN E. ARMOUR (Fight Director).

Twelfth Night is John’s first production with DCPA Theatre Company. Based in Portland, Oregon he choreographs stage violence

and teaches throughout the Pacific Northwest. Has worked extensively for Portland Opera, Portland Center Stage, Artists Repertory Theatre, Teatro Milagro and many others. At various times an adjunct instructor at Portland State University, University of Portland, Reed College, Lewis and Clark College. Trained with Mike Loades at British American Drama Academy and subsequently with The Society of American Fight Directors.

Awarded two Portland Drammy awards for Best Fight Design.

HARRIET BASS (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.

MATTHEW CAMPBELL (Associate Production Manager) is in his tenth season at the DCPA, a member of the production management team since 2016 and a stage manager the seven previous seasons. Continuously grateful to support and work alongside our marvelous staff and guest artists creating unforgettable, amazing theatre. Some Theatre Company favorites while on the stage management team: Frankenstein, The 12, Animal Crackers, Lord of the Flies and Sweet & Lucky with Off-Center.

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

KEVIN COPENHAVER (Costume Designer). At the DCPA (30 seasons): Goodnight Moon, Sweat, Corduroy, The Who’s Tommy, The Snowy Day, Sweeney Todd, Frankenstein, The Christians, Lord of the Flies, Animal Crackers, Just Like Us, Ring of Fire: The Music of Johnny Cash, The Whale, Dracula, Mama Hated Diesels, A Christmas Carol, Tantalus and many others. Other Theatres: Hair

JASON DUCAT (Sound Designer). At the DCPA: Goodnight Moon, Human Error, When Tang Met Laika, The House of the Spirits, Lord of the Flies, Shadowlands, Heartbreak House, Othello (DCPA Theatre Company); Goodnight Moon, Corduroy, The Snowy Day (DCPA Theatre for Young Audiences). The Cake, Detroit ‘67, White Guy on the Bus, In the Red and Brown Water, Venus in Fur, The Brothers Size, 9 Circles, A Number, and Astronomical Sunset (Curious Theatre Company); Hamlet, Julius Caesar, Troilus and Cressida, Henry V, Henry IV, The Tempest, Macbeth, and Richard II (Colorado Shakespeare Festival); Sense and Sensibility, The Electric Baby, Bus Stop, The Drowning Girls, and Waiting for Godot (The Arvada Center). Training: MFA in Sound Design from Purdue University.

TOM HAGERMAN (Music Composer) is a Denver based composer, arranger and musician best known for his multi-instrumentalist role in the Grammy nominated, Denver based rock band, DeVotchKa. He has performed on many recordings including those by M Ward, Crooked Fingers, She and Him, Neko Case, Bettye Lavette, Calexico and Sage Francis. As a composer and arranger, he has worked closely for a variety of groups including, the Colorado Symphony, the Denver Center for the Performing Arts, Cara Mia Theater, The Flaming Lips, The Lumineers, Nathaniel Rateliff, Amos Lee, Gregory Alan Isakov, Ingrid Michaelson, Lettuce, and Opiuo.

BARBARA HORT, Ph.D. (Psychodramaturg) has maintained a private practice in Portland, Oregon for three decades, based on the work of Swiss psychoanalyst Carl Jung. Dr. Hort has served as psychodramaturg on numerous productions, including: Sweeney Todd, Fiddler on the Roof, Othello, A Streetcar Named Desire,

Astoria, Fun Home at Portland Center Stage; Oklahoma!, Anna Karenina, A Doll’s House, A Doll’s House, Part 2 at DCPA. She provides material on the play’s psychological dynamics that is used by the artists creating the production.

DOUGLAS LANGWORTHY (Dramaturg). At the DCPA Theatre Company: Indecent, Native Gardens, Macbeth, The Book of Will, All The Way, As You Like It, Appoggiatura, Lord of the Flies, The Unsinkable Molly Brown, Shadowlands, Hamlet, Just Like Us, Sense & Sensibility The Musical, The Three Musketeers, When We Are Married. Other Theatres: The Oregon Shakespeare Festival produced his adaptation (with Linda Alper and Penny Metropulos) of Dumas’ The Three Musketeers and his translation of Brecht’s The Good Person of Szechuan. Target Margin Theatre produced his translations/ adaptations: Medea by Hans Henny Jahnn, Goethe’s Faust and the opera The Sandman with David Herskovits and Thomas Cabanis.

