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VOLUME XXIX • NUMBER 4 • JAN – MAR 2018
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Cast of STOMP. Photo by Steve McNicholas.
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American Mariachi The Great Leap Rodgers & Hammerstein’s The King and I Zoey’s Perfect Wedding
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Welcome to the DCPA! You are joining us at the height of our season. Not only are we in full swing with The King and I and First Date by our Broadway and Cabaret team, beginning our winter education classes, gearing up for our signature fundraiser in March and welcoming our new Theatre Company Artistic Director Chris Coleman (see page 6), but we also are hosting our annual Colorado New Play Summit, complete with three stagings of entirely new works by diverse playwrights.
First up is Zoey’s Perfect Wedding, a comedy by playwright Matthew Lopez, which tells of Zoey’s wedding day woes. Next is American Mariachi by playwright José Cruz González who brings us another heartwarming story about breaking gender rules in the male-dominated musical world of mariachi. Finally, The Great Leap by playwright Lauren Yee whose dramatic account of an AmericanBeijing basketball faceoff is inspired by her own father’s life. These plays are symbolic of two fundamental values of the DCPA: Our commitment to new plays and the advancement of equity, diversity and inclusion (EDI). From the programming on our stages and hiring of our staff to the schools we reach and the people we serve, the DCPA is committed to embracing our community and our artists. To us this is a core value of what we want to be — a home for diverse artists, a safe hub for our community and an organization that leads by example. To help us with this effort, we have hired artEquity to guide us on best practices, joined the Theatre Communications Group cohort on EDI, and hired Shaunda Van Wert as Vice President of Human Resources who has extensive experience with equitable recruitment and retention practices. We’ve also turned to our Trustees and staff to guide our efforts. A staff-led, cross functional team is leading the organization’s EDI work. The Board’s Education Committee has expanded its scope to include Community Engagement. We are continuing to host artistic roundtables and embarking on community listening to broaden our perspectives and build new relationships reimagining how we engage across the seven county metro area. This work will be the foundation of all we do as a company because our collective differences elevate our art.
Janice Sinden, President & CEO Denver Center for the Performing Arts
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ll people A are equal Moments are shared Differences are valued Discussion is encouraged We respect that everyone experiences our stories differently.
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MEET CHRIS COLEMAN: INCOMING DCPA THEATRE COMPANY ARTISTIC DIRECTOR
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“Chris Coleman is not only a gifted theater artist, he’s one of the best community connectors I’ve ever worked with,” a resigned Cynthia Fuhrman added. “That is a rare combination.” Coleman was named the fourth Artistic Director of the nearly 40-year-old DCPA Theatre Company. For the past 17 years, the Atlanta native has led a company with many of the same sensibilities as his new one — 12 offerings ranging from classics to contemporary works to musicals, an annual new play festival, education programs and an array of community events. All of which sounds a lot like the DCPA Theatre Company. With one big difference: He will inherit twice as many performance spaces, and more financial resources. “There is not another theatre in the country with the same administrative and physical infrastructure inside one organization,” said Coleman. In announcing the appointment, DCPA President & CEO Janice Sinden cited Coleman’s “commitment to artistic excellence, community engagement, new play development and discovery of new voices” — all of which she said will resonate throughout the region. Coleman said his
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“He just has such a knack for championing a remarkably wide variety of voices in the new play world,” said Lauren Gunderson, author of last season’s The Book of Will and currently the mostproduced living playwright in the nation. “I think that’s because he has such a variety of experiences himself as a director, playwright, actor and artistic leader. What makes him a genius is that he knows every aspect of the creation of art first-hand. “I just think he is a great voice for the American theatre as a whole, and I can’t wait to see what he does to continue Kent [Thompson’s] legacy,” Gunderson, said. “Oh my God, Denver is so lucky to get him.”
APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
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“I am interested in telling BIG stories — both from cultures that haven’t found their way onto our stages yet, and those that are waiting to burst out of the mind of the young playwright down the street.”
“I am super interested in figuring out how we put the most resonant work on stage we can,” Coleman said. “Work that really lands emotionally for people. So much so that audiences feel compelled to let us know that we affected them, and that the work has stayed with them.”
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Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.
priorities also include local storytelling.
Among the many rising playwrights Coleman has nurtured along their paths are Matthew Lopez and Lauren Yee, whose latest plays Zoey’s Perfect Wedding and The Great Leap, respectively, are on the Theatre Company’s stages this winter.
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EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore SENIOR ART DIRECTOR: Adam Obendorf ART DIRECTOR: Kyle Malone SENIOR DESIGNERS: Casey Eickhoff, Brenda Elliott CONTRIBUTING WRITERS: Sylvie Drake, Hope Grandon, Genevieve Miller Holt, Douglas Langworthy, Cheyenne Michaels
BY JOHN MOORE
When the Managing Director at Portland Center Stage learned that longtime Artistic Director Chris Coleman was being hired away by the DCPA Theatre Company, she said, “I hope you know you just won the lottery.”
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VO LU M E X X I X • N U M B E R 4 • JA N – M A R 2 0 1 8
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BOARD OF TRUSTEES Martin Semple, Chairman Daniel L. Ritchie, Immediate Past Chairman William Dean Singleton, Secretary/Treasurer Robert Slosky, Vice Chairman Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond L. Roger Hutson Robert C. Newman Alan Salazar Hassan Salem Richard M. Sapkin Tara Smith June Travis Ken Tuchman Tina Walls Dr. Reginald L. Washington Judi Wolf Sylvia Young
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B Y G E N E V I E V E M I L L E R H O LT
“It doesn’t have narrative and it doesn’t have dialogue and it doesn’t have melody particularly, but it is totally rhythmically based.” — STEVE MCNICOLAS, Creator/Director
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It’s been a while since you heard those clomping, clanging racket makers — racketeers? — right here in your own back yard. Yes, STOMP is back in Denver in all its explosive, syncopated glory with those incredible percussionists who treasure the old adage about one man’s trash… The troupe still doesn’t look at everyday objects the way the rest of the world does. In their hands, brooms, garbage cans, Zippo lighters (we’re not sure about Grouchos and Harpos) and the general detritus of the 21st century takes on a life of its own. STOMP, created and directed by Luke Cresswell and Steve McNicholas, is an exploration of the outer limits of rhythmic invention. It’s a Pipe (read drain pipe) and Drum (read anything) Corps for our age. And speaking of age, it has not withered STOMP’s clatter — or fun. STOMP, that concatenation of sound and skill, is back with its rhythms and drumbeats intact.
Photo by Lois Greenfield
The same goes for its nonstop movement of bodies, objects, sound — even abstract ideas. There’s no dialogue, speech or plot. But music?
Absolutely. Uncommon music, created in nontraditional ways — with every day objects ranging from matchbooks to every household item you can imagine. “It’s a piece of theatre that’s been created by musicians,” said McNicholas. “It doesn’t have narrative and it doesn’t have dialogue and it doesn’t have melody particularly, but it is totally rhythmically based.” You’re bombarded by a caterwauling noise that under any other circumstances you would choose to shut out. But not here. Here all is syncopated and choreographed with the precision of an army bugle corps (minus the bugles) and by the fertile imagination of buskers or street performers from the streets of Brighton — the spot where STOMP’s creators hail from and where they dream up versions of this utterly inventive, unexpected, whacked-out show. “Most ideas come from everyday life,” said McNicholas, “but when we put a routine together we are thinking not just in terms of the rhythmic qualities, the sound qualities of the instruments, but also visual impact.” And impact it will have. So sit back, relax, tap your feet, clap your hands. There’s only fun to be had here — from the ringing of hollow pipes to clashing metal weaving its spell, and industrial strength dance routines involving a lot of supremely wellcoordinated bodies.
STOMP • FEB 13 – 18 • BUELL THEATRE Audio described performance: Feb 17, 2pm
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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
Cast of STOMP. Photo by Steve McNicholas.
STOMP IS BAAAAAAACK!
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SEEING YOURSELF ON STAGE IN
BY JOHN MOORE
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American Mariachi is a new musical play that illuminates a very specific time and place in Chicano cultural history by telling the story of a young woman who forms her own mariachi band during the male-dominated 1970s. But José Cruz González’s latest world premiere for the DCPA Theatre Company is the furthest thing from a barrier-busting, Norma Rae kind of play that takes on an entire backward industry. It’s a much more intimate story about a daughter who simply wants to learn how to play a mariachi song in the hope that the notes will somehow reach into her mother’s receding mind and awaken her.
“I have never seen myself represented on stage. I see movies or TV shows or plays, and it’s never about me. This was about me.” — FEMALE AUDIENCE MEMBER 10
“This is really a play about families dealing with Alzheimer’s disease and other issues that we all deal with every day and in every community,” González said. The story centers on Lucha, whose mother is succumbing to Alzheimer’s. An estimated 5.5 million Americans have the insidious disease that robs a person of memory and other cognitive abilities. And it crosses all ethnic, gender and economic lines. You would be hard-pressed, González said, to find a person whose life does not intersect with a loved one with dementia. And while González is most proud to have been invited back to the DCPA to debut his third culturally specific play (following September Shoes and Sunsets and Margaritas), he would like to believe his stories are more than curiosities for audiences outside the Latino-American umbrella. “I hope that my plays speak directly to everyone,” he said. And not just because dementia is universal. “This is a play about young women finding their voices — and they could be any women,” he said. “This is also a play with gorgeous live music — and music is the universal language.”
APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
But mariachi is not necessarily a universally known musical language. That should make American Mariachi both an opportunity for non-Latino audiences to get a lyrical sense of the importance of mariachi to the Mexican heritage and cultural identity, as well as a point of pride for Latino audiences, he said.
COSTUME COLUMN
Five mariachi musicians will make up the orchestra and perform at every performance, but all nine actors will play a live musical instrument at some point in the show as well. The score will include portions of 14 songs, including the ballad that fuels Lucha’s journey.
Costume designer Meghan Anderson Doyle is deep into all things ’70s as she prepares for the upcoming world premiere production of José Cruz González’s play American Mariachi.
American Mariachi was first introduced to DCPA audiences as a featured reading at the 2016 Colorado New Play Summit, an annual gathering where promising new plays are developed. The first 12 years of the Summit have resulted in 30 world premiere plays staged by the DCPA Theatre Company on its mainstage season.
“The great thing about designing a show that involves 20th century clothing, especially one that takes place after the early 50s, is that we can look at actual snapshots,” said Doyle. “I get to look at actual photos of LatinX families during this time period — baby pictures, family photos, shots from church events.”
