Applause Magazine, February 28 - March 1, 2020

APPLAUSE

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VOLUME XXXI • NUMBER 5 • JAN – MAR 2020

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SUMMER:

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SIGHTLINE

BY JANICE SINDEN

APPLAUSE M

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VO LU M E X X X I • N U M B E R 5 • JA N – M A R 2 0 2 0

EDITOR: Suzanne Yoe ASSOCIATE EDITOR: John Moore DESIGN DIRECTOR: Kyle Malone DESIGN THIS ISSUE: Brenda Elliott CONTRIBUTING DESIGNER: Lucas Kreitler CONTRIBUTING WRITERS: Shirley Fishman, Rodney Hicks, Cheyenne Michaels, Madison Stout

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Hello and happy 2020! With the dawning of a new decade, it seems appropriate to focus on all things “new.”

First, I’m happy to share the results of our newly published Community Report. In our 2018/19 season, we welcomed 941,887 guests to the Denver Center for the Performing Arts. Of those, nearly 150,000 were students. Plus, we offered 53 ticketed events, 275 classes, 2000 in-school workshops, 17,000 student scholarships, and free or discounted admission to approximately 70,000 individuals. Finally, our cumulative economic impact was $175 million. All of this was made possible through the generosity of our donors, the loyalty of our guests and the incredible artisty of our dedicated team.

Second, it’s time for our 15th Colorado New Play Summit, our annual festival of new plays. On February 15-16 and 21-23, we will feature five never-before-produced new works: Alma by Benjamin Benne Another Kind of Silence by L M Feldman Hotter than Egypt by Yussef El Guindi Reclaiming One Star by Suzan Shown Harjo and Mary Kathryn Nagle In Her Bones by Jessica Kahkoska This is your chance to be among the first people ever to see these works in development before they are fully produced by theatres across the country.

Finally, our DCPA Theatre Company will present the fully staged world premiere productions of You Lost Me by Bonnie Metzgar and twenty50 by Tony Meneses beginning in January.

These new plays were featured in last year’s Colorado New Play Summit and met with enthusiastic audience response. You Lost Me is a lyrical drama in which two women, 200 years apart, each serve as a beacon to lost souls in turbulent times. While You Lost Me spans two centuries, twenty50 is set 30 years in the future. As the Latino population has assimilated into the majority in the US, one Mexican American must decide if embracing his roots hurts or helps his political aspirations.

Whether you are joining us for a world premiere, our festival of new plays, RENT 20th Anniversary Tour or SUMMER: The Donna Summer Musical, we are glad you are here. And in keeping with our theme of “all things new,” we invite you to try something new in 2020. Attend a reading, take a class, join us for a tour. We hope you’ll join us for the unexpected.

Happy New Year!

Warm regards,

Janice Sinden President & CEO 4

APPLAUSE • JAN – MAR 2020 • 303.893.4100 • DENVERCENTER.ORG

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BOARD OF TRUSTEES Martin Semple, Chairman Robert Slosky, Vice Chairman William Dean Singleton, Secretary/Treasurer Dr. Patricia Baca Joy S. Burns Fred Churbuck Isabelle Clark Navin Dimond L. Roger Hutson Ruth Krebs Robert C. Newman Roberta Robinette Manny Rodriguez Alan Salazar Hassan Salem Richard M. Sapkin June Travis Brisa Trinchero Ken Tuchman Tina Walls Dr. Reginald L. Washington Judi Wolf Sylvia Young

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THE MUSIC OF

WHITNEY & ARETHA MARCH 2020

AN ORDINARY GIRL ON AN EXTRAORDINARY JOURNEY

Dan’yelle Williamson (Diva Donna) and the Company of SUMMER. © Matthew Murphy for MurphyMade

BY SHIRLEY FISHMAN

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APPLAUSE • JAN – MAR 2020

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Donna Summer always dreamed big.

She knew in childhood that she wanted to sing and, according to family members, sang around the house morning, noon and night. She never let go of that passion, despite personal and professional obstacles that impeded the path to reaching her goal.

Growing up in the 1950s, the third of seven siblings in an African American churchgoing family in south Boston, Donna sang gospel while listening to records of Mahalia Jackson and Dinah Washington, the Supremes and the girl groups of Motown, as well as rock star Janis Joplin. Like many teenagers in the 1960s, she found kinship in the rebellious spontaneity of rock and roll music, and she was soon skipping school and singing with The Crow, a local rock band.

By age 18, with ambitions to become a stage actress, Summer was sneaking off to New York where she auditioned for the rock musical Hair.

She won a part in the company’s European touring company and, with her parents’ reluctant permission, left school to join the cast in Munich, Germany.

After the show closed, Summer remained in Munich.

She was modeling, performing and winning accolades in German productions of Godspell, Porgy and Bess, Show Boat, The Me Nobody Knows, and singing in Vienna Folk Opera productions. She married fellow Hair cast member Helmut Sommer in 1973 and gave birth to their daughter Mimi that same year.

When she wasn’t working on shows, Summer sang backup at Musicland Studios for music producers Giorgio Moroder and Pete Bellotte, who were generating a new kind of synthesizer-driven dance music called “Eurodisco.”

When they heard Summer sing, they told her that she had potential to become a recording artist.

In 1974, Summer recorded a studio album with Bellotte and Moroder, Lady of the Night, which produced two hit singles. Moroder told her about the re-release of British actress Jane Birkin’s 1969 erotic hit recording “Je T’Aime,” written by French songwriter Serge Gainsbourg for his girlfriend Brigitte Bardot. He suggested that she try writing a similar song. She wrote “Love to Love You Baby,” which Moroder set to a disco beat. Initially reticent to record it, she relented and the rest is music history.

Previously unknown in the US, Summer became a sensation within weeks of the 1975 American release of the record by Neil Bogart of Casablanca Records.

Uncomfortable with how she was being promoted and the public’s perception of her as the “First Lady of Love,” Summer struggled to hold on to herself as the whirlwind of interviews, media appearances, concerts, touring dates and demands for new records took its toll on her energy, marriage and sense of self. She amicably divorced Sommer in 1976 and kept his surname, but adapted the spelling to Summer. She relocated to the West Coast and continued to work with Bellotte and Moroder.

Neil Bogart began producing films in 1977, and for his film The Deep, Summer co-wrote the lyrics and sang the film’s theme song “Down, Deep Inside,” which earned her and co-writer John Barry a Golden Globe nomination for Best

This article reprinted courtesy of La Jolla Playhouse / Dramaturg Shirley Fishman.

SUMMER: THE DONNA SUMMER MUSICAL JAN 28 – FEB 9 • BUELL THEATRE ASL interpreted, Audio described and Open Captioned performance: Feb 9 at 2pm

THE SPONGEBOB MUSICAL Talk about a cast of characters!

Costume Designer David Zinn was charged with bringing Nickelodeon’s “SpongeBob SquarePants” cartoon characters to 3D life in all of their technicolor splendor. “Our goal was to immerse the audience in the world of Bikini Bottom,” said Zinn. “We wanted to introduce the audience to the sense of playfulness and discovery that were our guide-posts.”

Enjoy this glimpse into the depths of the sea before The SpongeBob Musical comes to The Buell Theatre from March 10 – 22.

Alex Hairston (Disco Donna) and the Company of SUMMER. © Matthew Murphy for MurphyMade

Original Song. In Bogart’s 1978 film, Thank God It’s Friday, Summer played a featured role and sang the film’s signature song “Last Dance,” which won 1978 Golden Globe, Grammy and Academy awards for Best Original Song.

Summer had achieved worldwide acclaim, countless industry awards, magazine covers, and gold and platinum records. She was one of the most successful artists of the decade and the reigning Queen of Disco. Sensing the demise of disco and frustrated with being limited to one genre of music, she longed to return to her passion — rock music. Despite her close relationship with Bogart, she sued Casablanca and wrested herself from its yoke.

Untethered from disco, Summer moved on to even more ambitious horizons.

From the mid-1970s to the late 1980s, Summer released one hit after another, including “I Feel Love,” “MacArthur Park,” “Hot Stuff,” “Bad Girls,” “On the Radio” and “She Works Hard for the Money.” She collaborated with iconic music producer Quincy Jones and recorded “Protection,” a song written for her

by Bruce Springsteen. Her #1 duet with Barbra Streisand, “Enough Is Enough,” became the first 12-inch single to be certified platinum.

In 1979 Summer became the first artist to twice score a #1 single and album simultaneously and, to date, she is the only solo artist in history to achieve three #1 double-albums on the Billboard charts.

In 1983, at a time when it was rare for African Americans to appear on MTV, Summer’s video for “She Works Hard for the Money” was in constant, heavy rotation on the fledgling music channel. She was also the first African American woman to be nominated for an MTV Music Award.

Now in full control of her career, the public became increasingly aware of the scope of Summer’s musical tastes and the extent of her extraordinary vocal range. In 1980, after a three-year courtship, Summer married singersongwriter and frequent collaborator Bruce Sudano of Brooklyn Dreams.

After the birth of two daughters (Brooklyn in 1981 and Amanda in 1982), Summer took a hiatus, with occasional concert dates, to raise her daughters, tend to family, and other passions. She reconnected with her interest in the visual arts, which she developed while living in Munich. Her vibrant abstract expressionistic paintings received critically acclaimed gallery exhibitions in Beverly Hills, New York and other cities, achieving sales in excess of two million dollars throughout her career.

In recognition of her musical accomplishments, Summer was honored with a star on Hollywood’s Walk of Fame in 1992. She returned to acting in the 1997 television series “Family Matters” as Aunt Oona. Her autobiography, Donna Summer: Ordinary Girl, the Journey, a candid memoir about the highs and lows of her professional and personal life, was published in 2003.

In 2008, after 17 years without a recording, a new studio album, Crayons, proved she hadn’t lost her appetite for adventurous explorations in music.

Fans and music critics applauded new songs written by Summer and other songwriters, including a duet with Ziggy Marley, and showcased diverse thematic and musical motifs in rock, reggae, samba, pop and dance music.