Awards/Training: Elliott Hayes Award for Dramaturgy, National Theatre Translation Fund CHARLES R. MACLEOD (Lighting Designer). At the DCPA (300+ productions/37 seasons): The Improvised Shakespeare Company, Goodnight Moon, Sweat, Corduroy, Xanadu, Human Error, Native Gardens, Two Degrees, As You Like It, One Night in Miami..., Appoggiatura, Shadowlands, black odyssey, Jackie & Me, Death of a Salesman, The 39 Steps, Reckless, When Tang Met Laika, The Diary of Anne Frank, Lydia, The Merry Wives of Windsor, 1001, Gem of the Ocean, All My Sons, A Christmas Carol, Lost Highway: The Music and Legend of Hank Williams, My Way, Forbidden Broadway, Always...Patsy Cline, Love Janis, The Secret Comedy of Women, and many others. Charlesmacleod.com KATHRYN G. MAES, Ph.D. (Voice and Dialect). A Doll’s House, A Doll’s House, Part 2, Vietgone, The Constant Wife, A Christmas Carol, Anna Karenina (DCPA Theatre Company); The Man Who Came to Dinner (Royal Shakespeare Company); Arthur Miller’s American Clock (Royal National Theatre). Special Awards/ Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, and Great Britain, Head of Voice at the

Denver Center Theatre Company and the National Theatre Conservatory.

ROBERT MARK MORGAN (Scenic Designer). Two Degrees, The Giver, House of the Spirits, Diary of Anne Frank, Jesus Hates Me, Lobby Hero, Copenhagen, Bernice & Butterfly, Almost Heaven (DCPA Theatre Company). Other Theatres: Old Globe, Repertory Theatre of St. Louis, Asolo Rep, Indiana Repertory Theatre, Cincinnati Playhouse in the Park, Studio Arena, Cleveland Play House, San Jose Repertory Theatre, Alliance Theatre (Atlanta), Barrington Stage, Marin Theatre Company, Magic Theatre, and American Conservatory Theatre in San Francisco. Mr. Morgan is a Teaching Professor at Washington University in St. Louis. www.morgansetdesign.com GRADY SOAPES, CSA (Casting/ Choreographer) is the Director of Casting and Associate 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. 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).

Music director for: Indecent, Rattlesnake Kate workshop, (DCPA Theatre Company). Conductor and associate music director: Sweeney Todd (Asolo Repertory), Oklahoma!

(DCPA Theatre Company), The Who’s Tommy (DCPA Theatre Company).

Former voice teacher and pianist for The University of Northern Colorado musical theater department. Masters of Music in Collaborative Piano.

STAGE MANAGEMENT CORIN DAVIDSON (Assistant Stage Manager). At the DCPA: Indecent, Between Us, Anna Karenina, Corduroy, The Who’s Tommy, Zoey’s Perfect Wedding, Smart People, The Secret Garden, Sweeney Todd, All The Way, A Christmas Carol,

TWELFTH NIGHT

(Geva Theatre Center); Sylvia, The Explorer’s Club, Passing Strange, Hairspray, Young Frankenstein, Smokey Joe’s Cafe, Hedwig and the Angry Inch, The Divine Sister, Tommy, Dream a Little Dream, Love, Janis, 12th Night, Titus Andronicus, regional premiere of Peter and the Starcatcher (USF). Training: BA in Theatre Design, University of Cincinnati College Conservatory of Music, Centro Maschere e Strutture Gestuali, Padua, Italy.

TWELFTH NIGHT

Lookingglass Alice. At DCPA Cabaret: An Act of God. Other Theatres: Equivocation, Cymbeline (Colorado Shakespeare Festival); Seven Devils Playwrights Conference, Milwaukee Chamber Theatre, Renaissance Theatre Works. Training: BFA Stage Management, University of Wisconsin at Milwaukee.

KURT VAN RADEN (Stage Manager).

50+ productions at the DCPA Theatre Company including Sweat, Anna Karenina, Oklahoma!, The Who’s Tommy, Zoey’s Perfect Wedding, Macbeth, The Secret Garden, The Book of Will, Frankenstein, Sweeney Todd, Lookingglass Alice, The Unsinkable Molly Brown, Animal Crackers, Hamlet, Just Like Us, Romeo & Juliet, Irving Berlin’s White Christmas, The Three Musketeers, Ring of Fire: The Music of Johnny Cash, A Christmas Carol. At DCPA Cabaret: First national tour of Murder For Two. Other Theatres: Over 56 new plays at The O’Neill Theatre Center, The Great River Shakespeare Festival.

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

CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial and business operations for Theatre Company and OffCenter productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the artistic vision of the organization and facilitating the production of shows such as Sweet & Lucky, The Unsinkable Molly Brown, Sense & Sensibility The Musical, The 12, Sweeney Todd with DeVotchKa and many more. Charles is passionate about artistic innovation and firmly believes in DCPA’s long-standing commitment to new plays and new voices.

