Applause Magazine, December 6-8, 2019

APPLAUSE

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VOLUME XXXI • NUMBER 4 • NOV 2019 – JAN 2020

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LATIN HISTORY FOR MORONS

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TWELFTH NIGHT JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL JESUS CHRIST SUPERSTAR THE HIP HOP NUTCRACKER

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Claude Monet: The Truth of Nature

THROUGH FEB 2 , 2020

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

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

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SIGHTLINE

BY JANICE SINDEN

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

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

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Welcome to the Denver Center for the Performing Arts.

We are so glad you’re here!

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

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

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

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

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

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

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

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

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

Warm regards,

Janice Sinden President & CEO

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

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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

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

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

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

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

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

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

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

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

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

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

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

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

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

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THE BREEZY ROMANCE OF

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

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

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

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

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

— CHRIS COLEMAN, DIRECTOR

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

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

In Nature there’s no blemish but the mind.

None can be called deform’d but the unkind.

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

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

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

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

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

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

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

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WHY WON’T BE JUST ANOTHER JUKE-BOX MUSICAL

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

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

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

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

I see what the fuss is all about!’”

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

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

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

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

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

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

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

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

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

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

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

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

— MIKE O’MALLEY, CO-WRITER

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

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

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

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

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

COMING UP FROM BROADWAY

SUMMER:

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

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

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

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

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

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

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

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

1980: Donna wins three American Music Awards.

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

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

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

140 MILLION RECORDS SOLD

Modified and reprinted with permission of Playbill.

5 GRAMMY AWARDS

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

1 OSCAR AWARD

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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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BEGINNING YOU ARE THE SPARK

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

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

Photos by John Moore

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

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THE WOW AGENCY presents the

BERKELEY REPERTORY THEATRE

THE PUBLIC THEATER

TONY TACCONE, Michael Leibert Artistic Director

OSKAR EUSTIS, Artistic Director

SUSAN MEDAK, Managing Director

PATRICK WILLINGHAM, Executive Director

MANDY HACKETT, Director of Public Theater Productions production of

Written by and Starring

JOHN LEGUIZAMO

¹

Scenic Design

Lighting Design

Costume Design

Original Music & Sound Design

RACHEL HAUCK

ALEXANDER V. NICHOLS

LUKE McDONOUGH

BRAY POOR

Tour Booking, Marketing & Publicity Direction

BOND THEATRICAL GROUP

Marketing Consultant

BLANCA LASSALLE

Advertising

AKA

CREATIVE LINK

Interactive Marketing

Digital Marketing

ANDY S. DRACHENBERG

SITUATION INTERACTIVE

Tour Manager

Assistant Director

General Manager

RANDALL H. KAMAY

VICTORIA COLLADO

STEVEN L. GUY

Directed By

TONY TACCONE Originally Produced on Broadway by NELLE NUGENT KENNETH TEATON DENOFF SALMIRA AMIGOS — JEREMY HANDELMAN / BEN DeJESUS AUDIBLE PETER FINE JON B. PLATT JAMIE deROY in association with MELISSA AND DAN BERGER STEFANY BERGSON WILLETTE M. KLAUSNER JOSE MENDEZ / KATIE GRAZIANO MORWIN SCHMOOKLER AVEX INTERNATIONAL INC. JONATHAN DEMAR

Developed with support from The Ground Floor at Berkeley Repertory Theatre, Berkeley, CA. A Page to Stage Workshop Production of Latin History for Morons was produced in 2016 by La Jolla Playhouse, La Jolla, CA.

1 The derivation of “Leguizamo” comes from Mansio Serra De Leguizamon, one of the last conquistadors to die in Peru. Before his death, De Leguizamon apologized for the conquest.

LATIN HISTORY FOR MORONS

SEASON SPONSORS

PHOTO: Timothy Greenfield-Sander

LATIN HISTORY FOR MORONS

John Leguizamo LATIN HISTORY FOR MORONS is dedicated in memory of Gabriel Sean Gregory Pelaez.

LATIN HISTORY FOR MORONS WILL BE PERFORMED WITHOUT AN INTERMISSION.

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited by law. Please turn off all electronic devices such as cellular phones, beepers and watches prior to the beginning of the performance.

JOHN LEGUIZAMO (Author/ Performer). Off-Broadway: Mambo Mouth, Spic-o-Rama (Best American Play 1992, Warner Hull Dramatist).