Longtime Summit observers who attended the 2016 reading have said they cannot recall another offering that drew a sustained standing ovation before the reading had even ended. González credits that to the universal language. “Music plays such an important role in this piece,” he said. “First of all, it’s live. And that mariachi sound is so fantastic when you fill a room with people and you hear people singing. It’s really a rich mix of world-class musicians and actors, some of whom learned to play just for this show. But that’s OK, because the young women in our story are beginners, too, so they are not supposed to be the best musicians in the world. They’re kind of The Bad News Bears of mariachi bands. But they find their path, and they learn the song. And along the way, they find their places in the world.
Prior to this time period, any photographs or portraits would have been very formal. “After all, if you were going to get a portrait done, you certainly wouldn’t have worn your everyday clothes,” said Doyle. “Having documentation of what people were wearing in various situations is invaluable to a designer.”
“And speaking of found voices, let me tell you: All of the singing voices you are going to hear are incredible.” The DCPA Theatre Company also is making some history with its presentation of American Mariachi. For the first time, the DCPA is staging two new plays this season that will immediately transfer to major theatres around the country. (The other is Lauren Yee’s The Great Leap.) American Mariachi closes here on February 25, and less than a month later (on March 23), the production will re-open at the Old Globe Theatre in San Diego with the actors and creative team intact. The director, in fact, is James Vásquez, whose home base is the Old Globe.
The most exciting part of American Mariachi for Doyle? Creating a look for the female mariachi band. “In one of the early drafts of the script there’s a scene where they decide what they’re going to wear. Do they wear those tiny shorts, which were very on-trend during this time? Do they opt instead for the long traditional skirts that kind of mimic the men’s pants?”
González said it is important the DCPA is continuing its longstanding commitment to tell stories that speak directly to the Latino community, a canon that has included titles such as Lydia and Just Like Us. After an earlier public workshop reading of American Mariachi, Vásquez said he was greeted by a young woman who told him, “I have never seen myself represented on stage. I see movies or TV shows or plays, and it’s never about me. This was about me.”
Playwright José Cruz González is familiar to Denver audiences for his plays Sunsets and Margaritas and September Shoes. A professor of Theatre Arts at California State University Los Angeles, Cruz also has written Curious, Among the Darkest Shadows, The Highest Heaven, The Long Road Today, The Astronaut Farmworker and The Magic Rainforest. American Mariachi is a DCPA Theatre Company Commission and a co-production with The Old Globe.
AMERICAN MARIACHI JAN 26 – FEB 25 • STAGE THEATRE ASL & Audio-described performance: Feb 18, 6:30pm
Tia Carmen costume design by Meghan Anderson
“She walked out feeling like she had a place in the world,” Vásquez said, “and I think that is a testament to the play José has written.”
Doyle is exploring various options that give a nod to tradition while underscoring the “girl power” at the heart of this story. Her goal is to capture the essence of these women and present them as the powerhouse revolutionaries that they are.
EVERYONE DESERVES TO BE HEARD
The Women’s Voices Fund enables our DCPA Theatre Company to commission, workshop and produce new plays by women, ensuring all stages (and roles) are shared equally. Contributors to the Fund take a stand against inequality and support a community of forward-thinking theatre creators in an effort to bridge the gap in the years to come. Members are invited to meet the women who benefit from the Fund at events throughout the year. Currently the Fund is one of the largest of its kind at more than $1.3 million and has enabled us to: • Produce 30 plays by women • Commission 19 female playwrights • Hire 23 female directors • Contribute to 13 world premiere plays written by women, including this year’s The Great Leap by Lauren Yee Annual membership starts at $300. One-time gifts are also incredibly appreciated.
DENVERCENTER.ORG/WVF 303.572.4593
(l-r) WVF commissioned playwrights Lauren Gunderson (The Book of Will) and Lauren Yee (The Great Leap). Photo by John Moore
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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
Valeka J. Holt and Jasmine Hughes in the reading of Last Night and the Night Before. Photo by Adams Viscom.
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REGIONAL HIGH SCHOOL PLAYWRITING WORKSHOPS AND COMPETITION
OUR CLASSES EMPOWER STUDENTS OF ALL AGES
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As Applause magazine went to press, students from across the state were finalizing their drafts, readying to hit “submit” and putting the finishing touches on their entries into the fifth annual Denver Center for the Performing Arts Regional High School Playwriting Workshops and Competition. The program is designed to nurture young writers, develop new plays and inspire Colorado high school students to challenge themselves. Students and their teachers may participate in the two-pronged initiative. First, drama and language arts teachers may request a free playwriting workshop with DCPA teaching artists who introduce them to the fundamentals of writing a one-act play. Second, students may submit their one-act plays into the competition; all scripts are judged blindly by DCPA artistic, literary and educational professionals. Ten semifinalists are selected but only three finalists will have their scripts read as part of the DCPA Theatre Company’s Colorado New Play Summit in February. Finally, one winning play is selected for full production each summer as part of DCPA Education’s teen acting program. The winning playwright is part of the rehearsal process as his or her play is brought to life.
Photo by Brian Landis Folkins
The DCPA’s Regional High School One-Act Playwriting Workshops and Competition is made possible by the generous support of Robert and Judi Newman and their Newman Family Foundation with matching gifts from The Ross Foundation, June Travis and Transamerica. Gifts to support this important work are always welcome. To learn more about the program, play readings and the final public performance please visit denvercenter.org/playwriting.
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“These young playwrights are the next generation of theatre,” said Executive Director of Education Allison Watrous. “It is our responsibility and our privilege to encourage them and give them the tools to succeed. We launched the one-act playwriting competition in 2013 to nurture Colorado’s promising young playwrights, create new plays and inspire creativity. In just four short years, we’ve been overwhelmed with the response: 577 submissions and nearly 12,000 students served through the program, giving voice to the next generation of American theatre.”
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ROOTING FOR
Every family has stories that get passed down through the years, often taking on mythic proportions. For playwright Lauren Yee, one such story she grew up with was her father’s trip to China in the 1980s to play basketball. “It was like family lore from a very young age,” she says. “I knew that the trip had been a very large part of his life before he had kids.” Larry Yee, Lauren’s father, traveled with a basketball team to play a “friendship game” in China in the period after the Cultural Revolution. Larry was born in San Francisco and this was his first time visiting the homeland of his parents. His international journey became the loose storyline of Lauren’s play The Great Leap.
BY DOUGLAS LANGWORTHY
One part of the story that Lauren was curious about was the idea of being Chinese American and going to China to represent America. “Who do you root for?” Lauren wonders. “Do you root for the people that have the same citizenship as you? Do you root for the people who look like you? Are you ever torn?” Lauren admits she didn’t know a lot about China and basketball going into the project, so she needed to do her research. Her primary source was her father, of course — she loved listening to his “war stories” about the trip. In addition, she attended some pro games. She talked to players. She also spoke with a professor from China at the University of Denver who shared his experiences growing up. “I got a window into what an ordinary person’s life was like growing up in China in the ’60s, ’70s and ’80s,” says Lauren. She studied the game of basketball and became consumed by the big philosophical ideas behind the game. “One idea that I found very helpful,” she reports, “was the idea that basketball is all about creating space for yourself on the court. That every pass and every fake and every dribble is made with the intent of losing your defender long enough for you to have a chance to make a shot. And I think that has parallels for our everyday lives — everyone in this world goes about their lives trying to make space for themselves that they can call their own.” She discovered that basketball had a long history in China, something that surprised her: “Even though it wasn’t professionalized until the mid-’90s, basketball has had a very long love affair with China, the way it’s had with America.”
Illustration by Kyle Malone
Lauren’s father also inspired another one of her plays, The King of the Yees, based on Yee family history, sort of. “A lot of this is true,” the play’s inscription reads, “but a lot of it is only kind of true. Just like the stories your father once told you as a child.” Set in San Francisco, Lauren folds herself and her father into the middle of this meta-theatrical play, so that there is an actor playing an actor playing Larry and an actor playing an actor playing Lauren, as well as two actors playing the “real” version of each of them. After Larry saw The King of the Yees and attended a reading of The Great Leap, he turned to Lauren and asked if she was done 16
APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
“I go into the writing process like an audience member…. I think in order for [them] to be surprised in a play, I need to be surprised while I am writing.”
COMING UP FROM THEATRE COMPANY:
NATIVE GARDENS COSTUME COLUMN
Playwright Karen Zacarías has noticed a trend: most arguments between neighbors happen over property and a difference in taste or culture. The same goes for our nation and the world at large.
— LAUREN YEE Playwright
“I thought there was something poetic, primal and absurd about what makes us get so triggered and angry that we lose sight of what’s important,” said Zacarías. “I wanted to investigate that with humor.”
[with him]. “I think that’s enough about me,” he said. Lauren isn’t bothered by seeing herself portrayed on stage: “I know by making myself a character I’ve immediately theatricalized it. What I am interested in is someone else’s interpretation of that particular character in those circumstances.”
In her play Native Gardens (April 6 – May 6), a young LatinX couple moves into a well-to-do DC neighborhood next door to an old money, white couple. Things get thorny (and hilarious) when a disagreement over a longstanding fence line spirals into an all-out war of taste, class, privilege and entitlement.
“It was in the play’s DNA from the first scene to set you up to love my father, Larry,” Lauren confesses, “and be disappointed to find out that this play is about Lauren. I set the Lauren character up for being a bit roasted in this play.” When asked to describe her writing process, Lauren says: “I start writing as soon as I can come up with a world I find interesting but don’t completely understand and a character voice that I find really compelling. Usually if I spend enough time in that world with those voices then I am led to some sort of plot and general structure. With The Great Leap, I immediately heard Manford (the central character) and also heard Saul, his coach.
A Mexican immigrant herself, Zacarías couldn’t have known the relevance her early 2016 play would have today when disputes over building a wall on the USMexican border are regularly in the headlines. But she did see the beginnings of what is now a deeply divided country and a possible way to heal it.
“I go into the writing process like an audience member, I don’t know why these characters want what they want yet, but usually, after a couple of drafts, I stumble upon things. So for me, a lot of things that happen in the play were things that I did not know at the very beginning of the writing process. I think in order for the audience to be surprised in a play, I need to be surprised while I am writing.”
“I think in this political climate, we all need a chance to laugh at ourselves and find ways — no matter what side of the political fence you’re on — to have a conversation and to remember we are a community.”
And who doesn’t love a surprise?