Donna Summer died in her Naples, Florida, home on May 17, 2012 at age 63. She was posthumously inducted into the Rock and Roll Hall of Fame in 2013. Three years ago, California’s La Jolla Playhouse produced the world premiere of SUMMER: The Donna Summer Musical as a tribute to the legendary singer. The show transferred to Broadway and is now making its way across the nation including a stop in Denver’s Buell Theatre.

COMING UP FROM BROADWAY

MEET THE CAST!

SPONGEBOB SQUAREPANTS Incurably optimistic, this free-spirited dude calls an undersea pineapple his home.

PATRICK STAR SpongeBob’s BFF

SANDY CHEEKS SpongeBob’s squirrel-tothe-rescue SQUIDWARD Q. TENTACLES SpongeBob’s cranky co-worker

EUGENE KRABS SpongeBob’s crusty boss

(L-R, T-B): Lorenzo Pugliese as SpongeBob SquarePants, Beau Bradshaw as Patrick Star, Daria Pilar Redus as Sandy Cheeks, Cody Cooley as Squidward Q. Tentacles, Zach Kononov as Eugene Krabs, Tristan McIntyre as Sheldon Plankton.

Photos by Jeremy Daniel.

SHELDON PLANKTON Mr. Krabs’ primary rival

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THE CONSEQUENCES OF RACIAL ASSIMILATION IN

twenty50

Illustration by Kyle Malone

BY JOHN MOORE

14

APPLAUSE • JAN – MAR 2020

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Playwright Tony Meneses was intrigued when he came across a Pew Research Center study that predicted 2050 will be the year the U.S. population will no longer have a white majority.

That, in itself, could make for a compelling “near-future” pot-boiler.

Imagine: What will white people do to maintain power when they no longer have the numbers? Form coalitions with minority populations? Refuse to cede power? Take up arms?

Meneses takes this census scenario one step further in his gripping world premiere play, twenty50: What if, in order to maintain their supremacy, white people simply absorb Latino people into their own population? Just as happened long ago with the Germans, Jews, Greeks, Italians, Irish and other groups once considered “less than” white.

There would be many ways to explore that storyline, most from the white point of view. Meneses is more curious about the Latino perspective.

“How can we resist that opportunity?” Meneses wondered. “But what would be the cultural cost?

And would we be complicit?” twenty50 centers on a Mexico-born immigrant who is now running for Congress in middle America. The compromises this man must make to win can be boiled down to one telling question: Will he go by the name Andres Salazar — or Andy? (This might remind you of a certain Texas Senator born Rafael Edward — but is more commonly known as Ted. Meneses is not naming names, but “I will say there are conservative Latino politicians out there right now whose policies don’t protect their own people,” he said.)

Andres — or Andy — “is now at a crossroads where he has to decide whether he identifies as Latino or white, and consider how that may help or hinder his campaign,” Meneses said. His campaign manager is a Latino who believes the man cannot be seen as Mexican and still win.

What Latino people might be willing to do for a slice of America’s power pie is the heart of what twenty50 is about, said Director Henry Godinez. Because Andres must decide how much he should assimilate into the broader white culture, while still being perceived as “Hispanic enough” by his own Latino community.

“What I love about this play is that it brings up a very difficult and yet very honest conversation that is going on within the Latino community right now, which is this: What are the consequences of a future in which Latinos have the luxury of no longer being considered ‘the other’?” Godinez said. “What I think the play does so beautifully is that it suggests progress has consequences.”

The biggest being its impact on cultural identity.

Thirty more years of blending will surely further blur the distinctions between skin colors, that much is certain. Meneses, who teaches at Fordham University, and Godinez, who teaches at Northwestern, are already seeing it among their many multicultural students.

“I have light-skinned students who actually self-identify as ‘white-passing Latino,’” Meneses said. “And they acknowledge that

What I think the play does so beautifully is that it suggests progress has consequences.

— HENRY GODINEZ, DIRECTOR

white privilege as part of their identity. They may be Latino or Latina, but they are starting to have this very keen awareness about the history of how white supremacy and race politics work, and how they intersect with the systems that have put historically systemic oppression into place.” twenty50 is a family drama. It’s a political thriller. It’s a classic American Dream story. It’s a cautionary tale. It is also, Meneses says, “my social justice dystopia.” Especially to those who assume that an America without a racial majority will inherently mean a more harmonious one.

“People might walk into twenty50 with the idea that this is going to be a fun diversity story about how racism is finally over,” Meneses said. But the play actually argues the opposite. “twenty50 raises important questions about power and assimilation and how that all intersects with race and identity. It asks big questions about what is America? Where is America going? And who gets the privilege of being considered ‘us’?”

Meneses didn’t write his play as a specific response to who is currently occupying the White House, but he admits “the audience is inevitably going to receive the play based on whatever is in the headlines at the time it is performed,” he said. Godinez expects the play to evoke strong personal reactions, especially during a presidential election year in which immigration is again a central issue.

“For many people, America is no longer a place where refugees and immigrants see a beacon of light,” Godinez said. “They skip right over America and go to Canada — literally. My hope is that this play will make people ask, ‘Is that really the country we want to be?’ And specifically for the Latino community who see the play, given the potential power of our vote: ‘Is that the country we want to create with our vote?’”

Meneses strongly identifies as a Mexican immigrant himself who moved here with his family from Guadalajara when he was 8 months old.

“This is what I write about,” he said, “and given where we’re at right now, it’s such an important thing for me to give voice to the Mexican immigrant, because I want to demystify that. I’m a Mexican immigrant, and I think I’m a pretty nice guy. But if you say the words ‘Mexican immigrant’ to certain people, they think that’s a terrifying thing. I hope that I can dispel a lot of the (bleep) out there about who people think we are.

“My hope is that when audiences meet the Salazars, they don’t see a Latino family — but simply a family. I believe this is a play for Americans — and we’re all Americans.”

To read more of John Moore’s conversation with Tony Meneses and Henry Godinez, visit denvercenter.org/News-Center.

twenty50 JAN 31 – MAR 1 • SPACE THEATRE ASL interpreted and Audio described performance: Feb 23 at 6:30pm Personal Closed Captioning with English and Spanish: Feb 8 – Mar 1 Spanish translation available. Check with Patron Services.

Stay for a post-show Talkback: Feb 8 – Mar 1

COSTUME COLUMN It’s not every day a theatre practitioner gets a glimpse into the future.

“With shows set in the past, there is a trove of research to look back on,” said twenty50 costume designer Meghan Anderson Doyle.

“With something in the future, you have to approach it differently.”

The creative team for twenty50 found that the best way to design a show that takes place 30 years from now was actually to look 30 years in the past and observe what’s changed — and what hasn’t.

“I looked at what garments have been present in western fashion and felt like they might have some stylistic changes, but stay in our wardrobes. Men’s suits, school uniforms and jeans are all things that we see in 2020 and have been popular for more than a century.”

Perhaps most eye-opening was the realization that the grandmother in the play, Irene, is roughly the age Doyle will be in 2050. “[Designing for Irene] is kind of picturing myself in the future. It’s sort of bizarre to think that her first concert could have been Boyz II Men, she would have ushered in the year 2000 as a teenager, and could have voted for the first Black president.”

UPCOMING

SHOWS The Improvised Shakespeare Company® Now – Mar 22 Goodnight Moon Now – Feb 16

40TH ANNIVERSARY

SATURDAY

You Lost Me Now – Feb 23 Can I Kick it?

Jan 24 – 25 SUMMER: The Donna Summer Musical Jan 28 – Feb 9

NIGHT ALIVE

twenty50 Jan 31 – Mar 1 Mystery Science Theater 3000: LIVE Feb 15

A GALA BENEFITING DCPA ARTS & EDUCATION PROGRAMS

Colorado New Play Summit Feb 15 – 16 & 21 – 23

SAVE THE DATE

RENT 20th Anniversary Tour Feb 28 – Mar 1

MAY 16, 2020

The SpongeBob Musical Mar 10 – 22

The cast of Oklahoma! Photo by Adams VisCom.

Until the Flood Mar 20 – May 3

SAME CELEBRATION,

NEW TIME OF YEAR

Choir Boy Apr 10 – May 10 Disney’s The Lion King May 13 – Jun 14

The Book of Mormon Jun 9 – 28

Photos by John Moore

My Fair Lady Jul 15 – 26 The Band’s Visit Jul 29 – Aug 9 Hamilton Aug 12 – Oct 4

FOR A COMPLETE LIST, VISIT DENVERCENTER.ORG Tickets for some shows are currently unavailable.

Photos by Adams VisCom

DENVERCENTER.ORG/SNA

Dixie’s Never Wear a Tube Top...

Apr 8 – May 3

That Golden Girls Show!

A Puppet Parody May 20 – Jun 14

At Saturday Night Alive, we gather to invest in arts and education programs that engage and inspire nearly 150,000 students annually. This year, we’re moving the event to later in the spring, and while it might change what you decide to wear, we’ll still celebrate and support the same great cause.

Thank you for your generosity!

