Applause Magazine, January 31 - March 1, 2020 by The Publishing House

APPLAUSE

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VOLUME XXXI • NUMBER 5 • JAN – MAR 2020

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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

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

APPLAUSE • JAN – MAR 2020

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

APPLAUSE • JAN – MAR 2020

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

present

twenty50 BY

Tony Meneses With Frankie J. Alvarez, Blanca Camacho, Valentina Guerra, Zeus Mendoza, Matthew CL Orduña, Peter Pasco, Tania Verafield Stage Managers: Corin Davidson, D. Lynn Reiland

SCENIC DESIGN BY Courtney O’Neill SOUND DESIGN BY Rob Milburn and Michael Bodeen

COSTUME DESIGN BY Meghan Anderson Doyle

LIGHTING DESIGN BY Alexander Ridgers

DRAMATURGY BY Sarah Rose Leonard

CASTING BY Joanne DeNaut, CSA and Grady Soapes, CSA

FIGHT CHOREOGRAPHY BY David Woolley PRODUCTION MANAGEMENT BY Matthew Campbell

DIRECTED BY

Henry Godinez twenty50 was originally commissioned by the DCPA Theatre Company. twenty50 was also developed at DCPA Theatre Company’s Colorado New Play Summit in February 2019. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. THE SPACE THEATRE • JAN 31 – MAR 1, 2020 A DENVER CENTER WORLD PREMIERE

SEASON SPONSORS

PRODUCING PARTNER

June Travis

twenty50

Chris Coleman, Artistic Director Charles Varin, Managing Director

twenty50

CAST

In Order of Appearance Andres Salazar ...................................................................................................................................................... ZEUS MENDOZA Sebastian ..................................................................................................................................................... FRANKIE J. ALVAREZ Irene Salazar .................................................................................................................................................BLANCA CAMACHO Jenny Salazar .............................................................................................................................................VALENTINA GUERRA Monty.......................................................................................................................................................... MATTHEW CL ORDUÑA Lydia Aguilar ......................................................................................................................................................TANIA VERAFIELD Oscar................................................................................................................................................................................ PETER PASCO Stage Manager ...................................................................................................................................................CORIN DAVIDSON Assistant Stage Manager / Fight Captain............................................................................................. D. LYNN REILAND Stage Management Apprentice ....................................................................................................................ZACH MADISON The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States.

SETTING A farmhouse in Middle America in the year 2050. twenty50 will be performed without an intermission

WHO’S WHO ACTING COMPANY FRANKIE J. ALVAREZ (Sebastian). Selected TV/Film: “New Amsterdam,” “Law & Order: SVU,” “Blindspot,” “Blue Bloods,” “Controversy” (pilot), “Madam Secretary,” “The Good Wife,” Agustin on HBO’s “Looking,” Looking The Movie (dir. Andrew Haigh), Rockaway (dir. John J. Budion), Vandal (dir. JD Freixas), The Drummer (dir. Eric Werthman). NY: Othello (workshop, NYTW, dir: Sam Gold), Play On! Shakespeare Festival (CSC), Those Lost Boys: The Ten-Year Reunion (co-creator, Ars Nova). Regional: the titular role in Hamlet: Prince of Cuba and Hamlet: Príncipe de Cuba (Asolo Rep), shows at the McCarter Theatre, Actors Theatre of Louisville, Oregon Shakespeare Festival. Training: BFA, FSU; MFA, The Juilliard School. BLANCA CAMACHO (Irene Salazar) is a native New Yorker, NYU grad, and proud original Broadway cast member of In the Heights where she played Abuela, Daniela and Camila, a role she reprised at the Kennedy Center. TV/ Film/Web: “Alternatino,” “Law & Order,”