THE GREAT LEAP FEB 2 – MAR 11 • RICKETSON THEATRE ASL and Audio-described performance: Mar 4, 1:30pm
Illustration by Kyle Malone
Playwright Lauren Yee’s works include Ching Chong Chinaman, The Hatmaker’s Wife, Hookman, In a Word, King of the Yees, Samsara and The Tiger Among Us. The Great Leap, which was commissioned by DCPA Theatre Company as part of its new play development program, will go on to the Seattle Rep following its Denver debut.
PROUD SPONSOR OF THE DCPA'S ARTS AND EDUCATION SHAKESPEARE IN THE PARKING LOT PROGRAM
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Anadarko has a strong commitment to giving back to the communities in which we live and operate. We are proud to support more than 100 nonprofit organizations across Colorado. With a shared passion for bringing arts education to students, we have found a natural partner in the Denver Center for the Performing Arts (DCPA). The Shakespeare in the Parking Lot program has reached 54 schools and nearly 25,000 students over the last two years. “We are proud to support DCPA’s Shakespeare in the Parking Lot for a third consecutive year,” said Scott Moore, Anadarko’s Senior Vice President, Midstream & Marketing. “Through this partnership, we see high school students thrive because of direct involvement with the arts on their campuses. Anadarko is passionate about helping others. It’s an honor to invest in the future leaders of the communities that we both operate in and live in with our own families.” Anadarko supports a variety of organizations in the communities where we operate, focusing on STEM Education, conservation and growing the next generation of agriculture leaders. Our community-based
projects contribute more than just funding to local organizations; these projects provide long-term benefits to local Colorado communities. “Giving is not just a word to us; it is a core value at our company,” said Moore. Anadarko is among the largest producers of oil and clean-burning natural gas in Colorado, with a strong commitment to safely and responsibly develop these energy resources, which fundamentally support Colorado’s economy and modern life. Colorado has world-class natural resources, holding almost 10 percent of the nation’s natural gas reserves and almost 2 percent of its oil reserves. Anadarko continues to demonstrate its commitment to working collaboratively with all stakeholders, including communities, landowners, governments and regulatory agencies, to develop the energy we need, support the economy and protect the environment. We are proud to be a part of enhancing America’s energy security, while contributing to the $30 billion economic benefit of the oil and natural gas industry in Colorado.
“Anadarko is passionate about helping others. It’s an honor to invest in the future leaders of the communities…” — SCOTT MOORE, SENIOR VICE PRESIDENT, MIDSTREAM & MARKETING
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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
Where Montessori philosophy and the Reggio Emilia approach come together in a unique community-focused school for young children. Children’s Garden Montessori School serves children Toddler to Kindergarten.
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IN THE SPOTLIGHT
UPCOMING
SHOWS
Denver Center for the Performing Arts’ biggest stars step into the spotlight — actors, designers, students and you.
First Date Now – Apr 22, 2018 Rodgers & Hammerstein’s The King and I Now – Jan 14 Zoey’s Perfect Wedding Jan 19 – Feb 25
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American Mariachi Jan 26 – Feb 25
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The Great Leap Feb 2 – Mar 11 STOMP Feb 13 – 18 Hamilton Feb 27 – Apr 1 Lady Day at Emerson’s Bar & Grill Mondays • Mar 5 – Apr 23 The Magic of Adam Trent Mar 20
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This Is Modern Art Mar 22 – Apr 15
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Disney's Aladdin Apr 7 – 28 Native Gardens Apr 6 – May 6 The Who’s Tommy Apr 20 – May 27 Remote Denver Spring/Summer 2018 Human Error May 18 – Jun 24
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Photos by Emily Lozow and John Moore
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1 BROADWAY’s Breakin’ Convention inspired more than 1,200 attendees to bust a move at its free family festival. 2 THEATRE COMPANY held Talkbacks after many performances of Smart People to discuss the play’s themes with patrons. 3 THEATRE COMPANY’s incoming Artistic Director Chris Coleman (gray suit) is welcomed by his new staff. 4 BROADWAY’s RENT 20th Anniversary Tour cast meets Rodney Hicks (seated), who originated the role of Paul in the show’s 1997 debut. 5 OFF-CENTER inspired patrons to dress the part at its recent production of The Wild Party, which was set in the Roarin’ Twenties. 6 BROADWAY’s Molly Scotto and Hazel Thompson look at The Buell Theatre as they anticipate alternating the role of Lulu in the Denver engagement of Waitress. 7 EDUCATION asked The Snowy Day and Other Stories actors to read the popular children’s book at area bookstores. 20
APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
School of Rock May 29 – Jun 10 The Book of Mormon Jun 13 – Jul 1 Les Misérables Jul 25 – Aug 5 On Your Feet! Aug 8 – 19 Beautiful — The Carole King Musical Sep 4 – 9
FOR A COMPLETE LIST, VISIT DENVERCENTER.ORG Tickets for some shows are currently unavailable.
Columbia Artists Management Inc. Harriet Newman Leve James D. Stern Morton Wolkowitz Schuster/Maxwell Gallin/Sandler Markley/Manocherian present
THE INTERNATIONAL Created and DirectedSENSATION by
Luke Cresswell and Steve McNicholas Andrew Brought, Jonathon Elkins, Alexis Juliano Cary Lamb Jr, Kris Lee, Artis Olds, Jeremy Price Krystal Renée, Ivan Salazar, Cade Slattery Simeon Weedall, Steve Weiss Lighting by
Steve McNicholas and Neil Tiplady US Rehearsal Director Fiona Wilkes
Production Manager Brian Claggett
Casting Director Vince Liebhart
Associate Producer Fred Bracken General Manager Joe R. Watson
Executive Producers Richard Frankel Productions/Marc Routh / Alan Schuster / Aldo Scrofani STOMP IS PERFORMED WITHOUT INTERMISSION. THE USE OF ANY CAMERA, RECORDING DEVICES OR LASER POINTERS IS STRICTLY PROHIBITED. STOMP WEBSITE: http://www.stomponline.com
Sponsored in Denver by:
STOMP
AND SEASON SPONSORS
STOMP
THE HISTORY OF STOMP STOMP, a unique combination of percussion, movement and visual comedy, was created in Brighton, UK, in the summer of 1991. It was the result of a ten-year collaboration between its creators, Luke Cresswell and Steve McNicholas. They first worked together in 1981, as members of the street band Pookiesnackenburger and the theatre group Cliff Hanger. Together, these groups presented a series of street comedy musicals at the Edinburgh Festival throughout the early ‘80s. After two albums, a UK TV series and extensive touring throughout Europe, Pookiesnackenburger also produced the highly acclaimed “Bins” commercial for Heineken lager. The piece was originally written and choreographed by Luke as part of the band’s stage show; it proved to be the starting point for STOMP’s climactic dustbin dance. In 1986, Luke and Steve created an eight-minute ‘percussive movie’ for Bette Midler’s HBO special Mondo Beyondo. Between 1987 and 1990, Luke staged, as Artistic and Musical Director, four large-scale outdoor events, including “Beat the Clyde”, which involved floating a drum orchestra on a pontoon in the centre of Glasgow; the largest of these events, “The Heineken Hove Lagoon Show”, involved a 120-piece drum orchestra featuring the Brighton Festival Chorus and a full orchestral string section. In 1991, Steve and Luke first created STOMP, previewing at London’s Bloomsbury Theatre and premiering at the Assembly Rooms in Edinburgh, where it became The Guardian’s “Critics’ Choice” and won The Daily Express “Best of the Fringe Award”. Between 1991 and 1994, the original cast of STOMP played to capacity audiences around the world: from Hong Kong to Barcelona, from Dublin to Sydney. The touring culminated in a sell-out season at London’s Sadler’s Wells Theatre in January 1994, where STOMP received an Olivier nomination for Best Entertainment and won Best Choreography in a West End Show.
