Applause Magazine, Jan. 15-26, 2014

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CAROLINE BOWMAN AS ‘EVA PERON’ IN THE NATIONAL TOUR OF EVITA. PHOTO BY RICHARD TERMINE

EVITA ALSO PLAYING…

THE LEGEND OF GEORGIA MCBRIDE BLACK ODYSSEY HAMLET MAMMA MIA!

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LETTER FROM THE PRODUCING ARTISTIC DIRECTOR INDEX

G Kent Thompson

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Greetings! Winter brings to our stages a Shakespearean tragedy, two favorite musicals (Mamma Mia! and Andrew Lloyd Webber’s Evita) and full productions of two brand new plays, along with the Colorado New Play Summit, our ninth annual festival of readings of new works.

First up is the Denver Center Theatre Company production of the world premiere of The Legend of Georgia McBride by Matthew Lopez. A young Elvis impersonator with a pregnant wife is replaced by a drag queen show, and discovers he has a lot to learn about show business and himself. Georgia McBride is filled with music, bawdy humor and lots of heart and was the hit of last February’s New Play Summit.

The next world premiere is black odyssey by Marcus Gardley—a wild, imaginative, magical adventure with music, hip hop, humor, epic drama and poetry all blended together to give a contemporary Kent Thompson African-American spin to Homer’s Producing Artistic Director Denver Center Theatre Company Odyssey.

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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.

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

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 Trish Nagel Robert C. Newman Richard M. Sapkin Martin Semple Jim Steinberg Peter Swinburn Ken Tuchman Tina Walls

This world premiere comedy by Matthew Lopez reminds us that love, laughter and heart can show up in the most unpredictable places.

by Sylvie Drake

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MAMMA MIA!

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EVITA

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

With music, inventiveness and, yes, humor, playwright Marcus Gardley tracks the trials of an African American Ulysses returning from the war in Afghanistan.

by Doug Langworthy

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VOLUME XXV

BLACK ODYSSEY

THE LEGEND OF GEORGIA MCBRIDE

Who knew that ABBA spelled song, dance, fun and (ever)lasting success?

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The third Theatre Company production is Hamlet, set in pre-World War I Denmark. In Shakespeare’s psychological masterpiece, Hamlet must find his way through grief, anger, ghostly spirits, treachery, revenge, murder and madness as he seeks redemption. ebruary 7-9 brings the Colorado New Play Summit to our stages. In addition to the premieres of Georgia McBride and black odyssey, we’re featuring five readings by some of America’s most exciting playwrights, including Eric Schmiedl and his adaptation of Benediction by Kent Haruf. For Haruf, Benediction completes his award-winning trilogy of novels set on the Eastern Plains of Colorado.

For me, it completes a remarkable journey in the theatre—from Plainsong (2008) to Eventide (2010) to Benediction (2014).

Please join us in experiencing the thrill of the New Play Summit, when leading theatre professionals from across the U.S., playwrights, and theatregoers come together for a high energy weekend to watch new American plays being created.

In fact, join us for everything. n

Inspiration, smart choices and a chunk of luck went into the making of one of Andrew Lloyd Webber and Tim Rice’s most enduring collaborations.

by Sylvie Drake

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

HAMLET

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

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Of all of Shakespeare’s plays, this one is the most puzzling, lauded and imperfect. So why are its tragic events so mesmerizing?

by Dan Sullivan

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COMING ATTRACTIONS

World Premiere The Legend of Georgia McBride Now – 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

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!

Mamma Mia! Jan 28 – Feb 2 Buell Theatre

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

Red PMS 200 Gold PMS 123

Media Sponsors

Costume Collection Judi Wolf’s

Hamlet

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idely regarded as one of the greatest plays ever written, the Denver Center Theatre Company production of Hamlet takes place just before the outbreak of World War I — and costume designer Beth Novak, brings to life the brooding atmosphere of this remarkable play through a mix of Edwardian and contemporary styles.

Presenting a fusion of periods and styles creates a playground of opportunities to develop the characters and create unexpected visuals.

While most of the action of this production will take place in a vaguely czarist, military setting, the costumes also will include modern pieces from the 20s to present.

At the time, the women of the Russian court were objectified. When we first see them their dress is quite lavish. Novak took contemporary sheaths and added Fortuni pleated accessories and jewels so that the pieces look ornate and impractical.

Hamlet, who finds himself on an extreme emotional rollercoaster, will be every bit the young man who just left the University, looking a bit rumpled and wearing a traditional pea coat. Today’s style of men’s suits lends itself to a very Edwardian sensibility with clean lines and narrow pant legs that will blur the line between modern and period dress. Or is it the other way around? Is it that today’s gauntlooking young Lotharios, sporting deliberate five o’clock shadows and a languid, melancholy mood are deliberately seeking to look every bit like, well… Hamlet? n

VIP Tour: Edinburgh Festivals You are cordially invited to join Chairman Daniel L. Ritchie…

for a VIP Tour of the Edinburgh Festivals next August 13-19, 2014.

The tour includes superior accommodations at The George Hotel and tickets to the Edinburgh International and Fringe festivals. One of the highlights of the trip will be the renowned royal Edinburgh Military Tattoo which features music, dance and precision movement displayed with massed pipes and drums, the bands of Her Majesty’s Royal Marines, cultural troupes, singers and the poignant refrain of the Lone Piper against the stunning backdrop of the Edinburgh Castle. An optional tour of London’s West End, featuring deluxe Leicester Square hotel accommodations and tickets to four shows of your choice, may be added on August 19-24.

A more detailed day-by-day itinerary and costs are available by visiting www.denvercenter.org/travel or by calling 303.446.4811.

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Beth Novak Hamlet costume designer

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Snell & Wilmer is proud to support the Denver arts community. www.swlaw.com DENVER | LAS VEGAS | LOS ANGELES | LOS CABOS | ORANGE COUNTY | PHOENIX | RENO | SALT LAKE CITY | TUCSON Tabor Center, 1200 Seventeenth Street, Suite 1900, Denver, Colorado 80202

THE ENCORE SOCIETY

The giving doesn’t only get better, it gets stronger and more satisfying

“We have experienced the excitement of attending theatre with our grandchildren, sometimes after they have read the book from which the play was adapted. It is an amazing way to learn why theatre must be a part of the growth and development of young minds.”

— Carole and Bob Slosky

The Encore Society consists of members who have thoughtfully named the Denver Center as a beneficiary in their will or other estate plans. If you would like to learn more about The Encore Society and giving options, please visit www.denvercenter.org/encore or contact David Zupancic at 303.446.4811 or davidz@dcpa.org.

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CAROLE BOB SLOSKY

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FRONT ROW: (L-R) BOB & CAROLE SLOSKY, ADAM SLOSKY ~ BACK ROW: (L-R) CAMRYN SLOSKY, RACHAEL SLOSKY

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ore than 30 years ago Carole and Bob Slosky were introducing friends and colleagues to a newly created Denver Center for the Performing Arts (DCPA). Today they are still introducing theatre to friends— from a new generation.

They met at Washington University in St. Louis—the first “blind date” for both of them.

And the last. Bob was from Pueblo, Carole from Springfield, Illinois. After Bob graduated from law school at CU, Denver became their home.

Together they raised two sons and are the proud grandparents of four children.

The arts have always been a part of their journey, although Bob and Carole can’t quite put their finger on when and how that happened.

From theatre at the original Elitch’s, to music, to art galleries and museums across the Southwest and the globe, they thrive on the experience and the friendships they have found along the way.

Bob has served as a DCPA trustee for more than 25 years and Carole is a founding member of the Women’s Voices Fund. They were founding members of the Directors Society in the early 1980s and have helped this donor group grow to more than 200 people.

In 2006 they had the foresight to provide startup funds for the Marquee Club, a similar group focused on young professionals. As part of the Producing Partner group supporting the Colorado New Play Summit, they enjoy the challenge of seeing works go from script to stage.

Most recently, Bob and Carole have turned their attention to the future of theatre and the

next generation of audiences: “With the aging of audiences the need is paramount to compete for the attention of, not only today’s young people, but also the next generation. We are competing against the enormous attraction of unbelievable technology, never-ending sporting events, and so many other opportunities for people to spend their time and resources.

“We can only compete by exposing future audiences to the joy and challenge of live theatre. We have experienced the excitement of attending theatre with our grandchildren, sometimes after they have read the book from which the play was adapted. It is an amazing way to learn why theatre must be a part of the growth and development of young minds.” s Bob and Carole thought about their giving, the creation of a fund that would survive them became an appealing possibility. Even more appealing was the idea that they could start to put money in the fund in their lifetime, encourage family members to participate, and leave a substantial sum as a bequest to ensure the future of the fund for a long time to come.

“It doesn’t appear that arts education will ever escape the need for support from the private sector… it’s a need that is not going away. It is very important to us that we can identify how funds will be used, and that they will provide an opportunity for some unknown kids to have a hell of a good time!”

The Robert and Carole Slosky Fund for Arts in Education will do just that. n

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THE LEGEND OF GEORGIA McBRIDE

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e Georgia McBrid of d en eg L e h T ’s Matthew Lopez rt can show up ea h d n a r te h g u love, la s reminds us that redictable place in the most unp

ILLUSTRATION BY KYLE MALONE

DRAKE B Y S Y LV I E

end of …Ultimately, The Leg ot a comedy Georgia McBride is n ay people or g , le p o e p g ra d t u o b a t everyone. u o b a ’s It . le p o e p t h straig ut love… o b a ’s It l. a iv rv u s t u o It’s ab 10

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When playwright Matthew Lopez was growing up in Panama City, Florida—not exactly the epicenter of the modern world—he had a couple of strikes against him right out of the gate. As he put it in a recent interview, “it was not the best place to be gay and, for me, not the best place to be gay and Puerto Rican.”

Got it. But for writers, every kind of writer, the wallops life dishes out have a funny way of turning into fodder—rich stuff that simply begs to be mined.

“I started going to the gay bars in Panama City around the age of 16 or 17,” Lopez said, “long before I was legally allowed to go in.

The downtown had started to die; there was no reason to go to downtown. But this bar stayed open—for 40 years—and was long the only gay bar in town. If you wanted to get a drink within a 15-mile radius you had to go to The Fiesta. So it became a very welcoming place for everybody. And therein lies the beauty of the place. This is their turf and they love it. I had never been in a place that was

Matthew Lopez

Playwright

so accepting of who I am. I was able to be safe and be myself, and I was taken under the wing of the drag queens there.” hat was the initial inspiration for The Legend of Georgia McBride. Yet what actually convinced Lopez to write this comedy that takes place in a bar that’s a lot like the old Fiesta, was a second-hand account of an artist’s experiment.

“I heard about a woman whose straight boyfriend was dabbling in drag as an art form,” he explained, “a performance art project. They were putting together this persona for him. There was Tammy Wynette, Dolly Parton. All of these things together became Georgia McBride.”

And that was the hook. Georgia McBride is about Casey, a heterosexual Elvis impersonator, who loses his job at a rinky-dink small town bar just as his beloved wife informs him that she’s pregnant with their first child.

What’s a fella to do? Well, a set of unfore-

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reading (as well as staged another uncommon play, Grace, or The Art of Climbing), was invited to come back and direct the full production.

“Casey is a big, openhearted guy who means well and just never quite fully grew up,” he said. “He wanted to be an actor after high school football died away. He’s got a woman in his life that he’s head over heels in love with. He lives for her and lives for being an artist.

“We get to be with Casey as he learns to grow up, as he finds a way to take care of his family, finds his true artistic voice, creates a persona he can fully inhabit and starts to elevate the work in the club.

“There are two love stories in the play,” he emphasized. “There is the relationship between Casey and his wife, but also the relationship that develops between Casey and Tracy [his drag-queen mentor] that is so openhearted and rich.”

Costumes, of course, can’t help but be central to this show and costume designer Dane Laffrey has pulled from a broad swath of ideas, saying “The personas of these queens are very much things we wanted to develop with the actor.” And so he did. “It’s just meant to be fun.”

Not to be outdone, set designer Donyale Werle has reserved a few surprises of her own. “We’ve come up with a space that is extremely mundane & highly theatrical at the same time,” she offered enigmatically.

“Everything occurs on stage and backstage.

There are tricks built in, but when you walk into the theatre it’s like you’re walking into The Ricketson as it normally is…but not really. We are very interested in exploring the illusion of backstage. Most importantly, this is a space that allows the multitude of the characters’ individual personas to shine.”

The music? All pre-existing, canned music from America’s rich songbook and more, out of which a score was created. “This play is basically a book musical,” said Donahue,

Donyale Werle

Set designer

“even though they’re lip-synching.” he production also benefits from something entirely novel. Charlie Miller and Emily Tarquin, the curators of Off-Center, the Theatre Company’s brashest experiment with new theatre, were charged with curating Georgia McBride. They took what was happening on stage and figured out a way to extend the experience beyond—into the lobby. The goal was to broaden the experience, extend the enjoyment without, let’s say, inflicting it. The intent is to gently coax the audience into an immersive environment that is entirely safe.

Since this issue of Applause went to press before our curators had the chance to fully develop their plan—and since the idea itself is so new—you’ll have to determine for yourself how well they’ve succeeded.

For all of the fun that this imaginative and unlikely confluence of talent delivers, it’s important to keep in mind that, ultimately,

The Legend of Georgia McBride is not a comedy about drag people, gay people or straight people. It’s about everyone. It’s about survival. It’s about love—a love story filled with dramatic opportunity: The novelty, the music, the crazy, colorful costumes, the glitz (sometimes the shabby glitz?), the loyalties, the growth and maturation of not one but almost every character in it. It’s a chance to stretch minds, accentuate the positive, warm the heart, reach out with humor, acceptance and kindness.

