Applause Magazine, November 29 - December 29, 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

NOVEMBER – DECEMBER 2013

A CHRISTMAS CAROL ILLUSTRATION BY KYLE MALONE

ALSO PLAYING…

JACKIE & ME 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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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

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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

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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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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

d e n ver center. or g

Denver Center Theatre Company Resident Professional Theatre • Kent Thompson, Producing Artistic Director

Charles Dickens ADAPTED BY Richard Hellesen MUSIC BY David de Berry BY

WITH Colin Alexander*, Leslie Alexander*, Leonard E. Barrett Jr.*, Benjamin Bonenfant, Michael Bouchard, Kathleen M. Brady*, Courtney Capek*, Stephanie Cozart*, Jeff Cribbs*, Jenn Miller Cribbs*, Connor Nguyen Erickson, Michael Fitzpatrick*, Michael Gaessler, Tanner Gardner, Douglas Harmsen*, Edwin Harris, John Hutton*, Isaiah Johnson, Charlie Korman, Gabriel Koskinen-Sansone, Kyra Lindsay, M. Scott McLean*, Amelia Modesitt, Sam Modesitt, Gabriel Morales-Gonzalez, Tricia Moreland, Leslie O’Carroll*, Mackenzie Paulsen, Philip Pleasants*, Max Raabe, Jeffrey Roark*, Christine Rowan*, Thomas Russo, Maggie Sczekan, Lauren Shealy*, Jake Walker, Christopher Wells

SET DESIGN BY Vicki Smith

COSTUME DESIGN BY Kevin Copenhaver

MUSIC DIRECTION & ORCHESTRATIONS BY Gregg Coffin

LIGHTING DESIGN BY Don Darnutzer

CHOREOGRAPHY BY Christine Rowan

DIRECTOR OF PRODUCTION Jeff Gifford

SOUND DESIGN BY Craig Breitenbach

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

PRODUCTION STAGE MANAGER Christopher C. Ewing*

DIRECTED BY

Bruce K. Sevy HealthONE F A M I LY P R O D U C T I O N

On A Christmas Carol the Denver Center Theatre Company’s Production Staff is responsible for costumes, wigs, lighting, props, furniture, scenic construction, scenic painting, sound and special effects. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

THE STAGE THEATRE • NOVEMBER 29 – DECEMBER 29, 2013 2013/14 Season Partners

CAST Ebenezer Scrooge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PHILIP PLEASANTS* Bob Cratchit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFF CRIBBS* Fred, Scrooge’s Nephew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DOUGLAS HARMSEN* Subscription Gentlemen . . . . . . . . . . . . . . . . . . . . . . LEONARD E. BARRETT JR.*, JEFFREY ROARK* A Beggar Child . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TANNER GARDNER Ghost of Jacob Marley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN HUTTON* Ghost of Christmas Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEPHANIE COZART* Schoolmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFFREY ROARK* Schoolboys . . . . . . . . . . . . . . . . . . . . . . . . . . CONNOR NGUYEN ERICKSON, MICHAEL GAESSLER, TANNER GARDNER, EDWIN HARRIS, ISAIAH JOHNSON, CHARLIE KORMAN, GABRIEL KOSKINEN-SANSONE, SAM MODESITT, MAX RAABE Their Parents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COLIN ALEXANDER*, LESLIE ALEXANDER*, BENJAMIN BONENFANT, JENN MILLER CRIBBS*, MACKENZIE PAULSEN, MAGGIE SCZEKAN, JAKE WALKER, CHRISTOPHER WELLS Ebenezer the Child . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THOMAS RUSSO Fan, Scrooge’s Sister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AMELIA MODESITT Ebenezer the Young Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M. SCOTT MCLEAN* Dick Wilkins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GABRIEL MORALES-GONZALEZ Fezziwig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL FITZPATRICK* Mrs. Fezziwig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LESLIE O’CARROLL* Hortense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATHLEEN M. BRADY* Fezziwig Daughters . . . . . . . . . . . . . . KYRA LINDSAY, MACKENZIE PAULSEN, LAUREN SHEALY* Their Suitors . . . . . . . . BENJAMIN BONENFANT, MICHAEL BOUCHARD, CHRISTOPHER WELLS A Fiddler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DOUGLAS HARMSEN* Belle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COURTNEY CAPEK* Belle’s Husband . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFFREY ROARK* Ghost of Christmas Present . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LEONARD E. BARRETT JR.* Mrs. Cratchit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LESLIE ALEXANDER* Martha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KYRA LINDSAY Peter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GABRIEL KOSKINEN-SANSONE Belinda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRICIA MORELAND Edward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MAX RAABE Tiny Tim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHARLIE KORMAN Fred’s Wife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JENN MILLER CRIBBS* Topper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFFREY ROARK* The Wife’s Sister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTINE ROWAN* Fred’s Party Guests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M. SCOTT MCLEAN*, LESLIE O’CARROLL* Ghost of Christmas Yet To Come . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER WELLS Want . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AMELIA MODESITT Ignorance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CONNOR NGUYEN ERICKSON Old Joe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN HUTTON* The Undertaker’s Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DOUGLAS HARMSEN* The Laundress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATHLEEN M. BRADY*

The Charwoman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEPHANIE COZART* Merchants from the Exchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BENJAMIN BONENFANT, MICHAEL BOUCHARD, JAKE WALKER Street Singer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTINE ROWAN* Boy in the Street . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL GAESSLER ENSEMBLE Londoners, Carolers, Fezziwig Party Guests and Phantoms COLIN ALEXANDER*, LESLIE ALEXANDER*, LEONARD BARRETT JR.*, BENJAMIN BONENFANT, MICHAEL BOUCHARD, KATHLEEN M. BRADY*, COURTNEY CAPEK*, STEPHANIE COZART*, JEFF CRIBBS*, JENN MILLER CRIBBS*, CONNOR NGUYEN ERICKSON, MICHAEL FITZPATRICK*, MICHAEL GAESSLER, TANNER GARDNER, DOUGLAS HARMSEN*, EDWIN HARRIS, JOHN HUTTON*, CHARLIE KORMAN, GABE KOSKINEN-SANSONE, KYRA LINDSAY, M. SCOTT MCLEAN*, AMELIA MODESITT, SAM MODESITT, GABRIEL MORALES-GONZALEZ, TRICIA MORELAND, LESLIE O’CARROLL*, MACKENZIE PAULSEN, JEFFREY ROARK*, CHRISTINE ROWAN*, THOMAS RUSSO, MAGGIE SCZEKAN, LAUREN SHEALY*, JAKE WALKER, CHRISTOPHER WELLS UNDERSTUDIES Understudies never substitute for the listed players unless a specific announcement for the appearance is made at the time of the performance.