Mean Girls Mar 25 – Apr 12

Explore more stories on other DCPA shows when you visit

denvercenter.org/ News-Center

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RENT 20TH ANNIVERSARY TOUR

CAST

(in order of appearance) Roger Davis.................................................................................................................COLEMAN CUMMINGS Mark Cohen.................................................................................................................................CODY JENKINS Tom Collins................................................................................................................................... SHAFIQ HICKS Benjamin Coffin III..........................................................................................................JUAN LUIS ESPINAL Joanne Jefferson..................................................................................................SAMANTHA MBOLEKWA Angel Schunard.................................................................................................................JOSHUA TAVARES Mimi Marquez............................................................................................................................AIYANA SMASH Maureen Johnson........................................................................................................... KELSEE SWEIGARD Mark’s Mom and others............................................................................................................ LEXI GREENE Christmas Caroler, Mr. Jefferson, Pastor and others..............................LA’DARREUN J. TAYLOR Mrs. Jefferson, Woman with Bags and others........................................................... RAYLA GARSKE Gordon, The Man, Mr. Grey and others....................................................STEPHEN ROCHET LOPEZ Steve, Man with Squeegee, a Waiter and others....................................................JAMES SCHOPPE Paul and others......................................................................................................................... ZARE ANGUAY Alexi Darling, Roger’s Mom and others.............................................................................YSABEL JASA UNDERSTUDIES Swings and understudies never substitute for listed performers unless a specific announcement is made at the time of the appearance. for Roger—STEPHEN ROCHET LOPEZ, SAM VAN VLEET for Mark— STEPHEN ROCHET LOPEZ, KEVIN STEVENS for Tom Collins—JASON TYLER SMITH, LA’DARREUN J. TAYLOR for Benny—ZARE ANGUAY, JASON TYLER SMITH for Joanne—RAYLA GARSKE, YSABEL JASA, CARLINA PARKER for Angel—ZARE ANGUAY, JAMES SCHOPPE for Mimi—CAIRA ASANTÉ LAKOTA, CARLINA PARKER for Maureen—LEXI GREENE, CAIRA ASANTÉ LAKOTA SWINGS CAIRA ASANTÉ LAKOTA, CARLINA PARKER, JASON TYLER SMITH, KEVIN STEVENS, SAM VAN VLEET DANCE CAPTAIN JAMES SCHOPPE ASSISTANT DANCE CAPTAIN JASON TYLER SMITH ORCHESTRA Conductor/Keyboards—MARK BINNS Assistant Conductor/Keyboards/Guitar—PAUL O’KEEFE Guitar—DAVID MALACHOWSKI Bass—JORDAN RICHARDS Drums—JEFF SNIDER

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

RENT 20TH ANNIVERSARY TOUR

CAST

CAST

ZARE ANGUAY

COLEMAN CUMMINGS

JUAN LUIS ESPINAL

RAYLA GARSKE

LEXI GREENE

SHAFIQ HICKS

YSABEL JASA

CODY JENKINS

CAIRA ASANTÉ LAKOTA

STEPHEN ROCHET LOPEZ

SAMANTHA MBOLEKWA

CARLINA PARKER

JAMES SCHOPPE

AIYANA SMASH

JASON TYLER SMITH

KEVIN STEVENS

KELSEE SWEIGARD

JOSHUA TAVARES

LA’DARREUN J. TAYLOR

SAM VAN VLEET

5

RENT 20TH ANNIVERSARY TOUR

ACT ONE “Tune Up/Voice Mail #1”......................................... Mark, Roger, Mrs. Cohen, Collins, Benny “Rent”................................................................................................................................. The Company “You Okay Honey?”....................................................................................................... Angel, Collins “One Song Glory”...........................................................................................................................Roger “Light My Candle”..............................................................................................................Roger, Mimi “Voice Mail #2”............................................................................................... Mr. and Mrs. Jefferson “Today 4 U”....................................................................................................................................... Angel “You’ll See”.............................................................................. Benny, Mark, Collins, Roger, Angel “Tango: Maureen”............................................................................................................Mark, Joanne “Life Support”.................................................................................... Paul, Gordon, The Company “Out Tonight”..................................................................................................................................... Mimi “Another Day”.......................................................................................Roger, Mimi, The Company “Will I?”.............................................................................................................................. The Company “On the Street”............................................................................................................... The Company “Santa Fe”................................................................................................. Collins and The Company “I’ll Cover You”................................................................................................................. Angel, Collins “We’re Okay”................................................................................................................................. Joanne “Christmas Bells”........................................................................................................... The Company “Over the Moon”........................................................................................................................Maureen “La Vie Bohème/I Should Tell You”....................................................................... The Company ACT TWO “Seasons of Love”......................................................................................................... The Company “Happy New Year/Voice Mail #3”............................. Mimi, Roger, Mark, Maureen, Joanne, Collins, Angel, Mrs. Cohen, Alexi Darling, Benny “Take Me or Leave Me”.......................................................................................... Maureen, Joanne “Without You”......................................................................................................................Roger, Mimi “Voice Mail #4”..................................................................................................................Alexi Darling “Contact”.......................................................................................................................... The Company “I’ll Cover You” (Reprise).............................................................................Collins, The Company “Halloween”........................................................................................................................................ Mark “Goodbye, Love”................................ Mark, Mimi, Roger, Maureen, Joanne, Collins, Benny “What You Own”................................................................. Pastor, Mark, Collins, Benny, Roger “Voice Mail #5”................................Roger’s mom, Mimi’s mom, Mr. Jefferson, Mrs. Cohen “Your Eyes/Finale”..........................................................................................Roger, The Company

Film by Daniel Brodie

“White Christmas” used by arrangement with the Irving Berlin Music Company; “Do You Know the Way to San Jose” written by Burt Bacharach and Hal David, used by permission of Casa David and New Hidden Valley Music. “The Christmas Song (Chestnuts Roasting on an Open Fire)” by Mel Tormé and Robert Wells, used by permission of Edwin H. Morris & Company, a division of MPL Communications Inc. “Rudolph the Red-Nosed Reindeer” written by Johnny Marks, used by permission of St. Nicholas Music Inc.

RENT 20TH ANNIVERSARY TOUR

MUSICAL NUMBERS

RENT 20TH ANNIVERSARY TOUR

WHO’S WHO in the CAST ZARE ANGUAY (Ensemble, Paul, u/s Angel, u/s Benny). Born and raised in Hawai‘i, Zare Anguay makes his professional debut in this production of RENT! He sends his deepest aloha to all that have helped him get to this moment: Mom, Dad, his three brothers and five sisters, Mr. Bright, Marcelo, Allan, and family and friends. “God bless!”

COLEMAN CUMMINGS (Roger Davis).

National tour debut! Regional credits include Next to Normal (Gabe), Heathers: The Musical (Goth) and MAMMA MIA! (Ensemble). He would love to thank his amazing family and friends for all their love and support.

Insta @colemansteele6.

JUAN LUIS ESPINAL (Benjamin Coffin III) Excited to be revisiting Benny after playing the role in Spanish in his home country, the Dominican Republic. Helen Hayes Awards nominee (Usnavi, In the Heights). “This goes to my family, my boyfriend, to my amazing agents at Avalon Artist Group and to you for sharing your love with us!”

RAYLA GARSKE (Ensemble, Mrs. Jefferson, Seasons of Love Soloist, u/s Joanne). Thrilled to be joining the cast of RENT in her professional debut and first national tour. B.F.A. graduate from AMDA College. Regional: Dynamite in PVPA’s Hairspray. Film: Diana in Playing with Beethoven. Sending love to her team at KMR, friends and family. @raylagarske.

LEXI GREENE (Ensemble, Mrs. Cohen, u/s Maureen) is so ecstatic to be making her national tour debut! She was most recently seen in the world premiere of Click at Simpatico Theatre.

B.F.A. in musical theater from UARTS (’19). Huge thanks to Wojcik-Seay Casting! “Love to my family for their continuous support! Please check out LexiGreene.com! 3:33.”

SHAFIQ HICKS (Tom Collins) is from Philadelphia and studies voice at Temple University. This is his first tour. As a vocalist, he has sung background for Estelle, Andrea Bocelli and Aretha Franklin. Theater credits include Songs for a New World (Man 2), Pippin (Charles), The Wiz (Lion), The 25th…

Spelling Bee (Mitch Mahoney).

YSABEL JASA (Ensemble, Alexi Darling, Mrs. Davis, u/s Joanne) (she/ them) is thankful to be joining the RENT family! Select credits: A Chorus Line (China premiere), Wig Out! (nom.

Helen Hayes Best Choreo.), Henry VI (Asst. Fight Choreo, nom. Drama Desk). Thanks to Wojcik|Seay Casting and Gregg. Love to Mom, Pop, Paolo and Angelo. B.F.A. NSB, NYU/Tisch. @yzjasa.

CODY JENKINS (Mark Cohen) is a Texas native living out his dreams as Mark in his second year with the 20th Anniversary Tour! B.F.A. in acting from Texas State University. “Huge thanks to his friends and family, Up and On Productions, Wojcik/Seay Casting and to you for joining us.” @chefboycodyyy.

CAIRA ASANTÉ LAKOTA (Swing, u/s Mimi, u/s Maureen) is ecstatic to be part of RENT as her first national/ international tour. Most recently, she travelled the world singing onboard Celebrity Cruise Line ships. She wants to thank her family and friends, Sean Matthew Whiteford, Wojcik|Seay Casting and the entire RENT tour team. @cairaasantelakota.

STEPHEN ROCHET LOPEZ (Ensemble, Gordon, u/s Roger, u/s Mark). National tour: Rock of Ages 10th anniversary.

Regional favorites: Nine, Into the Woods, Sister Act, Joseph…Technicolor Dreamcoat. B.F.A., UCF. All the love to Wojcik Seay and the RENT team!

Instagram: @stephenrochet.

SAMANTHA MBOLEKWA (Joanne Jefferson) is a proud Canadian who is thrilled to be making her national tour debut with RENT! After a year at sea with NCL as a Principle Vocalist, Samantha worked at Disneyland before booking with RENT. She would like to thank her family and friends, as well as Jimmy, for all their continual support and love. Huge thanks to Wojcik|Seay/creatives of RENT. @samanthambolekwa.

CARLINA PARKER (Swing, u/s Mimi, u/s Joanne) is proud and filled with gratitude to part of this show.

A Belmont University alum, credits include MAMMA MIA! (Lisa) at Broadway Sacramento, and the

national tours of MAMMA MIA! and Rock of Ages. “I’m nothing without those who’ve supported and loved me. Thank you!” Instagram: @carlina_parker.

JAMES SCHOPPE (Ensemble, Steve, u/s Angel, Dance Captain) is stoked to be back on the road for another 525,600 minutes. Regional: Signature Theatre (Diner), Palace Theatre (A Chorus Line), Virginia Repertory (In the Heights), Short North Stages (Kiss…

Spider Woman). B.F.A. musical theater, Shenandoah Conservatory, “Thanks to family, Gregg Baker Management, Work Light Productions and the creative team for their support and encouragement.” “ScorpioPower ;-).” @JASchoppe.

