Applause Magazine, December 3-8, 2019

APPLAUSE

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VOLUME XXXI • NUMBER 4 • NOV 2019 – JAN 2020

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DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

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Also Playing:

TWELFTH NIGHT JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE LATIN HISTORY FOR MORONS JESUS CHRIST SUPERSTAR THE HIP HOP NUTCRACKER

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Illustration by Kyle Malone

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

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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

Illustration by Kyle Malone

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

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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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FUN FACTS FROM

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DR. SEUSS f Dr. Seuss was not a doctor. He briefly studied English literature at Oxford, but instead became a cartoonist. He was awarded an honorary doctorate by Dartmouth College. f Forty-four books by Dr. Seuss have been translated into 15+ languages. f He is the ninth-best-selling fiction author of all time — 650 million+ copies sold.

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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2019 National Tour Big League Productions, Inc. and Running Subway present

Dr. Seuss’

How the Grinch Stole Christmas!

The Musical

Based on the book How the Grinch Stole Christmas by Dr. Seuss Book and Lyrics by

Music by

TIMOTHY MASON

MEL MARVIN

Additional music and lyrics by ALBERT HAGUE and DR. SEUSS Starring

Philip Huffman

Bob Lauder Jared Starkey and

Christine Aziz Ashley Margaret Morton Michael Paul Eduardo Uribe Rachel Ling Gordon Lily Jane Sofia Lauren Giannetti Mia Francesca Martinez with

Hannah Roberts Brown Samm Carroll Madeline Chandler Joey Donoian Taylor Drumwright Hannah Grace Forsley Madisen Johnson Brian Cedric Jones Ethan James Lynch Katie McConaughy Xavier McKnight James Schultz Neely Scott Andrew Wood Set Designer

Costume Designer

JOHN LEE BEATTY

ROBERT MORGAN

Casting Director

Original Lighting Designer

ALISON FRANCK, CSA Incidental Music/Vocal Arrangements

JOSHUA ROSENBLUM Original Tour Producer

RUNNING SUBWAY THIS TIME OF YEAR CO.

Lighting Designer

ACME SOUND PARTNER

Orchestrator

Dance Music Arranger

MICHAEL STAROBIN General Management

JEREMY OLEKSA

Original Sound Designer

PAT COLLINS

BIG LEAGUE PROD. GINA WILLENS

Sound Designer

CHARLIE MORRISON

DAVID KRANE

Costumes

SARAH SMITH

Associate Producer

DR SEUSS ENTERPRISES, L.P

Associate Director and Associate Choreographer

Technical Supervisor

DON GILMORE

Executive Producer

ANTOINETTE DIPIETROPOLO Original Choreographer

Music Supervisor

PETER LEIGH-NILSEN

DANIEL SHER Co-Choreographer

JOHN DELUCA

BOB RICHARD Director

MATT AUGUST Original Production Conceived and Directed by

JACK O’BRIEN

Based on the production produced by The Old Globe, San Diego California Originally commissioned by and produced at The Children’s Theatre Company, Minneapolis, Minnesota Produced by permission of Dr. Seuss Enterprises, L.P.

Marketing and Publicity Direction: MARC VISCARDI for Bond Theatrical Group

Exclusive Tour Direction: L. GLENN POPPLETON

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

SEASON SPONSORS

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

CAST

IN ORDER OF APPEARANCE

Old Max.................................................................................................................................................BOB LAUDER Cindy-Lou Who (Alternating)...................................................RACHEL LING GORDON, LILY JANE Papa Who-...................................................................................................................................EDUARDO URIBE Mama Who.....................................................................................................ASHLEY MARGARET MORTON Grandpa Who................................................................................................................................. MICHAEL PAUL Grandma Who............................................................................................................................. CHRISTINE AZIZ Annie Who (Alternating)...............SOFIA LAUREN GIANNETTI/MIA FRANCESCA MARTINEZ Citizens of Whoville.................................................................................................................SAMM CARROLL, MADELINE CHANDLER, JOEY DONOIAN, BRIAN CEDRIC JONES, ETHAN JAMES LYNCH, KATIE MCCONAUGHY, JAMES SCHULTZ Who Kids........................................................HANNAH ROBERTS BROWN, TAYLOR DRUMWRIGHT, HANNAH GRACE FORSLEY, MADISEN JOHNSON, XAVIER MCKNIGHT, NEELY SCOTT, ANDREW WOOD Young Max.................................................................................................................................... JARED STARKEY The Grinch...................................................................................................................................PHILIP HUFFMAN

SWINGS BRIAN CEDRIC JONES, HANNAH ROBERTS BROWN

UNDERSTUDIES Understudies never substitute for listed players unless a specific announcement for the appearance is made at the time of the performance.

For The Grinch: JOEY DONOIAN, JAMES SCHULTZ For Old Max: MICHAEL PAUL, JAMES SCHULTZ For Young Max: BRIAN CEDRIC JONES For Mama Who: MADELINE CHANDLER For Papa Who: ETHAN JAMES LYNCH For Grandma Who: SAMM CARROLL For Grandpa Who: JOEY DONOIAN

Who Likes Christmas?.......................................................................................................Citizens of Whoville This Time of Year........................................................................................................Old Max and Young Max I Hate Christmas Eve.............................................. The Grinch, Young Max, Papa Who, Mama Who,

Grandma Who, Grandpa Who, Cindy-Lou Who, Danny Who, Annie Who and Boo Who

What Cha Ma Who..........................................................................................................The Grinch, Who Kids Welcome, Christmas*.........................................................................................................Citizens of Whoville I Hate Christmas Eve (Reprise)........................................................................................................The Grinch It’s the Thought That Counts.........................................Grandma Who, Grandpa Who, Mama Who,

Papa Who, Citizens of Whoville and Who Kids

One of a Kind............................................................................................................................................The Grinch Now’s the Time............................................. Papa Who, Mama Who, Grandma Who, Grandpa Who You’re a Mean One, Mr. Grinch*..........................................................Old Max, Young Max, The Grinch Santa for a Day....................................................................................................Cindy-Lou Who, The Grinch You’re a Mean One, Mr. Grinch* (Reprise)........................................................................................ Old Max Who Likes Christmas? (Reprise)...................................................................................Citizens of Whoville One of a Kind (Reprise).........................................................Young Max, The Grinch, Cindy-Lou Who This Time of Year (Reprise)..................................................................................................................... Old Max Welcome, Christmas* (Reprise)....................................................................................Citizens of Whoville Santa for a Day (Reprise)...........................The Grinch, Cindy-Lou Who and Citizens of Whoville Who Likes Christmas? (Reprise)......The Grinch, Young Max, Old Max and Whos Everywhere * Music by Albert Hague and lyrics by Dr. Seuss.