COLIN ALEXANDER* (Fezziwig/Ghost of Christmas Present), LESLIE ALEXANDER* (Mrs. Fezziwig/Hortense), CONNOR NGUYEN ERICKSON (A Beggar Child/Edward), BENJAMIN BONENFANT (Schoolmaster/Ebenezer the Young Man/Belle’s Husband/Topper), MICHAEL BOUCHARD (Dick Wilkins), MATTHEW CAMPBELL* (Ghost of Christmas Yet To Come), JENN MILLER CRIBBS* (Mrs. Cratchit), TANNER GARDNER (Ebenezer the Child/Boy In The Street), SAM GREGORY* (Bob Cratchit), EDWIN HARRIS (Ignorance), MIKE HARTMAN* (Scrooge/Ghost of Jacob Marley/Old Joe), AMELIA MODESITT (Belinda), SAM MODESITT (Peter), GABRIEL MORALES-GONZALEZ (Ensemble), TRICIA MORELAND (Fan/Want), LESLIE O’CARROLL (The Laundress), MACKENZIE PAULSEN (Ghost of Christmas Past/Fezziwig Daughter/Fred’s Wife/The Charwoman), MAX RAABE (Tiny Tim), MAGGIE SCZEKAN (Martha), LAUREN SHEALY* (Belle/Fezziwig Daughter/The Wife’s Sister/Street Singer), SuCh (Ensemble), JAKE WALKER (Fred/A Fiddler/The Undertaker’s Man) Place & Time: London, 1840’s There will be one 15-minute intermission. Production Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER C. EWING* Assistant Stage Managers . . . . . . . . . . . . . . . . . . . . . . . MATTHEW CAMPBELL*, KURT VAN RADEN* Production Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ERIN E. RAMSEY Production Interns . . . . . . . . . . . . . . . . . . BECKY FRYBERGER, DAVIS HENSHAW, SARA E. SACHS Rehearsal Room Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NINA BLUEWATERS Children’s Performance Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LAUREN FREEMAN Dance Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTINE ROWAN* *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

EXECUTIVE STAFF

Development, he oversees both the artistic and practical components of DCTC’s successful Colorado New KENT THOMPSON (Producing Artistic Director) is in his ninth season Play Summit, including commissions from outstanding American as Producing Artistic Director of the playwrights. Denver Center Theatre Company. In He has directed for Arizona Theatre Denver he directed productions of Company, Cleveland Play House, Lark Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Play Development Center, Kansas City Repertory Theatre, Virginia Stage Taming of the Shrew, A Midsummer Company, Alabama Shakespeare Night’s Dream, Plainsong, Eventide, Festival, Northlight Theatre, San Jose Amadeus, The Liar and Measure for Repertory Theatre, Eugene O’Neill Measure, among others. Two of Kent’s major accomplishments Theater Center, Pioneer Theatre Company, A Contemporary Theatre, since moving to Denver have been Seattle Repertory Theatre, Empty the Colorado New Play Summit, a Space and Intiman Theatre in Seattle, premier national festival for new American plays, and the establishment the Kimo Theatre in Albuquerque, and Utah Shakespearean Festival. His of the Women’s Voices Fund, popular production of 2 Pianos, 4 an endowment that supports the development of new plays by women. Hands has been seen at more than 20 theatres nationally, including DCTC’s Prior to moving to Denver he was successful 2003 production. Producing Artistic Director of the Alabama Shakespeare Festival for CHARLES VARIN (Managing 16 years. In 1991 Kent created the Director) and his team are responsible Southern Writers’ Project (SWP), for administrative, financial and designed to commission and develop business operations related to new plays that presented 16 world producing DCTC’s season of premieres during his tenure. productions and other artistic and He served for eight years on the educational initiatives. Prior to DCTC Board of Directors for Theatre Charles was General Manager for Communications Group (TCG) and Geva Theatre Center in Rochester, NY as its president for three years. He and also has worked at Glimmerglass has served on peer review panels Opera, Asolo Repertory Theatre and for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Florida Studio Theatre. Charles Scholars Program, The Wallace Funds, serves on the board of the Mile High Freedom Band and plays tuba with the The Doris Duke Foundation and organization. The Andrew W. Mellon Foundation, among others. JEFF GIFFORD (Director of Production) oversees everything you BRUCE K. SEVY (Associate see on stage except the actors and Artistic Director and Director of New Play Development) has directed is thrilled to be joining the Denver Center Theatre Company, leading such memorable Denver Center productions as When We Are Married, such a fine group of artisans. Prior to DCTC, Jeff was the Production Heartbreak House, Mariela in the Manager at the Dallas Theater Desert, The Voysey Inheritance, A Center and South Coast Repertory Prayer for Owen Meany, Doubt, All My Sons, Master Class, Mrs. Warren’s in Costa Mesa, CA. Guiding world premieres to their first opening night Profession, A Christmas Carol, Cat is especially gratifying and Jeff has On a Hot Tin Roof, The Little Foxes, worked on more than 35 of them. Molly Sweeney, Amy’s View, Valley Among his favorites are Dinner with Song, Pierre, Dinner With Friends, Friends, The Violet Hour, The Beard and The Cripple of Inishmaan. of Avon, Mr. Marmalade, and the new As Director of New Play

musical FLY. Jeff holds an MFA from California Institute of the Arts.

ARTISTIC STAFF GREGG COFFIN (Music Director and Orchestrator). At the Denver Center: Composer – Heartbreak House, The Taming of the Shrew, The Liar, A Midsummer Night’s Dream, Mariela in the Desert, Othello, A Prayer for Owen Meany, The Merry Wives of Windsor, Pride and Prejudice, King Lear, Measure for Measure. Musical Director/ Orchestrator – Irving Berlin’s White Christmas, A Funny Thing… Forum, A Christmas Carol. Other Theatres: Stratford Festival of Canada, CanStage, Tarragon Theatre, National Arts Centre (Canada); Arena Stage, Alley Theatre, Geva Theatre Center, Indiana Rep, PCPA TheatreFest, Shakespeare Santa Cruz and the Utah, California, Alabama, Great River and Georgia Shakespeare Festivals. KATHRYN G. MAES Ph.D (Voice and Dialect Coach). At the Denver Center: Jackie & Me, The Most Deserving, Just Like Us, Death of a Salesman, When We Are Married, Fences, The Three Musketeers, Heartbreak House, Great Wall Story. Other Theatres: Royal Shakespeare Company, Royal National Theatre (Arthur Miller’s American Clock). Special/Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, Head of Voice at the Denver Center Theatre Company and the National Theatre Conservatory 1989 to 1992. Ph.D. in Theatre Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Speech and Drama, London, England. CHRISTINE ROWAN (Choreographer). At the Denver Center: Ensemble in Quilters; Fezziwig’s Daughter, Wife’s Sister, Street Singer in A Christmas Carol; Tessie in Irving Berlin’s White Christmas; Essie in You Can’t Take