AIYANA SMASH (Mimi Marquez) makes her national tour debut in RENT. Aiyana is a graduate of The Institute for American Musical Theatre and is a singer/songwriter and musician who has performed throughout New York City. She’s delighted to be playing the role of Mimi Marquez.

JASON TYLER SMITH (Swing, u/s Benny, u/s Collins, Assistant Dance Captain) is thrilled to be making his national tour debut with RENT! A Montclair, N.J. native, his past credits include Hair (Hud), The Odyssey (The Public Theater), Anxiety Stew (Cherry Lane Theater). Much love to Mom, Lee and Mitch. Special thanks to BCJCC, BP, WS Casting and About Artists!

KEVIN STEVENS (Swing, u/s Mark).

National tour debut! Buffalo, N.Y. native! Off-Broadway: Big Bang Theory Parody (Leonard). Regional: Little Shop of Horrors (Seymour), West Side Story (Action), This Is Our Youth (Dennis).

Lead Vocalist aboard AIDAcara. B.F.A. from Fredonia State University. Oodles of thanks to Wojcik/Seay, Avalon and Mom and Dad. KevinStevens.Actor. @KevinDavidStevens.

K E L S E E SW E I G A R D ( M a u re e n Johnson) is over the moon for this dream come true! National tour: Kinky Boots (Pat). Regional: Man of La Mancha (Aldonza); Shrek ( D ra g o n ) ; H ow to S u cce e d … , Gypsy (Flat Rock Playhouse).

Workshops: Agent 355 (Anna

JOSHUA TAVARES (Angel Schunard) is a native Hawaiian actor/singer who is over the moon to make his national tour debut in this dream role.

University of Hawaii at Hilo, AMDA N.Y. Huge thanks to Wojcik/Seay Casting, the entire production team and his beautiful family and friends. “Aloha!” @babatavares.

LA’DARREUN J. TAYLOR (Ensemble, Mr. Jefferson, Preacher, u/s Collins) A native of Montgomery, Alabama, La’Darreun J. Taylor began his career at Alabama State University performing several productions including The Color Purple and RENT. Taylor was named best actor by the Kennedy Center American College Theater Festival and performed in several productions at the Tony Award-winning Williamstown Theatre Festival.

SAM VAN VLEET (Swing, u/s Roger).

Virginia native making his tour debut!

Regional and other credits: Footloose (Chuck), Sweeney Todd (Anthony), The Boy Friend (Bobby), and Little Women (Laurie). B.A. musical theater JMU 2019.

He needs to thank W&S, his loving family, and all the folks who helped along the way. samvanvleet.com.

JONATHAN LARSON (Book, Music, Lyrics) received the 1996 Pulitzer Prize for Drama for RENT. RENT received four 1996 Tony Awards (including Best Musical and two to Mr. Larson — Best Book of a Musical and Best Score of a Musical); six Drama Desk Awards (including Best Musical, Best Book of a Musical, Best Music and Best Lyrics); Best Musical Awards from the New York Drama Critics Circle and the Outer Critics Circle (Off-Broadway); and three Obie Awards (including Outstanding Book, Music and Lyrics).

Previously, he received the Richard Rodgers Award, the Richard Rodgers Development Grant, the Stephen Sondheim Award and The Gilman & Gonzales-Falla Theatre Foundation’s Commendation Award. Earlier work includes Superbia; tick, tick...BOOM!; the score of J.P. Morgan Saves the Nation; and selections of Sitting on the Edge of the Future. He also wrote music for “Sesame Street,” and the children’s book-cassettes An American

Tail and Land Before Time, as well as for Rolling Stone magazine publisher Jann Wenner. He conceived, directed and wrote four original songs for Away We Go!, a children’s video. RENT had its world premiere on February 13, 1996, at New York Theatre Workshop and opened at Broadway’s Nederlander Theatre on April 29, 1996. Mr. Larson died unexpectedly of an undiagnosed aortic aneurysm, believed to be caused

by Marfan Syndrome, on January 25, 1996. It was 10 days before his 36th birthday. His semi-autobiographical musical tick, tick… BOOM! (which he wrote previous to RENT) had a successful run off-Broadway at the Jane Street Theatre.

MICHAEL GREIF (Original Broadway Director) most recently directed Dear Evan Hansen at the Music Box and War Paint at the Nederlander.

Additional Broadway credits: RENT, Grey Gardens, Next to Normal (Tony noms.); Never Gonna Dance; If/Then.

Recent work includes A Parallelogram (Second Stage); Our Lady of Kibeho and Angels in America (NY’s Signature Theatre); The Intelligent Homosexual’s Guide… (Public); and The Tempest, The Winter’s Tale and Romeo and Juliet at The Public’s Delacorte Theater. OffBroadway, he’s received Obie Awards for Machinal, Dogeaters (Public) and RENT (NYTW), and has directed new plays and musicals at Playwrights Horizons, Roundabout, MTC, MCC, New York Theatre Workshop and at Second Stage, where he directed Next to Normal and Dear Evan Hansen. Regional work includes premieres and revivals at Williamstown Theatre Festival (10 seasons), La Jolla Playhouse (AD, five seasons), Arena Stage, Center Stage, Mark Taper Forum, Dallas Theater Center, Trinity Repertory Company. Mr. Greif holds a B.S. from Northwestern University and an M.F.A. from the University of California, San Diego.

EVAN ENSIGN (Director). Work as Director includes Going Ape! (London), Wrong Songs for Christmas (National Theatre, London), Avenue Q (U.K. tours and Bogota Columbia), Just a Housewife (U.K. tour). Wrong Songs for Summer (London), You Won’t Succeed on Broadway…(London), RENT (Montreal and Far East tour), Jonathan Larson at the Library of Congress (Washington, D.C.). Other New York theater includes Womyn in

Three, Out of the Reach of Children and Simone at Town Hall. Work as Associate Director includes 9 to 5 The Musical (London), Avenue Q (Broadway, Las Vegas, London and U.S. tours), RENT (Broadway and U.S. tours), Les Misérables (U.S. tour); Elf The Musical (London and U.K. tour) and Shrek The Musical (Broadway and U.S. tour). Theater as Resident Director includes The Phantom of the Opera (London and U.K. and U.S. tours), White Christmas (London) and Strangers on a Train (London). Other work on Broadway includes Chicago, Exit the King, Annie Get Your Gun, Barbara Cook-Mostly Sondheim, and the workshops of The Book of Mormon as well as Julie Andrew’s Gift of Music at the O2. Film and television includes “The Late Show Starring Joan Rivers” (Fox Television) and Film Stars Don’t Die in Liverpool, among others.

MARLIES YEARBY (Choreography) is the Tony-nominated and Drama League Award-winning choreographer of RENT. Her work was licensed for the film adaptation. She is a recipient of the New York Dance Performance Bessie Award and nominations for the Helen Hayes Award and Joe A. Callaway Award. Theater commissions include the American Music Theatre Festival and Penumbra Theatre. Ms. Yearby is the founder/artistic director of the Movin’ Spirits Dance Theater and has toured with her company both nationally and internationally.

Company commissions include Lincoln Center, American Dance Festival, Harlem Stages, Kansas Lied Center for the Performing Arts, Jacob’s Pillow and American Festival of Theatre and Dance in France.

TIM WEIL (Music Supervision and Additional Arrangements). As musical director: Broadway: Jonathan Larson’s RENT, Tom Stoppard’s Jumpers, Jeanine Tesori’s Shrek The Musical; Off-Broadway: Patti Griffin’s Ten Million Miles, Stephen Schwartz’s The Baker’s Wife; Regional: South Pacific (Guthrie Theater, dir. Joe Haj). As composer: Broadway: Sally Marr and Her Escorts staring Joan Rivers; OffBroadway: Susan Lori Parks’ F***ing A. As arranger/orchestrator: Broadway: Lady Day At Emerson’s Bar and Grill starring Audra MacDonald (also for HBO), RENT, Shrek The Musical. Film: Todd Graff’s Camp, Chris Columbus’ RENT, The Mark Pease Experience

RENT 20TH ANNIVERSARY TOUR

Strong), Ragtime (Ellis Island). B.F.A. Shenandoah Conservatory. Gratitude to Wojcik|Seay, RENT creatives and Mom! KelseeSweigard.com. @KelseeSweigard.

RENT 20TH ANNIVERSARY TOUR

starring Ben Stiller and Anna Kendrick.

Also, Tim has served on the board of the Jonathan Larson Foundation, which provides grants for upcoming composers and lyricists.

PAUL CLAY (Set Design) is an award-winning artist and designer.

Projects include scenic design for RENT (Broadway, NYTW, tour). Recent projects include In Water I’m Weightless (National Theatre Wales, the Southbank Centre, London), Commedia (Dutch National Opera, Amsterdam), Forgetful Snow (The Kitchen, NYC). Clay has also worked with Mabou Mines, La MaMa, David Dorfman (at BAM) and many more in the N.Y. theater and dance community. He has received the MAN Theatre Awards “Best Design,” Municipal Arts Society Times Square Spectacular Award, Drama-Logue Award, NEA/TCG Fellowship and the Bessie Award, among others.

MATTHEW MARAFFI (Touring Set Adaptation) is proud to return to RENT for the 20th anniversary. As a member of IATSE Local 829 and Local 74, he has worked on projects large and small around the world. Some projects include Ring of Fire, La Bohème, Buried Child, How to Succeed in Business Without Really Trying, Side Man. In the film industry he is noted for his production design for π (Pi), (1998 Sundance Directors Award). He has been the director of operations at Global Scenic Services since in fall 2007, while continuing his passion for live entertainment as the production manager for the Greater Bridgeport Symphony Orchestra. Outside work, he enjoys fishing with his three sons, Luke, Will and Mark, and serves on the board of both his town youth soccer program and the SWD Connecticut Junior Soccer Association.