Published by EMI Robbins Catalog, Inc. “Dr. Seuss’ How The Grinch Stole Christmas! The Musical” will be performed without an intermission

THE GRINCH ORCHESTRA MUSIC DIRECTOR, CONDUCTOR —PETER LEIGH-NILSEN Associate Music Director, Keys 1 — Alexander Tom Keys 2 — Wendy Feaver Reed 1 — Joe Graziosi Reed 2 — Brett McDonald Reed 3 — Marybeth Kern Trumpet 1 — Victor Medina Trumpet 2 — Dustin Beardsley Trombone — Eric Spencer Bass — Ethan Chiampas Drums/Percussion — Ashley Baier

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited.

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

MUSICAL NUMBERS

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

WHO’S WHO PHILIP HUFFMAN (The Grinch) I would like to thank all the incredibly strong women in my life that have made me into the person I am today.

Their ability to continue to strive through constant adversity has been an inspiration to me throughout my life. Whether it was the struggle to survive the corporate climb, becoming a Forensic Psychologist, or raising such kind-hearted children, it has all been admirable. To thank all that have loved me, from my first kiss and to all the hearts that parted with our last goodbye. I take this moment to acknowledge the insurmountable impact you’ve had on me and thank you for such meaningful memories. I would also like to thank specifically my Gramcracker for all the love she sends, my mother for all the credit she takes, and all The Who’s down in Whoville for giving me something to loath.

Follow our tour pup on IG: @TheRealTandyMan BOB LAUDER (Old Max) Thrilled to be back for his 9th climb up Mt. Crumpet, Bob first survived two years in Titanic, A New Musical - 1st National Tour (Mr. Thayer). Regional theatre; Kismet (Hajj), The Student Prince (Dr. Engel), Bernstein’s Mass - Hollywood Bowl (Bass Soloist), & The Wizard of Oz (Cowardly Lion). He earned Dramalogue Awards for Paint Your Wagon (Ben Rumson) and Evita (Juan Peron) in Los Angeles. He’s worked with Bob Gunton, Roger Daltrey, John Lithgow, & Kristen Chenoweth among others. An operatic baritone, Bob’s sung La Bohéme (Marcello), Verdi’s Falstaff (Falstaff), Carmen (Escamillo), and many more. Before joining Grinch in 2010, Bob was charming audiences as Santa Claus in the Las Vegas Christmas Spectacular, “Believe in the Magic”. At home he’s the video producer for Front Sight in Nevada, an FAA certified drone pilot, food photographer, and proud Dad of Bobby & Billy!

JARED STARKEY (Young Max) is thrilled to be returning to his Grinch family for a second year. Jared, a Connecticut native, grew up on a Christmas Tree Farm but is now based in NYC. New York Credits: Two

by Two; feat. Chip Zien & Christine

Pedi (Japheth), Those Musclebound Cowboys... (Sam). Favorite Regional: Peter and the Starcatcher (Peter), A Chorus Line (Frank, Mark, U/S Mark/ Larry), Jacob Marley’s Christmas Carol, Sweeney Todd (Tobias). Love and thanks to my family, my wonderful teachers, Julio, DePoto, Bartoli, Eric, and Nancy. Carson-Adler Agency. @JaredStarkey www.JaredStarkey.com CHRISTINE AZIZ (Grandma Who) a Canadian Comedy Award nominee and Second City Conservatory graduate, Christine performed in the Canadian Premiere of Reefer Madness (Mae Hart House), and the new musical The Next Big Thing (Gayle - Axelrod, NJ).

For TV: “The Firm” (NBC), “Covert Affairs” (USA) and “12 Monkeys” (SyFy). She recently performed her tribute to Beatrice Lillie at The Duplex (NYC). www.christineaziz.com ASHLEY MARGARET MORTON (Mama Who) is thrilled to join the cast of The Grinch! Credits: Disney’s Beauty and the Beast (Belle - Plan B Entertainment), The 39 Steps (Woman - International City Theater), The Sandalwood Box (Claudia Mitchell - Flea Theater). Many thanks to her excellent reps, her incredible family, and as always, to Zack www.ashmorton.com MICHAEL PAUL (Grandpa Who, U/S Old Max) is a graduate research student at Empire State College, studying Performativity as it relates to Performance Studies, gender and politics. He is delighted to be returning to Big League Productions for his second season.

EDUARDO URIBE (Papa Who) is thrilled to be returning to Whoville this year! Other national tours include: Legally Blonde The Musical (Nikos), Jesus Christ Superstar (Swing), and Sweet Charity (Vittorio). Mom and Dad, thank you for your love and support. Sammy, you are my everything! I love you always and forever. Insta: @eduardouribe92 RACHEL LING GORDON (Cindy Lou Who) age 7, is excited to be in Whoville for her national tour debut!

Credits include runways at NYFW,

commercials, Hansel & Gretel (Gretel) and other productions with RFKT. Gratitude to Grinch Family, Alison Franck, Abrams, Zoom Talent, Alyson Isbrandtsen, Denise Simon and ALL who helped Rachel find her voice.