Especially kindness. opez wrote this play, he said, in part as a reaction to the hate and violence that have become so ubiquitous and prevalent in the society.

“I wanted to emphasize that,” he said, “find the kindness we need.”

Did he succeed? Did we?

That, too, will be for you to decide. n

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Dane Laffrey

THE LEGEND OF GEORGIA McBRIDE

seen circumstances provides the improbable answer, and a recalcitrant Casey stumbles into a way to survive, make the money he needs for his ballooning family, even help his former employer out of a jam and, as he soon discovers, he finds he can excel at something that he had never, not even in his wildest hallucinations, ever expected to be doing: become a straight drag queen. eorgia McBride received a reading at the 2013 Colorado New Play Summit and audiences gulped it up. So delicious! They were charmed and entertained by this offbeat, sassy, funny, highly eccentric comedy. But the main reason for the play’s appeal is its very big heart. This is a comedy with the rare ability to make you laugh a lot while you also gleefully empathize with just about everything that happens in it—and everyone it happens to. It had to be really easy for Producing Artistic Director Kent Thompson and his team to decide to give it a slot in the regular season.

Mike Donahue, who directed last year’s

Costume designer

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Jan 10 – Feb 23 • Ricketson Theatre Producing Partners: John & Jeannie Fuller, John Strohm & Mary Pat Link Sponsored by The Steinberg Charitable Trust This play is a recipient of an Edgerton Foundation New American Play Award ASL interpreted & Audio Described • Feb 2, 1:30pm Perspective on the play: Jan 10, 6pm, Jones Theatre* *Attend a FREE moderated discussion about the play with DCTC’s creative team. All are welcome.

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

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The Denver Center Theatre Company’s new play program is one of the top five in the nation. Plays as diverse as Love, Janis, Quilters, Inana, Plainsong, Lydia, The Whale and so many more have had their start in Denver and gone on to be produced in theatres across the country.

The development of new plays and musicals involves risk and risk is always expensive. Our New Play Development Fund enables us to commission the most talented playwrights and to host the Colorado New Play Summit every year.

(L-R) VICTORIA ADAMS-ZISCHKE, KATHLEEN M. BRADY, LINDA MUGLESTON, KARA LINDSAY. PHOTO BY TERRY SHAPIRO.

Quilters

Grace, or The Art of Climbing JULIE JESNECK. PHOTO BY JENNIFER M. KOSKINEN

Sense & Sensibility The Musical

We hope that you will consider making a donation to the New Play Development Fund. We appreciate any contribution that you can make.

JEREMIAH JAMES, MARY MICHAEL PATTERSON. PHOTO BY JENNIFER M. KOSKINEN

NEW PLAY DEVELOPMENT FUND

W E A R E P R O U D T O P L AY A R O L E In furthering American theatre, but…

We can’t do it without you!

“NAME A SEAT” IN THE RICKETSON THEATRE In Honor of Ty Jurras from family & friends

Commemorate an occasion or honor a loved one when you name a seat for $1,000.

Your gift is 100% tax deductible and it supports new plays.

Quarterly or monthly payments are available.

Here are a few examples:

“Theatre, Ty and I were a tight threesome from the time I met him, fell in love with him and married him. What better way to honor his memory and our 40 years together than by making sure we’d be sitting together at the theatre forever?” ~ Sylvie Drake Jurras, Editor, Applause Sylvie Drake Jurras …because I love sitting beside you

Danny Showers Entertainment

“As a musician and patron of the theatre, I am always looking for ways to support the arts. By putting my company’s name on seat plaques, I am reaching a target audience of people who hopefully love the theatre as much as I do. It’s a great marketing opportunity.” ~ Danny Showers, Danny Showers Entertainment

“Meredith and I were married last May and we were moved when we learned that a seat had been named in honor of this occasion. We love coming to the theatre, so this certainly was a unique way to celebrate our marriage.” ~ L. Roger Hutson

THREE EASY WAYS TO DONATE:

BY MAIL: 1101 13th Street, Denver, CO 80204 ~ Attention: Development ONLINE: denvercenter.org/donate

BY PHONE: 303.446.4802

In Celebration of L. Roger & Meredith Hutson 13-May-13

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MAMMA MIA!

Mamma Mia! Who knew that success was spelled ABBA?

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this way. Usually, someone has a story to tell and someone else (or the same person) creates the songs to punctuate and illustrate that story.

Taking a bunch of songs previously conceived as singles, and finding a unifying thread that cobbles them together into a musical, was as heretical as it sounds. Assuming it could be done at all, who could have imagined that it would turn into this huge, everlasting hit, with a proliferation of ongoing productions around the world over many, many years?

It’s enough to give Waterloo a good name.

Mamma Mia! received the sort of welcome on that first night in London that it has sustained ever since. Theatregoers appear to be ecstatic— reliving memories or discovering ABBA for the first time. But on that spring evening in London, Mamma Mia! was an unknown quantity.

“We really had no idea how it was going to be received,” reflected producer Judy Craymer, whose initial concept it had been to use existing ABBA songs to construct an original musical.

“The audience went wild,” she told a reporter.

People “were literally out of their seats and singing and dancing in the aisles—and they still are. Every night.” oon they were doing so all over the globe.

The reason is simple: Mamma Mia! is an entertainment phenomenon that hits you at gut level. More than 30 million people in the known world have fallen in love with the characters, the story, the music. Book writer Catherine Johnson’s tale unfolds on a Greek island.

(How many people will visit a Greek island any other way?) On the eve of her wedding, a clever daughter, eager to know the identity of the father her mother has refused (or been unable) to divulge, manipulates three men from her mother’s past into returning to the island where they last saw her 20 years before.

Phyllida Lloyd, Mamma Mia!’s original director, says she was offered the job only after “some wonderful person” (who must be very, very, very sorry now) dropped out. More than a year of workshops followed with book writer Johnson, ABBA’s Ulvaeus and Andersson, choreographer Anthony van Laast and designer Mark Thompson.

A life-changing anecdote Lloyd likes to tell is that, if the show is such a hit today, it is thanks to the relative of a company member who sent an unsolicited letter telling her how to fix a problem she had been struggling to identify. This gentleman explained that the show’s first two scenes were, in his words, “the wrong way around.”

“I handed the letter to Anthony van Laast,” Lloyd said. “We looked at each other and knew we had to change it. The new opening was immediately right. It makes it clear that this is a domestic, intimate show. The moral of the story for me was ‘Don’t ever be too proud to take advice.’ ” ltimately, however, the success of Mamma Mia! rests in equal measure with all of its creators, whose tenacity and imagination persevered. In the process of personalizing a familiar repertoire of ABBA songs, they focused on a fresh approach that held on to the music’s pop integrity while advancing an affectionate and appealing story. And the show just keeps touring along.

To quote Lloyd, as she coyly assured the actors in that original London cast: “Mamma Mia! is the musical Benny and Bjorn wrote years ago.

They just decided to release the songs first.” n

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Part of the information contained in this article is courtesy of the Mamma Mia! web site and related materials.

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© LITTLESTAR

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n Saturday April 6, 1974, in the English coastal town of Brighton, a group known only in their native Sweden won the Eurovision Song Contest with a song entitled “Waterloo.”

For Napoleon, Waterloo was trouble. For this upstart singing group it was the start of something bigger than they could have anticipated.

So begins the improbable saga of ABBA. The phenomenal success of the decade-long association of Agnetha Faltskog, Benny Andersson, Björn Ulvaeus and Anni-Frid Lyngstad (the initials of their first names were to form the name ABBA) is of mythical proportions.

Over the next eight years, they would achieve countless hit singles, platinum albums, sell-out concert tours and even a movie. The group’s domination of the European charts was uncontested. Only the Rolling Stones, Elvis and the Beatles achieved longer runs of Top 10 singles.

Across the Atlantic, the hits continued: ten ABBA songs made it to the Top 20 in the U.S., with “Waterloo,” “Take a Chance On Me” and “The Winner Takes It All” making it to the Top 10. “Dancing Queen,” the superhit at the heart of the musical Mamma Mia!, placed ABBA center stage at Number One. At last count, ABBA had sold more than 350 million records worldwide.

Europe and North America were not alone in experiencing ABBAmania. There were consecutive Number One singles and/or albums in Australia, more records set—and broken— in New Zealand, Mexico, Japan, Zimbabwe (Zimbabwe?) where the group scored 13 Top 10 singles and no fewer than eight consecutive Number One albums.

And by 1982… It was all over.

Plans for another new album were abandoned and the album The Singles—The First Ten Years, released in its place. et despite the fact that ABBA ceased to record or tour, the music refused to die.

ABBA’s innumerable hits are as popular today as they were when first released. The movies Muriel’s Wedding (1995) and Priscilla, Queen of The Desert (1994), as well as the delicious musical based on that movie, all feature ABBA music, amassing whole new generations of fans.

It was on March 23, 1999 that Mamma Mia!—a show constructed from 22 of ABBA’s most memorable songs—was put in front of a paying audience in London’s West End. Let’s be clear: musicals are not supposed to be created

TM

Jan 28 – Feb 2 • Buell Theatre Sponsored by AARP ASL interpreted, Audio Described and Open Captioned performance • Feb 1, 2pm

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BLACK ODYSSEY

what’s past is present With his play black odyssey, Marcus Gardley has chosen an abiding Greek myth to enlighten us on the modern tribulations of an African American Ulysses

BY DOUGLAS LANGWORTHY

Every element of Marcus Gardley’s plays are infused with his poetic voice. Be it his titles (the road weeps, the well runs dry), his heightened language or his stage directions (He guides the cane to a star.

It burns like a comet), there is no mistaking the poet in the playwright.

Gardley started his career writing poetry and has expanded his poetic style through his dramatic writing. In fact, all of his favorite playwrights are also poets. So what is a director supposed to do with a stage direction like the example given above?

Marcus says he doesn’t mean these stage directions to be taken literally (phew), but are meant to express the emotional weight of a moment. The creative team is encouraged to interpret them with creativity and originality. “Theatre is collaborative,” Gardley states. “I want my stage directions to speak to the nature of making something together.”

In black odyssey, the playwright focuses his imaginative powers on a mash-up of Greek myth and African American history. Applause recently caught up with Gardley to talk recipes, mythology and journeys of self-discovery.

What attracted you to Homer’s The Odyssey?

I grew up reading a lot of books and had a particular fascination with the Greeks because I like adventure stories, history and myths. I like stories that wrestle with the notion of why we are here and why nature can be both terrifying and utterly beautiful.

What drew me to The Odyssey in particular is the idea of the endless journey and being lost. I could not get rid of the image of soldiers returning home after war and embracing their children for the first time. I think the story of The Odyssey is universal.

People can experience an internal odyssey as well, and I wanted to explore that.

16

APPLAUSE

d e n ver center. or g

You’ve described your writing process as creating a dish from a recipe. Can you describe what ingredients went into this play?

The ingredients for this play are: the original text, spirituals, hymns and melodies from West Africa, the culture and language of contemporary Harlem, African American history and African American folklore. When you mix the ingredients together my hope is that you feel the full tapestry of who we are as Americans and also taste the rich essence of history in both its tragic and celebratory moments. I also hope that the end result will give people hope for the future.

What are the different styles of music you use in the story?

Every major style of American music. The play is also a journey through American music history. I want audiences to feel the full musical breadth of our country.

Does music play a central role in your other plays?

Music plays a pivotal role in all of my plays. I find music to be a great soundscape for the worlds I write about. It sets mood, it is great for transitions and sometimes can be the most profound way to get to the heart of expressing something that dialogue just cannot.

BLACK ODYSSEY

“No man can know himself if he doesn’t know his history.

This could be familial history, cultural history, even national history. All of these histories are a part of who we are.”

— Marcus Gardley, playwright

Does African American culture have its own mythology?

Why is water such an important motif in the play?

For me, myths are sacred stories. So yes, African Americans have many sacred stories. African American history is shaped by stories that are passed down from generation to generation. These stories record the life of one time—and change to embrace another. I think sacred stories and the adaptation of these stories remind us that the great lessons of life are still being learned, that even though we are evolving, improving, moving bodily into the future, we still have so much to gain from the past.

Water is a silent character in the play. It is nature that moves the characters forward and allows them to crash into one another.

Water is a symbol of fate.

In your play, Ulysses confronts his own lineage as an African American man.

Is this something we all must do— discover where we came from—in order to discover who we are?

I think that the journey into our past is vital for understanding who we are. It’s not just about learning one’s genealogy, although that is important. It is also necessary to learn about one’s cultural past. I find that a lot of African American history is still not taught in our schools. I wanted to give audiences a more thorough journey into that history. I wanted to celebrate and honor my culture with this play.

What is Ulysses trying to find besides his home? Is there a larger significance to his journey?

Ulysses is trying to find himself. That is his real journey. His pre-war existence was very hard and his life on active duty is equally hard. He has become lost—and given up on humanity. He must find his history and, to this end, himself. No man can know himself if he doesn’t know his history. This could be familial history, cultural history, even national history. All of these histories are a part of who we are.

When we accept, learn from and celebrate who we are then we can move forward.

The gods in the play comport themselves at times like grown-ups and at times like children. Was this playful quality something you found in your reading of Greek mythology?

Yes, indeed! The best thing about the gods in Greek mythology is their human characteristics. If they truly were infallible, the stories would not be half as interesting. Moreover, it is their struggle to be godly that inspires us. What I find most prominent in Greek mythology is that the gods are easily offended. I wanted the gods in this play to be more driven by principle and the need to protect their children. In this way, the gods are ancestors.

They are a part of us. Perhaps, the better parts of us. Yet and still, they err, and they are most fascinated by our humanity.

What happens when a god descends into the human world?