An expanded version of STOMP, involving up to 30 cast members, was originally created for the Brighton Festival, UK, and was subsequently presented in Melbourne, Australia. It was most recently seen in September 1995, open-air, at the Acropolis in Athens and at the Royal Festival Hall, London. This production broke all box office records, which had been established by Frank Sinatra in 1972. STOMP began its run at the Orpheum Theatre in New York in February 1994 and quickly went on to win both an Obie and a Drama Desk Award for Most Unique Theatre Experience. By the summer of 1994, the first American cast was in place at the Orpheum, freeing the original cast for sell-out tours of North America and Japan. In the summer of 1995, two more American productions were created for the sole purpose of US touring, which continues to this day. US casts have also debuted STOMP in Chile, Brazil and Korea. Meanwhile, a fifth STOMP company, also touring from the UK, was formed in 1997 and has consistently toured the world ever since. This company presented STOMP for the first time in Scandinavia and South Africa, and has been a regular visitor to Germany, Holland and France. Another STOMP production opened in San Francisco in May 2000, running for two and a half years. The original cast of STOMP have recorded music for the Tank Girl movie soundtrack and appeared on the Quincy Jones album, Q’s Jook Joint. A soundtrack recorded by Steve and Luke for the Showtime movie Riot was released in the spring of 1997. STOMP has also featured in a number of commercials, including Coca-Cola’s “Ice Pick” and numerous spots for both Target stores in the US and Toyota in Japan. STOMP also created the Mr Frears’ Ears series of short films created for Nickelodeon, whilst Brooms, a 15-minute short based around the opening routine, was nominated for an Academy Award. “Brooms” was also selected for screening at Robert Redford’s Sundance Festival and
for competition at the Cannes Film Festival. STOMP made a special appearance at the Academy Awards in March 1996, with an original piece involving the live synchronization of classic film clips and onstage action, featuring 20 performers from all five productions. In the summer of 1997, Steve and Luke created and directed STOMP OUT LOUD, a 45-minute television special for HBO, which combined stage material with new pieces created for TV. It was premiered in the USA in December 1997 and subsequently received four Emmy nominations, for direction, sound mixing, multi-camera editing and art direction. 1998 saw the release of the STOMP OUT LOUD video and DVD around the world. Another unique blend of live action and film footage was created for the Emmy Awards, in which STOMP effectively performed with Spike Jones! STOMP performed after midnight on the steps of the Lincoln Memorial at US President Clinton’s millennium celebrations. During 2000, a Sesame Street special, “Let’s Make Music”, a collaboration between STOMP and the Muppets, was released on TV and video in North America. Luke and Steve began production of their IMAX movie Pulse: A STOMP Odyssey in Brazil during Carnival 2000 and completed it in the summer of 2002. Pulse takes the IMAX audience on a spectacular global journey, featuring performances from Kodo, Timbalada and Eva Yerbabuena. It was released to critical acclaim in New York in the autumn of 2002, and went on to win two major awards at the International Festival of La Géode in Paris. In September 2002, STOMP finally entered London’s West End at the Vaudeville Theatre, and later that year STOMP performed as part of The Royal Variety Show for the second time. 2003 saw a new STOMP production open at the Stuart Street Theatre in Boston and a unique Dolby Digital
In 2004, New York celebrated 10 years of continuous performances of STOMP at the Orpheum Theatre by renaming 2nd Avenue at 8th Street Stomp Avenue. In addition to the European tour, in 2005 STOMP returned to Tokyo for three weeks and also toured to Hong Kong, Singapore and Kuala Lumpur. In 2006, STOMP’s New York production passed its 5,000th performance mark. In the same year, Luke and Steve directed a public service announcement for television called “Stomp Out Litter”, which featured the cast ‘sweeping up’ at iconic locations in the five boroughs. In addition, they were commissioned to create and produce The Lost and Found Orchestra, which takes the ideas behind STOMP to a symphonic level, in celebration of 40 years of the Brighton Festival. The LFO subsequently performed at the Sydney Opera House as part of the Sydney Festival early in 2007, was seen at the Royal Festival Hall in London at Christmas 2008 and the Theater Carré in February 2009. In 2007, STOMP OUT LOUD opened in Las Vegas at Planet Hollywood
Resort and Casino with an expanded cast and performed inside a new $28 million theatre, specifically created for the production. The West End entered its 6th consecutive year with a move from the Vaudeville to the Ambassadors Theatre, where it still resides. In 2008, STOMP returned to its roots for a new DVD shoot at the Brighton Dome, bringing together a cast from all over the STOMP world. For the first time, the entire show has been captured in high definition sound and video. 2008 also saw Steve and Luke expand into new areas with the release of their IMAX 3D nature documentary Wild Ocean, with a symphonic mix of percussion and traditional orchestra in the soundtrack. In September of the same year, Wild Ocean won two awards at the Giant Screen Cinema Association for Best Sound and Best Original Score at their annual conference held in New York. The Lost and Found Orchestra reunited in 2010 for a new show, PANDEMONIUM, which appeared in several US cities throughout the autumn. In 2011 the New York production of STOMP entered its eighteenth year, trouncing the Orpheum house record set by Little Shop of Horrors. It also entered its tenth year in the West End
at the Ambassadors Theatre, whilst at the same time Steve and Luke continued with their 3D film work. 2012 has seen the release of The Last Reef 3D, a film about the beauty and the plight of reefs worldwide. As with Wild Ocean, Luke and Steve composed the film’s orchestral soundtrack, recording it at The Old Market Theatre in their hometown of Brighton & Hove in the UK. They have also celebrated the one year anniversary of The Old Market Theatre, which, having renovated it back in 2011, they now run as a full time venue, bringing music, theatre, dance, comedy and visual arts to the UK’s south coast. Most recently, in August 2012, the largest ever assembly of STOMP performers (40 performers from 12 different countries) were brought together for a specifically choreographed appearance in the closing ceremony of the London 2012 Olympic Games.
STOMP was created with the original U.K. cast: Luke Cresswell, Nick Dwyer, Sarah Eddy, Theseus Gerard, Fraser Morrison, David Olrod, Carl Smith and Fiona Wilkes.
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STOMP
trailer featuring STOMP performances debuted in cinemas across the globe.
STOMP
WHO’S WHO IN THE CAST ANDREW BROUGHT (Performer) By sixteen, Andrew was versed in both Western and World music. As a composer with YataForLuda and an accomplished performer, including a tour with the Tony and Emmy Award winning show, Blast!, he continues his pursuit of harmony between intellect and intuitive creativity. JONATHON ELKINS (Performer) Born and raised in the Metro Detroit area, Jonathon feels blessed to be doing what he loves and especially to be doing it as part of the STOMP family! Since 2010 he has drummed, marched and instructed within DCI and WGI groups throughout Michigan and was fortunate enough to be a member of the Detroit Pistons Entertainment Team and Detroit Lions Drumline. He’d like to thank ALL of his family and fiancée, Kelsey, for their never-ending love and support. Many thanks to his friends back home, past instructors and the Lord for their guidance and inspiration throughout the years! ALEXIS JULIANO (Performer) is an award-winning dancer, teacher, and choreographer. She is best known as a finalist on “So You Think You Can Dance.” She has performed as a part of Tap Kids, the Hands Down Tap Project, Tap N Time, Jarod Grimes Underground Tap, Universal Studios’ Winter Parade, Nigel Lythgoe’s Dizzy Feet Gala, Capezio A.C.E. Awards, “So You Think You Can Dance” Tour and the Fox Presentation of “Grease LIVE!” She would like to thank Mom, Dad, Kristin and Joey for their continued support. Also huge thank you to Luke, Steve, and Fiona for giving her this opportunity. CARY LAMB JR (Performer) is a performer from Long Island, New York who has studied percussive movement and rhythms all his life. As an artist, he explores the strange, bizarre but always energetic extremes of dance. He’s tap danced for the New York Mets, the Brooklyn Nets, and the Apollo Theatre while recognized by artists such as Missy Elliott, Chance the Rapper, and Snoh Allegra for the unique blend of tap and hip-hop. STOMP has only elevated his love for unconventional yet organic rhythms. Special thank you to the Rhythm of
the Knight, TDO, Cadence Step Team and of course, Team Lamb. KRIS LEE (Performer) is a Connecticut native and cum laude graduate of the Hartt School of Music. She is the Founder and Artistic Director of Resonate (resonaterocks. com) which provides motivational workshops utilizing percussion as a medium to build selfesteem and convey anti-bullying messages. Kris has recorded performances on VH1, CNN, GMA, and FOX. Kris travels both nationally and internationally to share her passion for rhythm and sound. Many thanks to her loving family and supportive friends. // @krisleedrums | KrisLeeDrums.com ARTIS OLDS (Performer) this Chicago native earned his BA at Central State University, served as the marching band’s Head Drum Major, and honed his stepping skills as a member of Alpha Phi Alpha Fraternity, Incorporated. Artis has performed with GRAMMY Award-winning artists Kanye West, John Legend, and The Roots, and as a cast member of Step Afrika!, has performed in over 25 countries. Catch Artis teaching in an interactive virtual stepping exhibit at the Smithsonian National Museum of African-American History and Culture (Washington, DC) and building the Bring Your Own BOOM brand in Chicago, IL. Thanks be to God. IG: @ Artis.The.Artist. JEREMY PRICE (Performer) Born and raised in Roanoke, VA, Jeremy has been performing with STOMP intermittently since 2003! Initially a break dancer and drum set player, he now finds himself working as a multi-instrumentalist and touring with his own percussion ensemble Plastic Musik. plasticmusik.com. KRYSTAL RENÉE (Performer) A New York native and LaGuardia High School alumna, Krystal has worked intensively in the theater, dance, and music fields. She attended California Institute of the Arts, studied voice abroad at Florence University of the Arts, and graduated summa cum laude from SUNY Purchase. Among others, Krystal has worked under the coaching of Ben Harney, Michael Cassara, Charles Tuthill,
