Applause Magazine, December 7, 2013 by The Publishing House

T H E

VOLUME XXV

D E N V E R

C E N T E R

F O R

T H E

P E R F O R M I N G

A R T S

NUMBER 4

PHOTO BY DAVID BAZEMORE

NOVEMBER – DECEMBER 2013

THREE ACTS, TWO DANCERS, ONE RADIO HOST:

IRA GLASS

ALSO PLAYING… JACKIE & ME • A CHRISTMAS CAROL • CIRQUE DREAMS HOLIDAZE

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Redefining State-of-the-Art At Colorado State Universityâ&#x20AC;&#x2122;s Center for the Arts students create, perform, and learn in the stateâ&#x20AC;&#x2122;s premier arts education facility. Modern performance venues and plentiful studios define the spaces of the remodeled building in the heart of Fort Collins. Best of all, while the performances soar, the cost does not, putting a first-class arts education within reach of all Coloradoans.

PHOTO COURTESY OF UNIVERSITY OF DENVER

CHAIRMAN’S LETTER

Daniel L. Ritchie

INDEX

In an effort to better serve you, our patrons, friends and family, The Denver Center recently conducted some research. We spoke to people who come to the theatre all the time, those who see an occasional show, and those who have never been here. We learned a lot. Most gratifying was the overwhelming confidence you have in us. You told us: “It’s magic. It’s on a par with New York and London. It’s a reason to live in Denver.” We couldn’t elicit a negative response—and we tried. One item in our survey results caught me by surprise. Many of our audience members, even long-time subscribers, were unaware that we are a not-forprofit organization. The IRS defines a not-for-profit as an organization that puts any surplus revenues back into the

JACKIE & ME

Adaptor and director of this play share thoughts about why this morality tale about sports and the racial divide holds such appeal. One guess: it’s about baseball—and the player who made a difference. by Steven Dietz and Stephen Weitz

CIRQUE DREAMS HOLIDAZE

The creator of Cirque Dreams continues to make good on a promise to expand the Cirque genre—this time ringing in the Holidaze. by Sylvie Drake

S et t in g t h e s t a g e f o r

APPLAUSE

mission of the organization, rather than paying dividends. I like to think of it as having stakeholders, not shareholders. So who are our stakeholders? They are audience members, artists, students, teachers, parents, Colorado businesses and residents… They are all of you. What should our stakeholders expect from us? First-rate touring productions, the creation of exciting new work along with perceptive, invigorating classic and contemporary plays, and the education of the next generation of theatre lovers. Great entertainment, good company and animated conversation. A first-rate experience from beginning to end—that’s what you should expect. My personal commitment to you is that, as a not-for-profit organization, we will use the ticket revenues and the donations you make to The Denver Center to offer unforgettable shared experiences worthy of a place in your memory book. n

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NUMBER 4

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For advertising information call The Publishing House 303.428.9529. 7380 Lowell Blvd., Westminster, CO 80030 Angie Flachman, Publisher

The Denver Center for the Performing Arts 1101 13th St., Denver, CO 80204 303.893.4000 • denvercenter.org

The Denver Center for the Performing Arts is a not-for-profit organization serving the public through the performing arts.

As inspired as it is inspiring, this novella made an adjective of the word Dickensian. On stage this story never loses its redemptive power, its scariness, its luster or its joys. by Marilynne Scott Mason

THEATRE THREADS

A report on these sumptuous doings.

BOARD OF TRUSTEES Daniel L. Ritchie, Chairman and CEO Donald R. Seawell, Chairman Emeritus Randy Weeks, President William Dean Singleton, Secretary/Treasurer W. Leo Kiely III, First Vice Chair Robert Slosky, Second Vice Chair Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond Margot Gilbert Frank Thomas W. Honig Mary Pat Link Robert C. Newman Richard M. Sapkin Martin Semple Jim Steinberg Peter Swinburn Ken Tuchman Lester L. Ward

Dr. Reginald L. Washington Judi Wolf Sylvia Young _______________________ Carolyn Foster, Executive Assistant to Daniel L. Ritchie Kim Schouten, Executive Assistant to Daniel L. Ritchie HONORARY MEMBERS Jeannie Fuller Glenn R. Jones M. Ann Padilla Cleo Parker Robinson HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES Lester L. Ward, President Martin Semple, Vice President Judi Wolf, Sec’y/Treasurer Donald R. Seawell, President Emeritus

inspired e v e n t s . Gorgeous Photos - Studio JK, The Happy Couple - Josephine and Jason

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Applause magazine is funded in part by

at The Denver Center for the Performing Arts 303.572.4466

APPLAUSE

Applause is published eight times a year by The Denver Center for the Performing Arts in conjunction with The Publishing House. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

DENVERCENTEREVENTS.ORG

NOVEMBER – DECEMBER 2013

Editor: Sylvie Drake Associate Editor: Suzanne Yoe Designers: Kim Conner, Brenda Elliott, Austin Grutze, Kyle Malone

Daniel L. Ritchie Chairman and CEO The Denver Center for the Performing Arts

A CHRISTMAS CAROL

VOLUME XXV

W. Leo Kiely III Daniel L. Ritchie William Dean Singleton Robert Slosky Jim Steinberg Dr. Reginald L. Washington SENIOR MANAGEMENT STAFF Randy Weeks, President and Executive Director, Denver Center Attractions Kent Thompson, Producing Artistic Director, Denver Center Theatre Company Dorothy Denny, Executive Vice President Vicky Miles, Chief Financial Officer Jennifer Nealson, Chief Marketing Officer Clay Courter, Director of Facilities Management

Christmas with the Children’s Chorale Saturday, December 14 at 2 pm Sunday, December 15 at 7 pm

Boettcher Concert Hall • Denver Performing Arts Complex Hear the angels sing (and see Santa dance!) at this uplifting holiday tradition featuring Samuel Lancaster’s iconic Christmas in Colorado and Children Go Where I Send Thee! Experience sacred music of the season, sing along to holiday favorites and see what Santa has planned for us this Christmas!

Appropriate for ages 4 to 100 Tickets available at ChildrensChorale.org/xmas13 For more information: 303.892.5600

Years of Song

Colorado Children’s Chorale

Tamara Kaida: Desert Paint, 1987

COMING ATTRACTIONS

World Premiere The Most Deserving Now – Nov 17 Ricketson Theatre The Book of Mormon Now – Nov 24 Buell Theatre Jackie & Me Now – Dec 22 Space Theatre A Christmas Carol Nov 29 – Dec 29 Stage Theatre The SantaLand Diaries Nov 29 – Dec 24 Garner Galleria Theatre Mannheim Steamroller Christmas Nov 30 & Dec 1 Buell Theatre Three Acts, Two Dancers, One Radio Host: Ira Glass Dec 7 Buell Theatre Cirque Dreams Holidaze Dec 10 – 22 Buell Theatre

World Premiere The Legend of Georgia McBride Jan 10 – Feb 23 Ricketson Theatre Evita Jan 15 – 26 Buell Theatre Girls Only Jan 16 – March 9 Garner Galleria Theatre World Premiere black odyssey Jan 17 – Feb 16 Space Theatre Hamlet Jan 24 – Feb 23 Stage Theatre Mamma Mia! Jan 28 – Feb 2 Buell Theatre Alton Brown Live! Feb 3 Ellie Caulkins Opera House Colorado New Play Summit Feb 7 – 9 Helen Bonfils Theatre Complex

Million Dollar Quartet Feb 25 – March 9 Buell Theatre Chicago March 18 – 23 Buell Theatre Shadowlands March 28 – April 27 Space Theatre Animal Crackers April 4 – May 11 Stage Theatre Celtic Woman April 19 Buell Theatre Rock of Ages April 25 – 27 Buell Theatre once May 6 – 18 Buell Theatre American Idiot May 23 – 25 Buell Theatre ALL SHOWS ON SALE NOW!

303.893.4100

TTY: 303.893.9582 • denvercenter.org AUDIO-DESCRIPTION, ASL INTERPRETATION AND OPEN CAPTIONING AVAILABLE AT SELECT PERFORMANCES; CHECK DATES/TIMES WHEN ORDERING.