Then godly laws are broken. For this to happen, there must be a great need among the mortals. When a god descends, a wrong must be made right and a god will risk her/his immortality to dwell among us. This is because gods sympathize more viscerally when they are among us—they lose their godliness. They relate and gain a deeper sense of compassion—they cannot help it. Gods are meant to judge, not sympathize—this is how they lose their power. It’s their ability to manipulate us that makes them powerful. When they are among us, our humanity is so strong that they become the manipulated. Only the bravest of gods come down to dwell among us.

The play is often so funny. Why was it so important for you to inject humor into the play?

Humor helps audiences feel the full weight of tragedy. I don’t necessarily think that humor is required in a tragedy, but I think it can be useful to set up tragic elements. We laugh and cry with the same muscle. Most of my plays exercise this muscle. I am interested in using humor so that the muscle is already stretched. Then when tragedy arises, we are allowed to feel, to compare how delighted and how sorrowful life can be.

Are you excited to be presenting your play in the round?

Yes. It will give audiences a sense of the earth’s globe, the world. It will also allow them the freedom to see others while watching the play, which I always find intriguing. It makes the action feel Greek—it is in an arena. There are spectators who are a part of the live action. It feels Olympic. n Douglas Langworthy is the Literary Manager of the Denver Center Theatre Company

Jan 17 – Feb 16 • Space Theatre Producing Partners: Allison & Jim Shetter, Tina Walls, Jim Steinberg & Lori Watson ASL interpreted & Audio Described • Feb 16, 1:30pm Perspective on the play: Jan 17, 6pm, Jones Theatre* *Attend a FREE moderated discussion about the play with DCTC’s creative team. All are welcome.

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Denver Center Attractions

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HAL LUFTIG SCOTT SANDERS PRODUCTIONS TROIKA ENTERTAINMENT JAMES L. NEDERLANDER TERRY ALLEN KRAMER ANTHONY NICHOLSON TOM & CONNIE WALSH ROY FURMAN YASUHIRO KAWANA ALLAN S. GORDON & ADAM S. GORDON RAINBOW TOUR PRODUCTIONS/MICHAEL J. MORITZ, JR. PITTSBURGH CLO JOHN & DIANE CHACHAS JUST FOR LAUGHS THEATRICALS/GLASS HALF FULL PRODUCTIONS RICARDO HORNOS CAROL FINEMAN BRIAN SMITH and WARREN TREPP

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ANDREW LLOYD WEBBER starring

CAROLINE BOWMAN JOSH YOUNG SEAN MacLAUGHLIN with

CHRISTOPHER JOHNSTONE KRYSTINA ALABADO and at certain performances

DESI OAKLEY

plays the role of “Eva”

RYAN K. BAILER NICHOLAS BELTON JESSICA BISHOP RONALD L. BROWN HOLLY ANN BUTLER DIANA DiMARZIO SAMANTHA FARROW KATHARINE HEATON TONY HOWELL KATIE HUFF PATRICK OLIVER JONES CHRIS KOTERA IAN LIBERTO ALISON MAHONEY ROBIN MASELLA MEGAN ORT JOHN RIDDLE MORGAN ROSE JEFFREY C. SOUSA TUG WATSON

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MICHAEL GRANDAGE Originally produced by ANDRÉ PTASZYNSKI for THE REALLY USEFUL THEATRE COMPANY. World Premiere of Evita directed by Harold Prince in 1978.

EVITA

and Season Sponsors

EVITA

CAST Che................................................................................................................. JOSH YOUNG Eva..................................................................................................... CAROLINE BOWMAN Eva (at certain performances)......................................................................... DESI OAKLEY Magaldi...................................................................................CHRISTOPHER JOHNSTONE Perón.................................................................................................. SEAN MacLAUGHLIN Mistress...............................................................................................KRYSTINA ALABADO Cabinet Members..........RYAN K. BAILER, RONALD L. BROWN, PATRICK OLIVER JONES Priest.....................................................................................................RONALD L. BROWN Italian Admiral.....................................................................................RONALD L. BROWN Mother of Child.................................................................................... ALISON MAHONEY Nurses.............................................................................ALISON MAHONEY, MEGAN ORT “DON’T CRY FOR ME” QUARTET KRYSTINA ALABADO, HOLLY ANN BUTLER, KATHARINE HEATON, MEGAN ORT

EVA’S FAMILY RYAN K. BAILER, DIANA DiMARZIO, TONY HOWELL, KATIE HUFF, MEGAN ORT

EVA’S LOVERS RONALD L. BROWN, TONY HOWELL, JEFFREY C. SOUSA, CHRIS KOTERA

GENERALS RYAN K. BAILER, NICHOLAS BELTON, PATRICK OLIVER JONES, JOHN RIDDLE

ENSEMBLE KRYSTINA ALABADO, RYAN K. BAILER, NICHOLAS BELTON, JESSICA BISHOP, RONALD L. BROWN, HOLLY ANN BUTLER, DIANA DiMARZIO, SAMANTHA FARROW, KATHARINE HEATON, TONY HOWELL, KATIE HUFF, CHRISTOPHER JOHNSTONE, PATRICK OLIVER JONES, CHRIS KOTERA, ALISON MAHONEY, MEGAN ORT, JOHN RIDDLE, JEFFREY C. SOUSA

UNDERSTUDIES Understudies never substitute for listed performers unless a specific announcement is made at the time of the performance For Eva—DESI OAKLEY, HOLLY ANN BUTLER For Che—NICHOLAS BELTON, JOHN RIDDLE for Perón—RYAN K. BAILER, PATRICK OLIVER JONES for Magaldi—NICHOLAS BELTON, JOHN RIDDLE for Mistress—HOLLY ANN BUTLER, KATIE HUFF, MEGAN ORT for Mother of Child—KATHARINE HEATON

SWINGS IAN LIBERTO, ROBIN MASELLA, MORGAN ROSE, TUG WATSON

ASSISTANT DANCE CAPTAIN ROBIN MASELLA

DANCE CAPTAIN IAN LIBERTO

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

ACT I “Requiem”.............................................................................................. The Company “Oh, What a Circus”....................................................................... Che and Company “On This Night of a Thousand Stars”..............................................................Magaldi “Eva, Beware of the City”...........................................Magaldi, Eva, Che and Family “Buenos Aires”....................................................................... Eva, Che and Company “Goodnight and Thank You”...................................................... Che, Eva and Lovers “The Art of the Possible”........................................................Perón, Eva and Officers “Charity Concert”.................................................Magaldi, Che, Perón and Company “I’d Be Surprisingly Good for You”......................................................Eva and Perón “Another Suitcase in Another Hall”............................................................... Mistress “Perón’s Latest Flame”................................................................... Che and Company “A New Argentina”......................................................Perón, Eva, Che and Company

ACT II “On the Balcony of the Casa Rosada”......................................... Perón and Company “Don’t Cry for Me Argentina”................................................................................Eva “High Flying, Adored”..............................................................................Che and Eva “Rainbow High”....................................................................................Eva and Valets “Rainbow Tour”...........................................................Perón, Che, Eva and Company “The Chorus Girl Hasn’t Learned”................................................. Eva and Company “And the Money Kept Rolling In”.................................................. Che and Company “Santa Evita”................................................................Mother of Child and Company “Waltz for Eva and Che”..........................................................................Eva and Che “You Must Love Me”.............................................................................................Eva “She Is a Diamond”........................................................................Perón and Officers “Dice Are Rolling”................................................................................Perón and Eva “Eva’s Final Broadcast”..........................................................................................Eva “Montage”.............................................................................................. The Company “Lament”.................................................................................................................Eva SETTING Junin and Buenos Aires, Argentina, 1934–1952 THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION. ORCHESTRA Conductor: William Waldrop Associate Conductor: David Sawicki Keyboard 1: Christian Regul; Keyboard 2: David Sawicki Concert Master: Susan French; Drums: Adam Wolfe Music Coordinator: David Lai, Talitha Fehr Synthesizer Programmer: Stuart Andrews Music Copyist: Rob Meffe

EVITA

MUSICAL NUMBERS

EVITA

WHO’S WHO in the CAST CAROLINE BOWMAN (Eva).

Broadway: Kinky Boots (original cast member), Wicked. Tours: Spamalot (Lady of the Lake), Fame: The Musical (Carmen), Grease (Rizzo). Workshops/readings: Kinky Boots, Empire (Tanis). Proud graduate of Penn State University, B.F.A. Musical Theatre. Originally from the Baltimore/Washington area. Soffer/Namoff Entertainment: Thank you for changing my life. All my love and thanks to my beautiful family and friends. Shout out to Telsey Casting/Craig Burns for believing in me. Mom and Dad, I am forever indebted to you. God is good! @CarolineVBowman JOSH YOUNG (Che) received a 2012 Tony Award nomination and Theatre World Award for his critically acclaimed Broadway debut as Judas in Andrew Lloyd Webber’s Jesus Christ Superstar, director Des McAnuff. Two seasons at The Stratford Shakespeare Festival: Judas in JCS, Connie Rivers in Grapes of Wrath and Che in Evita, director Gary Griffin, earning Broadway World Awards for each. Josh played Marius in the National Tour of Les Misérables and Tony in the International Tour of West Side Story.

Debut and new album Still Dreaming of Paradise are available on iTunes, Amazon, www.Josh-Young.com and at this theater’s merchandise stands wherever Evita merchandise is sold.

B.F.A. Syracuse University. Tweet @joshpaulyoung SEAN MacLAUGHLIN (Perón) was last seen on Broadway, U.S. and Canada as Raoul in The Phantom of the Opera. Other Broadway credits include: Bombay Dreams, the original casts of The Woman In White and Elton John’s Lestat.

Off-Broadway: Tut (NYMF), Requiem for William, The Audience and Baby: In Concert (Transport Group). Some favorite regional credits include: Camelot (Lancelot), The Rainmaker (Starbuck), The

Rink (Dino), Floyd Collins (Homer), Violet (Monty), Kennedy Center’s Sondheim Celebration: Merrily We Roll Along and many more. Film/ TV: “Something the Lord Made” (HBO) and “South Pacific Live from Carnegie Hall” (PBS). Equity Member since 1999. For Elaine and Quinn.

DESI OAKLEY (Eva Alternate) is thrilled to be hitting the road with the cast of Evita! Broadway: Annie (Original revival cast), Wicked.

National tour: Wicked. Regional: Ariel, The Little Mermaid; MTWichita. B.F.A., University of Michigan. After playing Eva Peron in college, it is an honor for her to portray this dynamic and powerful woman again. Gracious thanks to the Evita team, CGF Talent, and Telsey & Co. Endless love to family and friends, especially M&D, F, C&L, JLK, LG and A. For Daddy. Proverbs 3:5-6. www.desioakley.com CHRISTOPHER JOHNSTONE (Magaldi). South Pacific first national tour Lincoln Center (Lt. Cable, u/s); Fiddler on the Roof Lyric Opera San Diego (Perchik); South Pacific Ogunquit Playhouse (Lt. Cable); Tommy! TCR (Capt.

Walker); Dido & Aeneas Mark Morris Dance Group (Aeneas); A Little Night Music Boston Pops; Pirates of Penzance Glimmerglass; Mahagonny Tanglewood; The Apartment NYCFringe. TV: “All My Children,” “Personal Justice,” “Watch What’s Happening Live.” www.johnstonechristopher.com KRYSTINA ALABADO (Mistress, Ensemble). Broadway: Green Day’s American Idiot.

First National Tours: Spring Awakening, American Idiot (dir.

Michael Mayer). Off-Broadway/ Regional: Camp Wanatachi (La MaMa), Pregnancy Pact (Weston Playhouse, Yale), Table (Long Warf Theatre), Fall Springs (Ars Nova),

Freckleface Strawberry (MMAC reading). Huge thanks to Dad, Mom, the twins, Terry and Marilyn my managers, Jo, CESD, Telsey & Co, and love to my Matt. Proud Equity member! @krystinaalabado RYAN K. BAILER (Ensemble) is thrilled to be a part of Evita! Former credits include Les Misérables (third National Tour, Javert u/s), Evita (Chicago’s Marriott Lincolnshire, Peron u/s) and Forever Plaid (Chicago’s Royal George, Smudge).

Ryan has a B.F.A. in Musical Theatre from the University of Michigan, and is ever grateful to his friends and family for their love and support!

NICHOLAS BELTON (Ensemble). Hair (Broadway and tour), Natasha Pierre & The Great Comet of 1812, See Rock City & Other Destinations and Normal (Duke on 42nd), Wicked (Chicago), My Life With Albertine (Playwrights Horizons). Regional: Turn of the Century (Goodman Theatre), Carousel (Long Wharf Theatre), Court Theatre, Chicago Shakespeare, Fords Theatre, Crossroads and Idaho Shakespeare.

Nick’s also a private chef. www. kitchensurfing.com/nicholasbelton JESSICA BISHOP (Ensemble) is thrilled to tango with this awesome cast! Bishop leaped onstage in 2008, playing Meg Giry in the national tour of The Phantom of the Opera, a role she later reprised on Broadway in 2011. Other credits include Broadway’s revival of West Side Story, Julianne Moore’s Freckleface Strawberry, Carousel at Goodspeed and Our Town with Hal Holbrook. Hab 3:2 www.jessica-bishop.com RONALD L. BROWN (Ensemble). Tours: Man of La Mancha (Cervantes), My Fair Lady, Evita (Juan Peron). Regional: Red (Mark Rothko), Camelot (Merlyn/Pellinore), Evita (Juan

Peron), Annie and Annie Warbucks (Daddy Warbucks), Man of La Mancha (Cervantes), Cats (Old Deuteronomy), The Secret Garden (Archibald), The Light in the Piazza, On The Twentieth Century, many others. Proud and active member of Actors’ Equity Association.