ANGELA WENDT (Costume Design) received the American Theatre Wing Design Award and a Drama Desk Award nomination for Best Costume Design for RENT. Her theater credits include the Off-Broadway and studio productions of RENT (NYTW); All My Sons by Arthur Miller (50th anniversary production at the Roundabout Theatre); the American premiere of Play with Repeats by Martin Grimp; Lysistrata by Barry Edelstein; Twelfth Night (Tennessee Rep.); The Great Pretenders (Juilliard); Marisol by Jose Rivera (Public Theatre). Feature film:

Childhood’s End directed by Jeff Lipsky. Dance: Tilliiboyo and Regions

by Molissa Fenley; Savanna by Peggy Baker. She has also designed numerous music videos in the United States and Europe.

JONATHAN SPENCER (Lighting Design) designed the lighting for the first national tour of Priscilla Queen of the Desert. Off-Broadway productions include Middle of the Night by the Keen Theater Company, The Ohmies at DRT and Playwrights Horizons, Who Is Floyd Stearn? and Squeeze Box. John Moran’s Book of the Dead Second Avenue at NYSF Public Theater.

Re-Lights for Legally Blonde at the Star Theater in Sydney, Wicked at Universal Studios Japan and Mary Zimmerman’s Metamorphoses at St. Louis Rep, Missouri Rep, Cincinnati Playhouse and Hartford Stage. Associate/Assistant Broadway credits include Cabaret, Pippin, A Streetcar Named Desire, Sister Act, Finian’s Rainbow, Wicked, Legally Blonde, White Christmas and Metamorphoses. Jonathan teaches a summer Master’s program in lighting design at Southern Oregon University, lives in New York City and is a member of United Scenic Artists Local 829. Visit JSpencerDesign.com.

KEITH CAGGIANO (Sound Design) has worked across the country and internationally, from musicals on Broadway, London’s West End and Australia to spectacles in Las Vegas. Recent credits include New York: Holiday Inn (in production), Himself and Nora, The Radio City Spring Spectacular, Cabaret, Disenchanted. Tours: Irving Berlin’s White Christmas, Nice Work If You Can Get It, Anything Goes. Regional: American Idiot, Hedwig and the Angry Inch.

STEVE SKINNER (Arrangements) worked with Jonathan Larson as arranger and recording producer for 12 years. He received the 1996 Drama Desk Award for Best Arrangements for RENT. Broadway: Doonesbury (keyboards and assistant conductor).

Recording/arranging for Bette Midler, Taylor Dayne, Billy Mann, Chaka Khan, Bebe & Cece Winans and Michael Crawford.

BILLY ARONSON (Original Concept and Additional Lyrics). His plays have been honored with publication in Best American Short Plays ’92–93 and are frequently performed at

Ensemble Studio Theatre. His lyric writing includes the libretto for an opera being developed by American Opera Projects, and first draft lyrics for “Santa Fe” and “I Should Tell You.” His new play, The Art Room, will premiere at Washington, D.C.’s Woolly Mammoth Theatre this spring. His true love is Lisa Vogel.

LYNN M. THOMSON (Dramaturg) is a dramaturg, director and teacher.

She brought nearly 20 years of new play dramaturgical experience to her months of work with Jonathan Larson on the script of RENT. She was associate artistic director for the Philadelphia Theatre Company where she created and administered a new play festival.

She was dramaturg at Circle Repertory Company. She has directed more than 100 productions of both new plays and revivals at regional and New York theatres, and many more workshops and readings of new plays. She is currently head of the M.F.A. program in dramaturgy at Brooklyn College.

GABRIELLE NORRIS (Production Stage Manager) calls Seattle her home away from tour. Favorite credits: Burn the Floor, Million Dollar Quartet, Priscilla, Blue Man Group, Cirque Dreams (NCL), and the aerial/ice-skating shows at the Canadian National Exhibition. “Thanks to those who’ve filled my life with love, books and starlight.” Follow her adventure on Instagram with @gabbysaysgo.

BAILEY SAXE (Assistant Stage Manager) is thrilled to join the RENT tour. Bailey served as a Production Assistant for King Kong and the revival of Kiss Me, Kate! The Muny: Singin’ in the Rain, Jerome Robbins’ Broadway, The Little Mermaid and Newsies. Much love to her family and ACF. KERRICK DOUGHERTY (Company Manager) is excited to be sharing the story of RENT. National tours: RENT (Assistant Company Manager), Motown: The Musical (Assistant Company Manager/Assistant Stage Manager). He received his B.F.A. from the University of Oklahoma. Kerrick would like to thank everyone for their wisdom and support.

MAGGIE SWAHL (Assistant Company Manager). ACM credits include Maine State Music Theatre and NY Stage and Film. Recent Off-Broadway experience includes The Other Josh Cohen, The Dead 1904 and Fiddler on the Roof in

Fair Lady, Pretty Woman and To Kill a Mockingbird.

MARK BINNS (Conductor/Keyboard 1). Recent credits include the national tour of Motown: The Musical (Associate Musical Director) and Jersey Boys (Musical Director) with NCL. Regional credits include Lincoln Center, Arkansas Repertory Theatre, Utah Shakespeare Festival, Arkansas Shakespeare Theatre and more. Endless gratitude to Work Light Productions and Tim Weil. For Mom, always. Instagram: @mark_binns.

WO R K L I G H T P R O D U C T I O N S (Producer). Dedicated to creating and producing live entertainment. Current touring productions: Jesus Christ Superstar, RENT 20th Anniversary Tour, Bandstand and Irving Berlin’s White Christmas. Broadway: Ain’t Too Proud, Jagged Little Pill. Developing Clue, a new stage play based on the Paramount movie. Produced Julie Andrews, The Gift of Music at The Hollywood Bowl and London’s O2 Arena. Other recent touring productions include the Tony Award-winners American Idiot and In the Heights, and Avenue Q, Motown, R&H Cinderella, Something Rotten! and MAMMA MIA! WLP is led by founding partner and President Stephen Gabriel and Vice President Nancy Gabriel. worklightproductions.com.

ALLIED TOURING (Tour Marketing & Press) is a full-service engagement management agency representing Broadway tours and other live events across North America.

Current: Bandstand; The Book of Mormon; Roald Dahl’s Charlie and the Chocolate Factory; Harry Potter and the Cursed Child (San Francisco); Hello, Dolly!; The Hip Hop Nutcracker; Mean Girls; Mystery Science Theater 3000 Live; The Play That Goes Wrong; RENT; Irving Berlin’s White Christmas.

Upcoming: Ain’t Too Proud, The Cher Show, Hadestown, Pretty Woman, To Kill a Mockingbird, Tootsie.

WOJCIK | SEAY CASTING (Casting Director). Tours: Jesus Christ Superstar, Rock of Ages, Something Rotten!, Kinky Boots, Motown: The Musical, Flashdance, Dreamgirls, Nice Work If You Can Get It, Jekyll & Hyde, Joseph…

Dreamcoat and more. Off-Broadway: Othello: The Remix, Church & State, The Portal, Tennessee Williams’ The Two Character Play, Handle with Care, Triassic Parq and more! Regional: Multiple seasons/shows for Riverside Theatre, Fla.; The Engeman Theatre, N.Y.; Theatre Raleigh, N.C.; Stages St Louis, Mo.; Theatre Aspen, Colo.; Gretna Theatre, Pa.; The Arvada Center, Colo.; and Tuacahn PAC, Utah. wscasting.com.

T H E B O O K I N G G R O U P ( To u r Direction). Since its inception in 1996, The Booking Group has represented 25 Tony Award-winning Best Musicals and Plays. Current touring productions include Hamilton; Anastasia; Come From Away; Dear Evan Hansen; Hello, Dolly! starring Betty Buckley; The Book of Mormon; School of Rock; Waitress; On Your Feet!; RENT: The 20th Anniversary Tour; Fiddler on the Roof; The Color Purple; and Irving Berlin’s White Christmas. Future productions include The Cher Show, Mean Girls, My

PORT CITY TECHNICAL (Production Management) is a production management company based in Charleston, S.C. Also referred to as “Work Light South,” PCT was initially started in 1993 as Technical Theater Solutions by Rhys Williams. TTS worked with WLP on many shows, including American Idiot, Nice Work If You Can Get It, In the Heights and Avenue Q. Since the conception of PCT, tours with WLP have included MAMMA MIA!, Vocalosity, Motown: The Musical, Cinderella, Something Rotten! and the pre-broadway Ain’t Too Proud: The Temptations Musical. Current and upcoming tours include RENT, Jesus Christ Superstar, Bandstand and White Christmas.

STAFF FOR RENT ORIGINAL LIGHTING DESIGN BY BLAKE BURBA WORK LIGHT PRODUCTIONS PRODUCER Stephen Gabriel Nancy Gabriel GENERAL MANAGEMENT Anièle Fortin, General Manager Scott Seay, Director of Tour Finance Courtney King, Associate General Manager Kevin Greene Carolyn Smith Owen Likely Noelle Hedgcock TECHNICAL SUPERVISION PORT CITY TECHNICAL Rhys Williams, Production Manager Mackenzie Foster, Director of Production Operations Tom Klonowski Rossella Human Jeff Human Ryan George Miriam Michaels Austin Darby