Craig Derry, and various instructors at Broadway Dance Center and KMA Studios. Krystal is grateful for the blessing of this role and extends gratitude to the show’s creators, as well as to her mom and supportive friends. Find out more: WhoisKrystal.com. IVAN SALAZAR (Performer) From Tecate, Baja California, Mexico. Buoyed by his passion for movement and music his whole life, he joined Chris Rubio’s percussion movement group and has performed throughout Southern California, from street corners to stadiums. Special thanks to Carlos Sigala, Chris Rubio, and Massapê for the inspiration and fundamentals. Bruno, Mum, Ne, Debe, and Nani and friends - He loves you guys! CADE SLATTERY (Performer) Originally from San Diego, Cade joined a percussion motivational performance group called Jr. Crew in 2006 run by Chris Rubio, formerly of STOMP, who instilled rhythmic foundation, hard work, and dedication in Cade. He also works with special needs kids and adults and teaches drum classes to kids of any age. Cade first saw STOMP in 2007 and has wanted to be in the show ever since. He thanks, Mom and Dad, Chris, Nancy, his best friends Alex and Suco, and Uncle Paul. Outside of STOMP, Cade creates his own electronic music. Find out more at soundcloud.com/cadeslattery. SIMEON WEEDALL (Performer) trained at the London Studio Centre graduating with the Tap Award, furthering his training in New York. He has performed in the Jazz Company UK Tour, Chicago international tour, Chicago (West End), as lead tapper for The Liam O’Connor Show international tour and in Magic of the Dance international tour. He has also worked world-wide as a soloist for Coca Cola, Classical Spectacular, Big Dance, Brighton Dome Spectacular, “The Paul O’ Grady Show”, and others. He choreographed, produced and appeared in About Time (West End) then Percussive Feet UK Tour, has appeared in the I.T
STEVE WEISS (Performer) is proud and excited to be part of a truly legendary show. From Philadelphia, Steve earned a business degree from Penn State and now lives in Las Vegas. He recently concluded a three-year run performing in the headline show “Recycled Percussion” on the Las Vegas strip. During the day he loves teaching fitness classes and eating well. Thank you and so much love to Dad for his endless and unwavering support, Mom for her driving creative force, and the rest of the family for bearing the incessant racket for so many years. LUKE CRESSWELL (Director) is a selftaught percussionist from Brighton. His session work as a drummer and rhythm programmer includes Beats International, Bette Midler, Elvis Costello, and Bryan Ferry. After working for several years as a street musician and performer, he first created STOMP in 1991. He has directed, with Steve McNicholas, several award-winning commercials and short films. He received an Oscar® nomination for the film “Brooms”, an Emmy® nomination for STOMP OUT LOUD, and co-directed the awardwinning IMAX movie, Pulse: A STOMP Odyssey. He has also received a special achievement award from the Chicago Human Rhythm Project. More recently, Luke co-created the Lost and Found Orchestra and the Vegas production of STOMP OUT LOUD and also co-directed the 3D IMAX movie Wild Ocean. Luke occasionally performs with STOMP, and is currently conductor of the LFO. STEVE McNICHOLAS (Director), from Yorkshire, has worked as an actor/ singer/musician/writer with various theatrical and musical groups, starting out with the Bradford Theatre Group in 1973. Through the ’80s he worked with Cliff Hanger, Covent Garden Community Theatre, and Pookiesnackenburger. Despite also being an original member of the a cappella group the Flying Pickets, and a final appearance in Mr. Bean, Steve no longer performs. He shares directorial credits with Luke Cresswell on STOMP-based films and commercials, and their new show, the Lost and Found Orchestra. With Luke,
he composed the soundtrack to the Showtime movie, Riot, and shares the Oscar® and Emmy® nominations for his work on Brooms and STOMP OUT LOUD, and co-directed the awardwinning IMAX movie, Pulse: A STOMP Odyssey. Steve also co-created the LFO and co-directed the 3D IMAX movie Wild Ocean, released worldwide in 2008. VINCE LIEBHART (Casting). OffBroadway: Orange Lemon Egg Canary, Cyclone, Summit Conference, Smashing, Four Beers, Men Without Shadows, Hold Please, Monsieur Ibrahim and the Flowers of the Koran, The Plank Project, Texarkana Waltz, Trueblinka, The Golem, As You Like It, Four, The Bitter Tears Of Petra Von Kant, #11 (Blue & White), Isn’t It Romantic. Classic Stage Company: Savannah Bay, The Winter’s Tale, Ghosts, The Underpants, Monster, Race, Naked, The Alchemist, Look Back in Anger, The Misanthrope, Hurricane. NY Stage and Film 2001, 2002 and 2003 seasons. Actors Theatre of Louisville/Humana Festival: The Scene. Boston: The Provok’d Wife & Dido, Queen of Carthage (A.R.T.), Family Stories, Swimming In March and Amazons/Imperialists One-Acts (Market Theater), Oklahoma City (Theater Offensive). Danton’s Death, 1000 Airplanes On The Roof, and The Mysteries And What’s So Funny (Bessie Award - Best Ensemble Cast). Film: Brother To Brother, Revolution #9, My Angel Is A Centerfold, Ordinary Sinner, and Company K. TV: “As The World Turns.” FGTM / JOE WATSON (General Management). Richard Frankel and Joe Watson have been working together for the past 18 years in New York and on tour in the U.S. Shows general managed by Richard Frankel Productions and FGTM include STOMP, Smokey Joe’s Café, The Sound of Music, The Weir, Swing!, The Producers, Hairspray, Little Shop of Horrors, Sweeney Todd, Company, Young Frankenstein, Gypsy, The Norman Conquests, Finian’s Rainbow, Burn the Floor, A Little Night Music, The Rocky Horror Show, Forever Tango, Standing on Ceremony: The Gay Marriage Plays, Necessary Targets, Old Jews Telling Jokes, Murder Ballad, Los Monólogos de la Vagina, Lennon: Through a Glass Onion and Flashdance. Richard and his partners
Tom Viertel and Steve Baruch own and operate Feinstein’s/54 Below, Broadway’s supper club. PRODUCERS: COLUMBIA ARTISTS MANAGEMENT, INC. (Producer) is an international leader in managing the careers and touring activities of the world’s most prominent performing artists and institutions. CAMI has been on the forefront of performing arts management and production throughout the world for nine decades. Columbia Artists Theatricals (CAT), founded in 1956 as a subsidiary of CAMI, collaborates with artists, producers, production companies and management agencies, bringing performances to over 450 cities around the world. Currently, CAT’s roster includes: Blue Man Group, Buddy: The Buddy Holly Story, Chicago, Elvis Lives, Just Jim Dale, Legends in Concert, Lennon: Through A Glass Onion, Menopause : The Musical, New York Gypsy All Stars, Brian Henson’s Puppet Up!, Saturday Night Fever, Shaping Sound, The Phantom’s Leading Ladies, and Voca People. HARRIET NEWMAN LEVE Broadway: four-time Tony award winning producer: Anastasia; Beautiful: The Carole King Musical; An American in Paris; Hedwig and the Angry Inch; Of Mice and Men; Ann; One Man Two Guvnors; War Horse; Norman Conquests; Mountaintop; La Cage Aux Folles; A Little Night Music; 39 Steps; Diary of Anne Frank; Crucible; Hedda Gabler; Liuetenant of Inishmore; Ma Rainey’s Black Bottom. Off Broadway: Beebo Brinker Chronicles; Family Secrets; Shockheaded Peter; Necessary Targets; Communicating Doors. She is a member of The Broadway League and was on the Board of Directors of New York Stage and Film for four years. JAMES D. STERN CEO of Endgame Entertainment. Has produced or directed over 50 shows or movies including Broadway: A Little Night Music, Hairspray, The Producers, Legally Blonde, and STOMP. Film: An Education, Every Little Step, It’s the Rage, Pulse: A STOMP Odyssey, Michael Jordan to the Max, Proof, Harold and Kumar Go to White Castle, I’m Not There.
STOMP
Crowd, and has been teaching tap for 14 years.
STOMP
MORTON WOLKOWITZ Theatrical Producing Credits: Donnybrook, music and lyrics by Johnny Burke; The Enemy Is Dead starring Linda Lavin; My Astonishing Self, starring Donal Donally; The Unexpected Man, by Yasmina Reza starring Alan Bates and Eileen Atkins; From Door to Door by James Sherman; One Shot One Kill by Richard Vetere; Tryst by Karoline Leach, directed by Joe Brancato; STOMP OUT LOUD in Las Vegas. He is managing part of “Suitz LLC” with Richard Sudock and Michael Wolkowitz. He has enjoyed success in the industrial and financial worlds and is former Chairman and current Director of Key Energy Services, Inc. He is married to the actress Anita Keal. MITCHELL MAXWELL has produced six Broadway shows, twenty one Off-Broadway shows, four national tours, three West End shows, and five feature films. His shows have won the Tony, Drama Desk, Outer Critics Circle, and Obie Awards and his long-running Off-Broadway hit, Dinner With Friends by Donald Margulies, was the recipient of the 2000 Pulitzer Prize for Drama. SUSAN QUINT GALLIN / SUKI SANDLER: Productions include Desperately Seeking Susan (London, opening November 2007); Spamalot; STOMP (NY & tour); Woman Before A Glass; The Retreat From Moscow; Man Of La Mancha (2002 Revival); The Shape Of Things; Hedda Gabler (2001 Broadway); Fully Committed; Cowgirls; Angels In America; From The Mississippi Delta; The Rothschilds (Revival); Other People’s Money; Burn This; The Cryptogram (London). DAN MARKLEY: Producing credits include Irving Berlin’s White Christmas, High Fidelity, Family Secrets (rev.), Vagina Monologues, Lifegame, Damn Yankees, On The Waterfront, Oleanna, and Jeffrey (film), with Alison Sheehy, Sarah, Hayden and Sander. JENNIFER MANOCHERIAN: Broadway credits include Spring Awakening; The Little Dog Laughed; Caroline, or Change; Ma Rainey’s Black Bottom; Thoroughly Modern Millie; The Crucible; Jane Eyre, the musical; and The Kentucky Cycle. Off Broadway: Berkshire Village Idiot; STOMP; Hello Muddah, Hello Fadduh; Showing Off;
Palace of Amateurs. Film: Family Blues, which she also co-wrote. FRED BRACKEN (Associate Producer) first saw STOMP in Australia and resolved to see it performed in New York. Mr. Bracken works for CNN. RICHARD FRANKEL PRODUCTIONS/ MARC ROUTH (Executive Producers) Richard Frankel and Marc Routh have been producing and general managing shows together since 1985. Some of their productions include Young Frankenstein, Hairspray, Gypsy, and STOMP in New York, and STOMP OUT LOUD in Las Vegas, Sweeney Todd on tour, Little Shop of Horrors in London as well as a UK tour of The Producers and The King and I and SpongeBob SquarePants Live in Asia. With their partners Tom Viertel and Steve Baruch they have produced some 60 additional musicals and plays in New York, London, and in Asia, including Company, Sweeney Todd, Little Shop of Horrors, Swing, A Funny Thing Happened on the Way to the Forum, Penn and Teller, Driving Miss Daisy, Love Letters, Smokey Joe’s Cafe, and Angels in America. ALAN J. SCHUSTER (Executive Producer) has operated the Orpheum, Minetta Lane, Union Square, 2nd Avenue and The Cherry Lane Theatres in New York and The Royal George Complex in Chicago. He built 37 Arts the home to the Baryshnikov Arts Center and the Orchestra of St. Luke’s. He has produced over 25 productions including STOMP OUT LOUD, Key Exchange, Mamet’s Oleanna, Marvin’s Room, Jeffrey, Vita and Virginia and Shockheaded Peter. ALDO SCROFANI (Executive Producer) – Founding producer of STOMP. Currently President and CEO of Theatre Management Associates, Inc. COO of Columbia Artists Theatricals (18 years). Executive VP of Jujamcyn Theatres (13 years). Over 100 productions including: Gone With The Wind, Dirty Rotten Scoundrels, Chita Rivera: The Dancer’s Life, Lovemusik, Elaine Stritch At Liberty, Noise/Funk, Tap Dogs, Sunset Boulevard, Carousel, Cat On A Hot Tin Roof, City of Angels, Grand Hotel, M. Butterfly, Jelly’s Last Jam, Into The Woods, Gypsy, Big River, My One and Only, and Dracula.