It With You; Philia in A Funny Thing Happened… Forum. Other Theatres: Reluctant Pilgrim - the Lesser Known Songs of Stephen Schwartz (New York Musical Theater Festival), FLOPZ (Joe’s Pub), Embrace! (Westside Theatre), Interborough Repertory Theatre, The Duplex, Don’t Tell Mama, Sacramento Music Circus, Alabama Shakespeare Festival, Barter Theatre, Sierra Rep, Seaside Music Theatre, Theatre by the Sea, Ryman Auditorium, toured nationally. Training: New York University graduate, resides in New York City. BRUCE K. SEVY (Director). See bio under Executive Staff.

DESIGNERS CRAIG BREITENBACH (Sound Designer). At the Denver Center: Just Like Us, Sense & Sensibility The Musical, Irving Berlin’s White Christmas, Ring of Fire: The Music of Johnny Cash, A Christmas Carol, To Kill a Mockingbird, A Midsummer Night’s Dream, Mama Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen Meany, Noises Off, Third, A Funny Thing…Forum, King Lear, Amadeus, Crowns, The Clean House, Measure for Measure, A Flea in Her Ear, Fire on the Mountain, The Misanthrope, The Three Sisters, Love’s Labor’s Lost, The Skin of Our Teeth, Betrayal, Spinning Into Butter, Dinner With Friends, Gross Indecency: The Three Trials of Oscar Wilde, The Laramie Project, The Little Foxes. Awards: 2008 Henry Award for Plainsong. KEVIN COPENHAVER (Costume Designer). At the Denver Center: (23 seasons) Just Like Us, Ring of Fire: The Music of Johnny Cash, The Whale, Dracula, Mama Hated Diesels, A Christmas Carol, Noises Off, A Funny Thing…Forum, Living Out, Crowns, Fire on the Mountain, Boston Marriage, Oedipus Rex, Dirty Story, Blithe Spirit, Lobby Hero, Blue/Orange, Almost Heaven, Scapin, The Miser, Jesus Hates

Me, Bernice/Butterfly, Pierre, Inna Beginning, Elevation of Thieves, Servant of Two Masters, Tantalus. Other Theatres: Smokey Joe’s Café, Love, Janis, Hedwig and the Angry Inch, Dream a Little Dream, Titus Andronicus, regional premiere Peter and the Starcatcher (UDF). Training: BA in Theatre Design, University of Cincinnati College-Conservatory of Music, Centro Maschere e Strutture Gestuali, Padua, Italy.

- Oregon Shakespeare Festival, Arizona Theatre Company, PCPA, Pennsylvania State Theatre, Charles Playhouse, Sacramento Theatre Company.

VICKI SMITH (Set Designer). Denver Center: When We Are Married, Fences, Heartbreak House, Adventures of Tom Sawyer, Dracula, Mariela in the Desert, Mama Hated Diesels, Eventide, Plainsong, A Christmas Carol, 29 others. Other Theatres: Children’s DON DARNUTZER (Lighting Theatre Company, Arizona Theatre Designer). At the Denver Center: Company, Indiana Repertory Theatre, Just Like Us, When We Are Married, Cincinnati Playhouse, Penumbra Heartbreak House, Mariela in the Desert, Fences, Mama Hated Diesels, Theatre Company, Kansas City Repertory Theatre, Cleveland Eventide, Quilters, Richard III, Playhouse, Seattle Repertory Theatre, The Trip to Bountiful, Plainsong, Actors Theatre Louisville, Repertory Dracula, You Can’t Take It With You, A Funny Thing…Forum, A Christmas Theatre St. Louis, Geva Theatre Center, Milwaukee Repertory Theatre, Carol and 40 others. Other Theatres: Oregon Shakespeare Festival, and Broadway: It Ain’t Nothin’ But The Blues. Off-Broadway: Hank Williams: others. Awards: Bay Area Critics Lost Highway, The Immigrant, Almost Awards – Kite Runner, Execution of Justice; Dramalogue Award – Cyrano; Heaven: John Denver’s America. Lighting designs for: Portland Opera, Colorado Theatre Guild Award – Mariela in the Desert; Ovation Guthrie Theatre, Arizona Theatre Company, Seattle Repertory Theatre, Awards – Pierre, I’m Not Rappaport; Prague Exposition 2007. American Conservatory Theatre, Oregon Shakespeare Festival, Actors Theatre of Louisville, The Alley PLAYWRIGHT Theater, Cleveland Play House, Kennedy Center for the Performing RICHARD HELLESEN Arts. (Playwright/Adaptor). Richard Hellesen is pleased to be returning to DAVID DE BERRY (Composer/ the Denver Center Theatre Company, Lyricist). At the Denver Center: A where his play Kingdom premiered Christmas Carol. Other Theatres: in 1999. His other plays include Composer/lyricist – A Cappella, Moonshadow, Once in Arden, the Sisters: A Legend, original scores for book for David de Berry’s musical Twelfth Night, The Good Person of A Cappella, and two recent works Setzuan, All My Sons, The Tempest, for Ford’s Theatre in Washington, The Taming of the Shrew, ’Night One Destiny and The Road From Mother, The Time of Your Life Appomattox. Among his two dozen (Sacramento Theatre Company); shorter plays are five finalists in Composer – The Merry Wives of Actors Theatre of Louisville’s TenWindsor, The Comedy of Errors, Minute Play Contest; his one-act Dos The Glass Menagerie, King Lear, Corazones appears in the collection of Betrayal, Our Country’s Good, The Best Ten-Minute Plays for Two Actors Recruiting Officer, Terra Nova, The by Smith & Kraus. His work for Miser (Oregon Shakespeare Festival); young audiences includes adaptations Romeo and Juliet (San Francisco of The Emperor’s New Clothes and Shakespeare Festival); M. Butterfly the novel Johnny Tremain, both for (Arizona Theatre Company). Actor B Street Theatre in Sacramento, and