COMPANY MANAGER KERRICK DOUGHERTY Assistant Company Manager............Maggie Swahl TOUR BOOKING AGENCY THE BOOKING GROUP Meredith Blair, Rich Rundle, Brian Brooks tbgtours.broadway TOUR MARKETING DIRECTION ALLIED TOURING Marya K. Peters Andrew Damer Jessica Cary Jennifer Gallagher Scott Praefke Jacqueline Smith Anne Waisanen Janie Dickerson Hayden Anderson CASTING WOJCIK | SEAY CASTING Scott Wojcik Gayle Seay Holly Buczek Courtney Hammond Nick Ferrao PRODUCTION TEAM Associate Director....................................... Trey Ellett Film Designer...........................................Daniel Brodie Projection Consultant.......................... Bruno Ingram Associate Costume Designer.................Molly Walz Costume Assistant..................................Kriss Bicking Associate Lighting Designer............ Mike Megliola, Aaron Tacy Lighting Programmer..........................Dustin Adams Hair & Makeup Design Associate.....Yulitzin Alvarez Production Assistant............................Alli Gersbach Casting Intern............................................Abigail Isom Creative Services..............Allied Global Marketing/ Debbie Allamong, Mark DeSalvo, Eric Stormoen Company Manager......................Kerrick Dougherty Assistant Company Manager............Maggie Swahl Production Stage Manager........... Gabrielle Norris Assistant Stage Manager........................Bailey Saxe Dance Captain....................................James Schoppe Assistant Dance Captain ........... Jason Tyler Smith Head Carpenter.......................................Shane Lowry Assistant Carpenter.............................Austin Fowler Head Electrician..................................... Alicia Roman Assistant Electrician.............................Kathleen Cole Head Audio................................................... Brian Davis Assistant Audio..........................................Robert Isley Head Props..................................... Amy Laemmerhirt Head Wardrobe...........................................Katie Dean Head Hair and Makeup.....................Yulitzin Alvarez Production Photography..........................Amy Boyle General Management Consultant...... John Corker Legal Counsel................. Levine Plotkin Menin, LLP Loren Plotkin, Hailey Ferber Accounting.............................. WithumSmith+Brown Robert Fried, CPA, Karen Kowigos, CPA, Anthony Moore, CPA Controller .............................................. Galbraith & Co Kenny Noth & Jill Johnson Merchandising.....................................Creative Goods Merchandise Supervisor............. Cynteria Osborne Insurance........................... Maury, Donnelly and Parr Bob Middleton Banking.................................................. Signature Bank Tomas Kasulka, Margaret Monigan Payroll..........................................PEOPLE/Kim Merhar Travel Agent................................................ Road Rebel Trucking & Hauling.............................. Janco Limited CREDITS AND ACKNOWLEDGEMENTS Sound Equipment by Masque Sound® Lighting Equipment by Christie Lites Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

RENT 20TH ANNIVERSARY TOUR

Yiddish. Thanks always to Mom. “It’s not a matter of if, but when.”

RENT 20TH ANNIVERSARY TOUR

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

LAUGH OUT LOUD

WITH THESE CREATIVE COMEDIES

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 Ginger White-Brunetti, Executive Director For information call: 720.865.4220

PLEASE BE ADVISED • LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

• CHILDREN 6+ are welcome in our theatres and must be ticketed.

APR 8 – MAY 3, 2020 GARNER GALLERIA THEATRE

• DRINKS are allowed in provided containers.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@dcpa.org or 303.893.4836.

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719 Linda Ackerschott Carrie Breidenbach Vonnie Clough Janel Clough Craig Cory Cyndie Cory Laura Cotugno Steve Davies Anne Davis Carolyn Dore Deborah Guess AnnSue Gunter

Judy Holabird Leslie Lambert Sharon Millikan-Hale Callie Morrow Laura Payne Yolanda Pollock Dave Poole Liz Spadi Amy Tepel Marybeth Tscherpel Barb Wilson

DPAC House Crew Mark Anthony Perry Elliot James R. Gralian EJ Posselius

Albert Sainz, Sr Jay Schenk David A. Wilson

MAY 20 – JUN 14, 2020 GARNER GALLERIA THEATRE

SEASON SPONSORS

DENVERCENTER.ORG

The Company of The SpongeBob Musical. Photo by Jeremy Daniel

SEASON SPONSORS

MAR 10 – 22

BUELL THEATRE

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Illustration by Kyle Malone

OFFERS A PORT IN THE STORM

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

BY JOHN MOORE

Y

You don’t have to live on a remote island in the north Atlantic to know that family legacy can be both an anchor and a life preserver. That’s pretty much true for every family on dry land.

“As a parent myself, I feel both the heartache and the joy of being part of a lineage every day,” said Bonnie Metzgar, author of the compelling world premiere play You Lost Me. Her story is set at the Shipwreck Inn in Newfoundland’s southwest coastal town of Isle aux Morts. Time shifts between 1828 and present day — and sometimes in between. The Harvey family has run this inn for generations, ever since 17-year-old Ann Harvey helped save more than 160 Irish immigrants from a shipwreck and made herself into an instant legend. Nearly two centuries later, Ann Harvey’s namesake, a single woman in her 40s, is eager to welcome tourists (and tourist dollars) to this historic house on the bluffs overlooking Shipwreck Coast, a nickname earned by thousands of wrecks off its rocky shores. If only anyone would come.

Our present-day proprietress could have been someone’s mother if her life had taken a slightly different jib. Instead, she has taken in her sister’s teenage son, Joe-L, a dark and troubled poet who would do anything to get off the island and start his life anywhere else. In the meantime, he’s helping his aunt Ann use the internet to attract visitors to this tear-stained drop in the ocean. And as the very last two

18

remaining in the storied Harvey line are about to discover anew: Not all those who are lost are lost at sea.

“I was really looking to write a story about how rebirth comes after tragedy and how we persevere through hard times,” said Metzgar, who was Associate Artistic Director at Denver’s Curious Theatre Company from 2004-07 and was named The Denver Post’s Colorado Theatre Person of the Year in 2007 before embarking on a master’s program that produced the first draft of this very play, which she describes as “a Neil Simon comedy inside a really scary seafaring tale.”

While You Lost Me tells of two very unrelated and yet related Ann Harveys, Metzgar does not think of her play as two distinct stories. “I feel like it’s one epic family saga in the same way that The House of Atreus is one ongoing story,” she said, referencing an elaborate yarn known to many DCPA Theatre Company audiences as starting with Tantalus.

Director Margot Bordelon also thinks of You Lost Me as a multi-generational epic poem.

“I’m particularly interested in the questions the play asks surrounding loss and grief,” Bordelon said. “What do we do in the face of loss? Do we move forward or continually look to the past? How does grief shape us? And how is that all passed down?”

You Lost Me was chosen for full production in the DCPA

APPLAUSE • JAN – MAR 2020 • 303.893.4100 • DENVERCENTER.ORG

Theatre Company’s 2019/20 season after being introduced at the 2019 Colorado New Play Summit. Shortly after, Artistic Director Chris Coleman sent Metzgar and Bordelon to Isle aux Morts to experience the real world of the play first-hand. The trip was, Metzgar said, like a lighthouse guiding her safely in from the sea.

“We met these two old men who are the history-keepers of the town, and one of them took us out on this little boat to the actual spot where the original Ann Harvey’s house stood,” Metzgar said. It was the first permanent house ever built in Isle aux Morts. Speaking of lighthouses, Metzgar learned on her visit that Newfoundland’s first wasn’t built until 20 years after the shipwreck that made Ann Harvey famous. In those days, captains’ maps simply indicated the location of the Harvey house, which always had a light on.

They also learned that 80 percent of the town’s population of about 650 directly descend from Ann Harvey’s father or his brother, who lived side-by-side on this rocky island. “All those people today are still related to the Harvey family,” Metzgar said. “It’s crazy. It’s so amazing.”

One of the great challenges — and opportunities — of staging the world premiere of You Lost Me in the intimate Ricketson Theatre is trying to capture not only the vastness of the ocean in such a small space but also its terrible foreboding and transformative spirituality.

What I wanted to say with this play is that…the water will stop churning.

A new day will dawn. And the sky is going to be pink. And the sea will be calm. And we will get to start over.

— BONNIE METZGAR, PLAYWRIGHT

“The two Ann Harveys and their journeys are at the center of the play,” Bordelon said, “but the landscape of Newfoundland is a main character as well — the raw and wild environment is an omnipresent force.”

So too are the “Voices of the Lost Souls.” Those are the voices of all the thousands who have been silenced at sea. It was important to Metzgar that she include them as a character in the play as well.

“I think the title of my play is standing in the presence of its perfect opposite,” Metzgar said. “When someone dies, that person is gone — and yet that person will never be gone. Yes, mourning is real, and yes, grief is real. But what I think this play is saying is that those who are lost are never fully lost to you. Not really.”

Metzgar says the central question her play — and really all of her work in the live theatre — addresses one simple question: Who are we to each other?

“What I wanted to say with this play is that when you’re in the middle of a storm, no matter how scary the howling wind is, and how many ghosts scream in the night, you have to remember that the water will stop churning,” Metzgar said. A new day will dawn. And the sky is going to be pink. And the sea will be calm. And we will get to start over.

“And I think that’s something. It’s important for all of us to experience together.”

YOU LOST ME JAN 17 – FEB 23 • RICKETSON THEATRE ASL interpreted and Audio described performance: Feb 16 at 7:30pm

• All people are equal • Moments are shared • Differences are valued • Discussion is encouraged We respect that everyone experiences our stories differently.

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APPLAUSE • JAN – MAR 2020 • 303.893.4100 • DENVERCENTER.ORG

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BY RODNEY HICKS

THE AUDITION

It was a cold, snowy December day in 1995 when I auditioned for RENT, in the second-floor walkup studio of New York Theater Workshop.

Earlier that year I had worked on another of Jonathan Larson’s musicals called Blocks. That is also where I met Anthony Rapp and Yassmin Alers (an original Broadway swing and longtime friend).

When I was sent the casting breakdown for RENT, I immediately thought I was too young as the ages stated mid-late 20s to early 30s. I was 21.

Although I had a few professional shows under my belt at the time, having just come from a stint in Paris and Germany with a Peter Sellars piece, I was green.

At my audition I met Jesse L. Martin (the original Tom Collins in RENT on Broadway) who has since been like a brother. After a bit of chit chat, my name was called to go in. I said hello to the table of people: Bernie Telsey (casting), Tim Weil (musical director/arranger), Jim Nicola (Artistic Director, NYTW), Michael Greif (director), Martha Banta (Assistant Director), Marlies Yearby (Choreographer)…and there was Jonathan. I remember him smiling his, “there’s Rodney” smile. It was comforting.

I preceded to sing the wrong song, “This is the Moment” (from Jekyll & Hyde), then was asked to sing something

22

more R&B, so I did “On the Wings of Love” (Jeffrey Osborne). I was then asked to improvise some dancing to a beat that Tim, who had jumped behind the piano to accompany me, began grooving out using the piano as his drums. That was my “dance call.” I took off my GAP red cardigan Christmas sweater and proceeded to do a little breakdancing and added a back flip for good measure.