HOLLY ANN BUTLER (Ensemble). Broadway/OffBroadway: How to Succeed…

(Hedy, Smitty, Miss Jones u/s), Grease (Rizzo u/s), Happiness (dir. Susan Stroman), Anyone Can Whistle (Encores!). National tours: Flashdance (Alex, Gloria, Tess u/s), Shrek (Fiona u/s), Jersey Boys (Lorraine). Regional: …Millie— Millie (Drury Lane, Jeff nomination); Grease—Rizzo (Gateway Playhouse). Film/TV: Looking for Trouble, “Figure It Out.” Thanks: The Mine, Jeff Halpern and my family.

DIANA DiMARZIO (Ensemble).

Broadway: Sweeney Todd w/Patti Lupone (Beggar Woman, original cast recording). National tours: Light in the Piazza (Signora Naccarelli), Man of LaMancha (Aldonza), Sweeney Todd (Beggar Woman), A Christmas Carol (Mrs. Cratchit). Regional: Ten Cents a Dance (Williamstown Theater Festival, McCarter Theater). Europe: Sweeney Todd (Bavarian Radio Orchestra, cast recording), Carmen (Frasquita). Film: Find Me Guilty.

TV: “The Sopranos.” Graduate of Carnegie Mellon University. dianadimarzio.com SAMANTHA FARROW (Ensemble) is so blessed to be a part of the Evita national tour. Previous theater and dance credits include: Cirque du Soliel (Zaia), Wicked second national tour, Sweet Billy and the Zooloos, NYC Summerstage with Nathan Trice Rituals and Jacob’s Pillow w/Abraham in Motion. She received her B.F.A. from NYU. All love and thanks to my family, MSA and Telsey.

KATHARINE HEATON (Ensemble). National tours: Grizabella and Jellylorum (30th anniversary Cats); Fiddler on The Roof. Favorite credits: Footloose (Cape Playhouse); A Christmas Carol (North Shore Music Theatre); Violet (New York University); George M! (Westchester Broadway Theatre); James Taylor’s One Man Band Tour/CD/DVD; National Anthem (Yankee Stadium). Thanks to my parents, Telsey, Seth, Kristen, The Mine and everyone who helped me get here. Psalm 28:7 TONY HOWELL (Ensemble). OffBroadway: 50 Shades of F****d Up (original cast), Broadway Varietease (Swing). Tours: Disney’s Beauty and the Beast (Swing, u/s Lefou).

Regional: Show Boat (Kennedy Center), Cabaret (Merry-Go-Round Playhouse) and Cats (Gateway Playhouse) et al. Founder of Creative Social Media. Let’s connect at www.Tony-Howell.com and @ TonyHowell!

KATIE HUFF (Ensemble). Credits include: The Sound of Music, Seven Brides for Seven Brothers, Spamalot, Gypsy, Singin’ in the Rain (Drury Lane), Chicago (Mason Street Warehouse), My Fair Lady (Paramount Theatre), Merrily We Roll Along (Music Theatre Company), as well as a number of concerts with The Broadway Dreams Foundation. B.F.A.: Chicago College of Performing Arts at Roosevelt University.

PATRICK OLIVER JONES (Ensemble) is enjoying his second national tour, having just traveled the country with The Addams Family (u/s Lurch, Mal).

Off-Broadway credits include Extraordinary Ordinary and Magdalene. Regionally he’s done Les Misérables, Tommy, Camelot, Grease (alongside Joey Fatone), in addition to co-starring on “Law & Order: CI” and “Blue Bloods.”

Thanks to God, Mom, Ross and

friends for continued love and support. www.patrickoliverjones.com CHRIS KOTERA (Ensemble). A Kansas native, Chris is excited for his first national tour! Regional: Riverside, Pioneer Theatre, KC Starlight, Casa Mañana, STAGES St. Louis, Pennsylvania Shakespeare, New Theatre Restaurant and Discoveryland!

Chris is a graduate of the University of Oklahoma and currently a student at the Upright Citizens Brigade.

Much thanks to family, friends, coaches and especially teachers!

IAN LIBERTO (Swing, Dance Captain). Broadway: Chaplin (OBC); How To Succeed…; Promises, Promises; Billy Elliot. Tours: A Chorus Line, Thoroughly Modern Millie and Billy Elliot. Regional: Paper Mill, TUTS, Sac Muisic Circus, Ravinia Festival, Marriott Theatre, Gateway, Kennedy Center. Love to mom and Kasey. Graduate of Millikin University. @ianliberto ALISON MAHONEY (Ensemble).

NYC: Ragtime anniversary concert (Avery Fisher), Church (Public Theater), Dream of Love (Lincoln Center). Regional: A Little Night Music (Baltimore Center Stage), Ragtime, The Sound of Music (Paper Mill), The King and I (OSTC).

Soloist: Avery Fisher, Alice Tully, Boston Esplanade, the Vatican. As The Singing Baker: Food Network, CBS from the Couch and Playbill. com. Thanks to friends and family. www.alisonmahoney.com ROBIN MASELLA (Swing, Assistant Dance Captain) is thrilled to be making her touring debut with Evita! NY Credits: Candide (Lincoln Center/NYCO). Regional favorites include Disney’s The Little Mermaid, Crazy For You (Dance Capt), Seven Brides…, Carnival!

(Dance Capt), Show Boat. Has performed regionally at Sacramento Music Circus, Goodspeed, TUTS & KC Starlight. Commercials: “NBC

EVITA

WHO’S WHO in the CAST

EVITA

WHO’S WHO in the CAST

Ford/Smash.” Love to Dad, Mom and Benji for their endless support!

MSA Agency & love to my family and friends! @JeffreyCSousa

MEGAN ORT (Ensemble).

Touring debut! Previous credits: The Music Man (Zaneeta Shinn) and Annie Get Your Gun (Dolly Tate cover) at The Glimmerglass Festival; Legally Blonde (Elle Woods), Gianni Schicchi (Lauretta), Coram Boy (Young Alexander/ Aaron). Proud and recent graduate of Ithaca College, B.F.A. Musical Theatre. Infinite thanks to Telsey+Co, Kristen Blodgette, Marc Webster, the HD, the GG, and especially Mom, Dad and Caitlin!

TUG WATSON (Swing) is thrilled to be a part of this production.

Previous credits include the national tours of Young Frankenstein (Swing), Cats (Munkustrap) and Annie (Ensemble). Tug has also performed at Casa Mañana, Merry-GoRound Playhouse, Syracuse Stage and Light Opera Works in Chicago.

A proud member of AEA, a graduate of Syracuse University, and son of Drew and Becky, he hopes you enjoy the show!

JOHN RIDDLE (Ensemble).

Touring debut! Regional: The Little Mermaid (Prince Eric), Titanic, Legally Blonde and others at MUNY, Pittsburgh CLO, Flat Rock Playhouse. Favorites: Into the Woods (Cinderella’s Prince), Oklahoma! (Curly), An American in Paris with the Cincinnati Pops.

TV/Film: “One Life to Live.” CCM grad. Many thanks to Telsey & Co. and the CGF boys. Endless love to the fam and the Neens! @jclayrids MORGAN ROSE (Swing). Favorite credits: Shrek the Musical (first national), Dear Edwina (Off B’way), A Chorus Line (MSMT), George M! (TBTS), Funny Girl (Westchester).

B.F.A. MT FSU! Enormous thanks to my descamisados, Chris, Seth, Kristen, Craig/Telsey, Kate, Al, Ricky, Tim, Steven, Rach, Amanda, Jonathan, Raumakers, MNM and MSA! Her work is inspired by her parents and dedicated to the memory of her brother, Dustin.

JEFFREY C. SOUSA (Ensemble).

From Waterbury, Ct, Jeffrey is thrilled to be sharing the story of Evita. Credits: (National Tour) West Side Story: Bolo, u/s Bernardo.

(Dance Companies) Armitage Gone! Dance, Pennsylvania Ballet, Life Dance Company—UArts Alum Class of 2010—many thanks to

THE REALLY USEFUL GROUP (RUG) (Licensor) has produced, co-produced or licensed throughout the world Aspects of Love, The Beautiful Game, Bombay Dreams,

By Jeeves, Cats, Daisy Pulls It Off, Evita, The Hired Man, Jeeves Takes Charge, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, La Bête, Lend Me a Tenor, Love Never Dies, The Music of Andrew Lloyd Webber, On Your Toes, The Phantom of the Opera, Shirley Valentine, The Sound of Music, Song & Dance, Starlight Express, Sunset Boulevard, Tell Me on a Sunday, Whistle Down the Wind, The Wizard of Oz and The Woman in White. RUG is wholly owned by Andrew Lloyd Webber.

TIM RICE (Book/Lyrics) got the idea for Evita driving to a dinner in London in 1973, hearing part of a radio program about her remarkable life. He remembered her from his schoolboy stamp collection, and after further research realized her fantastic story might be the musical to prove that he and Andrew Lloyd Webber were not one-hit wonders.

His first new stage musical in thirteen years, From Here to Eternity, based on James Jones’ 1951 masterpiece novel—music by Stuart Brayson, opens (or has opened, depending on when you’re reading this) in the West End in October 2013. www.timrice.co.uk

ANDREW LLOYD WEBBER (Music and Orchestrations) is best known as a composer. His musicals include The Phantom of the Opera, Evita, Cats, Sunset Boulevard and Jesus Christ Superstar. His recent producer credits include A.R. Rahman’s Bombay Dreams, The Sound of Music and The Wizard of Oz. He pioneered casting for musical theatre on TV with the International Emmy award-winning “How Do You Solve A Problem Like Maria?”

His awards include an Oscar, seven Tonys, three Grammys, two International Emmys, seven Olivier Awards and the Kennedy Center Honor. His latest work is based on the life of Dr. Stephen Ward. He was knighted in 1992 and created an honorary life peer in 1997.

MICHAEL GRANDAGE (Director) is Artistic Director of the Michael Grandage Company in London. He was Artistic Director of the Donmar Warehouse (2002–2012) and Sheffield Theatres (2000–2005).

He is the recipient of Tony, Drama Desk, Olivier, Evening Standard and Critics’ Circle Awards. Work includes: The Cripple of Inishmaan with Daniel Radcliffe, Peter and Alice with Judi Dench and Ben Whishaw, 25 productions for the Donmar Warehouse including Red (UK & NYC), Hamlet with Jude Law (UK & NYC), Frost/Nixon (UK & U.S.). Michael is President of the Royal Central School of Speech and Drama and was appointed CBE in the Queen’s Birthday Honours 2011.

ROB ASHFORD (Choreographer).

Broadway—Director/Choreographer: How To Succeed (Tony nominations, Direction and Choreography); Promises, Promises (Tony nomination, Choreography); Choreographer: Thoroughly Modern Millie (Tony Award, Best Choreography), Evita (Tony nomination), The Wedding Singer (Tony nomination), Cry-Baby (Tony nomination), Curtains (Tony nomination); Director: Cat On A Hot Tin Roof. London—Director:

Anna Christie (Donmar; Olivier Award), A Streetcar Named Desire (Donmar; Olivier nomination), Macbeth at Manchester International Festival; Director/Choreographer: Parade (Donmar; Olivier nominations, Direction and Choreography); Choreographer: Evita (Olivier nomination), Guys and Dolls (Olivier nomination), Thoroughly Modern Millie (Olivier nomination), Forum (National Theatre). Other: “The 81st Annual Academy Awards” (Emmy Award, Choreography).

SETH SKLAR-HEYN (Tour Director). Broadway: The Phantom of the Opera (Production Supervisor), Evita (Associate Director), A Little Night Music (Associate Director), Finian’s Rainbow (Associate Director), Good Vibrations (Associate Director), Mary Stuart (Assistant Director), Rock’n’Roll (Assistant Director), Frost/Nixon (Assistant Director), The Coast of Utopia (Assistant to the Director). Off-Broadway/Encores!: Cotton Club Parade (Assistant Director). U.S. National Tour: Billy Elliot (Resident Director). Previously for Michael Grandage, Seth directed the U.S. National Tour of Frost/ Nixon in 2009, starring Stacy Keach and Alan Cox. Seth serves as Executive Producer for Cameron Mackintosh Inc. in N.Y. Graduate of Vassar College.

C H R I S B A I L E Y (Tour Choreographer).

Choreography—2013 CBS Tony Awards opening number.

Movement Director—Cyrano De Bergerac, Roundabout Theatre company. Tours as Choreographer: Shrek (US), The Wedding Singer (US), Guys and Dolls (UK, Australia), Thoroughly Modern Millie (UK). Associate choreography—2013 Academy Awards.

Broadway: Evita; How to Succeed in Business Without Really Trying; Promises, Promises; Cry-Baby.

West End: Guys and Dolls, Evita,

Once in a Lifetime, Candide (also Paris). Film: Beyond the Sea. JENNIE FORD (Associate Choreography). Choreography credits range from Opera to Broadway; working closely with numerous Tony Award-winning choreographers.

Performing credits: 7 Broadway musicals and 4 albums. She has been hired as “teacher to the stars” such as Nick Jonas, Darren Criss, Beau Bridges, George Wendt, Ronn Moss, Jerry Mathers. Author of a new “how-to” book series for Broadway. www.BeTheBestOnBroadway.com CHRISTOPHER ORAM (Set and Costume Design) is the recipient of Tony, Oliver, Evening Standard, Critics’ Circle, Garland and Ovation Awards for his work both here in the U.S. and in the UK. Currently the set and costume designer for the Michael Grandage Company season at the Noel Coward Theatre in the West End. NEIL AUSTIN (Lighting Design).