Broadway: Latin History for Morons (Tony Award Winner and Tony Award nomination), Ghetto Klown (Outer Critics Circle and Drama Desk Awards), Freak (Emmy Award Winner and Tony Award nominations), Sexaholix… A Love Story (Tony nomination). Select film: The Infiltrator; To Wong Foo, Thanks for Everything! Julie Newmar (Golden Globe nomination, ALMA Award); Moulin Rouge; American Ultra; John Wick; Chef; Summer of Sam; Ice Age series; The Lincoln Lawyer; Romeo and Juliet. TV: “When They See Us,” “Waco” (Emmy Award Nomination), “Bloodline,” “The Kill Point,” “ER,” “My Name is Earl,” “The Brothers Garcia,” “House of Buggin’” and “Miami Vice.”

Books: Pimps, Hos, Playa Hatas and All the Rest of My Hollywood Friends: My Life; Ghetto Klown (Eisner Award nomination). Most recently co-wrote the new musical Kiss My Aztec with Tony Taccone. Upcoming projects: Harry Haft (with Ben Foster and dir.

Barry Levinson) and John’s directorial debut Critical Thinking (with Michael Kenneth Williams). Awards: two Obie, three Drama Desk, three Outer Critics Circle, one Emmy and six Cable ACE awards. John believes art is the best form of resistance. “Don’t forget to register to vote! Do me a favor and vote!”

TONY TACCONE (Director). Most recently directed Kiss My Aztec, a new musical co-written with John Leguizamo. For the past 23 years he has served as Artistic Director of Berkeley Rep, during which time the Tony Award-winning nonprofit has enhanced its reputation as an international leader in innovative theatre.

Mr. Taccone has staged more than 40 plays in Berkeley including new work

by Julia Cho, Tony Kushner, KJ Sanchez, Danny Hoch, David Edgar, Sarah Jones, Culture Clash and Lemony Snicket. He directed two shows that transferred to London, Continental Divide and Tiny Kushner, and three that landed on Broadway, Bridge & Tunnel, Wishful Drinking and Latin History for Morons.

Prior to working at Berkeley Rep, Taccone served as Artistic Director of the Eureka Theatre, introducing the Bay Area to playwrights ranging from Dario Fo to Caryl Churchill. While

there, Taccone and Oskar Eustis commissioned Tony Kushner’s Angels in America and co-directed its world premiere in Los Angeles.

RACHEL HAUCK (Scenic Design).

Broadway: Hadestown (Tony Award), What The Constitution Means To Me, Latin History for Morons. Recent work: Hadestown (National Theater; Citadel; NYTW); Hurricane Diane (NYTW); Othello, Twelfth Night (Shakespeare in the Park); The Lucky Ones (Ars Nova); You’ll Still Call Me By Name (Sonya Tayeh/Jacob’s Pillow); Tiny Beautiful Things, Dry Powder (Public); Amy and the Orphans, On The Exhale (Roundabout); Antlia Pneumatica, Grand Concourse (Playwrights Horizons).

ALEXANDER V. NICHOLS (Lighting Design). Broadway: Wishful Drinking (Production Design), Hugh Jackman: Back on Broadway (Video), Nice Work If You Can Get It (Video). OffBroadway: Ernest Shackleton Loves Me, In Masks Outrageous and Austere, Los Big Names, Horizon, Bridge & Tunnel, Through the Night, Taking Over, In the Wake. Regional: American Conservatory Theater, Mark Taper Forum, Berkeley Rep, Arena Stage, Oregon Shakespeare Festival, Dance: San Francisco Ballet, Boston Ballet, Joffrey Ballet, Alvin Ailey, Hubbard Street, Hong Kong Ballet, Pennsylvania Ballet, Margaret Jenkins, ODC/SF. Music: SF Opera, Cleveland Symphony, L.A. Philharmonic, Philip Glass, Kronos Quartet, Opera Philadelphia, Paul Dresher, Bill Frisell, Rinde Eckert.