In addition to DCPA staff, the following crew worked on this production: Lisa Ehrle, Mallory Hart, Sherry Hern, Inge lise Holmenlund, John Hutton, Cynthia Kauffman, Amoreena Knabb, Julie Lemieux, Anthony Mattivi, Danielle Sabey, Camille Stillman, Lori Worthman, Jenny Milne Wright.

TAKING PHOTOS AT THE THEATRE We welcome you to take photos in the theatre before and after the performance and during intermission. If you post photos on social media, please credit and tag the DCPA and the design team: @denvercenter #DCPATheatreCompany #DCPAToday #DCPATwelfthNight Playwright: William Shakespeare Director: Chris Coleman @chriscdenver Scenic Designer: Robert Mark Morgan Costume Designer: Kevin Copenhaver @kevinovino Lighting Designer: Charles R. MacLeod Sound Designer: Jason Ducat Photos and the video and/or audio recording during any part of the performance by any means whatsoever are strictly prohibited.

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

• CHILDREN 4+ are welcome in our theatres and must be ticketed.

• DRINKS are allowed in provided containers.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@dcpa.org or 303.893.4836.

The 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.

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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JOHN LEGUIZAMO ON LATIN HISTORY FOR ALL AMERICANS

John Leguizamo • Photo by Matthew Murphy 2017

BY JOHN MOORE

30 30

A

Actor John Leguizamo grew up in New York City a Colombian immigrant with very few pop-culture role models who looked like him: Ricky Ricardo in “I Love Lucy.” Speedy Gonzales. Freddie Prinze. “They were far and few between,” he said.

“Then we had West Side Story, but I feel conflicted about that,” he added of the iconic gang musical that follows rumbling white and Puerto Rican gangs spinning and snapping and stabbing their way through the Upper West Side of Manhattan.

“West Side Story was the only Latin representation we had in popular movies back then, but it was all based on very negative information,” he said. “And on the news, you saw yourself constantly portrayed very negatively. Our positive stories were never celebrated.”

It was not until Leguizamo became a grown man that his research led him to great Latin writers such as Gabriel García Márquez, Roberto Bolaño, Isabel Allende, Pablo Neruda and others dating back to the 1800s. And that got him wondering what else he wasn’t taught in school about the contributions of Latin leaders, artists and soldiers throughout history.

Leguizamo, an amorphous human encyclopedia who absorbs facts as easily as breathing, has since made himself an expert on the subject, and that has led to his latest one-man theatrical production. Latin History for Morons is not only playing in Denver, it was largely developed right here back in 2017.

“Comedy Works was great for me because they gave me the opportunity to really workshop this show,” he said. “I went there for four nights doing two shows a night.”

But it wasn’t standup comedy.

“No, I just read to these poor people from my notes,” he said. “People in comedy clubs are not used to being read to. And it was a 2½ hour show. I think they were drunk out of their minds, because they just kept pouring the alcohol, and it was the longest show they’ve ever had.”

But that was part of the genesis of a show that went on to Broadway and won a special 2018 Tony Award.

“Denver people are the ones who helped me make this show,” he said, “and now I’m grateful that I can bring it back to them all polished and retooled.”

Leguizamo was motivated to develop Latin History for Morons for his son, who was being bullied and racially profiled in his middle school not far from where Leguizamo was raised.

Leguizamo also had grown up feeling othered and second-class, and he was done with that.

“I was like, wait a minute. How is this possible with all these contributions from Latin people?” he said.

“I wanted to give my son facts and information about Latin heroes to empower him.”

But Leguizamo was the one who was changed.

Or, as he put it: “Un-moronized.”

“I was empowered. I was transformed,” he said.

“It was like a domino effect. The information I found started to double and triple and quadruple. I couldn’t believe the incredible amount of Latin contributions to America and the world I found.

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Denver people are the ones who helped me make this show, and now I’m grateful that I can bring it back to them all polished and retooled.

— JOHN LEGUIZAMO, PLAYWRIGHT AND PERFORMER

UPSTAGE EVERY OTHER GIFT. TURN YOUR SPECIAL MOMENTS INTO MEMORIES THAT LAST A LIFETIME. GIVE THE GIFT OF THEATRE!

Redeem for Musicals • Plays • Classes Subscriptions • Venue Rentals “I started to feel like being Latin was a superpower.”

Now Leguizamo is bringing his comic, kinetic, dizzying stage energy into a Denver classroom known as The Buell Theatre. And if he hadn’t already settled on such a provocative title, Leguizamo might have called his production Latin History for all Americans.

“If we had a syllabus for this course, it would say that this is not the victor’s version of American history,” he said.