Recipient of the 2010 Tony Award and Drama Desk Award for Red at the Golden Theatre and the 2011 Laurence Olivier Award for The White Guard at the National Theatre, London. Other Broadway credits include A Cat on a Hot Tin Roof (Rodgers), Evita (Marquis), Hamlet (Broadhurst), The Seafarer (Booth), Frost/ Nixon (Jacobs).

He has designed over 200 productions including many in the UK for the National Theatre, Donmar Warehouse, Royal Opera House, Royal Shakespeare Company and in the West End. MICK POTTER (Sound Design) has designed numerous world premiere, West End and Broadway musicals. Recent sound designs include Miss Saigon, Saturday Night Fever, Bombay Dreams, Zorro, The Woman in White, Whistle Down the Wind, Evita, Joseph…, Love Never Dies, The Sound of Music, Sister

Act, The Wizard of Oz, Betty Blue Eyes, The Phantom of the Opera and Les Misérables. Awards include an Olivier for The Woman in White London and Parnelli Award for Phantom of the Opera Las Vegas.

RICHARD MAWBEY (Wig and Hair Design) owns London’s Wig Specialities. Theatre: La Cage aux Folles, Priscilla Queen of the Desert, Frost/Nixon, Hairspray, South Pacific, Legally Blonde, Passion, End of the Rainbow, White Christmas, Piaf, Sweet Charity, Evita, Guys and Dolls, The Producers, Thoroughly Modern Millie, Merrily We Roll Along, the Donmar West End season. Television: “Little Britain,” “Poirot.” Film: The Ghost Writer, Titanic, Star Wars, Dumbledore in Harry Potter. Personal wigmaker to Sean Connery, Dame Edna, Kylie Minogue, Madonna.

ZACHARY BOROVAY (Projection Design). Recent Broadway credits include No Man’s Land, Waiting For Godot, Evita, Elf, Lombardi (Drama Desk nom.), Rock of Ages (London, national tour, Las Vegas, etc.), A Catered Affair (Drama Desk nom.), Xanadu (national tour, Japan). Additional selected credits include Chaplin (La Jolla Playhouse), Peepshow (Planet Hollywood Casino, Las Vegas), The Radio City Christmas Spectacular and Voyage de la Vie (RWI, Sentosa, Singapore). Zachary is on the board of trustees of United Scenic Artists Local 829. borovay.com TELSEY + COMPANY (Casting).

If/Then, The Bridges of Madison County, First Date, Motown, Kinky Boots, Annie, Newsies, SpiderMan Turn Off the Dark, Rock of Ages, Wicked, Porgy and Bess, Priscilla Queen of the Desert, Sister Act, Million Dollar Quartet. OffBroadway: Little Miss Sunshine (2nd Stage), Atlantic, MCC, Signature. Regional: La Jolla, Paper

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WHO’S WHO in the CAST

EVITA

WHO’S WHO in the CAST

Mill. Film: The Last Five Years, The Odd Life of Timothy Green, Friends with Kids, Joyful Noise, Margin Call, Sex and the City 1 & 2, I Love You Phillip Morris, Rachel Getting Married, Dan in Real Life, Across the Universe. TV: “Smash,” “The Big C,” commercials. www.telseyandco.com JASON GOLDSBERRY (Makeup Design) is proud to make his Broadway design debut with this astounding show and amazing creative team! Many thanks to family and friends for undying support, especially my sweetheart Bryan and my CC. This one’s for Amy! D A V I D C U L L E N (Co-Orchestrator) studied composition with Howard Ferguson and Richard Rodney Bennett at the Royal Academy of Music in the 1960s.

He is best known as an orchestrator of musicals, particularly those of Andrew Lloyd Webber – Cats, Starlight Express, Song and Dance, Aspects of Love, Sunset Boulevard,

By Jeeves, Whistle Down the Wind, The Beautiful Game, The Phantom of the Opera, The Woman in White, Love Never Dies and most recently The Wizard of Oz. KRISTEN BLODGETTE (Music Supervisor). Credits: Evita with Ricky Martin (Broadway), The Phantom of the Opera (Broadway, North American companies, Stuttgart, Hamburg, Basel, Antwerp, Copenhagen, Mexico City, Madrid, Buenos Aires); Cats (Broadway, national tours, Hamburg, Copenhagen); Sunset Boulevard; Jesus Christ Superstar; The Woman in White; Mary Poppins; LoveMusik; Chitty Chitty Bang Bang; Annie Get Your Gun with Deborah Voigt (Glimmerglass); Bounce directed by Harold Prince (Goodman, Kennedy Center); tours of On Your Toes, Jerry’s Girls, Barnum; and rehearsal pianist for Carrie with Betty Buckley.

WILLIAM WALDROP (Associate Music Supervisor/Music Director/ Conductor). Broadway: Rodgers & Hammerstein’s Cinderella, Evita.

National tours: The Phantom of The Opera, Cats. Off-Broadway: Donnybrook!, A Tree Grows In Brooklyn. Las Vegas: Phantom— The Las Vegas Spectacular, Hedwig and The Angry Inch. As a composer, William’s songs (with lyricist Robert Williamson) have been heard in cabarets and theatres across the country. In New York City: Birdland, The Laurie Beechman Theatre, The Duplex, New World Stages. William is a proud graduate of The Peabody Conservatory of Music (M.M.) and The University of Mississippi (B.M.). Love to Mom and Dad! DAVID CHASE (Dance Arrangements) is thrilled to once again be part of the Grandage and Ashford team. West End (dance arranger): Evita, Guys and Dolls.

Current Broadway: music supervisor/ arranger/adapter for Cinderella, music director/arranger: How to Succeed…; dance arranger: Anything Goes; music supervisor/arranger: Nice Work If You Can Get It. Music education: Harvard Biology degree.

TIMOTHY R. MACKABEE (Associate Set Design). Broadway: Mike Tyson: Undisputed Truth (directed by Spike Lee). Lincoln Center Theatre, Public Theater.

Regional: Dallas Theatre Center, Portland Center Stage, Syracuse Stage, Yale Rep, Paper Mill Playhouse, Asolo Rep, Studio Theatre. TV: “Smash,” “The Today Show.” Education: North Carolina School of the Arts, Yale School of Drama. timothymackabeedesign.com AMANDA SEYMOUR (Associate Costume Designer). Recent credits: Paul’s Case, Urban Arias; Exile, Lawnpeople at the Cherry Lane Theatre; Don Pasquale, Armide at the Juilliard School; Bumbug the

Muscial, The Clurman: Theatre Row; The Sound of Music, Paper Mill Playhouse; The Family Room, Arclight Theatre; Lydia, Yale Repertory Theatre. Broadway assistant credits: Chaplin the Musical; Nice Work If You Can Get It; Present Laughter.

KRISTINA KLOSS (Associate Lighting Designer). Evita (Broadway), Billy Elliot (Broadway, first national, second national), Mary Poppins (Broadway, first national). Broadway: First Date, August Osage County, Faith Healer, Chitty Chitty Bang Bang, Glass Menagerie, Urban Cowboy.

Metropolitan Opera House, Radio City Christmas Spectacular.

Member of United Scenic Artists 829. For Pumpkin.

TONY SMOLENSKI (Associate Sound).

DRISCOLL OTTO (Associate Projection Design). Recently: Lighting Design Rock of Ages (Norwegian Cruise Line), Lighting/ Projections Antony & Cleopatra (Houston Shakespeare Festival).

Regional: Dallas Theatre Center, The Hangar Theater, Flatrock Playhouse, Reprise Theatre Company, Houston Shakespeare Festival, Shakespeare Dallas, Utah Festival Opera, and Trinity Rep. Associate designer (Broadway): Evita, Elf, Ann, Rock of Ages, After Miss Julie and Race.

JENNY PENDERGRAFT (Wig & Hair Supervisor) is a NYC based hair dresser. Broadway credits include: Evita, Wicked, Bye Bye Birdie and The Little Mermaid. Thanks to Eddie for opening my eyes to this world, to Patrick for supporting me in every new adventure and to my Angels for guiding me!

DAVID LAI (Music Coordinator).

Broad­way: Mary Poppins, Bonnie & Clyde, Wonderland, South Pacific, The Woman in White, Jesus Christ Superstar, Riverdance. Broadway

conductor: Miss Saigon and The Phantom of the Opera for last 15 years. Producer: West Side Story (Grammy), Promises, Promises and South Pacific (Grammy noms.).

TALITHA FEHR (Music Coordinator). National tours: Sister Act, Catch Me If You Can, West Side Story, Priscilla Queen of the Desert, Wizard of Oz, Come Fly Away, Mamma Mia!, A Christmas Story, Fiddler on the Roof, Jesus Christ Superstar, Cats, Chicago, Chitty Chitty Bang Bang, Chita Rivera A Dancer’s Life, Movin’Out, and 101 Dalmatians. International/ Asian tours: West Side Story, Sound of Music, Swing!, Cinderella, and The King and I. Broadway: A Christmas Story, The Pirate Queen, pre-production and development of Twyla Tharp’s Come Fly Away, the 2012 Toronto launch of Wizard of Oz, and the 2010 Vancouver Winter Olympics Opening and Closing Ceremonies.

STUART ANDREWS (Synthesizer Programmer). Broadway and West End: Mary Poppins, The Phantom of the Opera, Les Misérables, The Woman in White, Jesus Christ Superstar. West End: The Wizard of Oz, Betty Blue Eyes, Love Never Dies, Oliver!, Evita, The Sound of Music.

BONNIE PANSON (Production Stage Manager). Broadway: 26 productions including Bring It On, Spider-Man, Chicago, Dance of the Vampires, Private Lives, Blast, Seussical, Civil War, On the Town, Bring in ‘da Noise/Funk, Starlight Express, The Odd Couple, Pirates of Penzance. Tours: Bring It On and multiple versions of The Music of Andrew Lloyd Webber. St. Louis Muny: South Pacific. Off-Broadway: The Last Five Years, A New Brain.

Proud mom of her college kid, Jenny Spicola.

MICHAEL RICO COHEN (Stage Manager). Broadway/ tours: Chaplin, American Idiot,

Billy Elliot, Bonnie & Clyde. OffBroadway/regional: Signature Theatre Company, Williamstown Theatre Festival, Berkshire Theatre Festival. Workshops: Mozart l’Opera Rock, Up Here. Love to Mom, Dad and the family. Carnegie Mellon University. Proud AEA member.

TREY JOHNSON (Assistant Stage Manager) is excited to be a part of the Evita family. His credits include: Broadway: A Streetcar Named Desire; Off-Broadway: The Last Five Years, Fun Home, The Broken Heart; multiple workshops and readings. Northern Arizona Grad.

Proud Member AEA. Love to his family and friends for their constant support.

MB PRODUCTIONS (Technical Supervisor). Recent projects include Spider-Man: Turn Off The Dark (Broadway), Jekyll & Hyde (Broadway), Priscilla: Queen Of The Desert (national tour), Chitty Chitty Bang Bang! (national tour), Yo Gabba Gabba Live (tour).

MB Productions is comprised of Production Managers Mike Bauder, Andrew Deichman and Jeremy Lane.

RYAN P. MURPHY (Production Coordinator) is currently in his seventh season as Production Coordinator with Troika Entertainment, having worked on over 30 national and international tours with a wide range of amazing artists. Prior to joining Troika, Ryan served as the Production Supervisor and Executive Producer for The Rainbow Cubs, overseeing the creation, development, and operation of a children’s entertainment company in Niagara Falls, N.Y. Originally from Buffalo, N.Y, Ryan holds a B.F.A. from Niagara University and an M.A. from The University of Rochester. Ryan would also like to thank his family, friends and most importantly his partner Joe, for all their love and support.

JOE CHRISTOPHER (General Manager) presented and produced over 65 productions and special events as the Associate General Manager and Coordinator of Theater Programming at The Kennedy Center in Washington, DC. His favorite Kennedy Center credits include the Tony Awardnominated Broadway revivals of Follies and Ragtime, four seasons of Barbara Cook’s Spotlight Series, critically acclaimed festivals celebrating the works of August Wilson & Terrence McNally, Master Class starring Tyne Daly, Thurgood starring Laurence Fishburne and numerous other special events.

National Tours: Sister Act, Shear Madness, Evita, Joseph And The Amazing Technicolor Dreamcoat and Andrew Lloyd Webber’s new production of The Wizard of Oz. HAL LUFTIG (Producer). Winner of four Tony Awards and London’s Olivier Award, Hal Luftig has worked on and off-Broadway for the past 25 years. Broadway: Kinky Boots, Evita, Catch Me If You Can, Come Fly Away, West Side Story, All My Sons, Legally Blonde, The Times They Are A-Changin’, Whoopi, Movin’ Out, Thoroughly Modern Millie, Annie Get Your Gun, High Society, The Diary of Anne Frank, The King and I, Moon Over Buffalo, Angels in America, Jelly’s Last Jam, The Secret Garden. He is currently developing The Last Goodbye, with the music of Jeff Buckley. Hal has an M.F.A. from Columbia University, and an ulcer from tension.

TROIKA ENTERTAINMENT (Producer) has been the innovator in touring musical theater productions for over two decades, producing shows throughout North, Central, and South America, Europe and Asia. Additionally, the company is experienced in casino and leisure markets having produced for the Wynn, Caesars, Grand Casino, Hilton, Eldorado and Harrah’s.

Current and upcoming productions include Annie, Bring It On:

EVITA

WHO’S WHO in the CAST

EVITA

WHO’S WHO in the CAST

The Musical, Evita, Ghost, Joseph and the Amazing Technicolor Dreamcoat, Priscilla Queen of the Desert, Sister Act and West Side Story. With strong ties to the Broadway community, Troika prides itself on delivering top quality productions to audiences worldwide.

Please visit us at www.troika.com.