STAFF FOR STOMP GENERAL MANAGEMENT FGTM Richard Frankel Joe R. Watson ASSOCIATE GENERAL MANAGER Roberta Roberts COMPANY MANAGER Michelle Warble GENERAL PRESS REPRESENTATIVE BONEAU/BRYAN-BROWN Chris Boneau Jackie Green TOUR PRESS REPRESENTATIVE C MAJOR MARKETING & PUBLICITY Catherine Major Production Manager......................... Brian Claggett Production Carpenter...............Gabriella Lourigan Lighting Director...................................Brian Gowen Production Props..................Dennis O’Leary-Gullo Production Electrician........................Joseph Doerr Production Sound....Ricardo De Arruda Camargo Management Associate..........................Eric Rothstein Controller.................Galbraith & Co./Amanda Hayek Assistant to Mr. Frankel................................Heidi Libby Assistant...................................................Madeline Carney Assistant to Mr. Routh.............................Ryan Brodsky Information Technology Manager............Ben Bigby Intern................................................................... Maddie Peek Set Dresser............................................ Stacey-Jo Marine Photographers.................................Marc Bryan-Brown, Steve McNicholas, Lois Greenfield, Jun-Ichi Takahashi, Harry Pocius Legal Counsel....................................S. Jean Ward, Esq. Insurance...........................................DeWitt Stern Group Risk Management Underwriters, Inc. Accounting.....Ira Schall, Schall & Ashenfarb CPA’s Travel & Housing............................................. Road Rebel Entertainment Touring Payroll Services................PEOPLE HRO/Kim Merhar Payroll Data Processing, LLC Merchandising.............. Marquee Merchandise, Inc./ Matt Murphy Physical Therapy.......................................NEURO TOUR Physical Therapy, Inc Physical Therapist................... Kristy Stahr, MPT, ATC Medical Director.............................Charles Garten, MD ACKNOWLEDGMENTS Original production presented by Yes/No People in association with Glynis Henderson and Loretta Sacco. STOMP’s exclusive agent and general inquiries: Loretta Sacco, c/o Yes/No Productions, N1 Offices, The Old Market, 11A Upper Market Street, Hove BN3 1AS Tel: 011.44.127.371.1151, Fax: 011.44.127.373.7538 Credits Designed by Yes/No Productions, Ltd.; Trucking by Janco; Scenery built by Light & Sound Design; Zippo lighters courtesy of Zippo Manufacturing Corp.; “Super Big Gulp” cups courtesy of Southland Corp.; Ski boots by Rossignol Ski Co. Special Thanks More Merchandising/George Fenmore; Brad Bauner; Paul J. Botchis; David W. Caldwell; Sarah Eddy; E. Maria Flotta; Theseus Gerard; Fraser Morrison; Niclas Nagler; Jason Pelusio; Carl Smith; Fiona Wilkes; Derek Worley 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 Kent Rice, Director For information call: 720.865.4220
• 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
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GIUSEPPE VERDI | MAY 5 | 8 | 11 | 13 | 2018 THE ELLIE CAULKINS OPERA HOUSE
EAT. DRINK. SCHEME. REPEAT. One of Shakespeare’s most memorable characters—the rotund knight Falstaff—takes center stage in this brilliant Verdi comedy filled with backfired plans, failed disguises, and uproarious personalities. TICKETS START AT JUST $15!
TICKETS AT OPERACOLORADO.ORG or 303.468.2030
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Vicky Miles................................Chief Financial Officer Gregory W. Towle...................Projection Supervisor Maggie Lamb................................ Executive Assistant Eric Boone...................................Front End Developer Jennifer Jeffrey...........................Director of Financial Topher Blair.................................Multimedia Specialist to the CEO & CDO Heidi Bosk.......................Associate Director of PR & Planning & Analysis Sound Design Integrated Marketing – Broadway & Cabaret Julie Schumaker.......................... Executive Assistant Craig Breitenbach..........................Director of Sound to the CFO & Board Liaison Alex Billman+, Frank Haas+, Jonalyn Bradshaw............................. Education Sales BROADWAY & CABARET Janice Sinden.......................................President & CEO
John Ekeberg.........Executive Director Broadway
Coordinator
Alicia Bruce..........................................General Manager Nathan Brunetti............. Email Marketing Manager Ashley Brown................................... Business Manager Flora Jane DiRienzo.................Director of Strategic Partnerships Abel Becerra..................Technical Director, Cabaret Casey Eickhoff..................Senior Graphic Designer Donna Hendricks........................ Executive Assistant to the Executive Director Broadway Brenda Elliott.....................Senior Graphic Designer
DEVELOPMENT Deanna Haas................Chief Development Officer
Tyler Nelson+...................................Sound Technicians
Jennifer Siemers................. Director of Accounting Kurt Van Raden..........Production Stage Manager Michaele Davidson......................Senior Accountant Christoper C. Ewing............Senior Stage Manager
Linda Erickson................................Senior Accountant Kailey Buttrick, Rachel Ducat, Juliette Hidahl....................................Accounting Clerk Heidi Echtenkamp, Corin Ferris, Chris Lubke, Brianna Firestone................... Director of Customer Kim Stewart.........................................Staff Accountant Rick Mireles, Kristen O’Connor, Lyle Raper, D. Lynn Reiland......... Stage Managers Experience & Loyalty Scene Shop Hope Grandon........................ PR & Events Manager HUMAN RESOURCES
Brittany Gutierrez.............................Communications Shaunda Van Wert..........................Vice President of Eric Moore...........................................Technical Director Human Resources Robert L. Orzolek..............................................Associate Coordinator Megan Fevurly.....................Development Manager Technical Director Jeff Hovorka............Director of Sales & Marketing Aubrey Antonsen.....................................HR Generalist Katie Imhoff...........................Development Manager Jennifer Kemps........................Group Sales Manager Brian Carter..................Human Resources Manager Albert “Stub” Allison..................Assistant Technical Director Melissa Olson......................Development Associate Emily Kent...................................Director of Marketing Jamie Hawkins......................................HR Coordinator Louis Fernandez III............................Lead Technician Marc Ravenhill.................................Associate Director David Lenk...............................................Video Producer Jill Martinez............................................Payroll Specialist Tyler Clark, Brian “Marco” Markiewicz, David Zupancic...............Director of Development Emily Lozow..............Marketing & Digital Manager Monica Robles............................Mailroom Supervisor Wynn Pastor, Kyle Scoggins, Kyle Simpson – Broadway & Cabaret Mara Zimmerman........................Scenic Technicians Adam Lundeen....................Marketing Technologist INFORMATION TECHNOLOGY EDUCATION Prop Shop Allison Watrous..............................Executive Director Kyle Malone......................................................Art Director Yovani Pina...........................................Vice President of Robin Lu Payne............................ Properties Director Information Technology of Education Carolyn Michaels............................................Copywriter Eileen S. Garcia.......Assistant Properties Director Patrick Elkins-Zeglarski........Associate Director of Cheyenne Michaels............Marketing Coordinator Rick Bennett.................................................Director of IT Jamie Stewart Curl, David Hoth, Education and Curriculum Manager John Moore................................Senior Arts Journalist Simone Gordon.........................IT Program Manager Georgina Kayes, Stuart Barr.................Education Technical Director Adam Obendorf...........................Senior Art Director Christopher Hoge......VoIP/System Administrator Katie Webster..........................................Props Artisans Claudia Carson........................................... Bobby G and Joseph Schurwonn.........................Financial Analyst Paul Howell...........................................................Help Desk Paint Shop Playwriting Coordinator Bobby Jiminez......Senior AudienceView Analyst Jana L. Mitchell...........................Charge Scenic Artist Jill Schwager.Audience Development Associate Leslie Channell................................Business Manager Jacob Parker................................Software Developer Melanie Rentschler.......................Lead Scenic Artist Andrew Sanders................................Project Manager Melissa Sumner..........Office Manager & Registrar David Tschan................................................Director of IT Kristin Hamer MacFarlane....................Scenic Artist Rob Silk.........................Director of Creative Services Linda Eller................................................................Librarian John H. Voorheis............Manager of Infrastructure Costume Shop Suzanne Yoe..............Director of Communications Tim McCracken......................................Head of Acting & Cultural Affairs Janet S. MacLeod.........................Costume Director/ Andre Rodriguez..............................Teaching Artist & Costume Design Associate THEATRE COMPANY Shakespeare Coordinator THEATRE SERVICES Meghan Anderson Doyle.............Costume Design ADMINISTRATION David Saphier....................Teaching Artist & School Carol Krueger................ Theatre Services Manager Associate Charles Varin...................................Managing Director Coordinator Carolyn Plemitscher, Jackie Scott..............Drapers Adam Alberti, Ethan Aumann, Nora Caley, Ryan Meisheid.........Associate Managing Director Elizabeth Schmit...........................Assistant Registrar Samantha Egle, Jahnice Jones, Hadley Cathie Gagnon..................................................First Hand Allison Taylor..................................Company Manager Rachel Taylor.....................Teaching Artist & At-Risk Kamminga-Peck, LeiLani Lynch, Sheila P. Morris..............................................................Tailor Katie Grayson..........Assistant Company Manager Coordinator Aaron McMullen, Gregory Melton, Costume Crafts Douglas Murphey, Joyce Murphey, Justin Walvoord........... Teaching Artist & Teacher Kevin Copenhaver..........Costume Crafts Director ARTISTIC Professional Development Coordinator Margaret Ohlander, Dylan Phibbs, Valerie Schaefer, Lauren Veselak Chris Coleman.......................................Artistic Director Chris Campbell...............Costume Crafts Assistant Chloe McCleod, Joelle Montoya, Mica Ward..........................................Theatre Company Maggy Stacy, Robyn Yamada....Teaching Artists House Managers Nataki Garrett................Associate Artistic Director Wigs Charlie Miller.................Associate Artistic Director/ Diana Ben-Kiki.................................................Wig Master Off-Center Curator House Crew TICKETING SERVICES FACILITIES & EVENT SERVICES Shawn Bayer....................................Associate Director
Clay Courter..............................................Vice President, Jennifer Lopez.......Director of Ticketing Services Douglas Langworthy.....................Literary Director/ Director of New Play Development Facilities & Event Services Kirk Petersen..........................Assoc. Dir. of Ticketing Services – Patron Relations Melissa Cashion.................................Artistic Producer Dwight Barela, Zachary Brent, Clint Flinchpaugh, Micah White............................Assoc. Dir. of Ticketing Grady Soapes.............................Associate Producer/ Michael Kimbrough.........................................Engineers Director of Casting Services – Subscription Services
Doug Taylor+..........................Supervising Stagehand Jim Berman+, Jennifer Guethlein+, Stephen D. Mazzeno+, Miles Stasica+, Tyler Stauffer+, Matt Wagner+.............Stagehands
Kyle Moore+................................. Assistant Stagehand Quentin Crump...............................Security Specialist Katie Pollard............................. Subscription Manager Chad Henry........................................Literary Associate Wardrobe Tom Duffin....................Manager, Event Technology Jessica Bergin, Vincent Bridgers, Brenda Lawson........................Director of Wardrobe Colin Dieck...................Event Technology Specialist Tristan Jungferman ..............Box Office Managers PRODUCTION Taylor Malott^, George Hartman....................................Chief Engineer Billy Dutton....................Senior Box Office Manager Jeff Gifford...............................Director of Production Jessica A. Rayburn^.............................Wig Assistants Stori Heleen.................Event Technology Specialist Amanda Gomez...................VIP Ticketing Manager Kate Coltun..................................Production Manager Robin Appleton^, Amber Donner^, Matthew Campbell.................Assistant Production Anthony Mattivi^, Tim Nelson^, Jaymes Kimbrough.......................Event Technology Román Anaya, D.J. Dennis, Edmund Gurule, Manager Lisa Parsons Wagner^, Specialist Noah McDermott, Alan Richards^......................................................Dressers Clint King.........................................Security Supervisor Hayley Solano................................................Show Leads Julie Brou......................................Production & Artistic Office Manager Kirsten Anderson, Roger Haak, Brian McClain..............................Custodial Supervisor + Member of I.A.T.S.E. Local 7 Rebecca Hibbert, Scott Lix, Scenic Design Chris Lagana, Matt Leaver, ^Member of I.A.T.S.E. Local 719 Gregory Swan.............................Subscription Agents Lisa M. Orzolek................Director of Scenic Design Tara Miller..............................................Events Managers Ally Beacom, Malcolm Brown, Rena Bugg, Kevin Nelson, Brook Nichols..............Director, Event Technology Keenan Coke, Kelcee Covert, Nicholas Renaud.............Scenic Design Assistants Maggi Quinn........Director Facilities Management Jennifer Gray, Shari Hansen, Joel Innes, Lighting Design Will Stowe....................Event Technology Specialist Noah Jungferman, Alia Kempton, Daniel Lindsey, Gustavo Márquez, Charles R. MacLeod..................Director of Lighting Tara Wenger............................................Facilities/Event Clayton Nickell, Zach Page, Gunnar Reinig, Lily Bradford.....................Lighting Design Assistant Services Business Manager Liz Sieroslawski, Brad Steinmeyer, Reid Tennis+............................. Production Electrician Dawn Williams....................Director, Event Services Andrew Sullivan, Tomas Waples, Cindy Yeast.................................................Ticket Agents Juan Loya, Carmen Molina, Blanca Primero, Judith Primero, Angeles Reyes Soto.....................................Custodians
22
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THE KING Madeline Trumble as Anna and Jose Llana as The King of Siam in Rodgers & Hammerstein’s The King and I. Photo by Jeremy Daniel.
