Applause Magazine, Mar. 18-23, 2014

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Volume XXV

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NUMber 6

chicago

March – april 2014

John O’Hurley • Photo courtesy of Chicago

a r t s

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Photo courtesy of university of denver

LETTER From The chairman

G

Daniel L. Ritchie

Good news. You’ve been watching us and we’ve been listening to you.

Look around…you’ll notice new, interactive experiences in the Bonfils Lobby designed to make your Denver Center Theatre Company experience more memorable than ever.

You’ll be able to take your drink into the theatre and attend an afterparty. You can pose for photos, check your social media and watch videos to learn more about our shows. Look for special events with signature drinks, live music and opportunities to meet our actors and artisans. If you’ve only seen our Broadway shows in the Buell, we hope you’ll come see our Tony® Award-winning theatre in the Bonfils Complex just across the Galleria.

We will send you streamlined special offers to the things you like most—and we are re-inventing our website to serve you ever better. John Moore’s blog www.MyDenverCenter. org is your online stop for news, photo and video coverage of all that is going on at the DCPA and beyond. An entirely new online customer experience

index

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is in the works.

Whether you attend the DCPA as a subscriber, an individual, as part of a group or as part of a corporate partnership, our goal is to ensure your experience is everything it needs to be from beginning to end.

And speaking of experiences…

I invite you to join me for an adventure in Scotland August 13–19. We will see exciting new plays at the renowned Edinburgh International and Fringe Festivals. From the accommodations at The George Hotel to the pipes and drums of the Edinburgh Military Tattoo, and the refrain of the Lone Piper against the backdrop of Edinburgh Castle, this will be a trip to remember. An optional tour of London’s West End may be added August 19–24. It’s always a pleasure to get to know you, our theatre “family,” on these trips. For details on itinerary and cost, please visit www.denvercenter. org/travel or call David Zupancic at 303.446.4811.

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

MILLION DOLLAR QUARTET

This Tony® Award-winning musical recreates the one time Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins played together in one of the greatest jam sessions of all time.

And you get to be there with the music.

by Rob Weinert-Kendt

16

SHADOWLANDS

William Nicholson’s play based on the romance between Christian philosopher C.S. Lewis and Joy Davidman, the American writer who became his wife, is an inspiration to all who have experienced faith, love and loss. And that’s everyone.

by Sylvie Drake 4

APPLAUSE

d e n v er center. or g

APPLAUSE M

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VOLUME XXV

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NUMBER 6

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March – april 2014

Editor: Sylvie Drake Associate Editor: Suzanne Yoe Designers: Kim Conner, Brenda Elliott, Kyle Malone Applause is published seven times a year by The Denver Center for the Performing Arts in conjunction with The Publishing House. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Applause magazine is funded in part by

For advertising information call The Publishing House 303.428.9529.

7380 Lowell Blvd., Westminster, CO 80030 Angie Flachman, Publisher

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

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

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

CHICAGO

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

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

22 28

Call it the comeback kid. This is the musical that will not die— and that you don’t want to miss.

by Genevieve Miller Holt

SUMMIT REPORT

Another year of thrills, spills and high notes at the ninth Colorado New Play Summit.

by Sylvie Drake

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COMING ATTRACTIONS

Girls Only Now – March 9 Garner Galleria Theatre

Shadowlands March 28 – April 27 Space Theatre

Rock of Ages April 25 – 27 Buell Theatre

Million Dollar Quartet Now – March 9 Buell Theatre

Animal Crackers April 4 – May 11 Stage Theatre

once May 6 – 18 Buell Theatre

Celtic Woman April 19 Buell Theatre

American Idiot May 23 – 25 Buell Theatre

Chicago March 18 – 23 Buell Theatre

Dixie’s Never Wear a Tube Top While Riding a Mechanical Bull...

April 24 – May 11 Garner Galleria Theatre

Dixie’s Tupperware Party March 26 – April 20 Garner Galleria Theatre

Dr. Seuss’ How the Grinch Stole Christmas!

The Musical Dec 17 – 28 Buell Theatre

Pippin Sept 6 – 20 Buell Theatre Kinky Boots Oct 29 – Nov 9 Buell Theatre Forbidden Broadway: Alive and Kicking Nov 15 – March 1, 2015 Garner Galleria Theatre

Rodgers + Hammerstein’s Cinderella Feb 3 – 15, 2015 Buell Theatre

Jersey Boys Dec 10 – 14 Buell Theatre

Motown The Musical March 31 – April 19, 2015 Buell Theatre

All shows On Sale Now!

Annie April 29 – May 10, 2015 Buell Theatre Wicked June 3 – July 5, 2015 Buell Theatre The Book of Mormon Aug 11 – Sept 13, 2015 The Ellie Now on sale to DCA 2014/15 subscribers ~ see page 14 for more information.