Performances at The Denver Center are made possible in part through the generous support of:

Denver Center Theatre Company 2013/14 Season Sponsors

Denver Center Attractions 2013/14 Season Sponsors

Costume Collection Judi Wolf’s

A Christmas Carol

he Denver Center’s holiday tradition, A Christmas Carol, returns to the stage for Denver Center Theatre Company’s 35th season with its signature opulence. Designed by resident costume designer Kevin Copenhaver, the large ensemble production is filled with lavish period pieces denoting an unmatched Victorian elegance. The style of the era can be seen in both the men’s and the women’s costumes. Dresses of the time were adorned with increased sleeve detail and included layers of starched petticoats creating full, heavy skirts. These would later lead to the development of the crinoline. Ever dashing, the men’s fashion, particularly that of upper class gentlemen, followed the trend of earlier decades with full shoulders and chest, and tightly cinched waist. Shirts of linen or cotton were worn with wide cravats or neckties that offered several different looks. Color, fabric and style all played a part in distinguishing the upper classes from the lower ones, which is particularly evident in the festive Fezziwig party, full of ornate details, lush fabrics and rich colors. Just watching this vivid and colorful merriment on stage will put you in the right mood and fill you with holiday cheer. This Denver Center beloved holiday classic runs from November 29 – December 29. Don’t miss the thrill. n

Red PMS 200 Gold PMS 123

RICK ZPAT L FIT HAE MIC

APPLAUSE

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LL RRO O’CA SLIE & LE

The Encore Society honors those who have remembered The Denver Center in their estate plans. These gifts help ensure excellent theatre productions for future generations. For more information about joining the Encore Society, please contact David Zupancic at 303.446.4811 or davidz@dcpa.org.

PHOTOS BY TERRY SHAP IRO

Media Sponsors

Dine Great

and you won’t be late. Our Sport & Stage menu is speciﬁcally designed for you to enjoy a fantastic dinner and make it on time for the show. Three-courses available pre-theatre, only oﬀered during 5pm - 6:30pm reservations. EDGE Restaurant 5pm - 6:30pm $55 per person Complimentary Valet Parking *Come to EDGE anytime and mention “EDGE of your seats” to receive a complimentary glass of bubbly. Good for one glass only. For Reservations Call 303-389-3050 or visit www.edgerestaurantdenver.com

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PLAY BY

PLAY

ILLUSTRATION BY KYLE MALONE

“… before Jackie Robinson, you couldn’t dream.”

A playwright and a director talk about their intimate experiences with baseball and the stain of racism. Fortunately, there was Jackie Robinson—and now, Jackie & Me.

More than any other sport, baseball has a magic, a mythology, a tradition that pervades our society. 10

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Jackie & Me is a stage adaptation of Dan Gutman’s book of the same name that traces the unplanned emotional journey of young Joey Stoshack, as he tries to research a difficult class assignment. Joey may not be the best player on his Little League team, but a rare baseball card buys him the ability to go back in time and meet Jackie Robinson on the day he was signed by the Brooklyn Dodgers. Thrust into a racial pressure-cooker, Joey learns a lot—about patience, about courage, about grace from one of America’s legends. Applause thought you might like to hear what the story means to Steven Dietz, who adapted it, and Stephen Weitz, who staged it.

COURTESY OF ACT THEATRE

Playwright

FIRST THE PLAYWRIGHT’S NOTE…

am standing outside a room where my son and daughter are talking about baseball and race. I am eavesdropping. My daughter is seven; my son is six. My daughter is white. My son is black—and has just arrived via adoption from Ethiopia six months earlier. We have introduced him to a sport called baseball, and he has started playing it. My daughter, the baseball historian in our family, is telling him all about Jackie Robinson. As she speaks, I realize that our family is having its first conversation about race. Stephen Weitz,

COURTESY OF STEPHEN WEITZ

Director

AND NOW A FEW NOTES FROM THE DIRECTOR…

’ve been a baseball fan for as long as I can remember. As a boy, I sat in front of the TV writing letters to my favorite Phillies players. I was thrilled when I got a return letter from Mike Schmidt and an autographed baseball card. They both hung on my bedroom wall through high school. Between the time of the old, gorgeous fields like Ebbets and Fenway and the new palaces like Coors Field, there was a generation of concrete cylinders they played baseball in—the ugliest stadiums ever. I grew up going to these ballparks such as Veteran’s Stadium in Philadelphia and Three Rivers in Pittsburgh. You could hardly see the field from inside the concourses of the stadium, so there was always an excitement as you came up your ramp to your section and looked down onto the field for the first time. This was always a magic moment for me as a child. I still relish the moment of

“J

Jackie & Me was an obvious choice. I am honored to tell this story. Robinson is an important historical figure—situated at the crossroads of sport, culture, politics and race—but he also was a man playing a game. A game that raised many of us. A game that connects us with our fathers and grandfathers. A game that puts history at our fingertips. y own father never got to meet his African American grandson or see him play ball. But baseball continues to connect generations, across time. And because of pioneers like Jackie and Rachel Robinson, Branch Rickey, Larry Doby and others, baseball—well before Selma and Birmingham and the March on Washington—enabled (and forced) America to talk about race. Jackie Robinson’s courage enabled many boys and girls to dream. Including my own.

arriving at the ballpark. Looking out over the fresh cut grass, smelling the food, hearing the fans. This kind of magic is captured in Dan Gutman’s book and this dramatic adaptation. More than any other sport, baseball has a magic, a mythology, a tradition that pervades our society. Ruth, Mays, Mantle, DiMaggio, Griffey. The names are legendary, even for those who aren’t fans. As an ingrained part of our culture, sports have tremendous power, both good and bad, to affect how we perceive the world around us. It’s impossible to overstate what a transformative moment Jackie Robinson’s major league debut was for our country. One man stepping across the white chalk line of a baseball diamond forever altered the perceptions of race. As we well know, Jackie Robinson didn’t end racism or racial tension, but his bravery opened a door for thousands of others to walk through. his play allows us not only to meet this iconic figure, but also to experience the moment through the eyes of a young boy only beginning to understand how Jackie’s example applies to his own life. Jackie & Me is a delightful journey. In the literal sense, it documents Joey’s journey through time to meet one of his idols—a monumental figure in American history. At the same time, it’s also a journey of growth and understanding and empathy. The play opens with Joey not being able to get on

base and ends with him coming home, and that journey around the baseball diamond is a perfect symbol of the whole play. We have had a wonderful journey of our own, exploring these people and this story. Thank you for coming to share it with us.

JACKIE & ME

Steven Dietz,

ackie liked to play baseball, and he was black like you,” my daughter is telling my son. “But if you were black, you couldn’t play.” My son—who is only learning to speak English and knows nothing whatsoever about American history or professional baseball—stands his ground: “Why not? I play. I play ball.” “No, not in the majors,” my daughter says again, trying to teach him. “Before Jackie Robinson, you couldn’t play if you were black.” “I could play. I have mitt. I have bat. They not stop me,” says my son in his new language. Exasperated, my daughter finally says: “Yes, you could play the game. But before Jackie Robinson, you couldn’t dream.” After Dan Gutman saw Chicago Children’s Theatre’s beautiful and memorable production of Honus and Me, he was kind enough to offer me my choice of his other books [to adapt]. Since Jackie Robinson had long been a hero around my house,

—Steven Dietz, Playwright

—Stephen Weitz, Director

Nov 15 – Dec 22 • Space Theatre Producing Partners: The Corley Legacy Foundation and Keith & Kathie Finger

Special thanks to the following donors supporting Jackie & Me Student Matinees: Dr. & Mrs. Barry Berlin, Boeing, Tom & Noel Congdon, Mr. & Mrs. James W. Espy, Margot & Allan Frank, Mr. & Mrs. Duke Hartman, Walt Imhoff, The Blanche and Irving Laurie Foundation, Thomas Lookabaugh Foundation, Ms. Brigid O’Connor and Mr. Kevin Vollmer, Mr. & Mrs. Jeffrey Peotter, June Travis, United Airlines ASL interpreted & Audio Described • Dec 8, 1:30pm Perspective on the play: Nov 15, 6pm, Jones Theatre* *Attend a moderated discussion with the DCTC’s creative team about the play you are about to see. FREE to the public

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • denvercenter.org 303.893.4100

A P P L A US E

CIRQUE DREAMS HOLIDAZE

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

The creator of Cirque Dreams Holidaze makes good on a promise to expand the Cirque genre.