“History should include all of the people who helped create America. It should include all of the Black, Latin and Native American contributions to the French and Indian War, the Revolutionary War, the Civil War, the War of 1812. We were there.

“That would be a great book, and then these Latinx kids in school would see themselves reflected back and they would feel different about themselves. They would feel like they could project themselves into the future in a successful way.

When you don’t see yourself included in all this information, you feel that you have no future. When you constantly don’t see yourself in positive or heroic roles, how do you ever reimagine yourself?”

Leguizamo was intrigued to learn that the DCPA Theatre Company will soon be presenting the world premiere of a play called twenty50 that imagines that by the year 2050, the white power structure in this country will absorb Latinx people into its population, in effect preserving a white majority.

“That show sounds fascinating,” he said, “because when you look back at World War I, they didn’t separate Latin people from white people. They counted light-skinned Latin people and medium-skin-toned Latin people as white people. So now we’re going back to including Latin people as white people but the thing is: Why can’t we all just be Americans?”

For an expanded version of this interview, including John Leguizamo’s Required Reading list, visit denvercenter.org/news-center.

LATIN HISTORY FOR MORONS DEC 10 • BUELL THEATRE

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BY JOHN MOORE

F

From blasphemy to Broadway to banned to broadcast television, few pop-culture titles have generated the kind of buzz Jesus Christ Superstar has generated along the road to its current 50th anniversary national touring production.

A decade after its last major tour, this iconic musical phenomenon is back, buoyed by a jaw-dropping 2018 reimagination that aired as a live concert on NBC and left many critics saying the high-energy staging had set a new standard for live theatrical broadcasts.

“What could have felt like a dated rock opera was more like an uproarious arena concert filled with screaming fans,” wrote Deadline critic Dino-Ray Ramos.

That Emmy Award-winning effort essentially cast the live audience as the so-called 50,000 screaming Jesus fans that Simon sings are ready to “ride into Jerusalem” and effect the greatest revolution in world history. That ambience is more in line with the kind of energy composer Andrew Lloyd Webber first had in mind when he and Tim Rice dared to imagine the final weeks in the life of Jesus Christ through a decidedly late 1960s rock ’n’ roll lens.

“Superstar was written like a radio play, because that was the closest thing we had available to us,” Webber told Rolling Stone magazine. “I think it works best when it’s closer to a rock concert.”

The new national tour, helmed by acclaimed director Timothy Sheader and cutting-edge choreographer Drew McOnie, captured a similar live energy as well, and subsequently won the 2017 Olivier Award for Best Musical Revival.

From the start, Superstar was slammed as blasphemous.

Imagine the audacity of a new rock musical that dared to

36

tell the story of Christ’s downfall from the sympathetic perspective of his chief betrayer?

The writers couldn’t find a producer at first. “We were told it was the worst idea in history,” Lloyd Webber later recalled. So he and Rice transformed their stage musical into a two-record concept album that was released in 1970, just after The Who’s own two-record celebrity opus, “Tommy.”

But Rice was more inspired by the Bob Dylan anthem “With God On Our Side,” which features Judas in its penultimate verse. Rice was fascinated by the idea of Judas not as a craven back-stabber but rather a close friend struggling with the implications of Jesus’ growing popularity.

“From a very young age, I had wondered what I might have done in the situations in which Pontius Pilate and Judas Iscariot found themselves,” Rice wrote in his autobiography. “How were they to know Jesus would be accorded divine status by millions and that they would as a result be condemned down the ages?”

When the legendary concept album hit No. 1 on the Billboard charts behind songs such as “I Don’t Know How to Love Him,” “Gethsemane,” “Heaven on their Minds” and the title tune, a Broadway staging went from impossible to inevitable. American fans had begun staging unauthorized live performances in churches and theaters around the country.

But what bowed on Broadway in 1971 was polarizing.

Webber himself called that first (of four) Broadway productions “brash and vulgar” — and he was not alone.

The show was banned in South Africa and protested by everyone from the American Jewish Committee to the

APPLAUSE • NOV 2019 – JAN 2020 • 303.893.4100 • DENVERCENTER.ORG

Alvin Crawford, Tyce Green and the company of the North American Tour of Jesus Christ Superstar. Photo by Matthew Murphy.

JESUS CHRIST SUPERSTAR IS REBORN AT 50

“…not only do I appreciate your beautiful rock-opera film, I believe it will bring more people around the world to Christianity than anything ever has before.”

— POPE PAUL VI TO NORMAN JEWISON, DIRECTOR THE FILM ADAPTATION OF JESUS CHRIST SUPERSTAR

Anti-Defamation League of B’nai B’rith to evangelist Billy Graham. (Though Graham did acknowledge that “if the production causes young people to search their Bibles, to that extent it may be beneficial.”)