After the audition Michael said “Great,” Jonathan said “Great seeing you, Rodney,” and Bernie said “Thanks, Rodney. Before you leave make sure you check the mirror.”

Sure enough, after looking in the mirror upon leaving the room, my fake goatee that I drew on with black mascara sweated off and was now all over my face. I had drawn it on to look older.

A couple of hours later my manager called letting me know I booked RENT.

THE REACTION

The show initially scared me because it was a direct reflection of all that I had come to fear about being gay because of how society had conditioned me to feel. At the time, being a closeted gay person who was suddenly in a room celebrating a community I was afraid of being a part of was overwhelming.

APPLAUSE • JAN – MAR 2020 • 303.893.4100 • DENVERCENTER.ORG

The Company of the RENT 20th Anniversary Tour, Credit Amy Boyle 2019.

“LIVING (AND DYING) IN AMERICA AT THE END OF THE MILLENIUM”

I remember leaving the theater and Jonathan giving me a thumbs up and a smile as I passed by. I saw that he finally got the interview he had longed for — The New York Times.

I thought I’d see him the next day. Our composer. Our friend.

But we did not.

We all stood in silence in the space of the New York Theater Workshop that next day. Just still. Then it was said that we would do a special invited sharing of the show to Jonathan’s friends and family who flew down to be with us.

We sat in our “La Vie Boheme” chairs behind the tables and sang Jonathan’s show as he last heard it the night before.

Jonathan’s soul filled the room as we sang his words. Once we got to “La Vie Boheme,” I remember Anthony jumping on the table and raising his hand as if he held a glass toasting Jonathan. It was a moment in time I will never forget. We all leapt up on the table during the course of that number and in that one moment, we all collectively knew the story we were telling, why we were dancing, why we were singing, why we were there sharing this man’s brilliance and legacy.

The second act we put on its feet. After “Seasons of Love” you could hear a pin drop for several minutes. We could feel his spirit. Someone shouted, “We love you, Jonathan,” and then the whole room erupted in applause and cheer for this beautiful, singular artist and man.

IMPACT

Thankfully I had the experience of RENT, first as an original cast member until my initial departure in 1997 and again when I was asked to perform the role of Benjamin Coffin III to close RENT on Broadway in 2007.

I would go and visit — back by the sound board in the Nederlander Theatre or on tour. I’d watch, listen and be with all that I came to love about myself and the many people who I feel honored to know from my time with this poignant show that was always more than a show to me.

It’s a healing.

As you know, RENT became a runaway success and is now a landmark Broadway musical firmly set in theatre history.

I am grateful for all I learned on that journey of love, loss and continuance.

There is truly “No Day but Today,” and I now live my life by those very words and will always be incredibly grateful to Jonathan Larson, RENT and everyone who I have the honor to know and have worked with along that journey both onstage and off.

peacelovegratitude — Rodney Hicks Rodney now currently lives in Denver with his husband and two dogs. His work as a playwright, actor and director takes him all over. In addition to many roles in theatre and TV, Rodney originated roles on Broadway in RENT, Jesus Christ Superstar, The Scottsboro Boys and Come From Away.

RENT 2OTH ANNIVERSARY TOUR FEB 28 – MAR 1 • BUELL THEATRE ASL Interpreted, Audio-described and Open Captioned performance: Feb 29 at 2pm

MEAN GIRLS Whenever more than a few people gather together for an extended amount of time, groups of likeminded individuals tend to congregate. In Mean Girls (playing Mar 25 – Apr 12), you see The Plastics, the Cool Asians, Band Geeks, Burnouts, etc. While we don’t care if the Gretchen Wieners of the world think you’re fetch, find out if you’re a Queen Bee, Mathlete, Jock or just…NOT. 1. How would you define your style?

A. Fashionable, the best and newest clothes on the market.

B. Eccentric, I make my own style.

C. Comfy and casual.

D. Does my jersey count? If not, my letterman jacket.

2. Halloween is just an excuse to…

A. Wear something inappropriate.

B. Go to a haunted house and watch scary movies.

C. Eat ALL the candy.

D. Play games and enjoy the beverages.

3. Are you going to the Spring Fling?

A. Duh, and I’m a shoo-in for the crown.

B. UGH, no!

C. With the whole gang.

D. Yes, my partner is my date.

4. What is your favorite Mean Girls movie quote?

A. “On Wednesdays, we wear pink.”

B. “Four for you, Glen Coco! You go, Glen Coco!”

C. “Don’t let the haters stop you from doing your thang.”

D. “That’s why her hair is so big. It’s full of secrets.”

5. People are jealous of you because or your…

A. Popularity.

B. Personality.

C. Intelligence.

D. Physique.

If the majority of your answers were: A. You’re a Plastic B. You’re a Theatre Kid C. You’re a Nerd D. You’re a Jock

(L-R): Danielle Wade (Cady Heron), Megan Masako Haley (Gretchen Wieners), Ma-riah Rose Faith (Regina George), Jonalyn Saxer (Karen Smith), Mary Kate Morrissey (Janis Sarkisian), and the National Touring Company of Mean Girls Credit: © 2019 Joan Marcus

JONATHAN’S DEATH

COMING UP FROM BROADWAY

PROUD SPONSOR OF DCPA EDUCATION’S SHAKESPEARE IN THE PARKING LOT

“We are pleased to support DCPA’s Shakespeare in the Parking Lot program and the unique, hands-on experience it provides students…”

— BRIAN OWENS, SENIOR VICE PRESIDENT OF THE ROCKIES

A

At Occidental, what we do is important — and how we do it is even more so. As the largest producer of oil and natural gas in Colorado, we are committed to safely and responsibly developing these energy resources, which fundamentally support Colorado’s economy and modern life. We are proud to give back to the communities in which we live and operate, and partner with nonprofit organizations across Colorado, including the Denver Center for the Performing Arts (DCPA) and its passion for bringing arts education to students.

“The arts play a critical role in the development of people of all ages.

Students benefit by learning to be more creative while collaboratively working well with others,” said Brian Owens, Senior Vice President of the Rockies. “We are pleased to support DCPA’s Shakespeare in the Parking Lot program and the unique, hands-on experience it provides students on their own campuses that is both enjoyable and educational.”

Occidental partners with nonprofit organizations to ensure students across the Rockies have access to educational programming in science, technology, engineering, math and arts. Our employee volunteers fuel these efforts. These investments provide more than just funding to local organizations; they help create lasting change in our communities.

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Occidental is committed to giving back to the communities in which we live and operate. We partner with nonprofits on projects including providing new bikes and helmets to elementary school students and supporting community foodbanks.

24

APPLAUSE • JAN – MAR 2020 • 303.893.4100 • DENVERCENTER.ORG

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At the corner of 17th Stout 2 blocks north of the DCPA

934 16 TH ST. DENVER 80202 • TEL (303) 893-2233

DCPA DCPATEAM TEAM

DCPA Janice Sinden..............................President & CEO Gretchen Hollrah..................................................COO Lydia Garcia.............................Executive Director, Equity & Organization Culture Donna Hendricks......................President & CEO Executive Assistant Julie Schumaker........................... COO Executive Assistant & Manager, Board Relations BROADWAY & CABARET ADMINISTRATION John Ekeberg.........................Executive Director Alicia Bruce.................................General Manager Ashley Brown...........................Business Manager GARNER GALLERIA THEATRE Abel Becerra............................. Technical Director Anna Hookana+, Alex Reshetniak+......................Core Stagehands DEVELOPMENT Rebecca Clark.......................................Coordinator Megan Fevurly....................... Associate Director Tamara Fox....................................Manager, Grants Marc Ravenhill........Manager, Donor Relations Megan Stewart..............Events & Development Officer Julie Voorhees....Manager, Capital Campaign Erin Walker..............Senior Director, Major Gifts EDUCATION & COMMUNITY ENGAGEMENT Allison Watrous..................... Executive Director Patrick Elkins-Zeglarski............................ Director, Education & Curriculum Management Stuart Barr................................. Technical Director Claudia Carson.....Teaching Artist & Program Manager – Playwriting & Bobby G Leslie Channell.............................................. Director, Business Operations Emily Doherty.......Teaching Artist & Program Manager – Theatre for Young Audiences Hanna Dotson....................... Assistant Registrar Linda Eller........................................................Librarian Timothy McCracken...................Head of Acting Laura Morales................................................ Director, Community Engagement David Saphier.......Teaching Artist & Program Manager – In School Programming Elizabeth Schmit..........................Office Manager Melissa Sumner............................................Registrar Rachel Taylor...............................Teaching Artist & Program Manager – Literacy Engagement and Resiliency Programming Justin Walvoord.....Teaching Artist & Program Manager – Shakespeare in the Parking Lot Samuel Wood.............................Teaching Artist & District Liasion FACILITIES & EVENT SERVICES Facilities Timothy Courson.....................Director, Facilities Management Peter Stifter....Manager, Facilities Operations Dwight Barela, Mark Dill, James Ewald, Clint Flinchpaugh, Michael Kimbrough................................ Engineers Jane Deegan..................................Office Manager Dan Havens................................Manager, Security Quentin Crump, Cody Gocio.....................Lead Security Officers Steven Allen, Benjamin Koenig, Kyle Mitchell, Glen Newton.........................Security Specialists Madison Stout......................Reception/Security Brian McClain.....................Custodial Supervisor

Grabiel Bustillos, Cameron Carranco, Juan Loya, Harry McPherson, Carmen Molina, Blanca Primero, Judith Primero, Maria Reyes Soto, Michael Thomas.....................................Custodians Events Tara Miller......................................... Senior Manager Danielle Bell, Savanna Campbell, Matt Leaver..................................................Managers Brook Nichols......Director, Event Technology Tom Duffin...........Manager, Event Technology Colin Dieck, Stori Heleen, Will Stowe, Ian Wells............Specialists, Event Technology