RANDALL A. BUCK (Producer) has produced more than 50 productions across the globe for Troika Entertainment. Before joining Troika in 1999, Mr. Buck was Vice President and General Manager for Livent in Toronto. Mr. Buck was a stage manager for more than 20 years, surviving a year with Mary Martin and Carol Channing in Jimmy Kirkwood’s Legends!, a year in Japan with Siegfried & Roy, opening The Phantom of the Opera Music Box Company and opening Show Boat on Broadway. When not on the road Randy can be found in the Washington, D.C. area with his wife, Angela, and their daughter Sierra Ashley Buck.

JAMES L. NEDERLANDER (Producer). President of Nederlander Organization and son of James M. Nederlander (Chairman). Mr. Nederlander is currently represented on Broadway with Priscilla, Spider-Man. Other credits include West Side Story, Next to Normal, 25th Annual Putnam County Spelling Bee, Who’s Afraid of Virginia Woolf?, Movin’ Out, The Tragedy of Carmen (recipient of a special Tony Award).

TERRY ALLEN KRAMER (Producer). Credits (partial listing): Sugar Babies; Me and My Girl: The Goat… (Tony Award); Movin’ Out (Tony Award); Who’s Afraid of Virginia Woolf?; Cyrano; West Side Story; 9 to 5; The Addams Family; The Merchant of Venice; Race; Promises, Promises; SpiderMan Turn of the Dark; Priscilla Queen of the Desert; Mike Tyson: The Undisputed Truth; Kinky Boots

(Tony Award); and I’ll Eat You Last.

Starcatcher, and Tony Awards in 2013 for Kinky Boots and Pippin.

ANTHONY NICHOLSON (Producer). Director of Foundation Board of University of Central Florida. Broadway: Evita with Ricky Martin, The Best Man with James Earl Jones, Porgy and Bess, Matilda and Cinderella.

RAINBOW TOUR PRODUCTIONS (Producer). The Broadway Consortium (Van Dean & Kenny Howard): 8 Broadway shows, 1 Tony Award, 4 Tony nominations, 18 albums. Thanks BMiller, BroadwayConsortium. com and BroadwayRecords. com; Wendy Federman: 2 Tony Awards, 13 Tony Nominations, 25 Broadway shows; Carl Moellenberg: 5 Tony Awards, 26 Broadway productions, 5 national tours.

TOM & CONNIE WALSH (Producers). Broadway: Kinky Boots (Tony winner), First Date.

Long-time supporters of the nonprofit performing arts in Seattle.

Board members of the 5th Avenue Theatre and the Pacific Northwest Ballet.

ROY FURMAN (Producer).

Currently on Broadway: The Book of Mormon (Tony Award), Cinderella, Annie, Big Fish and After Midnight.

Later this season: Bullets Over Broadway the Musical, Betrayal and Rocky. Previous productions include: Lucky Guy, War Horse (Tony), West Side Story, The History Boys (Tony), Gypsy, Spamalot (Tony), The Color Purple and Fosse (Tony).

YASUHIRO KAWANA (Producer). Broadway: First Date; Let It Be; Kinky Boots (Tony Award); Evita; Catch Me If You Can; Come Fly Away; Legally Blonde. He has co-presented Rain: A Tribute To The Beatles; The Full Monty; Fosse; in Japan and Japanese local productions of Promises, Promises; Side Show; Grease; All Shook Up; Brooklyn; Titanic; Sweet Charity; The Producers; The Boy From Oz; Never Gonna Dance.

ALLAN S. GORDON/ADAM S. GORDON (Producers). Allan has received Tony Awards for Rent, Death of a Salesman, Hairspray and Spamalot. Allan’s career spans the fields of theatre, law, investment banking, real estate and venture capital. Together, Allan and Adam’s credits include The Peewee Herman Show, Peter and the

MICHAEL J. MORITZ, JR. (Producer). Broadway producer, record producer, music director, entertainment entrepreneur from Youngstown, Ohio. Broadway producing credits include Big Fish, One Night With Janis Joplin, Beautiful: The Carole King Story. Album producing credits include Norbert Leo Butz (Memory and Mayhem), Aaron Tveit (Radio In My Head). michaelmoritz.com PITTSBURGH CLO (Producer).

Under the direction of Van Kaplan this not-for-profit arts organization appreciates the support of nearly 200,000 patrons each year and produces a subscription series, educational programs, national tours, develops and invests in new works, including 18 Broadway shows (24 Tony Awards) and is a founder of The National High School Musical Theater Awards (PBS). www.pittsburghCLO.org JOHN and DIANE CHACHAS (Producer). John is the Managing Partner of Methuselah Advisors and a Board Member of Gump’s San Francisco & PrePlay Sports. Diane is a Board Member of Parents in Action. Broadway: Kinky Boots; Tour: Evita.

JUST FOR LAUGHS THEATRICALS (Producer).

CEO Adam Blanshay, Chairman

GLASS HALF FULL PRODUCTIONS (Producer).

Managing members: Adam Blanshay and Gareth Lake.

Broadway: Twelfth Night/Richard III. London: I Can’t Sing— The X Factor Musical (London Palladium). UK Tour: Shrek The Musical. Thanks to Hal. www.ghfproductions.co.uk RICARDO HORNOS (Producer).

Broadway: Evita, The Heiress, Cinderella, The Trip to Bountiful, Big Fish. Buenos Aires: Spanishspeaking versions of Young Frankenstein, A Steady Rain, The Norman Conquests, Good People (all in association with Pablo Kompel). Film (in development): Omelette Surprise, Fernando in Arizona, Yankee Doodle Day. Board: Symphony Space.

SCOTT SANDERS PRODUCTIONS (Producer).

Scott Sanders is an Emmy and Tony Award-winning theatre, film and television producer.

Broadway: The Color Purple, with partner Oprah Winfrey; The Peewee Herman Show (Broadway and Los Angeles); Evita starring Ricky Martin. Additional Broadway: Elaine Stritch: At Liberty and upcoming—After Midnight, the new jazz musical created with Wynton Marsalis. Other musicals in development: Coal Miner’s Daughter, starring Zooey Deschanel as Loretta Lynn and Houdini, with a score

by Stephen Schwartz, directed by Jack O’Brien and starring Hugh Jackman. In 2012 Sony Pictures Entertainment partnered with the

company to adapt and develop stage musicals from SPE’s film library.

CAROL FINEMAN (Producer).

Broadway: Evita, The Pee-wee Herman Show. Worth Street: Christopher Shinn’s Four, The Normal Heart, Drama Desk for The Stage Door Canteen. Headed press at the Public for 11 years. Highlight credits there (downtown and Broadway): The Tempest, Noise/ Funk, Elaine Stritch: At Liberty, The Seagull w/Meryl Streep.

Currently, Producer & VP/Theatre, Scott Sanders Productions.

BRIAN SMITH (Producer).

Broadway: Kinky Boots (Tony Award), Evita, Catch Me If You Can. NYC: The Harmonious Pimps of Harmony…, Camp Wanatachi, Yes We Can, PINK!.

Artistic Director, Down Payment Productions. 2010 NY Innovative Theatre Award, Outstanding Director.

WARREN TREPP (Producer).

Broadway: Kinky Boots, Evita, Legally Blonde, Movin’ Out and Thoroughly Modern Millie. His proudest production is his son Warren Edward, a credit he shares with his wife, Jâlé.

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

The Denver Center for the Performing Arts DENVER CENTER ATTRACTIONS STAFF D. Randall Weeks. . . . . . . . . . . . . Executive Director/President Jeff Hovorka . . . . . . . . . . . . Director of Media and Marketing John Ekeberg . . . . . . . Director of Programming & Operations Heidi Bosk . . . . . . . . . . . . . . . . . . . PR & Promotions Manager Alicia Giersch. . . . . . . . . . . . . . . . . . . . . . . . Business Manager Emily Lozow . . . . . . . . . . . . . . . . . . . . . Marketing Coordinator

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

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

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

THE BUELL THEATRE

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

CITY & COUNTY OF DENVER Michael Hancock, Mayor

ARTS AND VENUES Kent Rice, Director

For information call: 720.865.4220

EVITA

Gilbert Rozon. Subsidiary of Just for Laughs. Broadway: Bullets Over Broadway, Twelfth Night/ Richard III, Kinky Boots. London: I Can’t Sing—The X Factor Musical, A Chorus Line (London Palladium), Chimerica, Merrily We Roll Along, Old Times (Harold Pinter Theatre), The Ladykillers (Vaudeville), Abigail’s Party (UK tour). Thanks to Hal. www.hahaha.com

EVITA

STAFF GENERAL MANAGEMENT Joe Christopher Associate General Manager................Abram Best COMPANY MANAGER Susan Brumley Assistant Company Manager............... Jason Haft PRESS/MARKETING REPRESENTATIVE ANITA DLONIAK & ASSOCIATES, INC Anita Dloniak Diane L. Rodes Melissa A. Hazek CASTING TELSEY + COMPANY Bernie Telsey CSA, Will Cantler CSA, David Vaccari CSA, Bethany Knox CSA, Craig Burns CSA, Tiffany Little Canfield CSA, Rachel Hoffman CSA, Justin Huff CSA, Patrick Goodwin CSA, Abbie Brady-Dalton CSA, David Morris, Cesar A. Rocha CSA, Andrew Femenella CSA, Karyn Casl CSA, Kristina Bramhall, Conrad Woolfe, Amelia Nadler, Rachel Minow EXCLUSIVE TOUR BOOKING THE ROAD COMPANY 165 West 46th Street, Suite 1101 New York, NY 10036 202.302.5200 voice 202.302.5374 fax www.theroadcompany.com TECHNICAL SUPERVISION MB Productions Mike Bauder Andrew Deichman, Jeremy Lane, Victoria Mayo, J. Michael Stafford PRODUCTION STAGE MANAGER................................Bonnie Panson Stage Manager.....................Michael Rico Cohen Assistant Stage Manager................ Trey Johnson Tour Director............................. Seth Sklar-Heyn Tour Choreographer......................... Chris Bailey Associate Choreographer..................Jennie Ford Associate Music Supervisor........ William Waldrop Dance Captain................................... Ian Liberto Assistant Dance Captain................ Robin Masella Associate Scenic Designer...... Timothy Mackabee Broadway Associate Scenic Designer........................ Bryan Johnson UK Associate Scenic Designer.....David Woohead, Richard Kent UK Assistant Scenic Designer........... Lee Newby, Andrew Riley, Simon Anthony Wells Renderer.......................................... Ann Bartek Production Properties.....................Andrew Miller Associate Costume Designer....Amanda Seymour Assistant Costume Designer........... Ryan Dodson Associate Lighting Designer............Kristina Kloss Broadway Associate Lighting Designer.Dan Walker Assistant Lighting Designer.......Weston Wilkerson Lighting Programmer....................... Rob Halliday Production Electrician...............Jeff “Swing” Holtz Associate Sound Designer.......... Tony Smolenski UK Associate Sound Designer......Paul Gatehouse Production Sound........... Colle Bustin, Dillon Cody Associate Projection Designer...... Driscoll A. Otto Production Hair and Wigs......... Jenny Pendergraft

HEAD CARPENTER...........................NOAH KERN Assistant Carpenter........................... Seth Larkin Assistant Carpenter................. Joshua Townsend Head Electrician........................... Stephen Atwell Assistant Electrician.................... Jeremy Bolnick Assistant Electrician........................Eric Johnson Assistant Electrician............ Christopher K. Nimm Head of Props........................ Jennifer A. Kramer Head of Sound...................... Maxine R. Gutierrez Assistant Sound Engineer.......... Nathan Meredith Head of Wardrobe........................ Season Saulet Assistant Wardrobe.................... Kasey Walraven Star Dresser.................................. Ryan Dodson Head of Hair and Wigs................ Sonya Reynolds Assistant Hair and Wigs..................... Tony Lauro Production Associate...................... Joe Cameron Production Assistants..............Mitchell Anderson, Zachary Gray Associate to Mr. Luftig.................... Scott Sinclair Assistant to Mr. Sanders..................Jamie Quiroz Physical Therapy.............................. NeuroTours Medical Director.................. Thomas Meyers, MD Accountant.......................Zwick & Banyai, PLLC. Insurance................Maury Donnelly and Parr, Inc. Payroll........................................ SCI Companies Legal Counsel.......S. Jean Ward, ESQ. & Franklin, Weinrib, Rudell & Vassallo, P.C. Production Photographer............Richard Termine Advertising........................Spotco/Drew Hodges, Josh Fraenkel, Callie Goff Website & Online Marketing.................... SpotCo/ Sara Fitzpatrick, Marc Mettler, Michael Crowley, Meghan Ownbey Accountant.................. Robert Fried CPA/Fried & Kowgios CPAS LLP GM Consultant.. Amy Jacobs, Bespoke Theatricals Immigration Counsel......... Kramer Levin Naftalis & Frankel, LLP Visa Consultant.................................... Lisa Carr Merchandising......Broadway Merchandising, LLC/ Adam S. Gordon, David Eck FOR TROIKA ENTERTAINMENT Chief Executive Officer.................Randall A. Buck Chief Operating Officer..............Michael J. Orsino Chief Financial Officer...................... Donald Kindl Associate Producer...........................Jaime Prine General Managers...................... Joe Christopher Townsend Teague Assistant General Managers............. Abram Best, Brian Schrader Production Coordinator................Ryan P. Murphy Marketing Manager...................... Courtney Davis Marketing Consultant............................Amy Katz Booking Associate........................ Doria Montfort Budgeting & Forecasting Manager.George Lamberty Controller....................................Ryan Rudzinski Staff Accountant........................ Lourdes Castillo Accounting Clerk........................ Marite Espinoza Office Manager............................ Doria Montfort Warehouse Manager....................... Scott Garrish FOR TROIKA COSTUMES Costume Director..................... Michelle Harrison Project Assistants... Alison Smith, Kristina Lamdin Work Room Manager........................Helen Jones Lead Stitcher..............................Laura Browning Craft Manager...................................... Rise Ono Stitchers............. Kristin Czako, Sharon Landrum, Katherine Krauss, Marla Parker