One of the major criticisms of Webber and Rice was having Judas come back from the dead to sing the title song, without taking a stand on the possible resurrection of Jesus.

But if you look closely at the final shot of the 1973 film, said Ted Neeley, who played Jesus in the film (and on stage for the next 40 years), you can see a mysterious someone walking in the desert. “And let me just say: Those who have eyes to see will see that mysterious someone,” Neeley told The Denver Post during a 2008 tour stop in Denver.

“The reason for that shot is that Norman Jewison and myself took issue with the fact that Tim and Andrew felt the piece needed to end with a crucifixion, showing no suggestion of possible resurrection and ascension,” Neeley said. “So when Norman made the film, that mysterious appearance is to suggest that life does go on, that there was resurrection of the spirit.”

Ironically, Jesus Christ Superstar has found favor with Catholic popes across the decades. Jewison, who directed the 1973 film, arranged a special screening for Pope Paul VI. Neeley quotes Paul VI as saying: “Mr. Jewison, not only do I appreciate your beautiful rock-opera film, I believe it will bring more people around the world to Christianity than anything ever has before.” And the current Pope Francis said he enjoyed a recent stage production of Superstar in Rome.

From its birth, Superstar reflected the rock roots that defined a generation. It has been credited (and blamed) for ushering in Broadway’s decades-long “British invasion” that brought such mega-hits as Cats and Les Misérables. And as time has passed, it has proven to be one of those musicals that demands to be re-interpreted again and again, as it has been for its 50th anniversary tour.

ll people A are equal Moments are shared Differences are valued Discussion is encouraged

FAMOUS MARY MAGDALENES Yvonne Elliman: Broadway and 1973 film Sara Bareilles: NBC Live in Concert Jenna Rubaii: 50th anniversary national tour FAMOUS JESUSES Murray Head: 1970 concept album Ted Neeley: 1973 film Billy Lewis, Jr.: 2017 Arvada Center staging John Legend: NBC Live in Concert Aaron LaVigne: 50th anniversary national tour FAMOUS JUDASES Ben Vereen: Broadway originator Carl Anderson: 1973 film Tony Vincent: 2000 Broadway (DCPA Theatre Company’s The Twelve) James Delisco Beeks: 50th anniversary national tour

JESUS CHRIST SUPERSTAR NOV 26 – DEC 1 • BUELL THEATRE ASL Interpreted, Audio-described and Open Captioned performance: Nov 30, 2pm

Photos by Evan Zimmerman, MurphyMade

Portions of this report were compiled from news sources.

We respect that everyone experiences our stories differently.

Natalie MacMaster and Donnell Leahy, Dec 17

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PROUD SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

T We have been part of the fabric of Colorado and intertwined with its arts community since both the state and university were founded in 1876.

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The University of Colorado and the Denver Center for the Performing Arts share an unwavering commitment to the arts.

That’s why CU is proud to support these amazing performers and their performances. The arts enrich our communities and make our world a better place. All four CU campuses feature robust arts programs and activities, whether it’s paintings that explore the intricacies of medicine at the CU Anschutz Medical Campus, the renowned Colorado Shakespeare Festival at CU Boulder, first-rate musical production programs at CU Denver or the remarkable Ent Center for the Arts performance venue at CU Colorado Springs.

Our commitment to the arts extends to our students, who get opportunities to work with accomplished faculty, dedicated arts professionals, and talented actors and musicians in places like the DCPA. At CU, we’re proud of a commitment to the arts that stretches back well over a century. We have been part of the fabric of Colorado and intertwined with its arts community since both the state and university were founded in 1876. And we look forward to working with the DCPA to continue to ensure that the arts in Colorado remain vibrant and essential parts of our world.

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newman center presents 2019–2020 events on sale now dance / jazz / nat geo / more

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DECEMBER

Mozart Symphony No. 40

CLASSICS

NOV 8-10 FRI-SAT 7:30 ■ SUN 1:00

Renée Fleming - The Brightness of Light Colorado Premiere

SPOTLIGHT

Home Alone © 1990 Twentieth Century Fox Film Corporation.

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MOVIE AT THE SYMPHONY

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HalfNotes

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NOV 29 FRI 7:30

Love Actually in Concert

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Home Alone in Concert

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Tchaikovsky Violin Concerto

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PROUD SEASON SPONSOR OF DCPA BROADWAY

S

Suspension of disbelief—when we’re willing to believe something surreal. It’s what helps us forget about the pressures of life and fully immerse ourselves in a good book, song or play.

While many of us are tuning out the typical noise of day-to-day life (work, a full inbox, traffic), others are getting over more serious pressures and celebrating life through the arts.