Woo-Who! @rachelingordon LILY JANE (Cindy Lou Who) is delighted to be making her professional theatre debut. Her favorite community theatre roles have been Piglet in Winnie the Pooh and Michael in Peter Pan. She is inspired by and following in the theatrical footsteps of her Nana. She has gratitude to God, the Zoom Talent team and her family. @agirlandagriff SOFIA LAUREN GIANNETTI (Annie Who) is ecstatic to make her touring debut in Grinch! She’s a 5th grader, actress, singer, dancer and YouTuber from South Florida. Regional Credits: Annie, A Christmas Story. Film/TV includes: “Sick Minded” (Production), “Boca Witches” (Clara - Amazon Prime, Fall ’20). She’s grateful to her family, and to Matt August and Franck casting for this opportunity.

MIA FRANCESCA MARTINEZ (Annie Who) is thrilled to be making her national tour debut and join the cast of The Grinch Who Stole Christmas. Mia would like to thank her family, Jeanette, Keandra, and Nancy Carson for all their love and support without them this wouldn’t be possible!

HANNAH ROBERTS BROWN (Ensemble, Swing, Assistant Dance Captain) is thrilled to return to Whoville! National Tours: PAW Patrol Live, Chuggington Live, Charlotte’s Web. Regional: Urinetown (Hope Cladwell), Hairspray (Amber/Associate Choreographer), Chicago (Roxie).

For Gram.

SAMM CARROLL (Ensemble, U/S Grandma Who) is ecstatic to be joining the Grinch tour this year! Credits: Violet (Violet), Gypsy (Louise), South Pacific (Nellie). Love to my family, Jeremy, & Stanley.

MADELINE CHANDLER (Enesemble, U/S Mama Who) is overjoyed to be back with the Grinch this holiday

(Anchorage Concert Association), Legally Blonde (Elle Woods), Bye Bye Birdie (Gloria). @katiekay224

JOEY DONOIAN (Ensemble, U/S Grinch, U/S Grandpa) National tour debut! Recent Regional: Hair (Margaret Mead/Tribe - Dallas Theater Center), Buyer & Cellar (Alex More - Uptown Theater). Love to everyone involved!

XAVIER MCKNIGHT (Ensemble) is psyched to be joining Whoville! Credits: Spelling Bee (Leaf Coneybear - The Theater Barn), Bring It On The Musical (Twig - Black Spectrum Theatre), 1776 (Courier - Waterfront Playhouse). Much love to my family, friends and Tommy!

TAYLOR DRUMWRIGHT (Ensemble) last seen as Boo Who and now celebrating her 4th year on tour in a new track! Credits: Chuggington Live!

(Wilson-National Tour), Smurfs Live!

(Host-National Tour), Next to Normal (Natalie-Gov School) and Cinderella (Dance Captain-Sandler Center). Love you Mom and Dad! HANNAH GRACE FORSLEY (Ensemble) just released her single “cRaZy CoLoRs” on all streaming platforms. She is currently co-producing her first EP with John Campos. Follow @hgtheforce on Instagram and visit her bio for more info.

MADISEN JOHNSON (Ensemble) is excited to return to Whoville! Madisen is based in NYC. Credits: Urinetown (Little Sally), Annie (Orphan Swing - National Tour), Disney Dreams (Featured Dancer). Thanks to my family and God! BRIAN CEDRIC JONES (Ensemble, U/S Young Max, Swing, Dance Captain) is NY based and delighted to return to Whoville! Recent credits: Maria de Buenos Aires (New York City Opera) Legally Blonde (Singapore), MAMMA MIA! (Pepper - DDP Louisville), VeggieTales Live! (National Tour), Scooby Doo Live! (Cairo, Egypt). Love to my family and Big League.

ETHAN JAMES LYNCH (Ensemble, U/S Papa Who) Thrilled to be new in Whoville! Credits: 25th Annual...

Spelling Bee (Leaf Coneybear - The Theatre Project), She Loves Me (Waiter - The Princeton Festival), My Fair Lady (Freddy - Playhouse 22) My thanks are plentiful! ethanjameslynch.com KATIE MCCONAUGHY (Ensemble) is so excited to be back In Whoville!

Credits: “My Crazy Ex” (Lifetime), Hairspray (Brenda), My Fair Lady

JAMES SCHULTZ (Ensemble, U/S Grinch, U/S Old Max) is excited to be back! Credits: Proof (Hal), Les Misérables (Thenardier), First Date (Aaron), 42nd Street (Julian Marsh), Curtains (Aaron Fox). Love to my family, friends, FSE Talent, and Amanda. www.jamesschultz.net @jamesdschultz NEELY SCOTT (Ensemble) is overjoyed to be returning to Whoville. Credits: Scooby-Doo Live! (Velma - Saudi Arabian Nat’l Tour), Annie (Duffy/ Child Wrangler - Fireside Theatre), Alice Between (Alice - Alliance Theatre), Chicago (Hunyak - Nashville Reperatory). Peace & love to all. @neelyescott ANDREW WOOD (Ensemble) is excited to be returning to Whoville!

Credits: Dr. Seuss’ How the Grinch Stole Christmas! (Danny Who - National Tour). Cabaret (Emcee - FDU), She Loves Me (Arpad - FDU), Six-South (Cyrus - NY Theater Summerfest).

Love to my family!!

DR. SEUSS (Writer) Dr. Seuss was born Theodor Geisel in Springfield, Massachusetts on March 2, 1904. After attending Dartmouth College and Oxford University, he began a career in advertising. Dr. Seuss’s first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, changing the world of children’s literature forever. Winner of the Pulitzer Prize in 1984, two Emmy awards and three Academy awards, Seuss was the author and illustrator of 44 books, many of which have been made into audiocassettes, animated television specials and videos. His books include The Cat in the Hat, which infused 236 simple words with rhythm, rhyme and humor, and Green Eggs and Ham which used only 50 words. Even after his death in 1991, Dr. Seuss continues

to be the world’s best-selling author of children’s books.