Cleveland Play House, Hope Summer LESLIE Repertory Theatre in Holland, ALEXANDER* (Mrs. Michigan, Colorado Festival of World Cratchit/Ensemble/ Theatre, Country Dinner Playhouse, Understudy). At the Denver Center: Sense & Candlelight Dinner Playhouse, Omaha Sensibility, The Taming Symphony. Served as Assistant of the Shrew, A Professor of Technical Theater at Christmas Carol. Broadway: The Boy Brooklyn College. Training: MFA, University of Iowa; BA, University of From Oz, Mamma Mia! Off-Broadway: The Audience (The Transport Group). Northern Colorado. Other Theatres: Fiddler on the Roof (National Tour); Steel Magnolias, A KURT VAN RADEN* (Assistant Murder Is Announced (Arrow Rock Stage Manager). At the Denver Lyceum); Hello Dolly! (Gateway Center: (30+ productions) Just Playhouse). TV/Film: “One Life To Live,” Like Us, Romeo & Juliet, Irving “Grand Theft Auto V,” “The One Berlin’s White Christmas, The Three O’Clock.” Concerts: The Music of Jerry Musketeers, Ring of Fire: The Music Herman. www.leslie-alexander.com of Johnny Cash, The Taming of the Shrew, A Christmas Carol, The Liar, LEONARD E. Superior Donuts, The House of the BARRETT JR.* Spirits, Othello, Eventide, A Raisin in STAGE MANAGEMENT (Ghost of Christmas the Sun, A Prayer for Owen Meany, Present/Ensemble). At Richard III, Noises Off, The Merry CHRISTOPHER C. EWING* the Denver Center: Wives of Windsor, Our House, Pride (Production Stage Manager). At the Debut. Other Theatres: and Prejudice, Third, Mrs. Warren’s Denver Center: (28 seasons) Death Legend of Sleepy Profession, 1001, Season’s Greetings, Hollow, Color Purple (Aurora Fox of a Salesman, Sense & Sensibility Living Out, After Ashley. Other The Musical, When We Are Married, Theater); Beauty and the Beast, Man of Theatres: 40 productions with The Fences, Ring of Fire: The Music of La Mancha (Phamaly); Nunsense Amen, Ragtime (Boulder’s Dinner Theater); The O’Neill Theatre Center (National Johnny Cash, A Christmas Carol, To Playwrights Conference, Cabaret and Dresser, Angels in America (Bas Bleu Kill a Mockingbird, Dracula, Mama Performance Conference), The Great Theater). Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen River Shakespeare Festival. BENJAMIN Meany, Noises Off, Plainsong, Mrs. BONENFANT Warren’s Profession, A Funny Thing… ACTING COMPANY (Ensemble/Understudy). Forum, The Clean House, Gem of the At the Denver Center: COLIN Ocean, A Flea in Her Ear, Crowns, When We Are Married. ALEXANDER* Fire on the Mountain, John Brown’s Other Theatres: Romeo (Ensemble/ Body, 2 Pianos, 4 Hands, The Skin and Juliet, The Understudy). At the of Our Teeth, Almost Heaven. Other Inspector General, Comedy of Errors, Denver Center: Debut. Theatres: Colorado Ballet, Denver Our Town, King Lear, Taming of the Other Theatres: Center Attractions, Bonfils Theatre. Shrew, Much Ado About Nothing, To Kill Curtains, Miracle on Training: BFA in Theatre Design/ th a Mockingbird (Colorado Shakespeare 34 Street, Chess, Importance of Being Technology from Loretto Heights Festival); The Lion in Winter (Arvada Earnest, A Christmas Carol (Arvada College. Center); Red (Curious Theatre); Love’s Center); Scarlet Letter (PACE Theater); Labors Lost, Salome, The Seagull, The 1776 the Musical (Fine Arts Center); MATTHEW CAMPBELL* Inspector General, The Bacchae, Our Sweet River County (National Tour); (Assistant Stage Manager). At the Town, Cyrano de Bergerac, Urinetown, Marriage of Figaro, Merry Widow, Denver Center: Just Like Us, Other Wit, The Grapes of Wrath, As You Like It Elijah (London). TV/Film: EmmyDesert Cities, Romeo & Juliet, Marisol (TheatreWorks); Elijah: an nominated The Hiding Place. Awards: When We Are Married, The Three Adventure (Local Theatre); Ubu, Troilus Silver Angel Trophy Winner, The Mark. Musketeers, Heartbreak House, The and Cressida (THEATREdART). Awards: Training: Guildhall School of Music and Taming of the Shrew, A Christmas 2012 Best Supporting Actor in a Play Drama in London, UK. (Red), Henry Award. Carol, To Kill a Mockingbird, A Midsummer Night’s Dream, Dracula. Other Theatres: Colorado Shakespeare Festival, Arvada Center, (with composer Michael Silversher) musical versions of The Wind in the Willows and Lois Lowry’s young adult novel Gathering Blue, as well as 11 school tour productions, for South Coast Repertory in Southern California. Nationally, his work has been seen at such theatres as the Alabama Shakespeare Festival, Geva Theatre, Dallas Theater Center, Sundance Children’s Theatre, City Theatre in Miami, Sacramento Theatre Company, and HERE in New York City, as well as The Shakespeare Company in Calgary, Canada. A member of the Dramatists Guild, Richard has received awards from the National Theatre Conference and PEN USA-West.

MICHAEL BOUCHARD (Ensemble/ Understudy). At the Denver Center: Debut. Other Theatres: The Cripple of Inishmaan (Creede Rep), Camelot (Arvada Center), Bach at Leipzig (Boulder Ensemble Theater Company), Avenue Q (Vintage Theater). TV/Film: Charles Manson in CREEP! Awards/Training: Pacific Conservatory of the Performing Arts; 2009 Best Season by an Actor, Denver Post; 2011 Denver Post and Westword Best Supporting actor in a Comedy; 2012 Westword Best on Stage Couple. KATHLEEN M. BRADY* (Hortense/ The Laundress/ Ensemble). At the Denver Center: (Over 100 productions) When We are Married, Superior Doughnuts, Mama Hated Diesels, Well, Quilters, Trip to Bountiful, The Mad Woman, Blithe Spirit, Bernice Butterfly, A Skull in Connemara, The Show-Off, The Cripple of Inishmaan, The Beauty Queen Of Leenane, The Rivals, Misalliance, Taking Leave, Sylvia, Dancing At Lughnasa, Arsenic and Old Lace, Twelfth Night, Waiting for Godot, The Matchmaker. Other Theatres: PCPA/ Solvang Theatrefest (13 seasons), Oregon Shakespeare Festival, The Old Globe, Cincinnati Playhouse in the Park, The Lone Tree Theatre. TV/Film: “Breaking Bad” (AMC), “The Cat Who Thought He Could Bark” (PBS), “Voice,” National Western Woman’s Museum. COURTNEY CAPEK* (Belle/ Ensemble). At the Denver Center: A Christmas Carol, Five Course Love. Other Theatres: The Spitfire Grill, Lend Me a Tenor, Sylvia, Baby, Crimes of the Heart (Southern Colorado Repertory Theatre); Parade, The Robber Bridegroom (MSU). Awards/Training: Ovation Award nomination (The Spitfire Grill). BFA in Musical Theatre from Metropolitan State University of Denver.