Todd Danielson, Keith Alexander, Faith Vigil-Schrader, and Nancy Spradling and her son Sean each had their share of serious pressures. From brain surgery, to colon cancer, to carbon monoxide poisoning, to leukemia and a stem-cell transplant, each person underwent treatment at UCHealth hospitals and has recovered so they can continue to live their extraordinary lives.

Through our Moments to Shine program, UCHealth and the Denver Center for the Performing Arts teamed up to honor these people and those who rallied around them with a special evening to see a performance of the musical Wicked. Their experience also included a behind-the-scenes look at the “greening of Elphaba” and a signed poster of the cast.

When they look back, we hope they will see this as a close to a chapter in their lives that ended on a high note.

Inspirational people.

Unique stories of perseverance.

Sarah Fernandez is one of the actors who plays Elphaba in the national touring production of Wicked. Make-up artist Deborah Paulk demonstrated how she helps Fernandez become Elphaba for the show. Photos by John Moore.

44

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CONNECTING PEOPLE. UNITING THE WORLD.

“With over 80 years of service to the Mile High City, we are proud of our longstanding commitment to the Denver community that thousands of employees and customers call home.”

— SHARON GRANT, VICE PRESIDENT AND CHIEF COMMUNITY ENGAGEMENT OFFICER

46

U

United does more than connect passengers through safe and convenient air travel; it forges strong relationships with the communities it serves across the globe.

United is pleased to serve as the official airline of the Denver Center for the Performing Arts (DCPA) and proudly supports its remarkable contributions to the performing arts community in Denver and beyond. United provides valuable travel support that allows the DCPA to bring in artists for its productions and sponsors Student Matinee performances for thousands of local students to expand their view of themselves and the world through a targeted theatrical experience and educational talkback.

United employees have donated thousands of hours of service to various local non-profit organizations and have tirelessly conducted drives, mentored interns, hosted Aviation Days both at Denver International Airport and United’s flight training center, among many other efforts. As part of United’s relationship with Warren Village transitional housing center, employee volunteers enjoy actively participating with resident families at community events. United’s Volunteer Impact Grants program allows employees to earn grants for nonprofits where they volunteer frequently and has provided thousands of dollars to local organizations. United employees especially love bringing smiles to hundreds of deserving children through the annual holiday Fantasy Flight trip to the “North Pole” and teddy bear deliveries to local hospitals.

“At United, we take our role as a community partner and corporate citizen seriously, and we are proud to support the DCPA,” said Sharon Grant, Vice President and Chief Community Engagement Officer. “With over 80 years of service to the Mile High City, we also are proud of our longstanding commitment to the Denver community that thousands of employees and customers call home.”

In addition to DCPA, United is honored to support other Colorado organizations including the Colorado Symphony, Denver Botanic Gardens, Denver Public Schools Foundation, Girls Inc., Latin American Education Foundation, Mile High Youth Corps, Warren Village and Wings Over the Rockies Air & Space Museum and Exploration of Flight locations.

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PROUD SPONSOR OF THE BAND’S VISIT AND DCPA EDUCATION

T “U.S. Bank is proud to champion arts and cultural institutions in our own communities, especially in the Denver area. Our on-going commitment allows us to invest in organizations our local employees are passionate about today and into the future.”

— HASSAN SALEM PRESIDENT OF U.S. BANK IN COLORADO TRUSTEE, DENVER CENTER FOR THE PERFORMING ARTS

48

The arts are a significant part of making Denver an amazing place to live and work. U.S. Bank believes in the power of play, which includes the arts. Play brings joy, helps problem-solving skills, creativity and relationships, and builds social and emotional learning. That’s why U.S. Bank is a long-time supporter of the magnificent programs and spectacular performances at the Denver Center for the Performing Arts (DCPA).

The arts educate, promote understanding, broaden our perspectives and enable communities to share rich cultural experiences. Denver is fortunate to have a thriving arts community, which is home to some of the nation’s finest theatres, museums and artists.

“At U.S. Bank, our commitment to corporate social responsibility comes to life through Community Possible, our corporate giving and engagement platform that closes the gap between people and possibility in the areas of Work, Home and Play,” said Hassan Salem, President of U.S. Bank in Colorado and DCPA Trustee. “The DCPA is an organization that is dedicated to bringing play to everyone in our community. DCPA is an outstanding organization, providing amazing performances, programs and outstanding arts education.”

In 2018, U.S. Bank contributed more than $57 million to nonprofit organizations through Community Possible, with an emphasis on community development, diversity and inclusion, financial education and the environment. Additionally, its employees volunteered more than 209,000 hours and donated more than $14 million to charitable campaigns, demonstrating that employee engagement is a major component of its community success.