“We’ve stayed very true to the vision I created from the inception of this thing and that was to combine the European variety Cirque talent with American Broadway theatrics—taking these shows and putting them into the format of traditional Broadway musical theatre, with a proscenium, two acts and an intermission.” —Neil Goldberg, Creator

APPLAUSE

When Neil Goldberg was seven, his Mom took him to see The Miracle Worker on Broadway. What fascinated him most was not the play, but the three-dimensional design of Helen Keller’s house revolving on stage. “I came home and did two things,” Goldberg said on the line from his Florida headquarters. “I decided I wanted to learn more about set design—and I wrote my first Tony Award acceptance speech—which I still have to this day.” That conversation happened a few years ago, when Goldberg was touring Cirque Dreams Jungle Fantasy, which was a hit in Denver and later on Broadway. Now Goldberg is back—as promised— with a different edition called Cirque Dreams Holidaze. With its dazzling costumes and a score that runs the gamut from jazz and ballroom to pop, Holidaze is described as an urban theatrical innovation that turns the ordinary on its head. Its one-of-a-kind artists breathe acrobatic energy into a “magical metropolis,” reinvent familiar objects, balance on wires and leap over tall buildings. Goldberg had been doing entertainment events for American companies since the late 1980s when IBM hired him to travel the world and find different talent to put together for an international conference. “The vocabulary was just supposed to be visual,” he explained. “Pure talent on stage. That’s when I became exposed to this whole Cirque genre.” The event, European in inspiration and highly diversified, was a success that made Goldberg realize he was on to something. His clients would give the show a name of their choosing, while his job was to deliver the goods. When staging one of these in Washington, DC, he was approached by the Bally’s Hotel chain. They hired his Cirque Ingénieux for the Bally’s casino showroom in Atlantic City. It wasn’t long before Goldberg moved from the boardroom to the greenroom. From his family’s background in textile production, he had acquired a knowledge and love of fabric and design. “By the age of 13 or 14 I knew the difference between yarn dyes, woven fabrics, polyesters and cottons and how things are printed,” he said. Since then his 20,000-squarefoot production facility in Pompano Beach, FL, has kept busy. It includes wardrobe and design shops, a gym and a studio “the size of any pro-

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scenium stage, so we can block and train artists here…” He remains very hands on, not just in the scenic aspects of each show, but in all manner of design, which, he said, has been “my passion my entire life.” These Cirques have lots of action, no animals, no plot, plenty of music, singing, and lots of aerialists and contortionists from all corners of the globe. If your first thought is that this sounds a lot like Canada’s Cirque du Soleil, Goldberg insists it was not in his consciousness when he selected the Cirque moniker and style in 1991, even though Cirque du Soleil had made its first splash in the US as the surprise hit of the 1987 Los Angeles Arts Festival. How does Goldberg dispel comparisons? “We’ve stayed very true to the vision I created from the inception of this thing and that was to combine the European variety cirque talent with American Broadway theatrics—taking these shows and putting them into the format of traditional Broadway musical theatre, with a proscenium, two acts and an intermission. “In a theatre with a proscenium stage you have the ability to become very engaged with the audience. We always have kept the human element very real to the audience and to the experience. It’s not disguised with an overwhelming amount of technology and smoke and mirrors. I think audiences want to see and believe what they’re experiencing up close and personal. You don’t want to lose sight of what the artists really do.” n

Dec 10 – 22 • Buell Theatre Sponsored by: Comcast Presenting Partners: L. Roger and Meredith Hutson, Rick & Shelly Sapkin

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • denvercenter.org

SPIRITS,

CHARITY

AND

UNDERSTANDING B Y M A R I LY N N E S C O T T M A S O N

As inspired as it is inspiring, A Christmas Carol never seems to lose its perennial appeal, its scariness, its burnished wonders or its joys.

It is said that Charles Dickens invented Christmas—the way we celebrate it today, that is. That claim may be a trifle exaggerated, but surely in the Englishspeaking world the second most beloved story of Yuletide has to be A Christmas Carol. A tale for all seasons and a special joy in mid-winter. hy are we here today, in this theatre, to watch this particular drama, if not to celebrate the season together, regardless of our creeds or cultures? For many of us, enjoying this inspired parable is a seasonal tradition. Whether we read it aloud to the family, view one or more film and TV version or, better yet, leave our homes to watch it unfold on a stage in the company of strangers (neighbors), the story holds a universal and timeless appeal. Dickens himself reached every heart in the theatre when he read it aloud to audiences in England and America. And he always did. Americans especially adored him. There are many anecdotes about people changing their lives upon reading or hearing this story—factory owners giving their workers better

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working conditions and time off at Christmas, and even young people redirecting their lives to the greater good. A Christmas Carol mirrors Dickens’ own passion for the season, his own enlightened religious convictions and his lucid social conscience. Most of all it reflects his profound humanity and his heroic confidence in the ability of a human being to change for the better. While Dickens was writing the Carol, there were nights when he couldn’t sleep. It’s been said that he wandered the bad by-ways of his smoky city all night, gesticulating wildly and muttering to himself as he took on each of the characters’ parts. The next morning he wrote down what he had worked out the night before. It’s clear enough why these characters leap from the page— their author imagined them so vividly he seems to be alive in each. Christmas Carol pulsates with energy, wit and cleverly evoked tingles. The aptly named Scrooge (an old-fashioned vulgarization of “squeeze”) may be a shrewd businessman, but he’s allowed his heart to shrivel up so tightly that all impulses

of joy and mercy have dried to a gray paste, turning his whole existence gray. “Oh! But he was a tight-fisted hand at the grindstone. Scrooge! A squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner,” writes Dickens. Even his physical features have frozen into a mask of avarice and bitterness. ut Dickens does not give up on him. Having all but sold his soul to Mammon, Scrooge is not beyond the saving reach of Dickens’ kind and scary spirits. These ghosts mock him with his own words, dazzle him with their light and evoke the ghastly loneliness of his misspent life. This unworthy old buzzard has one chance at reclamation—secured for him by his long-dead business partner, Jacob Marley. A ghost awash in the purgatorial pains of remorse, Marley appears to Scrooge on Christmas Eve and foretells that three spirits will follow his visitation. He as much as says that these phantoms will rub Scrooge’s face in the truth until he confronts what he has become and determines to change. Why tell a ghost story at Christmas?

As the unhappy Marley puts it, “It is required of every man that the spirit within him should walk abroad among his fellow-men…” past, just who he is and how he got that way; his present, in contrast to the happy lives of others he knows; his future, a death hopeless and unwept—the inevitable end of an utterly futile life. The ghosts also are the metaphorical means of introducing a spiritual dimension into the story. There’s more to life than meets the eye. The message might have been merely materialistic—about sharing material means. Instead, the ghostly presences represent the spirit in humankind that needs to love and be loved. Much is made of charity in the novella, but the word means more than just the giving of alms. “Charity,” from the Latin, caritas, means esteem, affection and, translated from the Greek agape, means disinterested and therefore selfless love. That is the foundation of Dickens’ thought. t follows, then, that fellowship with others is another important spiritual issue for Dickens—as it is in all the great religions. As the unhappy Marley puts it, “It is required of every man that the spirit within him should walk abroad among his fellow-men…” And we all know what happens in Dickens’ world view to those who fail that requirement.