STEPHANIE COZART* (Ghost of Christmas Past/The Charwoman/ Ensemble). At the Denver Center: 20 productions, including Sylvia, Arcadia, Plainsong, Amadeus, A Flea in Her Ear, The Skin of Our Teeth, King Lear, Macbeth, A Christmas Carol. Off-Broadway: Lost in Yonkers (TACT), Seven Rabbits on a Pole (Urban Stages). Regional: The Syringa Tree (Portland Stage, Repertory Theatre of St. Louis, Cincinnati Playhouse, Capitol Rep, Lizard Head Theatre). Other Theatres: Actors Theatre of Louisville, Alabama Shakespeare Festival, Virginia Stage, Paper Mill Playhouse, Laguna Playhouse, Adirondack Theatre Festival. TV/Film: “The Good Wife,” “Law and Order: SVU,” “Reflection.” Training: MFA, National Theatre Conservatory.

Theater Company); The Tempest, Twelfth Night (Heart of America Shakespeare); The Mask of Zorro (Coterie); The Barbarians (Shapiro); Night (Connelly). TV: “3 Pounds.” Awards: 2007 Best of NC Best Actress Award (Macbeth), Patricia McIlrath Award. CONNOR NGUYEN ERICKSON (Ignorance/Schoolboy/ Ensemble/Understudy). At the Denver Center: A Christmas Carol (three years). Other Theatres: Miss Saigon. Training: DCPA theatre camps, piano, sports, robotics, 5th grader at Ricks Center for Gifted Children.

MICHAEL FITZPATRICK* (Mr. Fezziwig/Ensemble). At the Denver Center: A Christmas Carol. JEFF CRIBBS* (Bob Other Theatres: 42nd Cratchit/Ensemble). At Street (National Tour), the Denver Center: A Christmas Carol. Other Beauty and the Beast (Atlanta TOTS), Gross Indecency (Off-Broadway and Theatres: Harker in Theatre in the Square in S.F.), Richard Dracula (Actors Theatre of Louisville), III, Romeo & Juliet, Twelfth Night, Henry IV, King Lear and Othello (Great Jonathon in Wintertime (Guthrie Theatre), Orlando in As You Like It, Tony River Shakespeare); A Christmas Carol (Geva); Two Gentlemen of Verona, The in You Can’t Take It With You (Great Tempest, Forever Plaid, The Compleat Lakes Theatre Festival), Lysimachus in Pericles (Shakespeare Theatre), Heart in Wks of Wm Shkspr (Utah Shakespeare Festival); Rosencrantz and Guildenstern Murder by Poe (Acting Company), are Dead (Willamette Rep); Tommy, The Antipholus of Syracuse in The Comedy Lion in Winter, Henry II (PCPA). TV/ of Errors (Shakespeare Santa Cruz), Harry in Morningstar (Kansas City Rep), Film: “Nash Bridges,” “Six Degrees,” Remission, Violin Case, Pearl, and Scary Lancelot Gobbo in The Merchant of Lary (in production). Training: American Venice (Utah Shakespearean Festival), Conservatory Theatre Masters Program. title role in Peer Gynt (Pneumatickal Theatrikal Troupe). Training: BS in MICHAEL Chemistry and MFA in Acting. GAESSLER (Boy in the Street/Ensemble). JENN MILLER At the Denver Center: CRIBBS* (Fred’s Debut. Other Theatres: Wife/Ensemble/ Christian Youth Understudy). At the Theatre: A Year with Denver Center: A Christmas Carol. Other Frog and Toad, Bye Bye Birdie, Wizard of Oz, Modern Millie. Parker Theatre: Theatres: Richard III, Fiddler on the Roof. Film: Play it Safe: Murder by Poe (The Acting Company); Aiden’s Discovery. Vivando Films. The Joy of Having a Body, In Darkness Training: Benjy Dorbin Studios. (Guthrie); Macbeth (NC Stage); As You Like It, Julius Caesar (NC Shakespeare); You Can’t Take It With You (Two River

TANNER GARDNER (A Beggar Child/ Schoolboy/Ensemble/ Understudy). At the Denver Center: Debut. Other Theatres: Medea (Denver School of the Arts); Ragtime The Musical; Christmas Carol: The Musical (Arvada Center); The Music Man (Lakewood Cultural Center). Special/Training: Qualification for Junior Thespian Nationals, Denver School of the Arts Theatre major. DOUGLAS HARMSEN* (Fred/ A Fiddler/The Undertaker’s Man/ Ensemble). At the Denver Center: Arcadia, Gross Indecency, The Pillowman, Amadeus, A Flea In Her Ear, Copenhagen, Macbeth, A Midsummer Night’s Dream, Racing Demon, Life With Father, Uncertainty, Season’s Greetings, Candida, Treasure Island, The Miser, The Elevation of Thieves, The Living, A Christmas Carol. EDWIN HARRIS (Schoolboy/Ensemble/ Understudy). At Denver Center: Debut. Other Theatres: School plays and choir. Training: Singing, dancing and piano. JOHN HUTTON* (Ghost of Jacob Marley/Pie Man/Old Joe). At the Denver Center: Death of a Salesman, When We Are Married, To Kill a Mockingbird, Superior Donuts, A Midsummer Night’s Dream, House Of The Spirits, Othello, Miracle Worker, Trip To Bountiful, Plainsong, Diary Of Anne Frank, Measure for Measure, Dirty Story, The Merchant Of Venice, Copenhagen, Betrayal, Uncle Vanya, Side Man and Grace, or The Art of Climbing. Other Theatres: A.C.T., The Goodman, The Old Globe, Center Stage, Curious Theatre, The Colorado Shakespeare Festival. TV/Film: Juncture, Lincoln.

ISAIAH JOHNSON (Schoolboy). At the Denver Center: Debut. Other Theatres: Rising Star Baptist Church: Joseph, Wiseman, Shepherd and Jesus (several Christmas programs), sang with the Angel Choir, sings with the Youth Choir, Mine Dancer; Singer with the Soar Choir (2012-2013).