303.893.4100

TTY: 303.893.9582 • denvercenter.org Audio-description, ASL interpretation and Open Captioning available at select performances; check dates/times when ordering.

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

Denver Center Theatre Company 2013/14 Season Sponsors

Denver Center Attractions 2013/14 Season Sponsors

W

ith its production of Shadowlands, a play based on the true love story of author C.S. Lewis and his wife, Joy Davidman, the Denver Center Theatre Company transports you to Oxford, England. Costume designer Angela Balogh Calin took her inspiration from fashions of the 1940s and 50s.

As always, the colors and textures of the fabrics are crucial elements in defining character and mood. C.S. Lewis was part of a deeply tradition-bound academic world, requiring somber colors in the men’s attire, such as browns and other earth tones. The fabrics too are traditional English wools and some twills mixed with textures such as houndstooth, herringbone and windowpane.

Two very different characters are Joy and her son Douglas. They are the outsiders, the Americans who bring a breath of fresh air, light and color to Oxford. Hue and fabric choices for them will be brighter and contrast against the darker shades of British academic attire.

Although the Shadowlands production adheres strictly to its period, there are elements in it that will feel more modern, as current fashion trends seem to blur across all periods. When asked about this, Balogh Calin said, “It is interesting to see how the old fashion trends come back, time after time, giving younger generations the chance to discover and enjoy them.

“I remember as a teenager wearing my mother’s flats and Capri pants from the 50s.

I thought it was very cool to bring back history through clothes. And the 50s are so flattering, feminine and flirtatious that it’s easy to understand why young women keep being inspired by them. They will never go out of style.” n

Red PMS 200 Gold PMS 123

Media Sponsors

The Encore Society honors those who have remembered The Denver Center in their estate plans. These gifts help ensure excellent theatre productions for future generations.

For more information about joining the Encore Society, please contact David Zupancic at 303.446.4811 or davidz@dcpa.org.

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APPLAUSE

d e n ver center. or g

Shadowlands costume designs by Angela Balogh Calin

CELEB RA T

40 G IN

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Join the

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Spring with the Children’s Chorale Saturday, April 12, 2014 • 2 pm Boettcher Concert Hall Tickets available at ChildrensChorale.org

Audition for the Colorado Children’s Chorale and let your inner voice sing!

We will never tell you to use your “inside voice”!

Auditions for children currently in 1st - 4th grades will be scheduled in May and June.

Register now at ChildrensChorale.org or 303.892.5600

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Season Partners:

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denvercenter.org • 303.893.4100 TTY: 303.893.9582 • groups (10+): 303.446.4829

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APPLAUSE

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Written by Sandy Rustin Fleischer

Executive Artistic Director: Paige Price

Season opens June 24. Visit TheatreAspen.org for details & tickets.

million dollar quartet

CAPTURlNG ONE-AND-ONLY

ON STAGE

Million Dollar Quartet recreates the real-life jam session of budding rock’n’roll icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins.

Who knew this event would become landmark history?

S

Shows with even a shred of staged violence have a pre-performance ritual labeled “fight call,” in which the performers who will appear in any fight scenes gather, typically within the half hour before the theatre doors open, to go through their choreographed paces. No matter how long the show has been running or how many times the actors have done it, it’s a tradition that errs on the side of safety, since once each night’s performance starts, it can’t stop for a retake, and the performers onstage have only each other to rely on.

Though some palpable tension surfaces among the four rock legends who appear in the show Million Dollar Quartet, it never rises to the level of fisticuffs, let alone swordplay. But the lead actor/musicians in this historically inspired musical do gather

10

before each performance for a trust-building warm-up as crucial to the world of their show as a fight scrimmage is to Macbeth: it’s the nightly “guitar call.”

“Everyone goes out there 20 minutes before the show, gets out acoustic guitars, and jams,” says director Eric Schaeffer, who staged the show in its 2008 Chicago debut, its 2010 Broadway run, and all of its many subsequent productions—including in London’s West End and the current one at The Buell Theatre.

“It’s important to keep that band feeling.” ndeed, musical fellow-feeling is central to each night’s performance because the show recreates, in essence, a historic impromptu jam session among four musicians at or near the start of their hugely influential careers: Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins. The setting was Sun Records, the small Memphis studio where all four giants got their start under the tutelage of producer Sam Phillips. And the occasion was a 1956 recording session for Perkins, the rockabilly hit maker who wrote “Blue Suede Shoes” and “Matchbox.” Lewis— who was still a year away from his first chart hit, “Whole Lotta Shakin’ Going On”—was on hand as a session player on piano. Presley, who had left Sun the previous year for a major label and had made a hit record of Perkins’ “Blue Suede Shoes,” stopped by to listen in, then joined the band in the room.