“The Marvelous Mrs. Maisel,” “Unbreakable Kimmy Schmidt,” “Succession,” “Blue Bloods,” “Billions,” “Sex and the City,” “Boardwalk Empire,” The Purge: Election Year, The First Purge, Little Women, Fosse/Verdon. Can be heard on TV & radio commercials, audiobooks, animation (Ice Age, “Pinkalicious & Peterrific,” “Dora the Explorer”) and was even the voice of Chiquita Banana! Awards: ACCA award from Actors Equity. Leading light award from HACA. Thrilled to be back at DCPA for this wonderful production! VALENTINA GUERRA (Jenny Salazar). LA: Las Mujeres Del Mar (Playwright’s Arena), The Wedding Topper (Towne Street Theatre). MIT: Our Town, West Side Story, Yo Soy Latina. TV/Film: “13 Reasons Why,” “Days of Our Lives,” “Top Dog,” The Mendoza Line, Ladies and Gentlemen. She holds a BS in aerospace engineering from the Massachusetts Institute of Technology. ZEUS MENDOZA (Andres Salazar). Regional Theatre credits include Of Mice and Men (Pasadena Playhouse) where he earned a Garland Critics Choice Award nomination for his

portrayal of Slim; The Caucasian Chalk Circle (South Coast Repertory); Paint Your Wagon as Julio Valveras (The Geffen Playhouse); By the Waters of Babylon as Arturo (The Geffen Playhouse); Steve Martin’s Picasso At the Lapin Agile as the visitor (Theater On The Square); Our Town (South Coast Repertory). TV and Film credits: “The Rookie,” “9-1-1,” “Major Crimes,” “CSI,” “Perception,” “Days of Our Lives,” “Port Charles,” Passengers, Beverly Hills Chihuahua, Puss in Boots, Norm of The North to name a few. Mr. Mendoza is excited to be making his DCPA debut. MATTHEW CL ORDUÑA (Monty). Sweat (Brucie) at SD Rep; Noble Kinsmen (Jailer), Othello at Kingsmen Shakespeare; Sense & Sensibility (John Dashwood/Sir John/ Dr), Shrew (Vincentio/Wedding Singer), Gem of the Ocean (Eli) at SCR; Les Blancs (Abioseh) at the Rogue Machine; Bars & Measures (Bilal) (Stage Raw nominee, LADCC nominee – Lead Performance in a Play) at the theatre at Boston Court; Fences (Gabriel) at ICT (Ovation nominee – Featured Performance), Oedipus El Rey (Teresias), Clybourne Park (Albert/Kevin) at San Diego Repertory Theatre; Macbeth (Duncan) at A Noise Within, and Stick Fly (Flip) at Mo’oelo Theatre. MFA, University of Washington and Alpine

PETER PASCO (Oscar). LA theatre credits: The Happiest Song Plays Last, My Mañana Comes, Steambath, Our Lady of 121st Street, Seven Spots on the Sun. He’s a proud main company member of Comedy Sportz LA. TV: “Nobodies,” “Crazy Ex-Girlfriend,” “The Affair” to name a few. Training/Notable achievements: NYU (BA), in the fifth grade he won his school spelling bee, he also got a retweet from Steve Harvey, and Rachel McAdams once told him he was “very, VERY funny.” TANIA VERAFIELD (Lydia Aguilar). Los Angeles theatre credits include Frankenstein, Othello, A Picture of Dorian Gray, A Flea In Her Ear (A Noise Within); For The Love Of (Or The Roller Derby Play) (Kirk Douglas Theatre); In The Valley of The Shadow, Still Life, Gruesome Playground Injuries, Treefall (Rogue Machine Theatre). NY theatre credits include The Little Dog Laughed (Gallery Players); Beneath the Veil (Lincoln Center, also Kennedy Center and Geffen Playhouse). TV/Film: Sundance Film Festival: Ms. Purple, I Am Not a Hipster, Short Term 12 (Grand Jury Prize); Love at First Hiccup, Julia, Harsh Times, “Namaste Bitches,” “24,” among others. Education: UC Berkeley. PLAYWRIGHT TONY MENESES was born in Guadalajara, Mexico, and raised in Albuquerque and Dallas. His plays include Guadalupe in the Guest Room, The Women of Padilla, twenty50, and The Hombres. He’s an alum of the Soho Rep Writer/Director Lab, Ars Nova Play Group, the Sundance Institute Playwrights Retreat at Ucross, Playwrights Realm Writing Fellowship, Youngblood, and has been previously developed at the LARK Playwrights’ Week, the Berkeley Rep Ground Floor, the WildWind Performance Lab, and the Colorado New Play Summit. He’s a two-time recipient of the Kennedy Center Latinx Playwriting Award, is published by Dramatists Play Service, and has been previously commissioned by the DCPA Theatre Company, Two River Theater, ShadowCatcher Ent, and The Juilliard School. Education: The University of Texas at Austin, Iowa Playwrights Workshop, Juilliard.