DR. SEUSS ENTERPRISES, L.P. is a leading children’s entertainment company focused on protecting Theodor Seuss Geisel’s (Dr. Seuss) legacy and thereby ensuring that each generation can experience the genius of Dr. Seuss. The company was established in 1993 and is based in San Diego, CA. Dr. Seuss Enterprises’ global endeavors complement Dr. Seuss’s iconic books and include films, TV shows, stage productions, exhibitions, digital media, licensed merchandise, and other strategic partnerships. Ted Geisel once said he never wanted to license his characters to anyone who would “round out the edges” – a guiding principle at Dr. Seuss Enterprises. For more information about Dr. Seuss and his works, visit seussville.com and follow us on Instagram and Facebook.

JACK O’BRIEN (Original Director) Broadway: The Hard Problem; Carousel; The Front Page; It’s Only A Play; Macbeth; The Nance; Dead Accounts; Catch Me If You Can; Impressionism; The Coast of Utopia (Tony Award®); Dirty Rotten Scoundrels (Tony nominations); Henry IV (Tony Award®); Hairspray (Tony Award® and Drama Desk Award); Imaginary Friends; The Invention of Love (Tony nomination; Drama Desk Award); The Full Monty (Tony nomination); More to Love; Getting Away With Murder; Pride’s Crossing; The Little Foxes; Hapgood (Lucille Lortel Award); Damn Yankees (Tony nomination); Two Shakespearean Actors (Tony nomination); Porgy and Bess (Tony Award®, Most Innovative Revival); St. Louis Woman; The Most Happy Fella.

For the Metropolitan Opera, Il Trittico.

London: Love Never Dies, March 2010; Hairspray (Olivier Award); His Girl Friday (National Theatre). Artistic Director of the Old Globe Theatre, San Diego, from 1981-2007. Six productions for PBS’s “American Playhouse.” Actor (film): “Sex and the City.” Awards: Artserve Michigan 2008 International Achievement Award; 2008 Theatre Hall of Fame Inductee; 2005 John Houseman Award; 2007 and 2001 Joan Cullman Award for Extraordinary Creativity, 2004 Thomas Degaetani Award (USITT), 2002 “Mr. Abbott”

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

season! Rider MT ‘17. Many thanks to the Grinch team, Mom, Robin, RMTC and the boys! Enjoy the show!

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

Award (SDCF); 2001 Joe A. Callaway Award (SDCF). Member, College of Fellows of the American Theatre; Honorary Doctorate, University of San Diego; Honorary Doctorate, University of Michigan. Author: Jack Be Nimble (Farrar, Straus & Giroux).

TIMOTHY MASON (Book & Lyrics) Broadway: Dr. Seuss’ How the Grinch Stole Christmas! The Musical (2006 & 2007). Off-Broadway: Levitation, Only You, Babylon Gardens (with Timothy Hutton and Mary-Louise Parker) and The Fiery Furnace (with Julie Harris), all produced by Circle Rep. Regional: the Old Globe, San Diego; Actors Theatre of Louisville; South Coast Rep; Seattle Rep; Victory Gardens, Chicago; the Jungle Theatre and the Guthrie Theatre Lab, Minneapolis; and the Royal National Theatre, London. Tim’s historical thriller, “The Darwin Affair,” is now available from booksellers everywhere.

MEL MARVIN (Composer) Bway; Dr. Seuss’ How the Grinch Stole Christmas!

The Musical, Cymbeline, A History of the American Film, Tintypes (Tony Award® nom.), Yentl, Fascinating Rhythm. Innumerable scores for productions of plays, from Shakespeare (Lincoln Center Theater, Guthrie, A.R.T., Arena Stage, Hartford Stage, McCarter, etc.) to Kushner (Angels in America, Mark Taper Forum), Musicals for young audiences: Little Miss Hollywood, Madeline’s Rescue, Strega Nona Meets Her Match, Mr. Popper’s Penguins, A Cricket in Times Square, Gold. Opera: Guest From the Future, premiered at Bard Summerscape in 2004, and Buwalsky, Opera Spanga, Holland, Yale, the Skirball Center, NYC (2004) Recently: Elmer Gantry at D.C.’s Signature Theatre, Truth and Reconciliation at the O’Neill Theater Center, workshops of Perfect 36. Head Faculty Composer and Director of Production, Graduate Musical Theatre Writing Program, Tisch School of the Arts, NYU. ALBERT HAGUE (Original Composer of “You’re A Mean One, Mr. Grinch” and “Welcome Christmas”) His music for the original How the Grinch Stole Christmas, especially the songs “You’re A Mean One, Mr. Grinch” and “Welcome Christmas” are instantly recognized worldwide by young and old alike. His Broadway career includes the standard “Young and Foolish”

from the hit show Plain and Fancy as well as Redhead, for which he won the Tony in 1959. His film and TV career started when he was in his late 50s with the role of Professor Shorofsky in the movie Fame and the “Fame” TV series, and continued with many small roles in movies such as Space Jam and The Story of Us. Born in 1920 in Berlin, he escaped the Nazis via music scholarships in Rome and Cincinnati and settled in NY. The music from The Grinch is his most enduring achievement.

MATT AUGUST (Director) Matt August is a theatre and film director whose productions have broken box-office records on Broadway (How the Grinch Stole Christmas), played Off-Broadway, in many major Regional theatres, in festivals, on National Tours, at the Grand Ol’ Opry and three holiday seasons at Madison Square Garden.

They have been featured on television, radio and been performed at the White House for President Bush and several Veteran organizations. He has directed World Premieres, American Premieres, Regional Premieres that have been recognized with nominations and awards from LA’s Ovation, Washington DC’s Helen Hayes, Arizona’s Mac, San Francisco’s Bay Area Critics, Broadway World, Utah’s Audience Choice and Australia’s Helpmann Awards. His work has appeared on Year End Top-Ten lists for the LA Times, San Francisco Chronicle, Huffington Post, Arizona Republic, Oakland Tribune, Tucson Sun, San Jose Mercury News and NPR/KQED. He has been awarded fellowships and residencies from the Old Globe Theatre, Drama League, Oregon Shakespeare Festival, The Acting Company, Robert Wilson’s Watermill Center, the Juilliard School, and San Francisco’s Zen Center. In addition to theatre, he was awarded the Panavision New Filmmakers Grant and directed the Award Winning short family film “How to Get to Candybar” which has played at festivals around the world. He recently directed the American Regional Premiers of King Charles III and In the Heights; the world premiere of Discord-The Gospel According to Jefferson, Dickens and Tolstoy, Shakepeare’s Much Ado About Nothing, and Norris’ Clybourne Park.