LUKE McDONOUGH (Clothing Design) was proud to make his Broadway design debut with Latin History for Morons following its sold out run at New York City’s Public Theater. Luke has supervised costume execution for over 300 shows at the Public and at the Delacorte Theater in Central Park, including the entire Shakespeare canon. As the Public Theater’s Costume Master, he oversaw the pre-Broadway productions of Hamilton, Fun Home, Hair, Bring in ‘da Noise, Bring in ‘da Funk, On the Town, Passing Strange, Eclipsed, Caroline or Change, Topdog/ Underdog, and Take Me Out, among others. Currently, Luke is working on his 34th season of Free Shakespeare in Central Park as well as the Public Theater productions of White Noise

by Suzan-Lori Parks, Socrates by Tim Blake Nelson and Ain’t No Mo’ by Jordan E. Cooper.

BRAY POOR (Original Music & Sound Design). Broadway: True West, Latin History for Morons, The Glass Menagerie, The Real Thing, ...the vibrator play, The American Plan. Recent work includes Dying City at Second Stage and Hurricane Diane at NYTW. His many designs and music have been heard Off-Broadway and regionally all over the US. Internationally he has worked in Europe as well as Mexico, where he lived with his family for 2 years. Multiple Lortel and Drama Desk award nominations and Obies for John and Sustained Excellence in Sound Design.

VICTORIA COLLADO (Assistant Director) is a Cuban-American director, born and raised in Miami. Recently, she directed The AMPARO Experience, written by Vanessa Garcia in partnership with the real Havana Club by Bacardi. She is the co-founder of the Abre Camino Collective with Ms. Garcia.

Victoria has directed for Repertorio Español, MCC Youth Company, City Lyric Opera, Sheen Center, IATI theatre, Columbia University and others.

She was a Van Lier Directing Fellow with Repertorio Español, part of the Directing Corps in the Williamstown Theatre Festival, and a recipient of the SDCF Observership. Victoria received her BFA from Florida International University. She is a fellow of the WP Theater’s 2018-2020 Lab. Ms. Collado is an Associate Member of SDC. She is so grateful and excited to be returning with this team to bring Latin History for Morons to audiences around the US. BOND THEATRICAL GROUP (Tour Booking, Marketing & Publicity Direction) is a fully independent booking, marketing and publicity company for live entertainment productions.

Current tour marketing and booking projects include 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 and Spamilton. 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

LATIN HISTORY FOR MORONS

WHO’S WHO

LATIN HISTORY FOR MORONS

to Margaritaville, Fiddler on the Roof, Moulin Rouge!, Oklahoma!, The Color Purple, The Phantom of the Opera on Broadway, and The Prom.

THE WOW AGENCY (Producer) has established itself as a global entertainment production and management powerhouse, with scores of shows, events, exhibits and experiences around the world and across multiple media platforms to its credit. Wow leverages an Emmy Award-winning network of designers, producers, and project managers to combine imaginative entertainment concepts with cutting-edge technologies to create visually exciting events and customer-engagement programs, as well as studio and theatre productions, retail and entertainment environments, theme parks, corporate shows and special events across the country and around the globe. Visit www.thewowagency.com BERKELEY REPERTORY THEATRE (Producer) has grown from a storefront stage to an international leader in innovative theatre. Known for its values of imagination and excellence, the nonprofit has provided a home for emerging and established artists since 1968. Shows at Berkeley Rep have gone on to win five Tony Awards, seven Obie A wards, nine Drama Desk Awards, one Grammy Award and other honors. It received the Tony Award for Outstanding Regional Theatre in 1997.

Visit www.berkeleyrep.org.

THE PUBLIC THEATER (Producer) produces theater of, by, and for the people. It first opened its doors in the East Village in 1967 with the musical Hair.

Most recently Fun Home and Hamilton won Best Musical Tony Awards in consecutive years. We have a proud legacy of game-changing plays and musicals that include A Chorus Line, Sticks and Bones, Runaways, For Colored Girls, The Normal Heart, Eclipsed and Sweat.