ILLUSTRATION BY KYLE MALONE

PHOTO BY TERRY SHAPIRO

Because Dickens re-envisioned the season in an age of vast and hopeless poverty, he emphasized abundance and what it could accomplish. He had his tough-minded, socio-political intentions: He determined to startle his readers awake to the injustices all around them in all his writings. In A Christmas Carol, the Ghost of Christmas Present shows Scrooge two ghastly children—Ignorance and

Want—whom Dickens believed (correctly) would grow up to tear down the selfish hierarchies of English society. He wanted his countrymen to do something about those two offspring before they shredded the fabric of society and chaos descended. He didn’t want to overthrow his society; he wanted to rescue it from itself. ut if Dickens was a moralist, he was no Puritan. He took a generous delight in Christmas merrymaking. His enjoyment of festivity sparkles in the Cratchits’ gin punch, the Fezziwigs’ ball, in the games at nephew Fred’s. He saw the humble “bounty” of the ebullient Cratchit family feast as an answer to the gloom and cold of winter as much as a rebuke to Scrooge’s and his ilk’s indifference to the poor. Feasting is celebrated throughout the story because, for Dickens, generosity and the merriment of the season were antidotes to the inward leanings of selfishness. They expanded the heart to include others and so were expressions

of inclusive cordiality and hospitality. inally, Dickens saw the innocent open-heartedness of merriment, gift-giving and hospitality as a proper response to the original Christmas story. That is why the Ghost of Christmas Present takes Scrooge to see the poor miners who labor in the earth, “but know how to keep Christmas” in their jubilant carol singing. The Ghost shows Scrooge sailors on a freezing sea and two old weather-beaten lighthouse keepers alone on their island, all singing their Christmas hymns and songs with ardent affection for each other, for home and for the season.

CHRISTMAS CAROL

artly because, to Dickens, a life spent merely in the pursuit of money—without generosity toward others—was a shadow life. After all, Scrooge spends most of the narrative invisible to the other characters, past, present and future. And then it would take an extreme visitation to shake up a man like Scrooge. Marley’s long, dense chains, his alarming pallor and his anguished screams and sighs frighten Scrooge out of his smugness, rendering him open to instruction. The ghosts who follow Marley reveal to Scrooge the sum total of his life in the only ways he understands: his

And we all know what happens in Dickens’ world view to those who fail that requirement.

Each other. Home. The season. That is why we are here today with Dickens, Scrooge, and his haunt of ghosts, waiting to see the familiar tale unfold upon this glistening stage in each other’s neighborly company. And then, as we leave, to set us humming a lively Christmas carol. n Marilynne S. Mason is a Denver-based arts journalist and critic who has written for various publications, most notably on staff for The Christian Science Monitor.

Black

White

Nov 29 – Dec 29 • Stage Theatre A HealthONE Family Production Sponsored by: Macy’s Foundation

Rich Black ink 70c, 40m, 4

ASL interpreted & Audio Described • Dec 15, 1:30pm

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • denvercenter.org 303.893.4100

A P P L A US E

THE PLAYS

SPARK A SEASON OF ENTERTAINMENT

See all three shows starting at $97 W

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THE LEGEND OF GEORGIA MCBRIDE By Matthew Lopez SPONSORED BY

This play is a recipient of an Edgerton Foundation New American Plays Award.

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JAN 10 – FEB 23 TICKETS START AT $35

PRODUCING PARTNERS

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BLACK ODYSSEY By Marcus Gardley A Denver Center commission

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JAN 17 – FEB 16

PRODUCING PARTNERS

TICKETS START AT $35

ILLUSTRATIONS BY KYLE MALONE

Times Bold first name - 12pt last name all caps -16pt (13pt leading)

HAMLET By William Shakespeare FOX, Alan&Katie

PRODUCING PARTNERS Katy

ATKINSON

JAN 24 – FEB 23 Hamlet is part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in cooperation with Arts Midwest.

TICKETS START AT $36

SINGLE TICKETS ON SALE NOW DENVERCENTER.ORG/SUBS • 303.893.6030 SEASON PARTNERS

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ART PARTNERS

WELLS FARGO ADVISORS Proudly working together for a better Colorado

side from the contribution Wells Fargo Advisors, LLC, makes to The Denver Center for the Performing Arts, team members in the Rocky Mountain Market of Wells Fargo Advisors strive to make a difference in their local communities…whether it’s through contributions of time, talent or resources. Wells Fargo invested $78.9 million in 28,000 not-forprofit organizations in 2012. Team members also personally contributed more than $60 million and logged more than 232,000 volunteer hours. More recently, Wells Fargo contributed $100,000 to the American Red Cross, $30,000 to the Salvation Army and $20,000 to Foothills Relief Fund to support flood disaster relief and recovery efforts in Colorado. Wells Fargo Advisors, LLC is proud to make a difference in the lives of those in need. n

Wells Fargo Advisors Rocky Mountain Market team members jumped into action collecting donations to aid wildfire victims.

The Colorado Springs branch raised more than $10,000 for the American Cancer Society with a Relay for Life team led by Stephen Drexler, Managing Director – Investments. Wells Fargo Advisors’ Managing Director – Market Manager Marc Beshany and the team presented a check for $27,600 to Kevin Seggelke, President and CEO of Food Bank of the Rockies.

A proud sponsor of the 2013/14 Denver Center Theatre Company Season Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company. 1013-05795

APPLAUSE

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The Broadway division of The Denver Center for the Performing Arts

and

In Association with Rebek Productions

Words: Ira Glass Choreography: Monica Bill Barnes

Three Acts, Two Dancers, One Radio Host is supported by the Rockefeller Brothers Fund. It is also made possible with public funds from the National Endowment for the Arts and further supported by The Dianne and Daniel Vapnek Family Fund. This work was developed during a Choreographic Fellowship at the Maggie Allesee National Center for Choreography at Florida State University, and was also supported through the Media Fellowship Initiative at MANCC.

Three Acts, Two Dancers, One Radio Host

Denver Center Attractions

and Season Sponsors

Three Acts, Two Dancers, One Radio Host

About the Program: Radio host Ira Glass and choreographer Monica Bill Barnes thought their work shared a sensibility, even though hers includes no talking and his involves no physical movement whatsoever. “There’s something funny and intensely personal in her dances,” Glass says, “with these moments of awkwardness or self-consciousness or striving that I find so relatable.” “Ira has a way of telling stories that makes me feel like I am playing a supporting role,” Barnes says. “I

will cringe, laugh and sometimes be heartbroken - basically I empathize, which is what I want an audience to do when we are dancing.”

Bass. For a few, the dancers or the radio host take over for a while.

“People who like This American Life will probably like this,” says Glass “because it’s just like the radio show, In May 2012 they collaborated on um, if you picture dancers during all three short dances that were part of the stories.” a This American Life variety show that was beamed into movie theaters “I think it’s important that we put the nationwide. It was such a success phrase ‘risk taking’ into the press that they decided to do a full show materials and show description,” that combines stories and dance. adds Bass. “That’s important in the dance world.” Some are performed together onstage by Glass, Barnes and dancer Anna “Done,” says Glass. “Well done.”

Who’s Who Ira Glass is the host and creator of the public radio program This American Life. The show is heard on more than 500 public radio stations in the U.S., plus Canada and Australia. Most weeks, it’s the most popular podcast in America. Under Glass’s editorial direction, This American Life has won the highest honors for broadcasting and journalistic excellence, including several Peabody and DuPont-Columbia awards. The American Journalism Review declared that the show is “at the vanguard of a journalistic revolution.”