And Cash, who’d had a country hit the same year with “I Walk the Line,” was—depending on whose account you believe—either hanging around the studio the whole time or present only briefly, possibly as a matter of Sun Records publicity.

I

b y R o b W e i n e rt- K e n d t

Indeed, Sun’s Phillips, who had an eye for a photo opportunity, glimpsed the history being made that day and quickly summoned a reporter from the Memphis Press-Scimitar. The next day’s paper printed a blackand-white photo of Lewis, Perkins and Cash gathered around Presley at the piano, and ran a story with the headline “Million Dollar Quartet.” That may have been the last anyone heard about this unlikely rock’n’roll summit, except that someone at the studio had the foresight to keep the tape running.

When the recordings surfaced decades later, they revealed a loosey-goosey mix of conversation, dish, and songs or parts of songs—some 46 tunes in all, more than half of them gospel songs, and two of them Christmas songs, as the session was held in early December.

For the stage rendition, co-written by Sun Records historian Colin Escott and writer/ director Floyd Mutrux, the song list has been tweaked; there are just two gospel songs remaining, “Peace in the Valley” and “Down by the Riverside,” and the history compressed for dramatic effect. For instance, Cash, depicted in the show as a sort of wise elder brother, is shown announcing his departure from Sun Records to go his own way—a break that wouldn’t happen for two more years. ut if the show is not a docudrama, it intends to capture the tight-knit feel of four colleagues feeling their way through familiar tunes together, as well as showcasing their songs for each other.

“I wanted the audience to be like a fly on the wall,” says Schaeffer. “I didn’t want the show to feel slick.” He credits music arranger/supervisor Chuck Mead, a country/ roots artist himself, with keeping the sound lean and mean. “None of the arrangements was souped up or sexed up,” says Schaef-

B

million dollar quartet

Photos L to R: Ben Goddard in The National Tour of Million Dollar Quartet, photo by Paul Natkin; The National Tour of Million Dollar Quartet, photo by Paul Natkin; Cody Slaughter & Kelly Lamont, photo by Jeremy Daniel.

fer. “It was just what those guys wrote and played.”

The show breaks its you-are-there realtime conceit a few times: for flashbacks to fill in the backstory of the leads, and for a final-stretch “fantasy concert” imagining the four icons playing their hits together.

But the key to acting verisimilitude as well as musical authenticity, Schaeffer says, has been finding the right talent. ’ve cast this show like no other show,” he says. “We’ve searched YouTube and looked at videos of people; I’ve gone to the Elvis competition in Baltimore. We’ve also auditioned the show in Nashville and Austin,” two music capitals teeming with young guitar-slingers and singers.

He also rehearsed the show like no other, he concedes.

“I’m used to rehearsing a show ten to six,” says Schaeffer, who’s directed the Broadway runs of Follies and Putting It Together, “but we forgot that musicians don’t get up until 11 o’clock. They’re not used to a clock at all; the attention span and focus is a lot different from a traditional musical. So our first day ran ten to six—and then we never did that again.”

The first order of business, Schaeffer recalls, was to “make the guys a band,” which involved music director Mead leading the performers through jam sessions of familiar tunes, calling out titles and keys, not unlike the original 1956 gathering. It’s an approach that makes sense for a show in which the actors also are the musicians, and vice versa; creating a sense of ensemble among performers is always crucial in a live medium like theatre. When the action of the show happens to involve a lot of live music-making, it helps if they really look

“I

But if the show is not a docudrama, it intends to capture the tight-knit feel of four colleagues feeling their way through familiar tunes together, as well as showcasing their songs for each other. like they’re playing off each other the way actual bands do.

“When they do their instrumental breaks, they do them a little differently every night, so they’re always listening to each other, checking out what new thing Carl [Perkins] is doing,” Schaeffer notes. n the other hand, Schaeffer wants to make clear, apart from the show’s final moments, Million Dollar Quartet is designed as a story-driven show, not a concert.

“I tell them they’re just living in that moment,” he says of his direction to the actors, “because the studio is so small, they’re all trapped in this room together. There’s nowhere to go. So when tension arises, it goes right into the music.”

Though the Million Dollar Quartet tour now frequently plays music halls as much as theatres, and now has a sit-down production in Las Vegas, for Schaeffer what’s important is that “the show never becomes a machine, like some big musicals can turn into.” To that end, he and Mead “go and check on every single company” around the

country to preserve the show’s balance of intimacy and flash.

And, of course, to make sure those guitar calls start on time. n Rob Weinert-Kendt is a senior editor at American Theatre and has written about theatre and the arts for The New York Times, The Los Angeles Times, Variety, The Guardian and The San Francisco Chronicle.