The Public is a civically engaged theater that believes theater is a force for change, creating dialogue about some of the most important social issues of our time. The wide range of programming includes new work at its flagship home on Astor Place as well as on Broadway, national and international productions, and the iconic free Shakespeare in the Park. Recipient of 59 Tonys, 170 Obies, 53 Drama Desk Awards, 56 Lortel Awards, 32 OCC Awards, 13 New York Drama Critics’ Circle Awards, six Pulitzer Prizes. www.publictheater.org

LATIN HISTORY FOR MORONS TOUR STAFF GENERAL MANAGEMENT THE WOW AGENCY General Manager ...................................................Steven L. Guy VP - Touring .....................................................Randall H. Kamay Writer ....................................................................Michael P. Casey VP – Talent................................................................... Chip Rachlin VP – Creative.....................................................Timothy O. Macy Legal Counsel.....................................................Patricia Roy. Esq Accountant....................Connally, Jordan & Associates, P.C. Accounting...................................................... Kimberly Kris Guy TOUR MANAGER Randall H. Kamay EXCLUSIVE TOUR DIRECTION BOND THEATRICAL GROUP bondtheatrical.com TOUR BOOKING Temah Higgins Mollie Mann Wendy Roberts Brittany Halberstadt Evan Millican Madison St. Amour MARKETING & PUBLICITY DIRECTION DJ Martin Marc Viscardi Phillip Aleman Nicholas Jaech Matthew Lerner Trish McKeon Nicole Musto Benjamin Nissen Tori Viggiano TOUR PRESS REPRESENTATIVE Phillip Aleman Movement Director..............................Emmanuel Hernandez Associate Scenic Designer................................... Ryan Howell Assistant Lighting Designer.........................Adam H.Greene Sound Assistant.......................................................Charles Coes Lighting Programmer.......................................Grant Wilcoxen Props Coordinator.............................................. Emiliano Pares Assistant Tour Manager/Driver.................................John Hall Production Sound Mixer....................................... Sarah Speck Assistant to Mr. Leguizamo..................................... Joe Miciak Controller..................................... Galbraith & Co./Jill Johnson Legal Counsel................................. David H. Friedlander, Esq. Insurance................. DeWitt Stern Group/Pete Shoemaker Accountant.............................................WithumSmith+Brown/ Robert Fried, CPA, Karen Kowgios, CPA, Anthony Moore, CPA Tour Accountant................................................ Kenneth Teaton Advertising/Marketing .......................AKA/Elizabeth Furze, Scott A. Moore, Bashan Aquart, Kevin Bradley, Matthew Chisling, Aaron Coleman, Marc Jablonski, Billy Mitchell, Jamaal Parham, Robert Postotnik, Emily Poworoznek Interactive Marketing........................... Andy S. Drachenberg Digital Content Contributor..................... Lucas Leguizamo Digital Marketing....................................Situation Interactive/ Damian Bazadona, Pippa Bexon, Matthew Martine, Erin Resnick, Michael Avishay, Jesse Small, Jess Stanek, Tyler Cullen New York Press Represenative..............................Polk & Co/ Matt Polk, Kelly Stotmeister, Alex Seeley Banking.................First Republic Bank/Marianne Johnson, Nicole Parissi Merchandise......................................... Encore Merchandising/ Joseph Boyles, David Aguilar Production Photographer...........................Matthew Murphy Payroll Services.......................................Checks and Balances BERKELEY REPERTORY THEATRE STAFF Artistic Director.......................................................Tony Taccone Managing Director..................................................Susan Medak General Manager........................................... Theresa Von Klug Production Manager................................................Audrey Hoo Director of Development......................Lynn Eve Komaromi Director of Marketing andCommunications.Peter Yonka Director of Finance.........................................Jared Hammond Director of School of Theatre................................Rachel Hull Director of Facilities......................................... Mark Morrisette Director of Casting/Artistic Associate.........Amy Potozkin Director, The Ground Floor/ Resident Dramaturg...................................Madeleine Oldham

THE PUBLIC THEATER STAFF Artistic Director......................................................... Oskar Eustis Executive Director......................................Patrick Willingham Associate Artistic Director/ Director of Public Theater Productions......................................... Mandy Hackett Public Theater Productions...............Leah Cloney-Matthes Managing Director..............................................Jeremy Adams General Manager...............................Angela Delaney Kircher Associate Producer................................................Yuvika Tolani Director of New Work Development...........Jeanie O’Hare Directors of Casting......Jordan Thaler and Heidi Griffiths Senior Director of Artistic Programs ............Shanta Thake Chief Financial Officer............................................Patricia Huie Senior Director of Marketing and Communications............................................Tom McCann Chief Advancement Officer.......................... Laurence Jahns Senior Director of Human Resources.......Kieran McGrath Senior Director of Facility Operations......Valerie Simmons Production Executive..................................Ruth E. Sternberg MUSIC CREDITS In the Play: “Whip It” by Gerald V Casale, Mark Allen Mothersbaugh by permission of BMG Rights Management. “Give up the Funk” written by Jerome Eugene Bailey, George Clinton Jr., William Earl Collins with permission by Bridgeport Music, Inc. “La Vaca” written by Javier Ignacio Guttierez with permission by Mayimba Music. “Pose for Morons” written by and with permission by Cire Citron for TPROMIX. Dance Medley: “La Cumparsita” written by Gerardo H Matos Rodriguez, Pascual Contursi, Enrique Pedro Maroni and “Give It Up” written by Gaston Steenskist, Rene Ter Horst with permission by Universal Music Publishing. “Mambo a La Tito” written by Ernest Tito Puente with permission