CONNECT WITH EVITA www.EvitaTour.com www.facebook.com/evitatour @EvitaTour CREDITS Production Travel by ROAD REBEL ENTERTAINMENT TOURING, San Diego, CA. Scenery, Automation, and Show Control by SHOW MOTION, INC., Milford, CT Using the AC2 Computerized Motion Control System. Show Deck

by PRG—SCENIC TECHNOLOGIES, a Division of Production Resource Group, LLC, New Windsor, NY. Soft Goods by I. WEISS THEATRICAL SOLUTIONS, Fairview, NJ. Props by PROPS IS TOPS, PROPSTAR, TOM CARROLL SCENERY, JOHN CREECH DESIGN & PRODUCTION. Lighting Equipment by PRG LIGHTING, Secaucus, NJ. Sound Equipment by SOUND ASSOCIATES, Yonkers, NY. Video Projection System Engineered and Provided by WORLDSTAGE, New York, NY. Costumes by SIOBHAN NESTOR, ARTHUR & TAILORS, CYGNET STUIDOS, INC., JOHN KRISTIANSEN, SARAH TIMBERLAKE, JENNIFER LOVE, HOUSE OF SAVOIA, SCAFATI, JODEK INTERNATIONAL LTD.—David Douek, Daniel Webster, COSTUME ARMOUR, KAUFMAN’s ARMY & NAVY, BECKSTEIN’S MEN’S FABRIC CZAR, and TROIKA ENTERTAINMENT COSTUME SHOP, Glen Burnie, MD. Handmade Shoes by FRED LONGTIN, J.C. THEATRICAL, T.O. DEY, WORLDTONE DANCE SHOES, CAPEZIO THEATRICALS, LADUCA SHOES. Eva Peron’s jewelry by Marcelo Toledo. Millinery

by Anne Guay & Stetson Hats, Arnold S. Levine.

Undergarments by BRA*TENDERS. Original Wigs by WIG SPECIALTIES LONDON. Historical Footage Provided by ASSOCIATED PRESS, ARENAPAL, FONDO DOCUMENTAL MUSEO EVITA/ARCHIVO GENERAL DE LA NACION AND PRODUCERS LIBRARY. Trucking by JANCO, LTD., Rick Rosenthal, Wayne, NJ. Paul Change Custom Tailors, Arel Studio.

SPECIAL THANKS Diagio Americas, Inc., Swarovski Elements, Steven Rivellino/8th Sea Inc., Michael J. Passaro and Jimmy Goode.

Rehearsed at The New 42nd Street Studios and Pearl Studios NYC Performance rights to Evita are licensed by R&H Theatricals: www.rnh.com The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

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

The Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

This production is produced by members of The Broadway League in collaboration with our professional union-represented employees.

improbable

The road to Evita was paved with patience, politics, perseverance and, when it came to making choices, a good deal of luck

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

EVITA

O

ART

of the

the

Of the musicals that they created together, the collaboration of Andrew LuPone who snagged the part on Broadway. (She later complained Lloyd Webber and Tim Rice has fashioned some highly enduring, bitterly and publicly that her experience with Evita was one of the most money-making shows. Jesus Christ Superstar, Joseph and the Amazing painful and difficult of her career; true or not, it made no difference to Technicolor Dreamcoat and Evita shine undiminished among them. the show’s success and it enhanced Lupone’s own developing career.)

Almost everyone thinks of Evita, now in The Buell, as chiefly Lloyd ice had established the character of Che as the narrator and naviWebber’s creation, but in fact it was Rice who brought the kernel of the gator of the story, but in a stroke of pure dramatic license, Prince idea to his colleague—and Lloyd Webber who rejected it. insisted on modeling the character after Che Guevara. The real Rice developed the original fascination with Eva Perón after allegedly Guevara, an Argentine by birth, had no historical connection to Eva hearing a portion of a radio show about her that sparked his interest.

Perón, and that emphasis was later minimized.

He couldn’t let go of it; he remembered the image of Eva Perón from In a 1978 interview with this writer, Prince had loftily described Evita his boyhood stamp collection. He decided to do the research, even as “about the smallness of individuals against this enormous political traveled to Buenos Aires in pursuit of more information and knowledge. canvas. Che Guevara and Eva Perón are mythic characters. She was He found it, with some welcome assistance sleazy, yet emerges much larger than life. from Argentine film director Carlos Pasini It’s myth vs. reality. The arena dwarfs the Hansen who had produced a film about Perón people, but put them in front of a microtitled Queen of Hearts that Rice eventually phone and they become just as large, just as saw—as many as 20 times by his own count. unreal.”

He even named his first daughter after the The Los Angeles Times review of the Argentine first lady. pre-Broadway try-out in that city, described “I was hooked,” he concedes. But Lloyd Evita as “not flawless, but possessed of Webber wasn’t—yet. He was busy pursuing three vital ingredients: tremendous scope, a remarkable score and the directorial genius a collaboration with playwright Alan Ayckof [Harold] Prince. There is a dark flash and bourn on a musical version of Jeeves, based vulgarity to its tone, protagonists who reflect on the legendary P.G. Wodehouse butler. It essence rather than externals and the preswas only after that project was completed ence of Che Guevara as a sardonic goad… and met with disappointing public reception Evita’s only bit of absolute fiction, but that is that he began to think of Rice’s proposal.

Favorably this time. all it takes to free the work from the strait— Harold Prince, original director jacket of reality.”

In 1976, score and script in hand, Rice and This permission to take liberties, explore Lloyd Webber approached director Harold Prince to stage their new musical Evita. and experiment, is what makes theatre thrive as art. Allowed to roam the infinite reaches of the imagination, theatre Prince (who later went on to direct Lloyd Webber’s most popular and profitable musical, The Phantom of the Opera) famously stated that a can zero in on truths that are more startling and accurate than strict musical that started with a funeral had to be interesting. But he also reality can provide. It is what myths are all about, including the myths born—as in the case of Evita—from political fact and a fair amount of told the composer and book-writer that, while he’d like to stage it, he could take on no new commitments for two years. Undeterred, the guys fiction. As a musical Evita is, indeed, “Brechtian, uncomfortable and subtly tainted by the garnishes of hypocrisy,” but it is on the mark when agreed to wait and used the time to refine the show. Following a pattern it comes to delivering the essence of theatrical invention and releasing it set with Jesus Christ Superstar, they proceeded to record Evita as a concept album with actress/singer Julie Covington in the title role. as a tool for illuminating human nature. n he album sold very well. Altogether, sales even exceeded those of Jesus Christ Superstar. That heightened interest in the promised musical. Thanks to its captivating music (even if the lyrics never made much sense), its signature song, “Don’t Cry for me Argentina” hit Number One on the British singles chart. While it didn’t quite set the U.S. on fire, such names as Karen Carpenter, Olivia Newton-John and Petula Clark all recorded their own versions of it.

Rehearsals finally got underway in 1978 and the show opened at Jan 15 – 26 • Buell Theatre London’s Prince Edward Theatre on June 21 to mixed but mostly good reviews. The music was haunting, the mystique of Eva Perón was still Sponsored by The Westin Denver Downtown and HealthONE very much alive (she had died of cancer in 1952, at the young age of 33), ASL interpreted, Audio Described & Open Captioned • Jan 26, 2pm there was an aura of sexy romance and adventure around the Guevara character as well. By the time it closed in London 3,176 performances Tickets: 303.893.4100 later, the show had blossomed into a major hit.

Toll-free: 800.641.1222 • TTY: 303.893.9582 It made a star of Elaine Page, who played Evita after Covington had turned down the role—and it did the same across the pond for Patti Groups (10+): 303.446.4829 • denvercenter.org

R

“She was sleazy, yet emerges much larger than life. It’s myth vs. reality. The arena dwarfs the people, but put them in front of a microphone and they become just as large, just as unreal.”

T

20

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d e n v er center. or g

ART PARTNERS

THE WESTIN DENVER DOWNTOWN HOTEL Sharing Denver’s Wealth With Others

T

“Donating leftovers shows a respect for food,” states The Westin’s Executive Chef Jean-Luc Voegele. “As a chef and as a gardener, I know that a bruised tomato or apple may not be usable in the hotel kitchen, but it still has nutritional value.”

The Westin’s gift to We Don’t Waste provides unused food to agencies such as Allied Jewish Apartments, Denver Inner City Parish, Denver Rescue Mission, Denver’s Road Home, Father Woody’s Haven of Hope, Holy Ghost Church, Jewish Family Service of Colorado, the Samaritan House and The Gathering Place, to list just a few.

Last but certainly not least, did you ever wonder what happens to that scrap of soap or half used shampoo you left in the hotel shower? The Westin Denver Downtown was the first Denver area Starwood hotel to commit to Clean the World, a program that collects partially used toiletries for donation to third world countries. Since the beginning of the partnership, The Westin has contributed more than 28,000 bars of soap to the needy.

When planning your next event, remember The Westin Denver Downtown, located on the 16th Street Pedestrian Mall at 1672 Lawrence Street, and see www.westindenverdowntown.com for the guaranteed best rates. n —Submitted by Susan Stiff

“Donating leftovers shows a respect for food. As a chef and as a gardener, I know that a bruised tomato or apple may not be usable in the hotel kitchen, but it still has nutritional value.”

— Jean-Luc Voegele, Executive, The Westin Downtown Denver

Proud sponsor of Evita and Saturday Night Alive

PHOTO BY EMILY LOZOW

PHOTO BY CHAMPASTREETPRODUCTIONS.COM

he Westin Denver Downtown Hotel is well known for its contribution to Denver’s performing and visual arts community. The hotel is a multi-year sponsor of Saturday Night Alive, the signature fundraiser for The Denver Center for the Performing Arts (DCPA). It provides gift certificates from sister properties in such locations as Venice, Vienna and Vietnam for the mega-auction event that raises well over $600,000 for youth arts education and outreach.

The Westin also is the hotel sponsor for Evita at the DCPA and partners with the Denver Art Museum on packaging with blockbuster exhibits such as Passport to Paris, as well as partnering with Colorado Ballet, Central City Opera and Opera Colorado on weekend packages and promotions.

The hotel also is becoming a popular destination in the meetings industry for its commitment to sustainability. The Westin Denver Downtown was the first in the city to implement on-site composting in partnership with the Tabor Center Office Tower and restaurant complex. It contributes unused banquet food to We Don’t Waste, a local organization that collects leftover food from events, caterers, restaurants and other major food providers and distributes it to charitable agencies serving Denver’s disadvantaged populations.

Denise and Ray Bellucci at The Westin Denver Downtown’s sponsored Saturday Night Alive Patron Party

Westin Denver Downtown’s Director of Housekeeping Kyle Spencer, Director of Human Resources Cammie Ellis with housekeepers Norma Chavez, Betty Ventura and Jocelyn DuPuis collecting soap for Clean the World.

303.893.4100

A P P L A US E

21

ART PARTNERS

AARP

Staying Young As We Get Older

“W

PHOTO BY JLUJAN

e are looking to make a difference in communities across the state, to respond to Coloradans’ journey as they age, and to create easy access to fun and meaningful opportunities,” said Morie Smile, AARP Colorado’s State Director. At 50, Smile is leading AARP’s staff of eight in ensuring that AARP becomes a part of the fabric of the community.

Recently, Angela Cortez, AARP’s Communication Associate State Director, had the opportunity to sit down with Smile and talk about today’s AARP.

“We know that entertainment and promoting cultural offerings are important to the well-being of our members.”

— Morie Smile, Colorado State Director, AARP

Proud sponsor of Mamma Mia! and select Kids’ Nights on Broadway

22

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Isn’t AARP for retirees?

While AARP’s membership starts at 50, much of our work impacts people of all ages. For example, if you look on our website, www.aarp.org, you’ll see a great deal of resources for employees and job seekers. Colorado is a young state, and approximately half of our membership is under 65, which in this day and age means they are still working. The R and P stand for Real Possibilities, and that is what we hope to give all of our members: the chance to pursue their dreams.

Doesn’t AARP provide discounts?

Absolutely! In addition to a huge menu of national offerings, Colorado has reached out to cultural partners such as The Denver Center for the Performing Arts to offer discounts to our members. Members who purchased tickets for Mamma Mia! received a substantial discount thanks to their membership. We also are providing deep discounts for black odyssey, Hamlet, Animal Crackers, Shadowlands and two other blockbuster shows yet to be announced. And we are encouraging our members and their friends to participate in Second Act at the Denver Center Theatre Academy. The Second Act Sample is a series of one-time educational events designed to spur theatrical curiosity in older theatregoers.

In addition, we have relationships with the Denver Art Museum, Foothills Art Center, the Denver and Grand Junction Botanic Gardens just to name a few.

We know that entertainment and promoting cultural offerings are important to the well-being of our members. n

Your comments are aspirational, what impact can AARP have on my life?

The 50+ population is very diverse and incorporates different wants, needs and desires. For people looking at their “what’s next,” we have introduced Life Reimagined, which is a webbased program that helps participants realize their strongest skill sets and gives some tangible next steps in realizing their goals. Many of us are caregivers, often for a parent and a child. We are focusing heavily on providing resources to assist these caregiving providers. AARP also has an extremely effective and knowledgeable advocacy cadre. We have been able to save consumers millions of dollars over the years just in utility costs.

AARP staff a nd family pa rticipate ann ually in the Denver P ride Parade.