M. SCOTT MCLEAN* (Ebenezer The Young Man/ Ensemble). At the Denver Center: Death of a Salesman, A Christmas Carol, Dracula, When Tang Met Laika, A Prayer for Owen Meany and Grace, or The Art of Climbing. Other Theatres: Sense and Sensibility (TheaterWorks), The Unexpected Guest (Arts Center of Coastal CHARLIE KORMAN Carolina), The Rover (New York Classical (Tiny Tim/Schoolboy/ Theatre). Training: Graduate of the Ensemble). At the American Academy of Dramatic Arts and Denver Center: Ed, the National Theatre Conservatory. Downloaded; A AMELIA Christmas Carol (three MODESITT (Fan/ seasons). Other Want/Ensemble/ Theatres: Lumiere in Beauty and the Understudy). At the Beast, Matchmaker in Mulan, Tweedle Denver Center: A Dee in Alice in Wonderland (Kids Christmas Carol, The Theatre West), Daddy Warbucks in Annie Giver. Other Theatres: Jr. (Catchpenny Theatre). Training: Cat on a Hot Tin Roof (The Edge Dance Conservatory of Denver, vocal Theatre). training with Bob Downard. GABRIEL KOSKINENSANSONE (Peter/ Schoolboy/Ensemble). At the Denver Center: The Giver, Great Wall Story, A Christmas Carol. Other Theatres: Thoroughly Modern Millie, Annie, Beauty & the Beast, Wizard of Oz (Catchpenny Kids’ Theatre). Training: Gabe is an 8th Grade Theatre Major at the Denver School of the Arts. KYRA LINDSAY (Martha/Fezziwig Daughter/Ensemble). At the Denver Center: Death of a Salesman. Other Theatres: Harry the Great, The Drowsy Chaperone (Creede Repertory Theatre); White Christmas (Starkey Theatrix); Annie Warbucks (Candlelight Dinner Playhouse); Taming of the Shrew, Love, Sex, and the I.R.S., Little Shop of Horrors (Shuler Theatre); Tomato Plant Girl (Denver Children’s Theatre); The Unsinkable Molly Brown (Town Hall Arts Center); Nunsense, Baby (Southern Colorado Repertory Theatre).

SAM MODESITT (Schoolboy/Ensemble/ Understudy). At the Denver Center: A Christmas Carol. Other Theatres: Richard III (Colorado Shakespeare Festival), A Christmas Carol (Aurora Fox Theatre), Cat on a Hot Tin Roof (The Edge Theatre). GABRIEL MORALESGONZALEZ (Dick Wilkins/Ensemble/ Understud). At the Denver Center: Debut. Other Theatres: Miss Saigon (Arvada Center); In The Heights, Kiss of the Spider Woman (Vintage Theatre); Dirty Rotten Scoundrels, West Side Story, The King and I (Town Hall Arts Center); The 25th Annual…Spelling Bee (The Turner Foundation); One Life, Two Cultures, Colorado Children, Dreams (Imagination Makers Theater); The Time Capsule (Colorado Rep). Training: Colorado Christian University, Los Angeles Film Studies Center, National Theatre Conservatory (Summer Intensive).

TRICIA MORELAND (Belinda/Ensemble/ Understudy). At the Denver Center: Irving Berlin’s White Christmas. Other Theatres: The Wizard of Oz (National Broadway Tour); Evita and A Christmas Carol: The Musical (Arvada Center); La Bohème, Jane Eyre, The Sound of Music, Oliver!, Annie Warbucks, Gypsy, The King and I, The Mikado, Scrooge!, Seussical the Musical, Annie, The Music Man, Charlotte’s Web. Awards/Training: Tolman Productions “Entertainer of the Year” Award; Parlando School for the Arts, Denver Center Theatre Academy. LESLIE O’CARROLL* (Mrs. Fezziwig/Ensemble/ Understudy). At the Denver Center: When We Are Married, To Kill A Mockingbird, Reckless, Eventide, Plainsong, The Diary of Anne Frank, All My Sons, Wit, Life is a Dream. Other Theatres: Blithe Spirit, The Crucible, Moonlight and Magnolias, The Heiress, The Women (The Arvada Center); Noises Off, Twelfth Night, Romeo and Juliet, Comedy of Errors (Colorado Shakespeare Festival); Grapes of Wrath, Our Town (Theatreworks). Regionally: Northern Stage, Arizona Theatre Company, San Diego Rep, Missouri Rep. TV:”Breaking Bad,” “Footloose.” Awards/Training: Best of Westword Award, Denver Post Ovation Award; MFA, National Theatre Conservatory.

Children’s Theatre. NYU: Sister Mary Ignatius Explains It All For You, Evita, Such Foolish Affected Ladies, The Crucible, Starmites. Training: BFA in Theatre from New York University (Playwrights Horizons and CAP21). PHILIP PLEASANTS* (Ebenezer Scrooge). At the Denver Center: Romeo & Juliet, The Giver, Heartbreak House, The Taming of the Shrew, To Kill a Mockingbird, Midsummer Night’s Dream, A Christmas Carol, Othello, Plainsong, The Voysey Inheritance, A Prayer for Owen Meany, Richard III, Noises Off, The Merry Wives of Windsor, The Diary of Anne Frank, Third, A Funny Thing…Forum, Pure Confidence, King Lear. Other Theatres: Alabama Shakespeare Festival (20 seasons), Amadeus (Broadway, national tour), Treason (Off-Broadway), Seattle Rep, Cincinnati Playhouse, Huntington, Pittsburgh Playhouse, Cleveland Play House. TV/Film: “Another World,” “All My Children,” “Judge Horton and the Scottsboro Boys.”

Windsor, Dracula. Other Theatres: The Crucible, Evita, Big River, Jekyll & Hyde, Cabaret, Legally Blonde and Curtains (Arvada Center); An Ideal Husband (Papermill Playhouse); My Fair Lady, HMS Pinafore (Berkshire Theatre Festival); Sorrows of Stephen (Blue Heron Theater-Off-Broadway); Drood, Life is a Dream (Creede Repertory); The Doyle and Debbie Show, My Way (Denver Center Attractions). Training: BFA, Miami University, MFA, National Theatre Conservatory. CHRISTINE ROWAN* (Street Singer/Wife’s Sister/ Ensemble). See bio under artistic staff.