Liz Sieroslawski*, Andrew Sullivan*, Emmalaine Wright*..........................Ticket Agents Theatre Services Carol Krueger...............................................Manager Samantha Egle, LeiLani Lynch, Aaron McMullen, Dylan Phibbs, Valerie Schaefer.......................Assistant Theatre Services Managers Paitra Babb, William Berry, Nora Caley, Kori Hazel, Stacey Renee Norwood, Margaret Ohlander, Elizabeth Schreffler, Shannon Teppert, Lauren Veselak........................Theatre Company House Managers MARKETING, SALES & Volunteer Ushers................................................305+ PATRON SERVICES Group Sales Lisa Mallory........................................Vice President Jessica Bergin................Groups Sales Manager Patrick Berger.............Audience Development Rebecca Hibbert..........................Student Matinee Manager Group Sales Associate Heidi Bosk.................................Associate Director, PR & Integrated Marketing ACCOUNTING & FINANCE Rachel Cadden......................... Communications Jane Williams.................................. Vice President Coordinator Jennifer Jeffrey........................Director, Financial Brenda Elliott.............Senior Graphic Designer Planning & Analysis Brianna Firestone..........Director of Marketing, Jennifer Siemers...............Director, Accounting Insights & Strategy Sara Brandenburg.......... Accounting Manager Rachel Garn..................................Email Developer Michaele Davidson, Jacquelyn Glover.......Junior Web Developer/ Linda Erickson.................... Senior Accountants Administration Valerie Lingbloom...................Staff Accountant Brittany Gutierrez.................... Communications Associate Vicky Miles...............Special Projects Associate Jeff Hovorka......... Director, Sales & Marketing Emily Kent................................Director, Marketing Lucas Kreitler.............Junior Graphic Designer David Lenk.......................................Video Producer Emily Lozow......Marketing & Digital Manager Adam Lundeen...........Marketing Technologist Kyle Malone.....................................Design Director Helen Masvikeni..........................Project Manager Cheyenne Michaels...........Marketing Manager John Moore....................... Senior Arts Journalist Jessica Noe...................Corporate Partnerships Manager Anna Nunez........................Jr. Marketing Analyst Joseph Schurwonn.................Financial Analyst Austin Walker.................Marketing Coordinator Suzanne Yoe...........Director, Communications & Cultural Affairs

HUMAN RESOURCES Vera Morales......................................Vice President Brian Carter......................................................Director Jamie Hawkins......................................Coordinator Paul Johnson...............................Payroll Specialist Monica Robles...................Mailroom Supervisor INFORMATION TECHNOLOGY

Yovani Pina.........................................Vice President Rick Bennett, David Tschan...................Director Eric Boone.............................Software Developer Vincent Bridgers....Ticketing System Analyst Simone Gordon......................Program Manager Christopher Hoge..................................IT Manager Phillip Johnson, Sarah Martinez ................IT Analyst; Help Desk Jacob Parker........................................BI Developer TICKETING & AUDIENCE SERVICES Joseph Reecher............................Junior Systems Administrator Jennifer Lopez....................Director, Ticketing & Audience Services THEATRE COMPANY Ticketing Services Kirk Petersen...........................Associate Director, ADMINISTRATION Patron Relations Charles Varin...........................Managing Director Micah White.............................Associate Director, Subscription Services Ann Marshall...............................General Manager Billy Dutton....Associate Director, Operations Allison Taylor Brinkhoff......Company Manager Malcolm Brown ............Subscription Manager Katie Grayson.... Assistant Company Manager Amanda Gomez...........VIP Ticketing Manager ARTISTIC Christina Gesford, Beth Gordon, Chris Coleman.............................. Artistic Director Tristan Jungferman, Rose Riordan......... Associate Artistic Director Mariah Thompson..........Box Office Managers Charlie Miller.........Associate Artistic Director/ Roger Haak............. VIP Ticketing Coordinator Off-Center Curator Jared Bakst*, Adam Busch*, Douglas Langworthy............Literary Director/ D.J. Dennis*, Edmund Gurule*, Director of New Play Development Paul Justice*, Becca Saunders*, Hayley Solano*.....................................Show Leads Melissa Cashion.........................Artistic Producer Grady Soapes...........................Artistic Producer/ Kirsten Anderson*, Scott Lix*, Director of Casting Brad Steinmeyer*, Gregory Swan*...................Subscription Agents Lynde Rosario.............................Literary Manager Patrick Beasley*, Bobby Bennett*, PRODUCTION Rena Bugg*, James Bullock*, Jeff Gifford...................... Director, Production & Jennifer Gray*, Kristina Guarriello*, Construction Project Management Noah Jungferman*, Cecillia Kim*, Matthew Campbell..........Production Manager Jonah LaPorte, Elias Lopez*, Julie Brou..............................Production & Artistic Frank Millington III*, Clayton Nickell*, Office Manager Hayley Obremski*, Jen Reid*, Gunnar Reinig, Lezly Rubio,

Scenic Design Lisa M. Orzolek...............................................Director Kevin Nelson, Nicholas Renaud...... Assistants Lighting Design Charles R. MacLeod....................................Director Lily Bradford..................................................Assistant Reid Tennis+......................Production Electrician Multimedia Gregory W. Towle............................. Projections & New Technology Supervisor Sound Design Craig Breitenbach........................................Director Alex Billman+, Frank Haas+, Pedro Lumbrano+.................Sound Technicians Stage Management Kurt Van Raden.....Production Stage Manager Rachel Ducat, Heidi Echtenkamp, Corin Davidson, Rick Mireles, Michael Morales, D. Lynn Reiland...........................Stage Managers Scene Shop Eric J. Moore............................. Technical Director Josh Prues, Robert L. Orzolek...............Associate Technical Directors Albert “Stub” Allison.........Assistant Technical Director Louis Fernandez III.................Master Carpenter Ian Macleod, Brian “Marco” Markiewicz............... Lead Technicians Tyler Clark, Amy “Wynn” Pastor, Kyle Scoggins, Mara Zimmerman................Scenic Technicians Prop Shop Robin Lu Payne....................Properties Director Eileen S. Garcia...................Assistant Properties Director Jamie Stewart Curl, Tobias Harding, Georgina Kayes, Tony Nguyen, Katie Webster..................................Props Artisans Paint Shop Jana L. Mitchell...................Charge Scenic Artist Melanie Rentschler...............Lead Scenic Artist Kristin Hamer MacFarlane............Scenic Artist Costume Shop Janet S. MacLeod.......................................Director/ Costume Design Associate Meghan Anderson Doyle......................Costume Design Associate Carolyn Plemitscher, Louise Powers, Jackie Scott, Corinne Serfass...............Drapers Cathie Gagnon..........................................First Hand Costume Crafts Kevin Copenhaver.........................................Director Chris Campbell............................................Assistant Wigs Diana Ben-Kiki........................................Wig Master House Crew Doug Taylor+.................Supervising Stagehand Jim Berman+, Joshua A. Kosmicki+, Stephen D. Mazzeno+, Kyle Moore+, Miles Stasica+, Matt Wagner+.........................................Stagehands Joseph Price+.....................Assistant Stagehand Wardrobe Brenda Lawson..............................................Director Mary Capers^, Jessica A. Rayburn^....................Wig Assistants Robin Appleton^, Amber Donner^, Anthony Mattivi^, Tim Nelson^, Lisa Parsons Wagner^, Alan Richards^..............................................Dressers *Member, I.A.T.S.E. Local B-7 + Member, I.A.T.S.E. Local 7 ^Member, I.A.T.S.E. Local 719 As of 12/20/2019

Photos by Mary Ellen Matthews

The Company of The SpongeBob Musical. Photo by Jeremy Daniel

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F E B R U A R Y

Marin Alsop Conducts Marin Alsop, conductor

FEB 7-9 FRI-SAT 7:30 ■ SUN 1:00

CLASSICS

Jun Märkl, conductor

A Symphonic Valentine

ALTERNATIVE

FEB 14 FRI 7:30

Bertie Baigent, conductor SPOTLIGHT

FEB 15 SAT 7:30

ALTERNATIVE

MAR 27 FRI 7:30

Brett Mitchell, conductor MOVIE AT THE SYMPHONY

HalfNotes

MAR 28-29 SAT 7:30 ■ SUN 2:30

Brett Mitchell, conductor

Presentation licensed by Disney Concert Library ©Disney

Christopher Dragon, conductor

Denver Young Artists Orchestra Side By Side 2020

HalfNotes

FEB 16 SUN 2:30

FAMILY

Bertie Baigent, conductor

A P R I L

Beethoven Piano Concerto No. 4

CLASSICS

APR 3-5 FRI-SAT 7:30 ■ SUN 1:00

Beethoven Missa Solemnis featuring the Colorado Symphony Chorus

CLASSICS

Rune Bergmann, conductor

Holst The Planets

FEB 21-23 FRI-SAT 7:30 ■ SUN 1:00

CLASSICS

APR 17-19 FRI-SAT 7:30 ■ SUN 1:00

Brett Mitchell, conductor

Andrew Litton, conductor MOVIE AT THE SYMPHONY

FEB 27-29 THU-FRI 7:30 ■ SAT 2:00

Pedro Giraudo Tango Quartet with the Colorado Symphony APR 23 TUE 7:30

Brett Mitchell, conductor

Presented in partnership with Denver Arts & Venues

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Colorado Symphony Ball 2020

FUNDRAISER

APR 25 SAT 6:00

M A R C H

Strauss A Hero’s Life conducted by Brett Mitchell

Music and Art: A Symphonic Exploration Disney’s Fantasia In Concert

Legendary Women’s Voices: An Evening with Cynthia Erivo

Star Wars Return of the Jedi in Concert

CLASSICS

MAR 20-22 FRI-SAT 7:30 ■ SUN 1:00

Chopin Piano Concerto No. 2 featuring Ingrid Fliter

Mission Ballroom CLASSICS

MAR 6-8 FRI-SAT 7:30 ■ SUN 1:00

Brett Mitchell, conductor

HalfNotes Please join us for family-friendly activities 1 hour before the concert.

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The Music of Queen with the Colorado Symphony MAR 14 SAT 730

Carnival of the Animals

MAR 15 SUN 2:30

HalfNotes

Bertie Baigent, conductor presenting sponsor

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