U.S. Bank also is committed to providing consumers and businesses with a comprehensive range of financial tools and services to help them work toward their goals. For clients with more complex financial needs, U.S. Bank offers wealth management strategies and services. From investment management services to trust and estate administration, U.S. Bank offers clients sophisticated plans, sound advice, and customized service.

“One of the key attributes of the growth in Denver is the rich investment in arts and culture made over many years,” said Salem.

“The DCPA is a perfect example of what a first-class theatre that draws some of Broadway’s biggest hits has added to our community. We are privileged to host a variety of client events at DCPA and we always leave feeling very proud of our arts and culture community in Denver. Let’s all continue to celebrate DCPA, which is a shining example of why Denver is a leader in providing arts and culture opportunities.”

APPLAUSE • NOV 2019 – JAN 2020 • 303.893.4100 • DENVERCENTER.ORG

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DCPA DCPA TEAM TEAM

DCPA

Carmen Molina, Blanca Primero, Judith Primero, Maria Reyes Soto, Michael Thomas.....................................Custodians Events Dawn Williams.............................................. Director, Event Sales & Marketing Tara Miller......................................... Senior Manager Danielle Bell, Savanna Campbell, Matt Leaver..................................................Managers BROADWAY & CABARET Brook Nichols......Director, Event Technology ADMINISTRATION Tom Duffin...........Manager, Event Technology John Ekeberg.........................Executive Director Colin Dieck, Stori Heleen, Will Stowe, Alicia Bruce.................................General Manager Ian Wells............Specialists, Event Technology Ashley Brown...........................Business Manager MARKETING, SALES & GARNER GALLERIA THEATRE PATRON SERVICES Abel Becerra............................. Technical Director Lisa Mallory........................................Vice President Anna Hookana+, Patrick Berger.............Audience Development Alex Reshetniak+......................Core Stagehands Manager Heidi Bosk.................................Associate Director, DEVELOPMENT PR & Integrated Marketing Shelley Thompson.........................Vice President Rachel Cadden......................... Communications Coordinator Rebecca Clark.......................................Coordinator Megan Fevurly....................... Associate Director Casey Eickhoff, Tamara Fox....................................Manager, Grants Brenda Elliott..........Senior Graphic Designers Marc Ravenhill................Manager, Stewardship Brianna Firestone..........Director of Marketing, Insights & Strategy Megan Stewart..............Events & Development Officer Rachel Garn..................................Email Developer Julie Voorhees....Manager, Capital Campaign Jacquelyn Glover.......Junior Web Developer/ Administration Erin Walker..............Senior Director, Major Gifts Brittany Gutierrez.................... Communications Associate EDUCATION & COMMUNITY ENGAGEMENT Donna Hendricks................Executive Assistant Allison Watrous..................... Executive Director Jeff Hovorka......... Director, Sales & Marketing Patrick Elkins-Zeglarski............................ Director, Emily Kent................................Director, Marketing Education & Curriculum Management Lucas Kreitler.............Junior Graphic Designer Stuart Barr................................. Technical Director David Lenk.......................................Video Producer Claudia Carson.....Teaching Artist & Program Emily Lozow......Marketing & Digital Manager Manager – Playwriting & Bobby G Adam Lundeen...........Marketing Technologist Leslie Channell.............................................. Director, Kyle Malone.....................................Design Director Business Operations Helen Masvikeni..........................Project Manager Emily Doherty.......Teaching Artist & Program Cheyenne Michaels.........Marketing Associate Manager – Theatre for Young Audiences John Moore....................... Senior Arts Journalist Hanna Dotson....................... Assistant Registrar Jessica Noe...................Corporate Partnerships Linda Eller........................................................Librarian Manager Timothy McCracken...................Head of Acting Anna Nunez........................Jr. Marketing Analyst Laura Morales................................................ Director, Joseph Schurwonn.................Financial Analyst Community Engagement Austin Walker.................Marketing Coordinator David Saphier.......Teaching Artist & Program Suzanne Yoe...........Director, Communications Manager – In School Programming & Cultural Affairs Elizabeth Schmit..........................Office Manager Melissa Sumner............................................Registrar TICKETING & AUDIENCE SERVICES Rachel Taylor...............................Teaching Artist & Jennifer Lopez....................Director, Ticketing & Program Manager – Literacy Engagement Audience Services and Resiliency Programming Ticketing Services Justin Walvoord.....Teaching Artist & Program Manager – Shakespeare in the Parking Lot Kirk Petersen..........Associate Director, Patron Relations Samuel Wood.............................Teaching Artist & District Liasion Micah White.............................Associate Director, Subscription Services Billy Dutton....Associate Director, Operations FACILITIES & EVENT SERVICES Malcolm Brown ............Subscription Manager Facilities Amanda Gomez...........VIP Ticketing Manager Timothy Courson.....................Director, Facilities Christina Gesford, Beth Gordon, Management Tristan Jungferman, Peter Sifter......Manager, Facilities Operations Mariah Thompson..........Box Office Managers Dwight Barela, Mark Dill, Roger Haak............. VIP Ticketing Coordinator James Ewald, Clint Flinchpaugh, Jared Bakst, Adam Busch*, D.J. Dennis*, Michael Kimbrough................................ Engineers Edmund Gurule*, Paul Justice, Jane Deegan..................................Office Manager Becca Saunders*, Dan Havens................................Manager, Security Hayley Solano*.....................................Show Leads Quentin Crump, Kirsten Anderson*, Scott Lix*, Cody Gocio.....................Lead Security Officers Brad Steinmeyer*, Gregory Swan*...................Subscription Agents Steven Allen, Benjamin Koenig, Kyle Mitchell, Patrick Beasley, Bobby Bennett*, Glen Newton.........................Security Specialists Rena Bugg*, James Bullock*, Madison Stout......................Reception/Security Jennifer Gray*, Kristina Guarriello*, Brian McClain.....................Custodial Supervisor Noah Jungferman*, Cecillia Kim*, Elias Lopez, Frank Millington III*, Grabiel Bustillos, Cameron Carranco, Clayton Nickell*, Hayley Obremski*, Juan Loya, Harry McPherson, Jen Reid, Liz Sieroslawski*, Janice Sinden..............................President & CEO Gretchen Hollrah..................................................COO Lydia Garcia.............................Executive Director, Equity & Organization Culture Julie Schumaker........................... COO Executive Assistant & Manager, Board Relations