THOMAS RUSSO (Ebenezer the Child/ Ensemble). At the Denver Center: To Kill A Mockingbird, A Christmas Carol, Eventide. Other Theatres: Miracle On 34th Street (The Arvada Center); Full Monty, Wizard of Oz, Phantom, Peter Pan (Boulder’s MAX RAABE Dinner Theatre). TV/Film: “The Big (Edward/Schoolboy/ Green Rabbit” (PBS). Training: Student Ensemble/Understudy). at Manhattan Middle School of Arts and At the Denver Center: Academics, Voice instructor Dana Debut. Other Theatres: Vachharajani. Tiny Tim in A MAGGIE SCZEKAN Christmas Carol (Ensemble/ (Colorado Shakespeare Festival). Understudy). At the Special/Training: Denver Center Theatre Denver Center: Debut. Academy, Colorado Shakespeare Other Theatres: Festival School of Theatre, Dalcroze Phantom (Boulder’s School of the Rockies. Max is in the Dinner Theatre); Grey third grade at Christ the King Roman MACKENZIE Gardens (Vintage Theatre); How to Catholic School and enjoys lacrosse, PAULSEN (Fezziwig Succeed… (Performance Now); skiing, and the performing arts. Daughter/Ensemble/ Measure for Measure, Spelling Bee, Understudy). At the JEFFREY ROARK* Sunday in the Park with George, Denver Center: A (Schoolmaster/Belle’s Assassins (Oberlin College). Opera: Christmas Carol, Death Husband/Topper/ Elixir of Love, Così fan tutte (Martina of a Salesman, Romeo Ensemble). At the Arroyo’s Prelude to Performance); & Juliet, The Three Musketeers, DATE*. Denver Center: To Kill Marriage of Figaro, La cambiale di Other Theatres: NYC: The Wild Party A Mockingbird, matrimonio (CU Boulder); Cendrillon (The Culture Project). Denver: The 39 Heartbreak House, The (Oberlin Conservatory); Opera As You Steps, Damn Yankees, Guys and Dolls Trip to Bountiful, King Lear, White Like It (Central City Opera). (Town Hall Arts Center); Avenue Q Christmas, Gross Indecency, A Winter’s (Vintage); Annie (PACE); A Christmas Tale, The Tempest, Merry Wives of Carol (Backstage). Tour: Missoula

LAUREN SHEALY* (Fezziwig Daughter/ Ensemble/ Understudy). At the Denver Center: The Doyle and Debbie Show; I Love You, You’re Perfect, Now Change. Other Theatres: Curtains, Miracle On 34th Street, 1940’s Radio Hour (The Arvada Center). Off Broadway: Lingoland, How to Succeed In Business…. National Tour: South Pacific. Regional: Tick, Tick…Boom (Walnut Street Theater), Phantom (Barter Theater), Oklahoma (Westin Playhouse). Training/Awards: NYU, Tisch School of the Arts; named Westword’s Best Actress in a Musical for 2013. JAKE WALKER (Chestnut Seller/ Ensemble/ Understudy). At the Denver Center: When We Are Married, Living History. Other Theatres: Colorado Shakespeare Festival, Arvada Center, Curious Theatre, Aurora Fox, Buntport Theatre, Paragon Theatre, The Avenue. Regional: Creede Repertory Theatre, Heart of America Shakespeare Festival, Unicorn Theatre, Coterie Theatre, Kansas City Rep. Awards: 2011 Henry Award Best Actor in a Drama (The Pride, Paragon Theatre), 2003 Best Actor in a Musical (Pinnoccio Comedia, Theatre for Young America).

UNDERSTUDIES SAM GREGORY* (Understudy). At the Denver Center: (40 productions) World Premieres: The Most Deserving, Plainsong, Eventide, Two Things You Don’t Talk About At Dinner. Other Favorites: The 39 Steps, Doubt, The Voysey Inheritance, Ruined, A Midsummer Night’s Dream, Noises Off, A Flea in Her Ear, Hotel on Marvin Gardens, You Never Can Tell, Tartuffe. Other Theatres: Seattle Rep, Cincinnati Playhouse, Milwaukee Rep, Cleveland Play House, San Jose Rep, American Players Theater, Eureka Theater, George Street Playhouse, O’Neill Theater National Playwrights Conference, Alabama/California/ Colorado Shakespeare Festivals Boulder Ensemble Theater Company, Paragon. TV/Film: “NY Undercover,” “One Life to Live,” “As the World Turns.”

MIKE HARTMAN* (Understudy). At the Denver Center: (15 seasons) Death of a Salesman, Other Desert Cities, Irving Berlin’s White Christmas, Great Wall Story, To Kill a Mockingbird, Superior Donuts, The Catch, Eventide, A Raisin in the Sun, A Prayer for Owen Meany, Richard III, Glengarry Glen Ross, Plainsong, You Can’t Take it With You, A Christmas CHRISTOPHER Carol, Funny Thing...Forum, King WELLS (Ghost of Lear, Season’s Greeting, All My Sons, Christmas Yet To Dirty Story, Grapes of Wrath. Come/Ensemble). At Broadway: Grapes of Wrath, The the Denver Center: Debut. Other Theatres: Kentucky Cycle, Sherlock Holmes. Other Theatres: cowboyily (Creede Pirates of Penzance, Rep), The Peoples Temple (Guthrie), Crazy for You, Comedy of Errors, Almost Maine, Smoke on the Mountain Cleveland Play House (8 seasons), many other regional theatres. Training: (Colorado Mesa University); Greater BA Otterbein University. Tuna, Once on This Island, Seussical the Musical, Rent, The Wiz, The Robber Bridegroom (Highland Community College); Cats, Jacob Marley’s Christmas Carol (Smoke and Mirrors Theatre). Special/ Awards: Finalist in Irene Ryan Acting Competition, KCACTF Region 5, 2011.

SuCh (Understudy). At the Denver Center: Jackie & Me. Other Theatres: Celie in The Color Purple (The Aurora Fox). TV/Film: “McDonalds Music Moment” Oct/Nov 2013, “American Idol” Season 11, 2012. Awards: 2013 Henry Award Winner for Outstanding Lead Actress in a Musical, “Sugar Maple” single #1 on UK Soul Charts for 3 weeks in August 2013. www. iamsuch.com

Get Into

THE ACT

with the Denver Center Theatre Academy

Photos by eric laurits and Brian Landis Folkins

• Acting classes taught by industry professionals • 14 state of the art studios • Class sessions offered four times a year for ages 3 – 103

303.446.4892 | denvercenter.org/act

Musicals, CLASSICS,

TOO ORIGINAL BROADWAY COMPANY, PHOTO BY FRANK OCKENFELS

SAVE UP TO 25% WITH THE DENVER CENTER COMBO

JAN 15–26

JAN 24–FEB 23

APR 4–MAY 11

MAY 6–18

Like a little comedy and drama with your song and dance? Our new Combo pairs the straight-from-Broadway hits Evita and once with our own productions of Hamlet and a Marx Brothers musical comedy Animal Crackers. Starting as low as four payments of $45.25.