DIRECTOR HENRY GODINEZ. Resident Artistic Associate at The Goodman Theatre: Cloud Tectonics, Straight as a Line, Millennium Mambo, Zoot Suit, Electricidad, The Cook, Christmas Carol, Boleros For The Disenchanted, Sins of Sor Juana, Mariela in the Desert, Feathers and Teeth, director Latino Theatre Festival (Goodman Theatre). Other directing work: Victory Gardens, Court Theatre, Chicago Shakespeare Theater, Chicago Children’s Theatre, Portland Center Stage, Kansas City Rep, Children’s Theatre Company, Signature Theatre (NYC), The O’Neill Theatre Center. Co-Founder and former artistic director: Teatro Vista, Professor: Northwestern University. CREATIVE TEAM MATTHEW CAMPBELL (Production Manager) is in his tenth season at the DCPA, a member of the production management team since 2016 and a stage manager the seven previous seasons. Continuously grateful to support and work alongside our marvelous staff and guest artists creating unforgettable, amazing theatre. Some Theatre Company favorites while on the stage management team: Frankenstein, The 12, Animal Crackers, Lord of the Flies and Sweet & Lucky with Off-Center. Previously a stage manager at several local theatres and an Assistant Professor of Theater at Brooklyn College. Training: MFA, University of Iowa. JOANNE DENAUT, CSA (Casting). At the DCPA Theatre Company: American Mariachi. Joanne is the Casting Director and Artistic Associate at South Coast Repertory. There she has cast more than 200 productions including world premieres by many of the country’s leading playwrights, including Richard Greenberg, Donald Margulies, Craig Lucas, Howard Korder, Amy Freed, Lynn Nottage, Nilo Cruz, Beth Henley and Octavio Solis. Other theatres include Center Theatre Group, Seattle Repertory, Cincinnati Playhouse, Dallas Theatre Center and on co-productions with The Public Theatre, Manhattan Theatre Club, Baltimore Center Stage and Berkeley Repertory. Film credits include work with Octavio Solis, Juliette Carrillo and The American Film Institute. She received her BA from the University of California at Irvine. MEGHAN ANDERSON DOYLE (Costume Designer). Denver Center: select shows include A Doll’s House; A Doll’s House, Part 2; Xanadu; American Mariachi; First Date; The Wild Party; DragOn; The Glass Menagerie; Sweet & Lucky; Fade; Tribes; One Night In Miami; Cult

Following; Perception; Appoggiatura; Vanya and Sonia and Masha and Spike; Lord of the Butterflies; Jackie & Me; I Love You, You’re Perfect, Now Change!; Five Course Love; Ed, Downloaded; The Giver; Superior Donuts, and Well. Other Theatres: Colorado Shakespeare Festival, Arvada Center, The Aurora Fox, Curious Theatre Company, Local Theatre Company, Theatre Aspen, National Theatre Conservatory. Training: MFA in Costume Design, University of Florida. SARAH ROSE LEONARD (Dramaturg) is the Literary Manager at Berkeley Repertory Theatre. Previously, she was the Literary Associate at Signature Theatre in NYC. Favorite dramaturgy credits include The Great Wave (Berkeley Rep), Angels in America (Berkeley Rep), A Good Neighbor (Z Space), In Braunau (SF Playhouse), You For Me For You (Crowded Fire), Big Love (Signature Theatre). Sarah’s creative producing work includes Desorientación, a cross-cultural reading series in Chile, and three PRELUDE Festivals. ROB MILBURN and MICHAEL BODEEN (Sound Designers). Broadway credits include music composition and sound for No Man’s Land, Waiting for Godot, Breakfast at Tiffany’s, The Miracle Worker, One Flew Over the Cuckoo’s Nest, The Speed of Darkness; and sound for Sweat, The Price, Larry David’s Fish in the Dark, This Is Our Youth, Of Mice and Men, Who’s Afraid of Virginia Woolf?, Superior Donuts, reasons to be pretty, A Year with Frog and Toad, The Song of Jacob Zulu, The Grapes of Wrath. They have also created music and sound Off-Broadway, at many of America’s resident theatres and at several international venues. Milbomusic.com COURTNEY O’NEILL (Scenic Designer) makes her DCPA debut. Recent and upcoming designs: Twisted Melodies (Baltimore Center Stage, Apollo Theater); Antigone (Cleveland Playhouse); The Niceties (Writers Theatre). Regional: Goodman Theatre, Steppenwolf Theatre, Alliance Theatre, South Coast Repertory Theatre, Arena Stage, Dallas Theatre Center, Milwaukee Repertory Theatre, Lookingglass Theatre, Kansas City Repertory, Court Theatre, Children’s Theatre Company. Courtney received the 2017 Michael Maggio Emerging Designer Award. She holds an MFA from Northwestern and a BFA from DePaul University. www. courtneyoneill.com ALEXANDER RIDGERS (Lighting Designer). DCPA Theatre Company debut. A Chicago-based lighting designer, Alexander’s credits include: Indiana Repertory Theatre (Miranda, Appoggiatura), Writers Theatre