B Y S Y LV I E D R A K E
H
How unfamiliar can anyone possibly be with the plot, music and subject of The King and I? It’s only been around for 66 years and it has hardly stopped playing somewhere in the world since it was launched in 1951.
Little did this gutsy Victorian widow dream that, all these years later, this uncommon episode in her life would become the basis for one of America’s most beloved musicals. 24
At first, incredibly, composer Richard Rodgers and book-writer Oscar Hammerstein II resisted writing this musical, doubting there would be much of an audience for it. Yet the musical about to emerge from their serendipitous collaboration turned out to be their fourth gigantic Broadway-and-beyond success. It made Yul Brynner virtually a onerole star; he played The King 4,625 times over a 34-year span. At an uninterrupted clip, that’s 12 years, seven weeks and five days. But a stage musical is not an endurance test (although there is that), but the result of a creative impulse. And The King and I is that result, plus the triumphant survivor of changing theatrical fashions and wildly changing times.
It all began in 1873 when Anna Leonowens decided to write her two books of courtly memoirs, The English Governess at the Siamese Court and The Romance of the Harem. Little did this gutsy Victorian widow dream that, all these years later, this uncommon episode in her life would become the basis for one of America’s most beloved musicals. When the urbane English comedienne Gertrude Lawrence chanced on a Margaret Landon novel called Anna and the King of Siam, inspired by Leonowens’ five years at the Siamese court, the aging Lawrence recognized Anna as a potential comeback role for herself. After failing to cajole Cole Porter into writing a musical for her based on the Landon novel, she turned to Rodgers and Hammerstein II, who had just delivered three successive Broadway megahits: Oklahoma! (1943), Carousel (1945) and South Pacific (1949).
APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
The two men had heard about the Landon novel from their wives, and the wives must have insisted, because eventually their husbands offered not only to write The King and I (a title Lawrence reportedly did not like), but also to produce it. Opening in March 1951 with Lawrence in the lead, it became the fourth Broadway megahit for its creators, winning five Tonys®, including Best Musical. (A fifth, The Sound of Music, would follow in 1959.) The production was an all-Broadwayroyalty affair. Aside from the glittering Gertie Lawrence, it had fabulous songs (“Getting to Know You,” “I Whistle a Happy Tune,” “Shall We Dance?”), Jerome Robbins’ charismatic choreography, opulent sets by Jo Mielziner, lavish Irene Sharaff costumes and, in the role of the King’s son — on Broadway and on tour, until his voice broke — a very young, very personable Sal Mineo. As for The King, after turndowns from Nöel Coward, Alfred Drake and Rex Harrison (who’d played The King in the 1946 nonmusical film with Irene Dunne), it went to that little-known Russian-born actor with a funny name who had been a circus acrobat in Europe, the one-of-a-kind Yul Brynner.
“Yul was remarkable,” she says of Brynner, who continued to draw worldwide admiration if, later in life, also a different set of whispered adjectives (try arrogant, demanding and imperious). Over time, Morison insists they became the best of friends. “Yul had broken every bone in his body when he was with the circus and had built himself up again,” she says. “He was wonderful with the children. Every Monday night he would hold acting classes for the actors and dancers. At Sal Mineo’s final performance he and Sal were both in tears.” Her biggest challenge? “Dealing with the 60-pound ball gown Anna wears in ‘Shall We Dance?’ It was quite a scramble to dance and leap around in those enormous crinolines.” The King and I features José Llana as The King at The Buell, a role he’s played twice in this 2015 Tony-winning Lincoln Center revival directed by Bartlett Sher. Madeline Trumble is his Anna. Sylvie Drake is a former theatre critic and columnist for the Los Angeles Times, a translator, a contributor to culturalweekly.com and American Theatre magazine, and a former Director of Media Relations and Publications for the Denver Center for the Performing Arts.
Patricia Morison, who at the time had created her own Broadway sensation in Cole Porter’s Kiss Me Kate, was Rodgers’ first choice to replace Lawrence. But Morison was in London with Kate and had a year to go on her contract. She eventually joined Brynner in 1954, continuing the Broadway run of The King and I for another four months — the fourth longest of that decade — before going on the road with Brynner and the show for more than three years.
COMING UP FROM BROADWAY:
DISNEY’S ALADDIN Remember watching Aladdin for the first time? When the genie says you can’t wish for more wishes? Come on! That’s the whole point. But did you ever think you’d see it on a stage? I mean, how do you make a carpet fly? Really?! Maybe you wished you had a magic lamp. Well, the seats are close enough you can practically reach out and touch it, so first wish granted. Now you’re cautious. Perhaps you wished to discover 10 things you may not know about Aladdin. [Big flash of light and smoke, then suddenly…]
1 The show has 18 scenes. 2 There are more than 150 moving lights.
3 20 tons of scenery were constructed.
4 Each piece of clothing was made by hand by 350 people.
5 There are 337 costumes — based on 136 individual designs.
6 1,225 fabrics were selected and 712
different styles of beads were used.
7 There are 1,428 Swarovski
crystals on a pair of men’s pants in the finale.
8 There are more than 100
automated scenic effects.
9 161 pairs of custom shoes are used. 10 There are 108 costume changes taking place in less than one minute.
As for wish number three? Hold up, smarty pants. Careful. Don’t waste it. It’s already coming to Denver (Apr 7 – 28). You can buy a ticket online (but you better hurry because no genie can help you if it’s sold out).
RODGERS & HAMMERSTEIN’S THE KING AND I JAN 2 – 14 • BUELL THEATRE ASL, Audio-described and Open Captioned performance: Jan 14, 2pm
©Disney
Q Lim as Tuptim and Kavin Panmeechao as Lun Tha in Rodgers & Hammerstein’s The King and I. Photo by Jeremy Daniel.
So Lawrence got her wish, but while she created Anna on Broadway, she did not get to savor it for long. Developing cancer, she died in September 1952, after remaining with the show until the last possible minute. By then, Brynner was well on his way to making The King synonymous with himself, eventually wresting top billing and fulfilling the title’s promise, which placed The King before the I.
Still lucid and luminous at 102, Morison gladly shares memories of those heady days, recalling especially the joy of working and traveling with all the young children in the company and their mothers.
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ZOEY’S I
In this painfully protracted period of ideological divisiveness in the country, there is perhaps one (single) thing we can all agree on: America could use a laugh.
NOT-SO-PERFECT
WEDDING BY JOHN MOORE
But despite the preponderance of comedies high and low to be found on screens large and small, American playwrights have not been widely producing flat-out, laugh-out-loud comedies for generations. And that, says playwright Matthew Lopez, is a good thing. Because theatre can do better than that.
“Comedy has one of two functions: To make you think or to make you forget,” he said. “The best make you forget that you’re thinking. I hope we’re the latter.” Lopez is the author of the DCPA Theatre Company’s 2014 breakout hit The Legend of Georgia McBride, which went on to be performed Off-Broadway and at theatres across the country. He’s back with another world premiere comedy called Zoey’s Perfect Wedding, which is anything but. “I’m allergic to the notion that, in the face of trying times — or perhaps more accurately put: in the face of a full-scale national disaster — it’s preferable to simply check out,” Lopez said. “Checking out really isn’t an option in a democracy. One could argue that’s how we got into this in the first place. However, we don’t always need to think directly at the thing.” There’s nothing wrong with people spending two hours laughing and having fun at the theatre, Lopez believes. But the route to funny must pass through true understanding. Zoey’s Perfect Wedding presents a wedding where disaster after disaster follows the blushing bride down the aisle, from boozy and brutally honest speeches to obliviously self-absorbed supporting characters to a wildly incompetent wedding planner. Aren’t weddings fun? Lopez has been to enough to know that self-absorbed people often turn weddings into a referendum on their own lives. Put another way, he said: It’s shockingly easy to act like a narcissist at someone else’s wedding. “It was once said of Teddy Roosevelt that he was the bride at every wedding, and the corpse at every funeral,” Lopez said. “I think that applies to more people than anyone cares to admit.”
Illustration by Kyle Malone
It’s also true what they say about your misery being another person’s funny, because Zoey’s Perfect Wedding was inspired by a train wreck of a wedding Lopez was right in the middle of a few years after college.
28
“It was the weekend after Thanksgiving,” Lopez said. “We had all just seen each other two days before, and here we were back again with nothing really more to talk about than what a fun night Thanksgiving was. Then one friend began to pick at a scab of something that bothered them from Thanksgiving and, before we knew it, we were all in a full-scale verbal brawl that eventually ended up ruining the night for most of us. “I’m certain that, had this been a dry wedding, we all would have had a much better time. And I am certain that is the first time those words have ever been uttered.” The characters and events in Lopez’s play are pure imagination. But the notion of friends showing up to a wedding and forgetting they’re at a wedding and acting like it’s just another night out at the bar? “That, I am ashamed to admit, is true,” he said. APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
Comedy has one of two functions: To make you think or to make you forget.