303.893.4100 • WWW.DENVERCENTER.ORG/COMBO DENVER CENTER ATTRACTIONS SEASON SPONSORS

DENVER CENTER THEATRE COMPANY SEASON SPONSORS

DENVER CENTER THEATRE COMPANY STAFF

PLEASE BE ADVISED Scene Shop THOMPSON Josh Prues,KENTAssistant PRODUCING Technical Director ARTISTIC DIRECTOR Lead Technicians: Albert “Stub” Allison, Louis Fernandez III Scenic Technicians: Mike Hamer, Justin Hicks, Brian “Marco” Markiewicz, EXECUTIVE Kent Thompson, Producing Artistic Director Keli Sequoia, Ross Wick Prop Shop Bruce K. Sevy, Associate Artistic Director Robin Lu Payne, Properties Director Charles Varin, Managing Director Eileen Garcia, Assistant Properties Director Jeff Gifford, Director of Production Roo Huigen, Lead Props Artisan Props Artisans: Jamie Stewart Curl, Charles ARTISTIC Dallas, David Hoth, Katie Webster New Play Development: Paint Shop Bruce K. Sevy, Jana L. Mitchell, Charge Scenic Artist Director of New Play Development Melanie Rentschler, Lead Scenic Artist Douglas Langworthy, Brian Proud, Scenic Artist Literary Manager/Dramaturg Paint Intern: Darcey James Chad Henry, Literary Associate Costume Shop Emily Tarquin, Artistic Associate/ Janet S. MacLeod, Costume Director New Play Coordinator Costume Design Associate: Meghan Sylvie Drake, Advisor Anderson Doyle Kevin Fulton, Intern Drapers: Stephanie Cooper, Carolyn Plemitscher, Louise Powers, PRODUCTION Jackie Scott Jeff Gifford, Director of Production First Hand: Cathie Gagnon Rick Noble, Assistant Production Manager Robert L. Orzolek, Interim Technical Director Tailor: Sheila P. Morris Stitchers: Kelly Jones, Teresia Larsen Christopher C. Ewing, Production Costume Crafts Stage Manager Kevin Copenhaver, Costume Crafts Director Julie Brou, Production and Artistic Judy Craigo, Costume Crafts Artisan Office Manager Wigs Scenic Design Lisa M. Orzolek, Director of Scenic Design Diana Ben-Kiki, Wig Master House Crew Scenic Design Assistants: Lindsey Mayer, Doug Taylor*, Supervising Stagehand Nicholas Renaud Stagehands: Mariah Becerra*, Andrew Lighting Design Hamer, Stephen D. Mazzeno*, Miles Charles R. MacLeod, Director of Lighting Stasica*, Doug Taylor*, Matt Wagner*, Lighting Design Assistant: Lily Bradford Jim Berman* (*IATSE Local 7 Stagehands) Multimedia: Colin Riebel, Production Electrician Charlie I. Miller, Resident Multimedia Wardrobe Specialist Topher Blair, Multimedia Assistant/Operator Brenda Lawson, Director Wig Assistants: Jocelen Barnett, Maria Y. Sound Design Davis, Maggie Long John E. Pryor, Director of Sound Dressers: Robin Appleton, Amber Donner, Sound Designers: Craig Breitenbach, Amoreena Kissel, Tim Nelson, Lisa Parsons, Jason Ducat, Tyler Nelson Alan Richards, Brooke Vlasich Stage Management Christopher C. Ewing, Production ADMINISTRATION Stage Manager Charles Varin, Managing Director Stage Managers: Rachel Ducat, Ryan Meisheid, Associate Managing Director Kurt Van Raden, Lyle Raper Alyssa Stock, Company Manager Assistant Stage Managers: Paul Behrhorst, Allison Taylor, Assistant Company Manager Matthew Campbell, A. Phoebe Sacks Cassie Brown, Business Administrator Production Assistant: D. Lynn Reiland Stage Management Interns: Becky Fryberger, Diana Buirski, TCG Management Fellow Pearl Kerber, Kristen Littlepage

LATECOMERS are seated at designated breaks. PHOTOS & VIDEO RECORDING are prohibited. TURN OFF cell phones and alarm watches. CHILDREN UNDER 4 are not admitted. COUGH DROPS are available at Patrons Services.

The Directors and Choreographers are members of the Stage Directors and Choreographers Society, an independent national labor union. The actors and stage managers employed in these productions are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.) Scenic, Costume, Lighting and Sound designers in LORT theatres are represented by United Scenic Artists Local USA-829, IATSE Member of the Colorado Theatre Guild

The Denver Center Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from Arts & Venues Denver; the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Denver Center Theatre Company is a division of The Denver Center for the Performing Arts, a not-for-profit organization serving the public through the performing arts. The DCTC operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The DCTC also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. The Denver Center Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for the American theatre.

MEN’S RIGHTS

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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.

d e n v er center. or g

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

FEB 3

ELLIE CAULKINS OPERA HOUSE

NOV 30–DEC 1 BUELL THEATRE

DEC 7

BUELL THEATRE

MARCH 18–23 BUELL THEATRE

the groundbreaking BROADWAY musical

APRIL 25–27 BUELL THEATRE

303.893.4100 GROUPS: 303.446.4829 TTY: 303.893.9582

APPLAUSE

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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

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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

d e n ver center. or g

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

Octaves … Above The RestTM

MEDIA PARTNERS

SUPPORTING SPONSORS

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.

APPLAUSE

d e n ver center. or g

am s John Farn Event Chair ellucci B and Denise

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.

cased elich show ned g n A ie m a J esig Yelusich-d an Andrew m Twelfth Night. o costume fr

Loretta Robinson in a princely costume fro m a 2006/07 season pr 1001, oduction.

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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Carmel Koeltz ow on the catwal k, er, runway.

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e ife costum e devil’s w zz Fable. th in lf o W Judi ic Ja Pie: A Myth from Pork

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That’s J mask in eremy Ande r season a costume son behind t from 2 h ’s Dirty 004/05 e Story. 303.893.4100

A P P L A US E

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

d e n ver center. or g

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

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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.

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APPLAUSE

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“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

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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.

MACY’S

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NEIMAN MARCUS

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NORDSTROM

16 0 A M A ZIN G ST ORE S , O V E R 4 0 E XC L US I V E T O DE NV E R 30 0 0 E A ST F IR ST AVE N U E • D E NV E R , C O • S H O P C H E R RY C R E E K. C O M

www.WildAnimalSanctuary.org A 720 acre non-profit refuge for over 300 Lions, Tigers, Bears, Wolves and other large carnivores that have been rescued from illegal and abusive situations

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Just 30 miles from Denver

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