Monica Bill Barnes is a New York City based choreographer and performer. Born and raised in Berkeley, California, Barnes moved to New York in 1995 after receiving her B.A. in Philosophy and Theater from the University of California at San Diego. She has created fourteen evening-length dance works, numerous site-specific events and multiple cabaret numbers for her company. Her work has been presented in a wide range of venues including The John F. Kennedy Center for the Performing Arts, The Joyce Theater, Upright Citizens Brigade, Symphony Space, A television adaptation of This Glass is married and owns a New York City Center, The David American Life ran on the Showtime disturbingly allergic dog. Koch Theater and alongside the hot network for two seasons, winning three Emmy awards, including Outstanding Nonfiction Series. Glass co-wrote and co-produced a feature film Sleepwalk with Me in 2012 that won an Audience Award at the Sundance Film Festival. Half a dozen other stories from the radio show are in development to become movies or television series. The radio show has put out its own comic book, three greatest hits compilations, DVDs of live shows and other events, a “radio decoder” toy, temporary tattoos and a paint-bynumbers set.

tub at The Standard Hotel. Barnes has been an invited Guest Artist at North Carolina School of The Arts, Vassar College, Virginia Commonwealth University, Connecticut College, The College at Brockport, Florida State University, James Madison University, University of Michigan and Emory University. She has choreographed for theater productions at The Signature Theater, The Atlantic Theater and Under the Radar Festival. Recent dance commissions include new works for Parsons Dance and The Juilliard School. Barnes was thrilled to be a part of “This American Life Live!” last May alongside her favorite radio host Ira Glass and for the wonderful opportunity to create a solo for David Rakoff for this event. Anna Bass began working with Monica Bill Barnes & Company in 2003. She has performed Barnes’ work all over the country and on stages ranging from public fountains and city parks, to New York City Center and Carnegie Hall. Bass and Barnes began their duet work in 2007 in Barnes’ “Suddenly Summer Somewhere” and have been side by side ever since. In addition to her performance work, Bass also teaches repertory workshops and master classes for the company. She assisted Barnes with dance works for Parsons Dance and Juilliard New Dances, with choreography for theater productions at The Atlantic Theater and The Public Theater, and in “This American Life Live!” with a solo for David Rakoff. Bass is also a certified yoga instructor and teaches in New York City. Her early dance training included studying ballet at Virginia School of the Arts and performing with her local studio in jazz and tap

competitions around the Southeast. Bass is originally from Forest, Virginia and holds a B.A. in Dance and Theater from James Madison University. Monica Bill Barnes & Company is a contemporary American dance company with the mission to celebrate individuality, humor and the innate theatricality of everyday life. MBB & Co. has performed in over twenty venues in New York City ranging from Joe’s Pub to Carnegie Hall and including three seasons at The Joyce Theater. The company has been presented in more than forty cities throughout the United States and has been commissioned and presented by The American Dance Festival, Bates Dance Festival, Fire Island Dance Festival and Jacob’s Pillow Dance Festival. MBB & Co. has received support from The National Endowment for The Arts, the Rockefeller Brothers Fund, New England Foundation for the Arts - National Dance Project, Doris Duke Charitable Foundation, New York State Council on the Arts, The Greenwall Foundation, Bossak/ Heilbron Charitable Foundation and New York City Department of Cultural Affairs. In 2012 MBB & Co. performed in “This American Life Live!” as a part of the public radio show’s cinema event shown in more than 600 movie theaters across the US, Canada and Australia. Recent highlights include performances at The John F. Kennedy Center for the Performing Arts, The David H. Koch Theater at Lincoln Center, Upright Citizens Brigade, The Mayor’s Awards for Arts and Culture at New York City Center and at Carnegie Hall alongside Ira. www.monicabillbarnes.com

Jane Cox (Lighting Designer) has designed with Monica for more than a decade, and her collaboration with the company is central to her creative life. Jane’s other projects for the 20122013 season include designing Lucia Di Lammermoor at Sydney Opera House, Picnic on Broadway, Passion at CSC, and The Whale and Flick at Playwrights Horizons. New York theater includes Broadway and designs for MTC, Roundabout, Public Theatre, B.A.M., Playwrights Horizons, Second Stage, Signature Theatre. Jane also has a long-term collaboration with choreographer Doug Varone, with whom she was awarded a Bessie, and has been teaching theater design at Princeton University since 2007. Kelly Hanson (Set/Costume Designer) is a New York based designer and director/creator of new performance works. She has collaborated with Monica Bill Barnes on dozens of shows over the past decade. Additional scenic design credits include Bill Irwin’s The Happiness Lecture at Philadelphia Theatre Company, John Clancy’s Fatboy in NYC and the Edinburgh Fringe Festival (Fringe First Award), Flags (Off-Broadway) and King Stag at Seattle Rep. Kelly currently spends her days art directing at NBC for Late Night with Jimmy Fallon. She is also Co-Artistic Director of Human Company, which is devoted to the creation of new physical theatre works. With Human Company, she has developed and directed Orpheus and Eurydice (2007), Is It True What They Say About Dixie? (2009) and Against the Dying of the Light (2010).

Three Acts, Two Dancers, One Radio Host

Who’s Who in the Cast

Three Acts, Two Dancers, One Radio Host

The Denver Center for the Performing Arts

Thank You: There are many individuals and organizations that have supported the making of Three Acts, Two Dancers, One Radio Host. We would like to acknowledge our incredible creative team – Kelly Hanson, Jane Cox, Robert Saenz de Viteri, and Mary Ellen Stebbins. We would also like to thank Katelijne De Backer, Carol Fisler, Melanie Aceto, Kim Dooley, Dawn Nadeau, Royd Climenhaga, Trey Lyford, and Seth Lind, as well

as our wonderful team of artists who have built our props and costumes: Joanie Schlaffer, Rachel Navarro, Pat Murphy and Jeremy Lydic. In addition, we are grateful for production support from Rosebrand, Daedalus Design and Production, The Crew at Late Night with Jimmy Fallon, Ellen Waggett and Heather Wolensky. Lastly, this work would not be possible without the generous support of private patrons and we offer them our heartfelt thanks.

Music Rights Information: I’LL NEVER FALL IN LOVE AGAIN (Burt Bacharach, Hal David) performed by Dionne Warwick. (C) 1968 (Renewed) New Hidden Valley Music Company (ASCAP) and Casa David Music (ASCAP). All rights on behalf of New Hidden Valley Music Company. Administered by WP Music Corporation. All rights reserved. Used by permission.

Company (BMI) All rights administered by Unichappell Music Inc. All rights reserved. Used by permission. DEEP BLUE DAY (Brian Peter George Eno, Roger Paul Eugene Eno, Daniel Roland Lanois) Rights courtesy of Opal Music PRS.

WHAT’LL I DO (Irving Berlin) performed by Nat King Cole. Published LET IT BE ME (Gilbert Becaud, by Irvin Berlin Music. Rights courtesy Manny Kurtz, Pierre Leroyer) performed of Virgin Records. by Nina Simone courtesy of RCA Records/Sony label group. Rights UNDAN HULU (Ólafur Arnalds) courtesy of Universal Music. Rights courtesy of Nettwerk One B Music US (BMI). GET UP (I FEEL LIKE BEING A SEX MACHINE) (James Brown, Bobby ONE (Marvin Hamlisch, Lawrence Byrd, Ronald R. Lenhoff) performed Kleban) Rights courtesy of Sony/ATV by James Brown. 100% interest. (C) Harmony Publishing. 1970 (Renewed) Dynatone Publishing

Production Staff: Production Director/Stage Manager: Robert Saenz de Viteri

Denver Center Attractions gratefully acknowledges the following support in its 2013/14 season

Denver Center Attractions Staff D. Randall Weeks. . . . . . . . . . . . . Executive Director/President Jeff Hovorka . . . . . . . . . . . . Director of Media and Marketing John Ekeberg . . . . . . . Director of Programming & Operations Heidi Bosk . . . . . . . . . . . . . . . . . . . PR & Promotions Manager Alicia Giersch. . . . . . . . . . . . . . . . . . . . . . . . Business Manager Emily Lozow . . . . . . . . . . . . . . . . . . . . . Marketing Coordinator