He was the Associate Director to Jack O’Brien on three Broadway shows and is currently in pre-production for both the feature film and play “LP/

OP,” produced by Freestyle Picture Company.

JOHN DELUCA (Original Choreography) Currently producing the live-action feature The Little Mermaid. Old Globe: Dr. Seuss’ How the Grinch Stole Christmas! The Musical.

Film: Mary Poppins Returns, Into the Woods, Pirates of the Caribbean, On Stranger Tides, Nine, Memoirs of a Geisha, Chicago, The Terminal. TV: “Tony Bennett: An American Classic,” “75th Annual Academy Awards,” “Kennedy Center Honors.” Broadway/ New York theatre: Minnelli on Minnelli, Broadway Sings Elton John, Deborah Voight on Broadway, Sweet Adeline (City Center Encores!), Two Gentlemen of Verona (The Public Theater).

National tour: The Boy Friend, Chita & All That Jazz, Music of the Night, Brigadoon. Two Emmy Awards, three Golden Globe nominations, two AFI Top Ten Films, American Musical Theatre Award, Choreography Media Honors, two American Choreography Awards, Hamilton Behind the Camera Award, and the Chita Rivera Award.

BOB RICHARD (Choreographer) of the Broadway and touring productions of Dr. Seuss’s How the Grinch Stole Christmas! for the past 14 years. Off Broadway he directed and choreographed Inventing Mary Martin: The Revue of a Lifetime (Joe A. Callaway Award nomination) and The Road to Qatar. He has directed at North Shore Music Theatre, Ordway Center for the Performing Arts, and Theatre By The Sea, including productions of Peter Pan, The Music Man, Beauty and the Beast, and Chicago. He just choreographed West Side Story at The 5th Avenue Theatre, Theatre Under The Stars, and Pioneer Theatre Company, and internationally in Shanghai, Beijing, and Singapore.

Bob is a guest master instructor at Jacob’s Pillow Dance Festival. He has received a Footlight Award, Gypsy Rose Lee Award, Ivey Award, Ernie Award, and San Francisco Bay Area Theatre Critics Circle Award. Most recently his work has been seen in Tokyo, Japan and soon to open the New National Tour of An American in Paris.

ANTOINETTE DIPIETROPOLO (Associate Director and Choreographer) Director/ Choreographer/Creator: “MasterChef

JOHN LEE BEATTY (Scenic Designer) His 115 Broadway productions include: Junk, Disgraced, Other Desert Cities, Venus in Fur, Chicago, Good People, Proof, Doubt, The Color Purple, The Sisters Rosensweig, A Delicate Balance, The Heiress, Ain’t Misbehavin’, Talley’s Folly, Burn This, Fifth of July, Rabbit Hole, Penn & Teller and more.

Education: Brown, Yale School of Drama. Awards: Tony, Obie, Outer Critics, Drama Desk, Theater Hall of Fame.

ROBERT MORGAN (Costume Designer) Broadway: The Full Monty, Imaginary Friends, I’m Not Rappaport and Sherlock’s Last Case. OffBroadway: Saturn Returns and Pride’s Crossing, Lincoln Center; The Loves of Anatol, Circle in the Square. 101 Dalmatians. Forty years of designing for regional theatres across the U.S; founding Associate Artist, Old Globe Theatre, San Diego.

PAT COLLINS (Original Lighting Designer) Broadway: Doubt (Tony nomination), Proof, A Moon for the Misbegotten, The Heidi Chronicles, I’m Not Rappaport (Tony® Award), Execution of Justice (Drama Desk Award), Sherlock’s Last Case, Ain’t Misbehavin’, Baby, Steaming, Orphans, Good People. Lincoln Center: Dying City, An American Daughter, A Delicate Balance, The Sisters Rosensweig, Threepenny Opera (Tony nomination).

CHARLIE MORRISON (Lighting Designer) National/international tours: Disney’s The Little Mermaid, A Christmas Story: The Musical, Dr. Seuss’s How the Grinch Stole Christmas! The Musical (NYC, Grand Ole Opry, US Tour), A Chorus Line (U.S., Japan, and China), Chitty Chitty Bang Bang, Miss Saigon, Aida (U.S. and Asia), The Producers, Man of La Mancha, Guys and Dolls, Groovaloo (N.Y.C., L.A., U.S. Tour), Hello, Dolly!, My Fair Lady, The King and I (U.S. and Korea), Spelling Bee, Gypsy, 42nd Street (U.S. and Japan), Smokey Joe’s Café, The Who’s Tommy (Europe and Japan), Titanic, The Music Man and many others. Regional: Paper Mill Playhouse, Guthrie Theater, Shakespeare Theatre Company (D.C.), Goodspeed Musicals, Seattle Repertory, Seattle 5th Avenue, Broadway Sacramento at Music Circus, Theatre Under the Stars, Dallas Summer Musicals, Kansas City Starlight, Pittsburgh CLO, George Street Playhouse, North Carolina Theatre, PlayMakers Repertory, Tulsa Opera and many others. Charlie is the recipient of two Helen Hayes Awards for Outstanding Lighting Design. www.cmlighting.com.

JEREMY OLEKSA (Sound Designer) Jeremy is very excited to be designing this show. Previous show designs include; (Off-Broadway) Would You Still Love Me If. . . . (regional) Hamlet, Becky Shaw, Two Gentlemen of Verona, Sunset Boulevard, Spamalot, Legally Blonde, Thoroughly Modern Millie, Sound of Music, Chicago, Mary Poppins, Witches of Eastwick, West Side Story, South Pacific, Buddy, The Buddy Holly Story, 9 to 5 The Musical.