by Sony/ATV Music Publishing. “San Jacinto” written

by Anibal Velasquez Hurtado with permission by Peer Music. “I Like It Like That” by Tony Pabon and Manny Rodriguez by permission of Sony/ATV Music Publishing. Walk in/Walk out Music: “Angustia” written

by Orlando Brito with permission of Peer Music. “Insane in the Brain” written by Louis Freese, Larry E Muggerud, Senen Reyes, Jerry Byron Corbitt and “La Schmoove” written by Joseph A Jones, Ali Shaheed Jones Muhammad, Lennox Maturine, Roderick P Roachford, Malik Izaak Taylor with permission by Universal Music Publishing. “La Vaca” written by Javier Ignacio Guttierez with permission by Mayimba Music. “Rebirth of Slick (Cool Like Dat)” written by Ishmael Reginald Butler, Maryann Vieira and “Suavemente” by Elvis Crespo with permission of Sony/ATV Music Publishing. Music cleared

by BZ/Rights & Permissons, Inc. SPECIAL THANKS Lucas Leguizamo Allegra Leguizamo Justine Leguizamo Luz Leguizamo Tony Taccone Oskar Eustis Mandy Hackett Berkeley Repertory La Jolla Playhouse Jaime Castaneda Emmanuel Hernandez Joe Miciak THE SYLLABUS

Bartolomé De Las Casas: His Life, Apostolate, and Writings

by Francis Augustus Macnutt Bolívar, American Liberator by Marie Arana Bolívar: berator of a Continent by Bill Boyd Che Guevara: A Revolutionary Life by Jon Lee Anderson Death of a Revolutionary: Che Guevara’s Last Mission

by Richard L. Harris Hell to Eternity by Edward S. Aarons The Woman in Battle: The Civil War Narrative of Loreta Janeta Velázquez, Cuban Woman and Confederate Soldier by Loreta Janeta Velázquez Simón Bolívar, the Liberator by Guillermo A. Sherwell 1491: New Revelations of the Americas Before Columbus

by Charles C. Mann 1493: Uncovering the New World Columbus Created

by Charles C. Mann 500 Nations: An Illustrated History of North American Indians

by Alvin M. Josephy, Jr. A Forest of Kings: The Untold Story of the Ancient Maya

by David Freidel & Linda Schele Ancient Civilizations of the Americas by Antony Mason Aztec by Gary Jennings Aztecs: An Interpretation by Inga Clendinnen

To learn more about the production, please visit www.LatinHistoryOnTour.com Please follow us on Facebook, Instagram & Twitter @LatinHistory101 This production was rehearsed at Vineyard Theatre Rehearsal Studio.

The use of cell phones during the performance is prohibited by law.

WARNING The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside this theatre, without the written permission of the management, is prohibited by law. Violators may be punished by ejection and violations may render the offender liable for money damages.

FIRE NOTICE: The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire or other emergency please do not run—WALK TO THAT EXIT. Thoughtless persons annoy patrons and endanger the safety of others by lighting matches or smoking in prohibited areas during the performances and intermissions. This violates a city ordinance and is punishable by law.