50

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

APPLAUSE • NOV 2019 – JAN 2020 • 303.893.4100 • DENVERCENTER.ORG

Scenic Design Lisa M. Orzolek...............................................Director Kevin Nelson, Nicholas Renaud...... Assistants Lighting Design Charles R. MacLeod....................................Director Lily Bradford..................................................Assistant Reid Tennis+......................Production Electrician Multimedia Gregory W. Towle............................. Projections & New Technology Supervisor Sound Design Craig Breitenbach........................................Director Alex Billman+, Frank Haas+, Pedro Lumbrano+.................Sound Technicians Stage Management Kurt Van Raden.....Production Stage Manager Rachel Ducat, Heidi Echtenkamp, Corin Davidson, Rick Mireles, Michael Morales, D. Lynn Reiland...........................Stage Managers Scene Shop Eric J. Moore............................. Technical Director Josh Prues, Robert L. Orzolek...............Associate Technical Directors Albert “Stub” Allison.........Assistant Technical Director Louis Fernandez III.................Master Carpenter Ian Macleod, Brian “Marco” Markiewicz............... Lead Technicians Tyler Clark, Amy “Wynn” Pastor, Kyle Scoggins, Mara Zimmerman................Scenic Technicians Prop Shop Robin Lu Payne....................Properties Director Eileen S. Garcia...................Assistant Properties Director Jamie Stewart Curl, Tobias Harding, Georgina Kayes, Tony Nguyen, Katie Webster..................................Props Artisans Paint Shop Jana L. Mitchell...................Charge Scenic Artist Melanie Rentschler...............Lead Scenic Artist Kristin Hamer MacFarlane............Scenic Artist Costume Shop Janet S. MacLeod.......................................Director/ Costume Design Associate Meghan Anderson Doyle......................Costume Design Associate Carolyn Plemitscher, Louise Powers, Jackie Scott, Corrine Serfass................Drapers Cathie Gagnon..........................................First Hand Sheila P. Morris..................................................... Tailor Costume Crafts Kevin Copenhaver.........................................Director Chris Campbell............................................Assistant Wigs Diana Ben-Kiki........................................Wig Master House Crew Doug Taylor+.................Supervising Stagehand Jim Berman+, Stephen D. Mazzeno+, Kyle Moore+, Miles Stasica+, Matt Wagner+.........................................Stagehands Wardrobe Brenda Lawson..............................................Director Mary Capers^, Jessica A. Rayburn^ ...................Wig Assistants Robin Appleton^, Amber Donner^, Anthony Mattivi^, Tim Nelson^, Lisa Parsons Wagner^, Alan Richards^..............................................Dressers *Member, I.A.T.S.E. Local B-7 + Member, I.A.T.S.E. Local 7 ^Member, I.A.T.S.E. Local 719 As of 10/25/2019

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