Engineered shows include (Broadway) Misery, Bernhardt/Hamet, True West, All My Sons, Rose Tattoo. Special thanks to my wife Becky for being my alarm clock and pouring the coffee.

MICHAEL STAROBIN (Orchestrator) Once on This Island, Sunday in the Park with George, Mrs. Miller Does Her Thing, Freaky Friday, Kid Victory, Falsettos, First Daughter Suite, The Hunchback of Notre Dame, If/Then, Annie, Dogfight, Leap of Faith, Queen of the Mist, The People in the Picture, Sondheim on Sondheim, Next to Normal (Tony Award), The Glorious Ones, Dr. Seuss’s How the Grinch Stole Christmas!, Adrift in Macao, Bernarda Alba, The 25th Annual Putnam County Spelling Bee, Assassins (Tony Award), The Adventures of Tom Sawyer, A New Brain, A Christmas Carol, Hello Again, Guys and Dolls (1992), My Favorite Year, In Trousers, Closer Than Ever, Legs Diamond, Romance/Romance, Carrie, Birds of Paradise, Rags, Three Guys Naked, and Von Richthofen. His film credits include The Hunchback of Notre Dame, A Goofy Movie, Life with Mikey, Home on the Range, Tangled, Lucky Stiff, Beauty and the Beast (2017) and Mary Poppins Returns.

DAVID KRANE (Dance Music Arrangements) created the dance music and additional score for the Academy Award–winning “Chicago” and the film of “Nine;” created the musical score adaptation for Disney’s “Into the Woods” starring Meryl Streep; produced and arranged Michelle Williams’s vocals for “My Week with Marilyn;” and composed Aspire with Stephen Cole, the first American musical produced in the Middle East.

Their musical comedy about that incredible experience, The Road to Qatar!, was produced in Dallas, New York City, and the Edinburgh Festival.

It is licensed by josef-weinberger.com, and the album, produced by jayrecords. com, is available on iTunes. Mr. Krane’s many Broadway credits include Cabaret, On the Twentieth Century, and She Loves Me. His latest work is in Disney’s “Mary Poppins Returns” and his own new original musical, Goin’ Hollywood (goinhollywood.com). davidkrane.com PETER LEIGH-NILSEN (Musical Supervisor, Music Director) National/ International Tours: Dr. Seuss’ How the Grinch Stole Christmas (U.S.), My Fair Lady (China), The Producers (U.S.), Guys and Dolls (U.S.), Bring It On: The Musical (U.S./Tokyo), and Elton John and Tim Rice’s Aida (Taiwan).

Regional: Peter Pan (North Shore Music Theatre), She Loves Me (The Princeton

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

Junior Live” (National Tour); “America’s Got Talent Live” (International Tour); Wishes (National Tour Cirque Musical) Director/Choreographer “Veggietales” (National Tour); Legally Blonde (Argyle Theater); Nunsense (Flatrock Playhouse); Saturday Night Fever (Hilton Head Theater); Chicago, Jesus Christ Superstar and Annie (Fort Salem Theatre); Ragtime (Lyric Stage – 14 Theatre League Awards nominations); Ragtime (North Carolina Theatre – Triangle Theatre Awards Best Choreographer Winner); Annie, Mama Mia, Nunsense (John W. Engeman Theater); Annie at numerous theaters. Choreographer: Fame (National Tour), Annie (The Muny in St. Louis); Candide (Starring George Hearn & Rita Moreno); Grease, The Full Monty, Miracle on 34th St, The Producers, A Christmas Story, Music Man, Evita, South Pacific, Hairspray, and I Love You, You’re Perfect, Now Change (John W. Engeman Theater); With Glee (Off-Broadway); “The Ride” (ongoing NYC bus tour).

Choreographer/Associate Director: “Big Apple Circus” (2014, 2015, 2017).

Re-staging Director/Choreographer: “Scooby Doo Live” (International Tour). Co-Creator/Choreographer: “Powerhouse” (Joyce SoHo). Director/ Choreographer: Pepsi/Grubhub/ Seamless Super bowl promotion. www.

AntoinetteDiPietropolo.com. Follow me @antoinettedip

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

Festival), Chicago (Theatre By The Sea). He recorded keyboards for the Original Broadway recording of How The Grinch… (Sony Masterworks), and teaches with The Broadway Experience (Tokyo/NYC) and The American Musical Theatre Dance Company. Love to Richard and Maggie.

ALISON FRANCK (Casting Director) has been a casting director in NYC for over 20 years. She started as an assistant for many Broadway Productions, then she worked in film/ TV for several years, then from 20002010, she was the Resident Casting Director at Paper Mill Playhouse. In 2011 she joined the team at Liz Lewis Casting Partners, where she cast commercials, voice overs, film/TV and theatre. Alison now runs her own company, Franck Casting, where she has currently cast several tours of wellknown musicals including Dreamgirls, An American in Paris, A Christmas Story: The Musical, A Chorus Line, Legally Blonde & Dr. Seuss’ How the Grinch Stole Christmas! The Musical.

DON S. GILMORE (Technical Supervisor) has provided production management and technical services for over 300 entertainment projects in the U.S. and abroad. Notable projects include Broadway: An American in Paris, Pippin, Rocky Broadway, 700 Sundays, Guys and Dolls, Grinch, The Pirate Queen, Dracula the Musical, Sinatra. Road: Matthew Bourne’s The Red Shoes, A Christmas Story the Musical, Grinch, The Producers, Matthew Bourne’s Sleeping Beauty, Phantom of the Opera, Tallest Tree in the Forest, Guys and Dolls, Hair. Las Vegas: Magic Mike Live, Puppet Up-Uncensored, Paul ZerdinMouthing Off, Frankie Moreno-Under the Influence, Mat Franco-Magic Reinvented Nightly. International: Magic Mike Live London, Berlin and Australia. Other: The Laramie Project, The Rock & Roll Hall of Fame Annex, Times Square New Years Eve. Don lives in NYC with his wife, actress Rebecca Holt, and their three children: Luke, Max and Ruby.