DCPA Marketing Staff Jennifer Nealson . . . . . . . . . . . . . . . . Chief Marketing Officer Sylvie Drake. . . . . . . . . . . . . . . . . . . . . Director of Publications Brianna Firestone. . . . . . . . . . . . . . . . . . Director of Marketing, Denver Center Theatre Company Janet Flesch. . . . . . . . . . . . . . . . . . . . . . . Director of Marketing, Denver Center for the Performing Arts Suzanne Yoe . . . . . . . . . . . . . . Director of Marketing Services Nick Brown. . . . . . . . . . . . . . . . . . . . . . Account Sales Manager Nathan Brunetti. . . . . . . . . . . . . . . . . . . . . . . . . . Email Designer Kim Conner. . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic Designer FloraJane DiRienzo. . . . . . . . . . . . Business Relations Manager Anita Edwards. . . . . . . . . . . . . . . . . . . . Web Services Manager Brenda Elliott. . . . . . . . . . . . . . . . . . . Senior Graphic Designer Simone Gordon. . . . . . . . . . . . . . . . . . . . Marketing Coordinator Alexandra Griesmer. . . . . . PR & Promotions Manager, DCTC Tristan Jungferman. . . . . . . . . . . . . . . . . . . Box Office Manager Jennifer Kemps. . . . . . . . . . Groups Sales Business Coordinator Carol Krueger. . . . . . . . . . . . . . . . . . Theatre Services Manager Jennifer Lopez. . . Assoc. Director of Ticket Services/Operations Kyle Malone. . . . . . . . . . . . . . . . . . . . Senior Graphic Designer Jane McDonald. . . . . . . . . . . . . Marketing Coordinator, DCTC John Moore. . . . . . . . . . . . Assoc. Director of Content Strategy Ken Mostek. . . . . . . . . . . . . . . . Videographer/Cinematographer Mark Onderdonk. . . . . . . . . . . . . . . . . . . . . . Business Manager Kirk Petersen. . . . . . . . . . . . Assoc. Director of Ticket Services/ Patron Relations Adam Quinney. . . . . . . . . . . . . . . . . . . . . . Box Office Manager Tina Risch. . . . . . . . . . . . . . . . . . Community Services Manager Anthoney Sandoval. . . . . . . . . . . . . . . . . . . Box Office Manager Jill Schwager. . . . Student Matinee and Group Tours Associate David Smith . . . . . . . Assoc. Director of Subscription Services

Information Services Bruce Montgomery. . . . . . . . . . Director of Information Services Jim Hipp. . . . . . . . . . Associate Director of Information Services Bobby Jiminez . . . . . . . . . . . . . Senior Audience View Specialist

Development Department Dorothy Denny. . . . . . . . . . . . . . . . . . Executive Vice President Tiffany Grady . . . . . . . . . . . . . . . . . . . . . . . . Associate Director Linda Mitchell . . . . . . . . . . . . . . . . . . . . . . . . Associate Director David Zupancic . . . . . . . . . . . . . . . . . . . . . . Associate Director Jeremy P. Anderson . . . . . . . . . . . . . . . . . . . . Associate Director Mary Mosher. . . . . . Manager, Membership Groups/Major Gifts Megan Fevurly . . . . . . . . . . . . . . . . . . . . . . . . Business Manager

The buell theatre is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues.

Lighting Director/Stage Manager: Mary Ellen Stebbins

City & County of Denver

Lighting Supervisor: Tess James

Arts and Venues

Set/Costume Assistant: Aaron Ethan Green

For information call: 720.865.4220

Music Clearance: Anthony Roman

Michael Hancock, Mayor

Kent Rice, Director

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DONORS

A SALUTE TO OUR DONORS

Mary Ellen

MILLER

Years ago I had the freedom to choose where I wanted to live in the United States. One of the many factors I considered in my decision was the importance, quality and availability of live theatre. The DCPA met that requirement for me and was a big reason that I chose to move to Denver. Because theatre is still something that I value highly, I feel it is important to support that through my attendance and a yearly donation.

We are proud of the fact that nearly 7,000 people make up our donor family. There are so many different ways that donors lend their support to The Denver Center. We would like to share a few of them…

Colin

WALKER

I have enjoyed the DCPA for a long time, but until I joined the Marquee Club, I just didn’t seem to find the time to go to performances very often. My participation in the Marquee Club not only gets me great seats to a show, but it includes a donation to support the theatre, and I am happy to provide that support. The DCPA and the Marquee Club have really expanded my horizons and introduced me to many wonderful people who have become close friends.

Every Christmas my grandparents give their grandchildren $100 to donate to something that is important to us. I decided to donate to the DCPA because the arts hold a very special place in my heart. I am a dancer and I aspire to perform at the DCPA someday.

Catalin

VARELA

Leslie

GALLUZZO

Barbara

THORNGREN

APPLAUSE

Because I volunteer as a Tour Ambassador, I see the skill and pride the DCTC craftspeople bring to our productions. As a long-time subscriber, I know the quality of the onstage productions, so to keep our theatre at the top, I am happy to add a little to my ticket prices as a donor.

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My mother shared her love of the theatre with me at an early age. After she passed, I wanted to find a unique way to honor her memory, so when I learned about the opportunity to “Name a Seat” at The Ricketson Theatre, I was delighted. Growing up close to Manhattan I was exposed to a cultural feast. The Denver Center for the Performing Arts provides the same wonderful opportunities that I now can share with my children and grandchildren. To this day, when I hear the conductor’s first tap, I remember my mother’s throaty, contagious laughter and feel her warm embrace. I am thrilled that my donation honors my memories of our time together at the theatre.

BETKER

Roger and Michelle

STANSBURY

We became Encore Society members by including DCPA in our Stansbury Family Trust with the goal of giving back to the Denver metro community. This is our way of “paying it forward” so that future generations will have the experience of great theatre as we have had for many years.

DONORS

Dave and Mary

VIP nights are our favorite evenings of the year. During the wonderful pre-show dinner, artloving audience members get a chance to meet and converse, before seeing wonderful Broadways shows. These events offer not only an evening of great entertainment, but also include a donation to one of our community’s most precious assets: the DCPA.

Loretta

ROBINSON A favorite quote I like is by none other than MLK...“Life’s most persistent and urgent question is, ‘What are you doing for others?’” I have supported the Women’s Voices Fund for over seven years. I love the mission and the work. My mother, a single parent raising my brother and me, was the nucleus of our family. I want to be that to my family and the community and bestow the goodwill and compassion I was taught.

Michael

Mike and Elisa

FERRARI

We have enjoyed the DCPA since we moved to the Denver area more than 20 years ago. We find the performances inspiring, enlightening and thoroughly entertaining. What we have received from the performances in our ten plus years as season ticket-holders is priceless, and it is our pleasure to give back as we realize the theatre cannot survive on ticket sales alone.

ROCHE The DCPA has some fantastic educational programs for children and teens. My daughter Katie has enjoyed being a part of the DCPA for several years. The teachers do a great job of making the students feel like they are a part of something special, and I am pleased to give back to a program that gives so much.

3 easy ways to donate:

With your help The Denver Center will continue to be a

place where Broadway tours begin, a place where new plays and new musicals get their start, and a place where young people experience the magic of theatre at an early age and hold onto it for a lifetime.The DCPA is a not-for-profit organization. Please join our donor family today.

Mail: Denver Center for the Performing Arts Attn: Development Office 1101 13th Street, Denver, CO 80204 Online: denvercenter.org/donate Phone: 303.446.4802

303.893.4100

A P P L A US E

Give the gift of theatre this holiday season

lo for aysments of 4 pa

$42.50

Gift certificates and subscriptions available PRESENT

AND

NORTH AMERICAN TOUR CAST. PHOTO BY PAUL NATKIN.

WITH

ORIGINAL BROADWAY COMPANY, PHOTO BY FRANK OCKENFELS

THE SHOWS

ribe Subsdcay to w as

DEC 10 – 22, 2013

JAN 15 – 26, 2014

BUELL THEATRE

FEB 25 – MAR 9, 2014

BUELL THEATRE

MAY 6 – 18, 2014 BUELL THEATRE

Boulder Ensemble Theatre Company’s

©LITTLESTAR

JAN 28–FEB 2 BUELL THEATRE

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ELLIE CAULKINS OPERA HOUSE

NOV 30–DEC 1 BUELL THEATRE

DEC 7

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the groundbreaking BROADWAY musical

APRIL 25–27 BUELL THEATRE

303.893.4100 GROUPS: 303.446.4829 TTY: 303.893.9582

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JAN 16–MARCH 9 GARNER GALLERIA THEATRE

MAY 23–25 BUELL THEATRE

Cirque Dreams Holidaze (Marching on a thin line) courtesy of Cirque Productions

NOV 29–DEC 24 GARNER GALLERIA THEATRE

Photos: Ebru Yildiz

PHOTO: EBRU YILDIZ

Added s: Attraction

IRA GLASS, MONICA BILL BARNES, ANNA BASS

PHOTO BY SIMON TURTLE

By David Sedaris

Adapted by Joe Mantello

THREE ACTS, TWO DANCERS, ONE RADIO HOST:

MATT ZAMBRANO • PHOTO BY MICHAEL ENSMINGER

The SantaLand Diaries

Educating Minds, Enriching hEarts & Expanding horizons Visit st. anne’s Episcopal school and you’ll discover a magical place full of magnificent flower gardens, secret passages and spaces that speak of love and caring that began long ago. • rigorous academics • arts, athletics, technology, Foreign Language • sports and Extra-curricular activities • Before- and after-school care • need-Based tuition assistance grades: preschool (age 3)-grade 8 Enrollment: 426 student/Faculty: 8:1 2701 s. York street • denver, co 80210 • 303.756.9481 www.st-annes.org

Get them everything they really want this year with a gift certificate to the Spa at AURA

12664 W. Indore PL. • Littleton, CO 80127 Phone: (303) 933-AURA www.theAURAsalon.com

for someone special?