COMING UP FROM THEATRE COMPANY:
THE WHO’S TOMMY In May 1969, four British rockers (Roger Daltrey, John Entwistle, Keith Moon and Pete Townshend) collectively known as The Who, premiered their rock opera Tommy at a London club. One month later, it hit the charts and, by August, the quartet performed Tommy at Woodstock.
— PLAYWRIGHT MATTHEW LOPEZ
“It’s a story about [how] the child is the star in the family in a way,” Townshend said at a 1992 press conference announcing the world premiere staging of Tommy at the La Jolla Playhouse. “And how, when we bring the children up and we make them the stars, we sometimes play a much more subtle and sometimes even more obvious part in their downfall than we care to really face up to.
But it was the underlying fuel propelling that booze-soaked fire that interested the writer in Lopez. “These characters wrestle with commitment, loyalty and honesty,” Lopez said. “They wrestle with the difference between our expectations and our reality — and those are things we all grapple with in one way or another every day.” Which is why it’s misleading to label his new play a simple comedy. Lopez would like for us to move beyond distinctions between comedy, tragedy and their many variations. The fact is, a great many plays are comedies…until they simply aren’t anymore.
“‘See me/Feel me/Touch me/Heal me’ is a line that echoes for many people today,” Townshend said, “but it has never left me….I am passionate about seeing Tommy grow.”
“Things aren’t funny if they aren’t true,” Lopez said. “Even sight gags require the laws of physics be obeyed in order to work. If and when a comedy veers unexpectedly into drama, perhaps the question one should ask is: ‘Is that true?’ Here’s an example: Is August: Osage County a comedy or a drama?”
And grow it did. Tommy inspired a ballet; the London Symphony Orchestra released an all-star symphonic recording; all-star staged-concert versions multiply; it was arranged for marching bands; it became a Broadway sensation, and Ken Russell directed Elton John, Eric Clapton, The Who, Oliver Reed, Ann-Margret and Jack Nicholson in the psychedelic ’70s movie.
The same can be said about a great joke in the middle of an unquestionably serious play. If the moment is rooted in character, then it is rooted in truth. “Humans are funny. Humans are sad. Humans are sometimes funny and then, the next second, tragic,” Lopez said. “Life does not fit neatly into categories and neither should our stories. At the end of the day, it all comes down to story. And if stories are not rooted in some kind of recognizable truth, they are worthless. “Lest we forget: There’s a fart joke in Waiting for Godot.”
Tommy had a visceral impact, shocked the airwaves, rocked across generations. Tommy. We can hear you.
Matthew Lopez is the author of two DCPA Theatre Company world premieres — Zoey’s Perfect Wedding and The Legend of Georgia McBride. In the 2014/15 season, Lopez also was named the company’s first Playwriting Fellow. In this role he served on the artistic team to give the playwright a voice in the production process, participated in season selection and was the Playwright Host of the Colorado New Play Summit.
ASL & Audio-described performance: Feb 25, 6:30pm
Portions of this text were taken from an article originally written by Constance Harvey, former publicist at the La Jolla Playhouse.
Illustration by Kyle Malone
ZOEY’S PERFECT WEDDING JAN 19 – FEB 25 • SPACE THEATRE
Make sure you hear The Who’s Tommy re-envisioned by DCPA Theatre Company in its season-closing musical production playing The Stage Theatre April 20 – May 27.
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Together, the DCPA and CU enhance our community through theater and the arts, making Colorado an exceptional place.
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The University of Colorado is proud to support the Denver Center for the Performing Arts, which shares our commitment to excellence and our passion for the vibrant work of singers, playwrights, artists, dancers, musicians, designers and actors. Since 1876, CU has celebrated and supported the dynamic energy and creativity of artists in everything from vaudeville acts to classic dramas, from comedies to Broadway musicals. As Colorado’s higher education leader, CU fosters a community of students, scholars and artists who make the creative and collaborative processes the core of education. With focuses on dance performances, musical theater, choreography, theory, and sponsorship majors, CU provides students valuable experiences. Its accomplished faculty are committed to the growth and wonder that theater, music and the arts provide. CU’s longstanding commitment to the arts and arts education makes it a natural partner with DCPA, which has its own focus on preparing the next generation of artists through the DCPA Education program. CU offers highly regarded theater and arts programs at its campuses in Boulder, Colorado Springs and Denver, as well as a commitment to promoting and advancing the arts in communities large and small.
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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
The cast of Julius Caesar • Photo by Jennifer M. Koskinen
Sam Gregory in Hamlet • Photo by Jennifer M. Koskinen
Together, the DCPA and CU enhance our community through theater and the arts, making Colorado an exceptional place.
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At Transamerica, we’ve been empowering people to feel better about their future for more than 100 years. But we believe our responsibility goes far beyond financial wellness. That’s why we are proud to support organizations such as the Denver Center for the Performing Arts (DCPA). In the spirit of inspiring others to live well and pursue their passions, Transamerica is in its second year supporting grants to aspiring young playwrights and their teachers taking part in the DCPA’s Regional High School Playwriting Workshop and Competition. While the competition focuses on creative literacy, Transamerica also enjoys promoting financial literacy. Through Junior Achievement-Rocky Mountain, Transamerica employees help middle and high school students develop good budgeting, spending, and savings habits to build a strong foundation for prosperous futures. And as some volunteers take to the classroom, others hammer nails to build actual foundations with Habitat for Humanity. In 2017, Transamerica employees helped construct two Habitat homes in Denver. “Having a safe, comfortable, and affordable place to live is a key component in overall well-being and long-term financial security,” said Marijn Smit, head of Transamerica Asset Management. “We call that the connection between wealth and health.” Transamerica continues to make overall wellness a central part of everything we do. After all, what good is wealth if you’re not healthy enough to enjoy it?
APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
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(l-r) Hazel Thompson and Molly Scotto each received a congratulatory pie from Centerplate when named to the role of Lulu in DCPA Broadway’s recent presentation of Waitress. Photo by Emily Lozow.
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Centerplate is pleased to serve as the preferred hospitality and catering partner at the Denver Performing Arts Complex, including providing DCPA Broadway guests exceptional service in the newly renovated mezzanine at The Buell Theatre. For the past three years Centerplate has been hosting post-show receptions following the opening night of Broadway subscription shows for the cast, crew, media and Best of Broadway Society members. These events provide a great opportunity for the cast to celebrate the start of their show in a new city and gives local enthusiasts a chance to mingle with the actors. This year Centerplate is customizing each menu to play on the themes of the shows. The Waitress cast party, for example, will be themed around pies due to the main character, Jenna’s affinity for them. The menu will feature chicken cordon bleu hand pie and pulled pork and sweet potato shepherd’s pie in addition to a variety of dessert pies. Centerplate looks forward to another great season as they strive to continually enhance the experience that patrons have come to enjoy. Centerplate’s highly trained and awardwinning culinary team is committed to making the live experience as memorable as possible, a passion that comes across in the form of superior
APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
cuisine that is artfully blended with innovative presentation and style. “From a lavish reception for 10,000 guests to an all-day executive workshop, our team custom tailors a menu and program that perfectly fits the unique needs of that specific event,” said Daniel McGaughey, General Manager of Centerplate at the Arts Complex. “We think tirelessly about how to enhance the experience, so our guests have positive lasting memories from their time with us.” Centerplate makes a conscious effort to practice sustainability in all of its processes, adhering to recycling and compost programs that save hundreds of thousands of pounds of waste on an annual basis. It sources products from various local Colorado vendors and farms, while also maintaining a proprietary onsite farm — The Blue Bear Farm — that harvests the fresh produce and herbs that get used on a daily basis. In addition, Centerplate partners with “We Don’t Waste,” which allows the company to minimize the waste of nutritious and wholesome foods by donating leftover items to local nonprofit organizations. Contact the team at Centerplate today to book your next catered event: Daniel.McGaughey@centerplate.com or 303.520.0660.
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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
MAY 29 – JUN 10 BUELL THEATRE
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Jerry MacKinnon in the Steppenwolf for Young Adults production of This Is Modern Art. Photo by Michael Courier.
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TEST YOUR KNOWLEDGE OF THE WORLDS OF THE KING AND I, STOMP, AMERICAN MARIACHI, THE GREAT LEAP November 2017 AND ZOEY’S PERFECT WEDDING Test your knowledge of the worlds of our latest offerings: The King & I, Stomp, American Mariachi, The Great Leap and Zoey’s Perfect Wedding 1
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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG
American Mariachi playwright José Cruz González also wrote the DCPA’s premiere play Sunsets and _______
6 STOMP started as two miming British street artists performing a genre widely known as ______.
2 Matthew Lopez was named the DCPA’s first-ever _________ Fellow in 2014.
8 Zoey playwright Matthew Lopez also wrote The _________ Man. 10 Lyric: “Whenever I feel afraid, I hold my head erect and whistle a ____ tune.” 12 STOMP features eight performers who employ unconventional variations of this type of musical instruments. 13 Zoey playwright Matthew Lopez also wrote The Legend of Georgia _______.
18 In the 1970s, it was unheard of for this gender to be playing mariachi music. 20 Mariachi bands generally wear this kind of suit in performance.
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1 The most famous American to play professional basketball in China to date is Stephon _______.
17 The King and I is set in this city, which also has bloodlines to a famous song from Chess.
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1 The most famous American to play professional basketball in China to date is Stephon _______ 2 Matthew Lopez was named the DCPA’s first-
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4 American Mariachi playwright José Cruz González also wrote the DCPA’s world premiere play Sunsets and _______.
14 A performance of STOMP contains none of these, because the creators believe everyone can fully understand it without them.
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22 The idea behind STOMP is to try to find music within this, a word that usually describes unwanted sound.
3 Acclaimed baseball play about the first openly gay majorleague player: Take Me _______. 4 Doctors believe playing this can help reach a patient with dementia even as memory fails. 5 Last name of the actor who played King Mongkut in The King and I 4,625 times on stage. 7 The King and I is based on the novel Anna and the King of ____.” 9 The generally very organized wedding _____ is typically not the drunkest person at the party. Typically. 11 According to the playwright, this is the only Western sport that has never been banned in China. 13 The tradition of mariachi music is believed to have begun in this country 15 Song from The King and I: “Shall We ______?” 16 Howlingly well-received current Off-Broadway play about girls’ soccer: The _______ 19 Last name of basketball player who was famous for the accuracy of his underhanded free throws 21 Last (family) name of the Chinese center who played in eight NBA All-Star Games as a member of the Houston Rockets
For answers please visit denvercenter.org/news-center
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