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

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 STUDIO LOFT AT THE ELLIE CAULKINS OPERA HOUSE 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, Interim Executive Director For information call: 720.865.4220

LATIN HISTORY FOR MORONS

Incans Aztecs Mayans by John Holzmann DEL-Indian America: A Traveler’s Companion

by Eagle/Walking Turtle Lost Cities of the Maya by Claude Baudez, Sydney Picasso, and Caroline Palmer Maya: The Riddle and Rediscovery of a Lost Civilization,

by Charles Gallenkamp Exploring Mesoamerica by John M.D. Pohl Pre-Colombian Cities by Jorge E. Hardoy The Ancient Maya by Sylvanus Griswold Morley The Ancient Sun Kingdoms of the Americans

by Victor W. von Hagen The Aztec Treasure House: New and Selected Essays

by Evan S. Connell The Maya by Michael D. Coe & Stephen D. Houston The New Archaeology and the Ancient Maya

by Jeremy A. Sabloff Warlords of the Ancient Americas: Central America

by Peter G. Tsouras Yurupari: Studies of an Amazonian Foundation Myth

by Gerardo Reichel-Dolmatoff A People’s History of the United States

by Howard Zinn An Indigenous Peoples’ History of the United States

by Roxanne Dunbar-Ortiz Born in Blood and Fire: A Concise History of Latin America

by John Charles Chasteen Chicano! The History of the Mexican American Civil Rights Movement by F. Arturo Rosales Early Latin America: A History of Colonial Spanish America and Brazil by James Lockhart & Stuart B.Schwartz Florentine Codex: General History of the Things of New Spain by Fray Bernardino de Sahagún, translated and illustrated by Arthur J. O. Anderson and Charles E. Dibble Forgotten Dead: Mob Violence Against Mexicans in the United States 1848-1928 by William D. Gerrigan & Clive Webb Guns, Germs, and Steel by Jared Diamond, Ph.D. Latin America in a New World edited by Abraham F. Lowenthal & Gregory F. Treverton Manifest Destinies: The Making of the Mexican American Race by Laura E. Gomez Open Veins of Latin America: Five Centuries of the Pillage of a Continent by Eduardo Galeano Powers of the Orishas: Santería and the Worship of Saints by Migene González-Wippler Santería: The Religion by Migene González-Wippler Spain by Jan Morris The Apologetic History of the Indies by Bartolomé de las Casas The History of Latin America: Collision of Cultures

by Marshall C. Eakin Viva La Raza: A History of Chicano Identity and Resistance by Yolanda Alaniz & Megan Cornish Zapata and the Mexican Revolution by John Womack Back on the Road: A Journey Through Latin America

by Ernesto “Che” Guevara Cuentos: Stories by Latinas, edited by Alma Gómez, Cherríe Moraga, and Mariana Romo-Carmona Growing Up Chicana/o: An Anthology by Tiffany Ana Lopez Guerilla Warfare by Ernesto “Che” Guevara La Publicidad Que Me Parió by Gabriel Dreyfus The Labyrinth of Solitude by Octavio Paz Nuestra América by Jose Martí Selected Writings by Jose Martí, translated by Esther Allen Short Eyes by Miguel Piñero The Comeback by Ed Vega Walking the Red Road on Chicanismo: Including Chicano Identity Teatro Plays

by Ysidro Roman-Macias War Cry on a Prayer Feather: Prose and Poetry of The Ute Indians by Nancy Wood Freak: A Semi-Demi-Quasi-Pseudo Autobiography

by John Leguizamo Latino Stats by Idelisse Malavé & Esti Giordani Mambo Mouth by John Leguizamo Pimps, Hos, Playa Hatas, and All the Rest of My Hollywood Friends: My Life by John Leguizamo Politics & Privilege in a Mexican City (Study in Comparative Policy) by Richard R. Fagen & William S. Tuohy The Ghost of Che Guevara by Jason Webb The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander The New York Young Lords and the Struggle for Liberation by Darrel Wanzer-Serrano The Works of John Leguizamo: Freak, Spic-o-rama, Mambo Mouth, and Sexaholix by John Leguizamo

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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.

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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

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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.

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presenting sponsor

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A Night in Vienna

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DEC 31 TUE 6:30

TICKETS: COLORADOSYMPHONY.ORG

PROUD SEASON SPONSOR OF DCPA BROADWAY

S

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

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

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

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

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

Inspirational people.

Unique stories of perseverance.

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

44

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

Rescued From Darkness and Misery...

And Given Incredible Freedom

Over 500 Lions, Tigers, Bears, Wolves and other rescued animals live on a 10,473 Acre Refuge!

Our rescued animals have no family other than those who choose to keep them close to their hearts.

Please add them to the list of those you care about this holiday season.

WildAnimalSanctuary.org