Make a DONATION in honor of your special someone. Your gift helps ensure that Denver is a place where young people have the opportunity to experience the magic of theatre and become the next generation of theatre lovers. We will provide a card you can present to your loved one. Gifts of any size are greatly appreciated.

CURRENT CONTRIBUTORS List Complete August 2013 Impact Creativity is an urgent call to action to save theatre education programs in 19 of our largest cities. Impact Creativity brings together theatres, arts education experts and individuals to help over 500,000 children and youth, most of them disadvantaged, succeed through the arts by sustaining the theatre arts education programs threatened by today’s fiscal climate. For more information on how “theatre education changes lives,” please visit: www.impactcreativity.org ($250,000 or more) The James S. and Lynne P. Turley Ernst & Young Fund for Impact Creativity Clear Channel Outdoor* CMT/ABC* ($100,000 or more) The Hearst Foundations

Name a seat in The Ricketson Theatre

Honor someone by putting their name on a seat in The Ricketson Theatre for $1,000. Payment plans are available and gifts support our new play fund.

($50,000 or more) AOL*

Marquee Club member for a night

Treat them to a VIP event

($10,000 or more) Christopher Campbell/ Palace Production Center* Lisa Orberg Frank and Bonnie Orlowski The Ralph and Luci Schey Foundation The Schloss Family Foundation Southwest Airlines* James S. Turley John Thomopoulos Wells Fargo

Treat them to a special night at the theatre with a dynamic group of active professionals that make up our Marquee Club. $250 gets you two tickets to an April 17 performance of Animal Crackers, open bar and hors d’oeuvres before the show, and a “Meet the Cast” party at Ocean Prime in Larimer following the show. Who doesn’t want to see Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins? You can see them all at our VIP event for Million Dollar Quartet on Sunday, March 9 at 12:30pm. Guests will enjoy a mimosa bar and brunch in the Seawell Grand Ballroom, followed by the performance in The Buell Theatre. VIPs will have the best seats in the house. $225 each.

Want to finish your holiday shopping now? Give a meaningful gift this holiday season. Contact us at 303.446.4802 or visit us online at www.denvercenter.org/donate 24

Looking for a unique gift

I M PAC T CRE TIVIT Y

APPLAUSE

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Use this QR code to connect to our donation page.

($5,000 or more) Steven and Joy Bunson Paula Dominick Christ Economos Mariska Hargitay* Ogilvy & Mather* The Maurer Family Foundation ($1,000 or more) Nick Adamo Mitchell J. Auslander Ryan Dudley Bruce R. Ewing Jessica Farr Steve & Donna Gartner Glen Gillen Peter Hermann Janet and Howard Kagan John Major Jonathan Maurer and Gretchen Shugart George S. Smith, Jr. Florence Miller Memorial Fund Theodore Nixon Carol Ostrow RBC Wealth Management Isabelle Winkles *Includes In-kind support

Traditional Worship for Contemporary People

L E T I T G L O W, L E T I T G L O W,

Candlelight Christmas Services Advent Organ Recitals Christmas Concerts www.trinityumc.org

18th & BROADWAY, DENVER

We’re Here For Good!

OPEN NIGHTLY November 29 – January 1 5:30-9:30 p.m.

Blossoms OF LIGHT

New Experiences. Classic Space.

Colfax and Bannock Streets ArtsandVenuesDenver.com

10TH & YORK STREET

Winter blooms with a million glittering lights! Sparkling passages & brand new displays Twinkle, Twinkle Little Bar* & strolling choirs (select evenings) *21 & over

Cultural Performances. Special Events. Receptions.

Trail of LIGHTS

C-470 & WADSWORTH BLVD.

Come Sing With Us!

In the trail, winter is glistening! Sleigh bells ring (on select evenings) Kettle corn & hot drinks • Toasty fire pit Historical homestead decorated for Christmas

www.youngvoices.org Informational meetings and friendly auditions fall, spring and summer

Membership information: ofﬁce@youngvoices.org 303.797.SING

For more information, visit www.botanicgardens.org

ASSOCIATE SPONSORS

D. U. Newman Center Concerts December 8 - May 4 - June 29

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PHOTOS BY VICKI KERR

THEATRE THREADS

The gangâ&#x20AC;&#x2122;s all here!

RUNWAY FUN AT

THEATRE THREADS

Costumes from the Denver Center Theatre Company collection took to the runway October 23rd as volunteers and community leaders modeled the treasures at Theatre Threads, A Costume Runway Show. Event chairs John Farnam and Denise Bellucci announced net proceeds of $20,000 benefiting the Denver Center Theatre Company. Three hundred guests enjoyed the luncheon in the Seawell Grand Ballroom followed by the runway show featuring 20 costumes, all designed and hand-created by Theatre Company craftsmen. Participating models included: Jeremy Anderson. Jamie Angelich, Fiona Baldwin, Murri Bishop, Keri Christiansen, Sharon Cooper, BJ Dyer, Terri Fisher, Adrienne Ruston Fitzgibbons, Alice Foster, Roger Hutson, Carmel Koeltzow, Gayle Novak, Stacy Ohlsson, Loretta Robinson, Jackie Rotole, Judi Wolf. n

Jackie Rotole gets a r finishing touch to he e m stu co t Romeo & Julie ter from DCTC wig mas Diana Ben-Kiki.

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Terri Fisher in her costume from Room Service, a 1995/96 season production.

Roger Hutson tips his hat to the 300 guests in attendanc e.

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Daniel Ritchie, aka Lady Gives the opportun more, took ity to promot e the upcomin world premie g re McBride. He of The Legend of Georgia also announce d a gift to the Women’s Voi women more ce Fund. “I appreciate than I ever ha ve before!”

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Outreach, Service and Philanthropy

Sponsoring events such as VIP Evenings and the Student Matinee program gives Fidelity the opportunity to give back to the Denver area community.

idelity Investments is a proud sponsor of the Denver Center Theatre Company Student Matinee program where school groups see live, professional productions at The Denver Center for the Performing Arts (DCPA). During the 2013/14 season nearly 16,000 students will participate in 33 matinees. The company also is the presenting sponsor of The Denver Centerâ&#x20AC;&#x2122;s popular VIP Evenings. Fidelity Investments is one of the worldâ&#x20AC;&#x2122;s largest providers of financial services, with assets under administration of more than $4.2 trillion, including managed assets of more than $1.8 trillion, as of August 31, 2013. Founded in 1946, the firm is a leading provider of investment management, retirement planning, portfolio guidance, brokerage, benefits outsourcing and many other financial products and services to more than 20 million individuals and institutions, as well as through 5,000 financial intermediary firms. Fidelity continues to grow in the Denver area, recently celebrating the opening of its new customer contact center in Greenwood Village, which has the capacity to employ as many as 500 people in a range of roles that represent new jobs for the state. In addition, the firmâ&#x20AC;&#x2122;s five area investor centers are open to clients to come in and work one-on-one with Fidelity to address all of their financial needs.