twenty50

Theatre Project. Love to Tinia and Autumn.

twenty50

(Quixote), Milwaukee Chamber Theatre, House Theatre of Chicago (Jeff award nomination), Chicago Children’s Theatre, Flint Repertory Theatre, Steep Theatre Chicago, Griffin Theatre Company (artistic associate and Jeff Award nomination), American Blues Theatre (artistic associate). Assistant credits include Goodman Theatre, Steppenwolf Theatre, National Theatre of Great Britain, Palau de Les Arts Valencia and Royal Opera House, London. GRADY SOAPES, CSA (Casting) is the Director of Casting and Associate Producer with DCPA. Selected casting credits include Goodnight Moon, Indecent, A Doll’s House and A Doll’s House, Part 2 in repertory, Oklahoma!, Last Night and the Night Before, The Constant Wife, The Who’s Tommy, The Wild Party, A Christmas Carol, This Is Modern Art and casting associate on many other Denver Center productions. Choreography credits include Goodnight Moon, Anna Karenina, As You Like It, Drag Machine, Lord of the Butterflies, DragON (DCPA); Comedy of Errors (Colorado Shakespeare Festival); The Music Man (Perry-Mansfield). Grady is the producer of the Colorado New Play Summit and former producer of the Colorado New Play Festival. DAVID WOOLLEY (Fight Choreographer) is a Fight Master with the Society of American Fight Directors, a Professor of Instruction at Columbia College Chicago and Guido Crescendo in Dirk and Guido the Swordsmen! He is preparing for his 31st season in 2020. In Chicago, he has staged fights for over 350 productions earning three Joseph Jefferson Awards for Fight Choreography. At Columbia College he coordinates the violent and intimacy choreography needs of a burgeoning theater department while teaching four classes of combative arts. STAGE MANAGEMENT CORIN DAVIDSON (Stage Manager). At the DCPA: Twelfth Night, Indecent, Corduroy, The Who’s Tommy, Zoey’s Perfect Wedding, Smart People, The Secret Garden, Sweeney Todd, All The Way, A Christmas Carol, Lookingglass Alice. At DCPA Cabaret: An Act of God. Other Theatres: Equivocation, Cymbeline (Colorado Shakespeare Festival); Seven Devils Playwrights Conference, Milwaukee Chamber Theatre, Skylight Music Theatre, Renaissance Theatre Works, Wild Space, Milwaukee Repertory Theatre. Training: BFA Stage Management, University of Wisconsin at Milwaukee.