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HAMLET

I N V I TAT ION

TO

A

Of all of Shakespeare’s plays, none is more lauded or lends itself to more interpretations than Hamlet, an imperfect play. So why does this magic work?

BY DAN SULLIVAN

24

APPLAUSE

d e n ver center. or g

ILLUSTRATION BY KYLE MALONE

Haunting

T

Season by season the theories keep coming and none of them proves out. Yet the experts continue to insist that it’s Shakespeare’s greatest play—everyone but T.S. Eliot who called it “an artistic failure.” Having reviewed a hundred or so Hamlets, I’m with the majority. I’ve never seen one that I didn’t get something out of, something that reminded me, for better or worse, of me.

That includes the boring productions, of which there have been several, and one disaster: a San Francisco staging featuring, at the very end of her career, Dame Judith Anderson. Not as Gertrude, but as Hamlet. This sounds like a hallucination and it played like one, but I could show you the program.

I also have been blown away by the play.

About five years ago the Royal National Theatre of Great Britain brought it to Tucson. The performance brought the audience, including me, to its feet, but not right away.

What draws us to this story?

Why is it constantly being revived, adapted, parodied, misquoted? What in Hamlet’s uncertain journey reminds us of our own episodic lives?

For nearly a minute—A long time in the theatre—we just sat there in silence, absorbing the awful logic of that last scene. All those stupid deaths (“casual slaughters,” as Horatio calls them), because one thing suddenly led to another. Yes, we thought. That’s how badly things work out sometimes, even with good intentions. It can come down to that…

Then we stood up. But the mountain had already been scaled. The silence was the prize. n preparing his Denver production, Thompson has tried to curb the temptation of every Shakespearean director to make this the absolute, ultimate, gamechanging last word on the play. Rather than “The” Hamlet, he’s aiming for “A” Hamlet: alive, human, comprehensive, not an assault on anybody else’s interpretation.

Not that he doesn’t have his own ideas about the play. He described it at a production meeting as “a haunting.”

Can you elaborate on that?

I

“W

ell, obviously there’s a ghost in the play. And there’s something troubling in the air. Bad omens, as when Caesar was murdered. But in prying open my reaction to the story, I’d say that for two-thirds of it Hamlet seems preoccupied with memories of his childhood.

“There’s an element of hero-worship for his father. Not that he was being raised to be that kind of soldier king. They—probably Gertrude—sent him to Wittenberg to become the philosopher king. But now some part of him is bent on punishment, on revenge.”

What about his disappearance in the middle of the story, that strange business about his being captured by pirates?

“It’s the pirates who save him! At a certain point in Shakespeare, psychology goes out the window and a fairy-tale device comes in.

I think that when Hamlet is delivered back to Elsinore he’s accepted his fate, whatever it is, and knows what he’s got to do.”

Which is why Thompson struggles with that graveyard scene. It’s very late in the play, Hamlet has shed his juvenile angst, he can even see himself as a kind of divine agent. Why does he start scuffling like a teenage hood in a 50s movie?

“Maybe he’s surprised at his own behavior,” I said.

“Or maybe he’s just realized how much he really did love Ophelia,” Thompson replied.

And the debate goes on… n

HAMLET

F

Forget “To be or not to be.” As Producing Artistic Director Kent Thompson’s cast started rehearsing Hamlet for the Denver Center Theatre Company, they faced a more pressing question: “What’s going on here?”

For American and British theatre folk, Hamlet is the Big One, the Everest that’s got to be scaled “because it’s there.” And scaling it once doesn’t mean you’ve conquered it— only that you survived the climb.

Having staged Shakespeare’s übertragedy at the Alabama Shakespeare Festival some years back, Thompson has a working knowledge of the terrain, but he’s still scouting for handholds. (It’s a maiden climb for his Hamlet, Aubrey Deeker.) here’s something strange about this play. If Macbeth has a curse on it, as theatre people like to believe, Hamlet seems to carry the stamp of heaven, even in its imperfections, which are many. A well-made play it is not. The plot is pinned together like a muslin costume; the time sequences don’t jibe, the characterizations are inconsistent.

Is Horatio a regular at Elsinore (Act I, Scene One) or did he just show up (Act I, Scene Two)? Why didn’t the person who provides Gertrude a close-up account of Ophelia’s drowning jump in and rescue the poor girl?

As for Ophelia’s sad little funeral, it’s all very well for her hotheaded brother Laertes to leap into her grave to show his grief, but would Prince Hamlet really follow suit? It may be in the text, but in which version of the play? (There are at least three.)

Again, does Hamlet lament his “too, too solid flesh” or his “too, too sullied flesh?”

Thompson and his company will work out such issues by themselves. But his basic question (“What’s going on here?”) goes deeper and has been debated almost since Hamlet opened at the Globe Theatre—a date we don’t have (1603 maybe?).

What draws us to this story? Why is it constantly being revived, adapted, parodied, misquoted? What in Hamlet’s uncertain journey reminds us of our own episodic lives?

To begin with, what’s the theme? Macbeth is about ambition. Othello is about jealousy.

Hamlet’s problem is—what? Depression?

Not being able to make up his mind? Wanting to go to bed with his mother?

Maybe he’s secretly glad that Claudius killed his father. Maybe he’s in love with Horatio. Maybe he doesn’t want to take the controls of a fascist state. (Taking a cue from “Denmark’s a prison,” two recent revivals were set in high-tech penitentiaries with digital alarm systems and HD screens. Great design, but it didn’t deepen the story.)

Dan Sullivan reviewed theatre for the Los Angeles Times, The New York Times and the Minneapolis Tribune. He now teaches at the University of Minnesota Journalism School.

Jan 24 – Feb 23 • Stage Theatre Producing Partners: Sheri & Lee Archer, Katy Atkinson, Isabelle Clark, Alan & Katie Fox, Diana & Mike Kinsey Sponsored by the National Endowment for the Arts/ Arts Midwest ASL interpreted & Audio Described • Feb 23, 1:30pm Perspective on the play: Jan 24, 6pm, Jones Theatre* *Attend a FREE moderated discussion about the play with DCTC’s creative team. All are welcome.

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

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EDUCATION

I M PAC T CRE TIVIT Y

Thank You, NEA!

LENNE KLINGAMAN, CHARLES PASTERNAK PHOTO BY JENNIFER M KOSKINEN

A

B

uilding the next generation of theatre audiences is an important part of The Denver Center’s mission. We are pleased to report that the Denver Center Theatre Company received its fifth National Endowment for the Arts Shakespeare for a New Generation grant to support a significant educational component with this season’s Hamlet. A dollar-fordollar matching grant, NEA funding is combined with a mix of donations from the corporate, foundation and private sectors to make this program possible.

Eight high schools in the metro area have been selected to participate: Alameda, Hinkley, Emily Griffith, John F. Kennedy, Justice High School, Rangeview, South and Thomas Jefferson.

In addition, two rural community high schools will participate as well: Prairie View and Brighton. Just over 800 students and teachers are involved in this project which includes teacher training, a series of pre- and post-play activities for students (to help them connect more significantly with the play), in-depth online study guides and, of course, tickets for all participants to attend a special Student Matinee of Hamlet in The Stage Theatre. n

“Hamlet is caught between suspicion of his mother and of his uncle and grief over his father’s death. Many students will understand the pain, grief, confusion of losing a parent or the sudden collapse of a marriage.”

JOHN G. PRESTON, KATHLEEN MCCALL PHOTO BY TERRY SHAPIRO

Special thanks to the following donors who helped us achieve our NEA match and who made additional gifts to make this project possible: The Anschutz Foundation The Belay Fund Colorado Creative Industries The Denver Foundation Alan and Katie Fox Allan and Margot Frank IMA Financial Group Impact Creativity/National Corporate Theatre Fund 26

APPLAUSE

Walter and Gene Koelbel Rev. Trust Robert and Judi Newman Walter S. Rosenberry, III Charitable Trust Ruth S. Silver Target June Travis U.S. Bank Xcel Energy Foundation

d e n ver center. or g

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*

– Kent Thompson, Producing Artistic Director, Denver Center Theatre Company

The NEA has supported Shakespeare for a New Generation for the past four years, most recently featuring DCTC’s Romeo & Juliet (above) and The Taming of the Shrew (right) during the 2010/11 Season.

CURRENT CONTRIBUTORS List Complete August 2013

($100,000 or more) The Hearst Foundations ($50,000 or more) AOL* ($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 ($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

A RT I S T I C D I R E C T O R

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the second break beat play

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ZENITH

By Kirsten Greenidge

Yunuen Pardo, Adriana Gaviria, Ruth Livier, Sabina Zuniga Varela• Photo by Kyle Malone

BENEDICTION

DENVER CENTER THEATRE COMPANY

Denver Center Theatre Company presents the 9th Annual

Animal Crackers Book by George S. Kaufman & Morrie Ryskind Music & Lyrics by Bert Kalmar & Harry Ruby Adapted by Henry Wishcamper Original Orchestrations by Doug Peck

ILLUSTRATION BY KYLE MALONE

Zinging one-liners and slapstick brilliance fill this interactive and boisterous musical comedy from the genius Marx Brothers.

APRIL 4 – MAY 11 • STAGE THEATRE Sponsored by:

Season Partners:

Producing Partners:

DENVERCENTER.ORG • 303.893.4100 TTY: 303.893.9582 • GROUPS (10+): 303.446.4829

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A P P L A US E

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North American Tour Cast. Photo by Paul Natkin.

NORTH AMERICAN TOUR CAST. PHOTO BY PAUL NATKIN.

denvercenter.org

Million Dollar Quartet

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ING TRUE STORY INSPIRED BY THE ELECTRIFY

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Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829

Feb 25 – March 9 Buell Theatre Great balls of fire! This electrifying musical is inspired by the true story of the one and only time rock’n’roll icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins came together for one of the greatest jam sessions of all time. This Tony® award-winning Broadway show features your favorite timeless hits. Rock’n’roll’s best kept secret... revealed!

ASL interpreted, Audio Described and Open Captioned performance March 9 @ 2pm.

1

Chicago

The #

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This is the stunning musical that will not die—not after a hobbled start in 1975, not after a 20-year waiting period, and certainly not after the resounding success of its 1996 revival and 2002 Oscar-winning film.

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PHOTO BY NAOMI KALTMAN

NEXT UP

Looking ahead…

Tickets: 303.893.4100

ASL interpreted, Audio Described and Open Captioned performance March 22 @ 2pm.

Shadowlands March 28 – April 27 Space Theatre

ILLUSTRATION BY KYLE MALONE

Professor/author C.S. Lewis was a bachelor into middle age, when friendship with an American fan, Joy Davidman, ignited a deep and unexpected romance. But a diagnosis of cancer for Joy brings on a crisis of faith for Lewis, straining his lifelong dedication to Christian theology. This true story reminds us that great loss does not exist without great love.

ASL interpreted and Audio Described performance April 27 @ 1:30pm

28

APPLAUSE

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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

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VECTRA BANK THINKING CRITICALLY AND CREATIVELY “Not only do arts provide those critical experiences that can open minds and hearts to an entirely different way of thinking, but they are part of our economy and a key component of why Colorado continues to be a great place to live and do business.”

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— Bruce Alexander, Vectra Bank Colorado President and CEO

“We are honored to partner with organizations that give so generously to enable communities to flourish,” he continues. “We are privileged to be part of DCPA whose caliber is undeniable, from the performances it showcases to the experiences it delivers, to its educational outreach.”

As part of Zions Bancorporation, Vectra, with 41 locations throughout the state, has the personal feel of community banks, and the reach and resources of larger institutions. Its bankers focus on all stages of life and cycles of a business, with a proactive approach to help advance clients’ financial goals. Whether the customer is the manager of a growing Colorado company, an individual consumer or someone looking for support in wealth management planning, all will find at Vectra Bank an innovative banking organization eager to surpass their expectations. n For information on Vectra Bank Colorado, visit www.vectrabank.com.

A proud sponsor of the Denver Center Attractions season PRESIDENT AND CEO BRUCE ALEXANDER

30

“O

ur economy thrives on the generation of ideas, not just the manufacturing of goods and products,” says Vectra Bank Colorado President and CEO Bruce Alexander.

“Learning to think both critically and creatively about solutions enables us to successfully navigate an increasingly complex world.”

Established in 1988, Vectra has maintained its commitment to efforts and organizations that advance communities through revitalization, economic development, affordable housing—and the arts—around the state. Vectra employees volunteer for and support numerous arts institutions throughout Colorado as part of Vectra’s mission to support community, innovation and discussion.

“One of Vectra’s goals is to be an active listener and observer of business and economic trends, and to share that information with our clients, so they can anticipate and plan for the future,” says Alexander. “Not only do arts provide those critical experiences that can open minds and hearts to an entirely different way of thinking, but they are part of our economy and a key component of why Colorado continues to be a great place to live and do business.

APPLAUSE

d e nver center. or g

PRESENT

©LITTLESTAR

AND

THE SHOWS

WITH

JAN 16 – MAR 9

JAN 28 – FEB 2

GARNER GALLERIA THEATRE

BUELL THEATRE

PHOTO BY NAOMI KALTMAN

North American Tour Cast. Photo by Paul Natkin.

NG TRUE STORY INSPIRED BY THE ELECTRIFYI

FEB 25 – MAR 9

ELLIE CAULKINS OPERA HOUSE

AL

NORTH AMERICAN TOUR CAST. PHOTO BY PAUL NATKIN.

WAY MUSIC ® THE TONY AWARD-WINNING BROAD

FEB 3

BUELL THEATRE

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APRIL 19

BUELL THEATRE

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ORIGINAL BROADWAY COMPANY, PHOTO BY FRANK OCKENFELS

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A P P L A US E

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APPLAUSE

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