A proud sponsor of the Denver Center Theatre Company Student Matinee program and popular VIP Evenings

APPLAUSE

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Fidelity has a long history of community outreach and philanthropic service in communities nationwide. Among its outreach initiatives, the company partners with numerous civic, charitable, arts and cultural organizations across the country, one of which is the DCPA, to support and strengthen arts education and appreciation. Sponsoring events such as VIP Evenings and the Student Matinee program gives Fidelity the opportunity to give back to the Denver area community. Supporting both education and the arts is an ongoing commitment for Fidelity. To date, the firm has assisted more than 200 public schools across the country by helping update classrooms and other learning spaces, providing volunteer time, mentorship and special performance opportunities to students, and donating much needed resources including school supplies, computers and even new musical instruments. Fidelity looks forward to continuing these efforts here in Denver and nationwide. n For more information about Fidelity Investments, visit www.fidelity.com. Fidelity Brokerage Services, Member NYSE, SIPC, 900 Salem Street, Smithfield, RI 02917

Photos by Brain Landis Folkins

ART PARTNERS

Fidelity Investments

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Larimer Square Downtown’s Go-To Destination

“It’s about creating a meaningful relationship on multiple levels with our different merchants and with all the different programs and areas of The Denver Center.” —Jeff Hermanson, CEO, Larimer Associates

arimer Square, recognized as Denver’s most “historic block,” also is popularly known as downtown Denver’s premier shopping and dining district. Larimer Square and Larimer Associates, the Denver-based real estate investment and management firm that operates Larimer Square, takes great pride in supporting its neighbor, The Denver Center for the Performing Arts (DCPA). “Larimer Square has not only found a special organization to continue to support, but it has found the perfect partner,” said Jeff Hermanson, Larimer Associates’ CEO. “It’s about creating a meaningful relationship on multiple levels with our different merchants and with all the different programs and areas of The Denver Center.” Larimer Square and the DCPA share a strong commitment to the arts. The Square has distinguished itself from other districts by creating a place for independently minded shops and restaurants, giving entrepreneurs the artistic freedom and support they need to make their business dreams a reality. At the same time, the Square offers a shopping and dining experience that embodies and complements artistic and creative sensibilities.

A proud sponsor of Denver Center Theatre Company’s 2013/14 Season

Jeff Hermanson, CEO, Larimer Associates

APPLAUSE

d e nver center. or g

“We are so honored to support the many talented, creative and entrepreneurial minds that fill the theatres of The Denver Center every night,” said Hermanson. “And I’d like to think that similarly we support the many artists on Larimer Square. Our chefs, cocktail mixologists and retail tenants are some of the most artistic in the city.” In addition to the DCPA, Larimer Square is a proud supporter of the Downtown Denver Partnership, the Larimer Arts Association, LoDo District, Art of Winter, Global Down Syndrome Foundation, We Don’t Waste, VOA and more. For the past 11 years, Larimer Square has hosted the Denver Chalk Art Festival, which benefits Larimer Arts in its mission to promote awareness and education in Denver. “Denver is in the middle of an entrepreneurial and cultural transformation,” continued Hermanson. “It’s been amazing to witness and an honor to be a part of this change with the Larimer Arts Association and our partners at The Denver Center.” n

Hamlet

Jan 10 – Feb 23

Stage Theatre

Jan 24 – Feb 23

ASL interpreted and Audio Described performance Feb 2 @ 1:30pm.

ILLUSTRATION BY KYLE MALONE

Ricketson Theatre

ILLUSTRATION BY KYLE MALONE

denvercenter.org

The Legend of Georgia McBride Elvis impersonator Casey, on the verge of unemployment, learns a lot about show business—and himself—when an opportunity he never expected comes his way. This world premiere is a saucy comedy with music and a great big heart.

NEXT UP

Looking ahead…

Tickets: 303.893.4100

Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829

Proclaimed the “greatest play in the English language,” this trifecta of revenge, deceit and moral corruption escalates as the need to avenge his father’s suspicious death prompts Hamlet to contemplate action, inaction and the meaning of life. ASL interpreted and Audio Described performance Feb 23 @ 1:30pm

Mamma Mia Evita Jan 15 – 26 Buell Theatre One of Andrew Lloyd Webber’s earliest and most enduring musicals traces the life and rise to power of Argentina’s Eva Perón. ASL interpreted, Audio Described and Open Captioned performance Jan 26 @ 2pm.

Jan 28 – Feb 2 Buell Theatre Producer Judy Craymer had to sell her flat to pay for the rights to convert ABBA’s songs into a musical. She was handsomely repaid when the musical became the surprise hit of the 1999 West End season—and a worldwide smash hit was born. ASL interpreted, Audio Described and Open Captioned performance Feb 1 @ 2pm.

black odyssey Jan 17 – Feb 16

ILLUSTRATION BY KYLE MALONE

Space Theatre Myth, humor and modernity reverberate in this world premiere as ancient Greek archetypes and new world African American culture collide in this update of Homer’s epic, tracking a black soldier returning from the Gulf War. ASL interpreted and Audio Described performance Feb 16 @ 1:30pm

Spark a dialogue today by participating in our free CONNECT program. Designed to enhance your theatre experience, the CONNECT program offers a variety of opportunities, including moderated discussions with the cast and creative staff, educational resources, tours, and other special events. For more information visit www.denvercenter.org/CONNECT 303.893.4100

A P P L A US E

ART PARTNERS

The Denver Post MAKING A DIFFERENCE

Thanks to the generosity of thousands of donors and the hard work of the recipient agencies, millions of meals were provided, hundreds of nights of shelter were used and thousands of medical visits were completed last year.

he Denver Post is proud to support The Denver Center for the Performing Arts (DCPA), both through sponsorship of its acclaimed theatre productions as well as with grant funding through Denver Post Community Foundation. Our partnership is founded on our mutual mission to improve and enrich the quality of life in our community. While the DCPA does that through the performing arts, The Denver Post does it through its Denver Post Community programs, which support nonprofit organizations and events in four focus areas: arts and culture, children and youth, literacy and education, and the provision of basic human services. During this season of giving, the Post focuses on basic human services by continuing its legacy of raising and distributing funds to local nonprofit agencies through Season To Share, a campaign of Denver Post Charities, a McCormick Foundation Fund. Did you know that right here in Denver there are: • People who don’t have enough food to eat; • Children who lack the education to succeed in the future; • Families who have lost their homes and have nowhere to go; • Adults who can’t read well enough to find a job; • Folks who can’t afford basic healthcare? Since 1992, more than $59 million has been distributed through Season To Share to help some of Colorado’s neediest citizens. All contributions are matched at 50% by the McCormick Foundation, and 100% of all donations (plus the match) go directly to Denver-area charities that help move people out of poverty. The Denver Post and the McCormick Foundation pay all administrative expenses. Last year, more than 6,400 generous donors contributed $1,850,000. With the match from the McCormick Foundation, grants totaling a record $2,775,000 were distributed to 67 local nonprofits including Boys & Girls Clubs of Metro Denver, Children’s Hospital Colorado Foundation, Colorado Coalition for the Homeless, Food Bank of the Rockies, Goodwill Industries of Denver, Inner City Health Center, Volunteers of America and many more. Thanks to the generosity of thousands of donors and the hard work of the recipient agencies, millions of meals were provided, hundreds of nights of shelter were used and thousands of medical visits were completed last year. n Many have been helped, but more remains to be done. A donation of any size can make a difference. Will you consider making a contribution after the show?

A proud sponsor of The Denver Center for the Performing Arts 34

APPLAUSE

To learn more about Season To Share or to make a donation: • Look for the daily donation coupon in The Denver Post • Call 800.518.3972 • Visit www.seasontoshare.com

d e n ver center. or g

FAMILY

HOLIDAY

MEMORIES

AT CHERRY CREEK SHOPPING CENTER

CELEBRATING THE BEST OF THE SEASON PHOTOS wITH SANTA AT THE ICE PALACE NOVEMBER 7 THROUGH DECEMBER 24 | GRAND COURT Visit Santa and enjoy a magical snow and light show throughout the holiday season at the Ice Palace.

TREE LIGHTING CEREMONY FRIDAY, NOVEMBER 29, 5:30 P.M. TO 7:30 P.M. | VALET CIRCLE Join us for hot cocoa, kettle corn, entertainment by the Original Dickens Carolers and more as we count down to the lighting of our 60-foot tree.

SANTA CLAwS & PAwS SUNDAY, DECEMBER 8, 7:00 P.M. TO 10:00 P.M. | GRAND COURT we invite you and your four-legged friends for photos with Santa.

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