D. LYNN REILAND (Assistant Stage Manager / Fight Captain). 16 seasons at the DCPA Theatre Company including: A Doll’s House; A Doll’s House, Part 2; The Whistleblower; Oklahoma!; Human Error; Macbeth; A Christmas Carol; The Nest; Tribes; Appoggiatura; Vanya and Sonia and Masha and Spike; The Legend of Georgia McBride; Sweet & Lucky; Perception (Off-Center). Other theatres: Curious Theatre Company, Phamaly Theatre Company, Seven Devils Playwrights Conference. THEATRE COMPANY LEADERSHIP TEAM CHRIS COLEMAN (Artistic Director) is passionate about the connection between stories and community. He joined the DCPA Theatre Company as Artistic Director in November of 2017 and recently directed Shakespeare’s Twelfth Night, A Doll’s House, Anna Karenina and Oklahoma!. Previously, Chris served as Artistic Director for Portland Center Stage in Oregon for 18 years. Under his leadership, PCS renovated the city’s historic Armory into a new home, saw annual attendance nearly double, workshopped 52 new plays that went on to productions at over 100 theaters around the US and UK, and became a national leader in how theaters engage with their community. In 1988, Chris founded Actor’s Express in Atlanta (in the basement of an old church), a company that continues to be a cultural force in the Southeast today. He has directed at major theaters across the country, including Oregon Shakespeare Festival, the Alliance Theater, Dallas Theater Center, Baltimore Center Stage, Actors Theatre of Louisville, ACT/Seattle, the Asolo, Pittsburgh Public, 59E59, and New York Theater Workshop. He and his husband, actor/writer Rodney Hicks, live in Stapleton with their 100 lb. English blockhead yellow lab and their 18 lb. terrier mix. Since moving to Colorado, he has hiked Dominguez Canyon, wondered at the Cliff Dwellings of Mesa Verde, explored a working mine in Creede, and rafted down the Arkansas River. CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial and business operations for Theatre Company and Off-Center productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the artistic vision of the organization and facilitating the production of shows such as Sweet & Lucky, The Unsinkable

Molly Brown, Sense & Sensibility The Musical, The 12, Sweeney Todd with DeVotchKa and many more. Charles is passionate about artistic innovation and firmly believes in DCPA’s long-standing commitment to new plays and new voices. In addition to DCPA staff, the following crew worked on this production: Zach Barnes-Fagg, Julie Lemieux, William Loving, Danielle Sabey, Camille Stillman

The Director is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union. 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. Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.) The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

PLEASE BE ADVISED • LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas. • CHILDREN 4+ are welcome in our theatres and must be ticketed. • DRINKS are allowed in provided containers. • ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you. • BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@dcpa.org or 303.893.4836.

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Theatre Company is a division of the Denver Center for the Performing Arts, a not-for-profit organization serving the public through the performing arts. The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. The Theatre Company is constituent of Theatre Communications Group (TCG), the national organization for not-for-profit resident theatre companies. The costumes, wigs, lighting, props, furniture, scenic construction, scenic painting, sound and special effects used in connection with this production were constructed and coordinated by the Theatre Company’s Production Staff.

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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

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

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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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

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

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. We continue to demonstrate our commitment to working collaboratively with all stakeholders, including communities, landowners, governments and regulatory agencies, to develop the energy we need, support the economy and protect the environment. We are proud to be a part of enhancing America’s energy security, while contributing to Colorado’s economy as part of the oil and natural gas industry.

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.

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

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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 COMPANY THEATRE 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

DIRECT FROM BROADWAY

MAR 10 – 22

MAR 25 – APR 12

JUL 15 – 26

JUL 29 – AUG 9 SEASON SPONSORS

DENVERCENTER.ORG

FOR ALL OFFERS FOR DCPA PATRONS, VISIT

DENVERCENTER.ORG/RESTAURANTS

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

PHOTO COURTESY OF CORINNE RESTAURANT

Bookend the perfect night out by visiting DCPA’s preferred restaurant partners before or after a show.

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UNTIL THE CHOIR BOY FLOOD THE HEADLINES ONLY TELL A PIECE OF FERGUSON’S STORY. THIS IS THE REST.

A COMING-OF-AGE MUSICAL DRAMA FROM THE OSCAR-WINNING WRITER OF MOONLIGHT

MAR 20 – MAY 3

APR 10 – MAY 10

POWERFUL PERFORMANCES IN INTIMATE VENUES TICKETS START AT $30 SEASON SPONSORS

DENVERCENTER.ORG

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

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

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. These performances include FULL SCREENING OF THE FEATURE FILM!

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

TICKETS: COLORADOSYMPHONY.ORG

also supported by