RUNNING SUBWAY (Producer) is a NYC based entertainment company founded by James Sanna with Joshua Rosenblum. The board includes Ken Munoz, Allen Paik and Steve Tuttleman.

Grinch: Broadway & all Tours. Other prods include Sinatra at the London

Palladium, Peter Pan at Madison Square Garden (Cathy Rigby), Judy Garland In Concert. Projects include the Rock and Roll Hall of Fame Annex NYC, Bodies- the Exhibition, as well as the venue Discovery Times Square which featured, “Star Wars”, “Vikings”, “The Hunger Games”, “Titanic”, “DaVinci”, “King Tut”, “Terra Cotta Warriors”, “Harry Potter the Exhibition,” “Spy”, “CSI”, “Pompeii” and “The Avengers”.

Currently touring the exhibitions Art of the Brick, DaVinci’s Workshop and The Dead Sea Scrolls. Upcoming productions include the new circus/ musical, Dr. Seuss’ Circus McGurkus and an exciting new NYC focused exhibition center for Times Square opening in Spring 2020.

THIS TIME OF YEAR COMPANY LP (Original Tour Producer) a partnership formed in 2007 to produce the national tour of Grinch. Comprised of Running Subway, Shorenstein Hays Nederlander Theaters (SHN), EMI Music Publishing, Michael Speyer & Bernie Abrams, Dancap Productions, Janet Pailet, Spark Productions, and Eva Price/Maximum Entertainment.

THE OLD GLOBE (Original Producer) The Tony Award®–winning The Old Globe, now in its 85th year, is one of the country’s leading professional regional theatres and San Diego’s flagship performing arts institution.

Under the leadership of Erna Finci Viterbi Artistic Director Barry Edelstein and Managing Director Timothy J. Shields, The Old Globe produces a year-round season of 16 productions of classic, contemporary, and new works, including its internationally renowned Shakespeare Festival. More than 250,000 people annually attend Globe productions and participate in the theatre’s artistic and arts engagement initiatives, which provide an array of participatory programs that make theatre matter to more people in neighborhoods throughout the region. Numerous world premieres have been developed at The Old Globe and have gone on to successful runs on Broadway and across the country.

CHILDREN’S THEATRE COMPANY (Original Producer) Founded in 1965, the Children’s Theatre Company (Minneapolis) is one of the United States’ largest regional theatres and regarded as America’s flagship theatre for young people and families, setting

standards of excellence in the quality of its productions, commitment to new work, rigorous theatre arts training programs and innovative education and community partnerships. CTC premiered the first stage version of Dr. Seuss’ How the Grinch Stole Christmas!

The Musical in 1994. CTC is led by Artistic Director Peter C. Brosius and Managing Director Kimberly Motes.

In 2003, CTC was honored with the Tony® Award for Outstanding Regional Theatre.

L. GLENN POPPLETON (Exclusive Tour Direction) also represents the tours of A Christmas Story—The Musical; Mandy Patinkin in Concert; and An Evening with Patti LuPone and Mandy Patinkin. Past tours include Cathy Rigby is Peter Pan; Disney’s Beauty and the Beast; and Monty Python’s Spamalot.

BOND THEATRICAL GROUP (Marketing & Publicity Direction) is a fully independent booking, marketing and publicity company for live entertainment productions. Blue Man Group, CATS, Clueless, Girl from the North Country, First Date, Jesus Christ Superstar, Kathleen Turner’s Finding My Voice, Latin History for Morons, An Officer & A Gentleman, Once on this Island, Spamilton and What the Constitution Means To Me. Current marketing and publicity projects include Anastasia, The Band’s Visit, Dear Evan Hansen, Diana, Dr. Seuss’ How the Grinch Stole Christmas! The Musical, Escape to Margaritaville, Fiddler on the Roof, Moulin Rouge!, Oklahoma!, The Color Purple, The Phantom of the Opera on Broadway and The Prom.

BIG LEAGUE PRODUCTIONS/DANIEL SHER (Executive Producer) has produced, general managed, and booked Broadway shows for 29 seasons throughout the world. Early highlights were collaborations with Disney on Elton John and Tim Rice’s Aida (North America, Taiwan and China) and with Cameron Mackintosh on a new production of Miss Saigon.

Also, USA tours of the Tony®-Award winning Broadway revival of 42nd Street and Susan Stroman’s Broadway production of Meredith Willson’s The Music Man. Others: Footloose (Las Vegas, USA) Titanic, 1776, Peter Pan, A Funny Thing Happened on the Way to the Forum starring Rip Taylor,

________________________________________________

STAFF FOR DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL ________________________________________________

Dr Seuss Enterprises, LP President..................................................... Susan Brandt Legal Representation........................... Millie Basden, Karl Zobell, Esq, DLA Piper ________________________________________________

EXCLUSIVE TOUR DIRECTION L. Glenn Poppleton LGPoppleton@me.com • (917) 596-7055 ________________________________________________

MARKETING & PUBLICITY DIRECTION BOND THEATRICAL GROUP bondtheatrical.com DJ Martin Temah Higgins Mollie Mann Marc Viscardi Tori Viggiano Phillip Aleman Nicholas Jaech Meredyth Davis Jo Manley Trish McKeon Nicole Musto Benjamin Nissen ________________________________________________

Company Manager.......................Michael Gremo Production Supervisor.........................Scott Seidl Production Stage Manager..............Josh Daniels Assistant Stage Manager......... Cheyenne Splinter Associate Lighting Designer...........John Burkland Production Sound.......................................Don Hanna Costumes/Head Wardrobe..................Sarah Smith Hair Coordinator....................................... Gerard Kelly Keyboard Programmer................................. Jim Harp Head Carpenter.................................. Keith Kolasinski Assistant Carpenter.........................Andrew Berdine Assistant Carpenter...........................Daniel Liswood Production & Head Electrician..........Jessica Kohn Assistant Electrician.......................... Patty Stratman Assistant Electrician...................Delaney McCowen Head Sound................................................Collin Caston

Assistant Sound......................... Brian “Rudy” Rudell Head Props......................................... Shadow Gilmore Assistant Props....................................... Christina Daly Assistant Wardrobe....................................Tyler Guse Head Hair/Makeup...................................... April Spain Dance Captain.............................. Brian Cedric Jones Assistant Dance Captain......Hannah Roberts Brown Tutor/Wrangler................................... Elizabeth Willis

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

________________________________________________

For Big League Productions, Inc. President......................................................... Daniel Sher Business Manager.........................................Tim Hurley Associate General Manager................Ashley Mikel Office Manager................................. Sophie Whitfield Children’s Tutoring............ On Location Education Legal Counsel for Big League.....Nan Bases, Esq. Accountants for Big League..... Schall & Ashenfarb Banking.............................................City National Bank Insurance....................................... Gallagher Insurance Payroll Services........................... Checks & Balances Travel/Housing Services............... Tour Resources, Gina Willens Merchandise.......................................Randi Grossman, Max Merchandising, LLC ________________________________________________

For Running Subway President .....................................................James Sanna EVP Executive Producer .......Joshua Rosenblum Producer ...................................................... Dave Collins Associate Producer..................................Kelly Collins Assistant Producer ............................. Maggie Farrell Manager Exhibitions...................................Jillian Clark Chief Marketing Officer.................Shannon Hebert Director of Sales..................................... Renee Wilson VP Finance..............................................Thomas Traver General Counsel...........................................Ken Munoz ________________________________________________ Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

The Director and/or Choreographer is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.

United Scenic Artists represents the designers and scenic painters for the American Theatre.

________________________________________________

CREDITS Lighting Provided by 4Wall Entertainment, Inc. Sound Provided by Masque Sound.

Show control and motion control featuring stage command systems by PRG-Scenic Technologies, a division of Production Resource Group, LLC., New Windsor, NY. Trucking by Janco

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

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

• CHILDREN 6+ are welcome in our theatres and must be ticketed.

• DRINKS are allowed in provided containers.

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

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

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719 Linda Ackerschott Carrie Breidenbach Vonnie Clough Janel Clough Craig Cory Cyndie Cory Laura Cotugno Steve Davies Anne Davis Carolyn Dore Deborah Guess AnnSue Gunter

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

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

Albert Sainz, Sr Jay Schenk David A. Wilson

THE BUELL THEATRE is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues.

CITY & COUNTY OF DENVER Michael Hancock, Mayor ARTS AND VENUES Ginger White-Brunetti, Executive Director For information call: 720.865.4220

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL

Blast!, The Who’s Tommy (North America, South America, Europe, and Japan), Ain’t Misbehavin’ with Ruben Studdard and the First National tour of Chitty Chitty Bang Bang - flying car and all. More recent: The Producers (Susan Stroman’s original direction and choreography), Hello, Dolly! with Sally Struthers, Guys and Dolls, My Fair Lady (US Tour and China premiere), original hip-hop dance show Groovaloo (Off-Broadway), Dr. Seuss’ How the Grinch Stole Christmas! The Musical (10th USA tour, Grand Ole Opry, and 2012/2014/2018 at Madison Square Garden), Dreamgirls (US, China premiere, Japan), Hair (US and Japan), Bring it On (US and Japan), and Legally Blonde The Musical (US, China premiere, Singapore). In 201819, A Chorus Line toured in the USA and Japan and performed for the first time ever in China in 2019. The 2019-20 season, in addition to How the Grinch Stole Christmas, includes a new production of An American in Paris, and the 6th season touring Big League’s renowned production of A Christmas Story, The Musical.

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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.

APPLAUSE • NOV NOV 2019 2019 ––JAN JAN2020 2020• 303.893.4100 • DENVERCENTER.ORG

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

Global performance.

World-class entertainment.

You have to be here.

Find your next performance at

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MAKING A

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Connections to community. We are proud to support the DCPA for more than 40 years of making a difference in performing arts in Colorado.

Liz Sharrer, Chair, 303.295.8000, lsharrer@hollandhart.com 555 17th Street, Suite 3200, Denver, Colorado 80202 | hollandhart.com

Proud Supporter of the Arts

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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.

40

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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DEC 21 & 22 ‘TWAS THE BRASS BEFORE CHRISTMAS FEB 16 DENVER BRASS & ALL THAT JAZZ MAR 7 & 8 CELTIC CASTLES & CATHEDRALS MAR 14 & 15 CELTIC FUSION MAY 16 & 17 LET FREEDOM RING

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

NOVEMBER

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.

All Rights Reserved. MPAA Rating: PG

Aretha: A Tribute

MOVIE AT THE SYMPHONY

Celtic Woman: The Best of Christmas Tour CLASSICS

HalfNotes

HOLIDAY

DEC 8 SUN 3:30

A Colorado Christmas MOVIE AT THE SYMPHONY

NOV 29 FRI 7:30

Love Actually in Concert

HalfNotes

DEC 6 FRI 7:30

NOV 22-24 FRI-SAT 7:30 ■ SUN 1:00

Home Alone in Concert

FAMILY

DEC 1 SUN 2:30

NOV 15 & 17 FRI 7:30 ■ SUN 1:00

Tchaikovsky Violin Concerto

Drums of the World

DEC 13-15 FRI 7:30 ■ SAT 2:30 & 6:00 ■ SUN 1:00

All Beethoven – 250th Birthday Celebration

HOLIDAY

HalfNotes SPOTLIGHT

DEC 16 MON 7:30 SYMPHONY POPS

NOV 30 SAT 7:30

Handel’s Messiah — Awakening

HOLIDAY

DEC 20-21 FRI-SAT 7:30

Holiday Brass

HOLIDAY

DEC 22 SUN 1:00 HalfNotes Please join us for family-friendly activities 1 hour before the concert.

These performances include FULL SCREENING OF THE FEATURE FILM!

presenting sponsor

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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.

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

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PROUD SEASON SPONSOR OF DCPA BROADWAY

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.

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

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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