O

Feb 25 – Mar 9 • Buell Theatre Sponsored by U.S. Bank and Pioneer Natural Resources ASL Interpreted, Audio Described & Open Captioned March 9, 2pm

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

A P P L A US E

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JOINING WITH THE ARTS FOR A STRONGER COMMUNITY

“We take great pride in supporting Denver through building stronger partnerships such as [the one we have with] The Denver Center for the Performing Arts. Our support of the DCPA is a direct reflection of what we believe our role as a good corporate citizen should be both in Denver and across the country.”

— Hassan Salem, Market President of U.S. Bank in Denver

A proud sponsor of Million Dollar Quartet

Million Dollar Quartet 12

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“The Denver Center for the Performing Arts is a crown jewel of the Mile High City,” said Darren Markley, Managing Director of The Private Client Reserve of U.S. Bank in Colorado. “We are fortunate to have a world class artistic venue with high quality performances and experiences. The DCPA always delivers on creating memorable moments for our valued clients.”

U.S. Bank is honored to be associated with The Denver Center for the Performing Arts.

The U.S. Bank team in Denver believes a community that offers diverse cultural experiences is a great place for individuals and families to live, learn, play and thrive. n Investment products, including shares of mutual funds, are not deposits or obligations of, or guaranteed by U.S. Bank or any of its affiliates, nor are they insured by the Federal Deposit Insurance Corporation or any other government agency. An investment in such products involves risk, including possible loss of principal.

Deposit products offered by U.S. Bank National Association. Member FDIC.

Cody Slaughter as Elvis Presley in The National Tour of Million Dollar Quartet. Photo by Paul Natkin.

T

he arts inspire, move us and enhance our quality of life. The U.S. Bank team in Denver values the power of the arts and is committed to supporting the magnificent programs and spectacular performances that are a critical part of our community. The arts educate, promote understanding, broaden our perspectives, enable us to share rich cultural experiences and provide an escape when needed. We are fortunate that the Denver arts community is a strong resource and has produced some of the nation’s finest theatres, museums and artists.

“We are actively engaged in developing, strengthening and energizing our communities. Nowhere is this more important than in the communities where we live, play and work. We take great pride in supporting Denver through building stronger partnerships such as [the one we have with] The Denver Center for the Performing Arts [DCPA],” said Hassan Salem, Market President of U.S. Bank in Denver. “Our support of the DCPA is a direct reflection of what we believe our role as a good corporate citizen should be both in Denver and across the country.”

Employee community involvement and guidance from community leaders weaves U.S. Bank into the fabric of Denver’s neighborhoods. Employees are active with local nonprofits, and members of the U.S. Bank board in Denver provide regular feedback on the bank’s current activities that helps crystallize the bank’s vision for the future.

U.S. Bank is committed to providing consumers and businesses with a comprehensive range of financial tools and services to help meet their goals. For clients with more complex financial needs, U.S. Bank offers

Ben Goddard, James Barry, Cody Slaughter and David Elkins in The National Tour of Million Dollar Quartet.

Photo by Paul Natkin.

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THE SHOWS

announcing the Denver Center Attractions

HHHHH “

Daily News

Time Out NY

2013 TONY AWARD

®

WINNER! BEST MUSICAL REVIVAL

Sept 6–20, 2014

Oct 29–Nov 9, 2014

Nov 15–March 1, 2015

Feb 3–15, 2015

March 31–April 19, 2015

April 29–May 10, 2015

Buell Theatre

Buell Theatre

Buell Theatre

Buell Theatre

Garner Galleria Theatre

Buell Theatre

TM & © 1957, 2014 Dr. Seuss Enterprises, LP

added attractions:

Dec 10–14, 2014 Buell Theatre

Dec 17–28, 2014 Buell Theatre

June 3–July 5, 2015 Buell Theatre

with

303.893.4100

GROUPS: 303.446.4829 TTY: 303.893.9582 14

AP P L A U S E

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Aug 11–Sept 13, 2015 The Ellie

and

denvercenter.org/ bwaysubs

Premium subscription

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Generously Sponsored for the 11th Consecutive Season by:

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WINNER! BEST MUSICAL REVIVAL

one more show TBA soon!

Become a premium Denver Center Attractions subscriber with this specially customized season

All with concierge services Membership Benefits Include:

V Front-and-Center orchestra seating on Opening Night or Opening Week Fridays* V Personalized ticketing and exchange services by our concierge staff V Elegant pre-show dining at Kevin Taylor’s at the Opera House V Intermission cocktails in the private Wolf Room Opportunity to purchase great seats to any added attractions, such as Jersey Boys V V A generous tax deduction *Limited ticket availability

Membership is $5,000 per person (a generous portion is tax deductible). To personally discuss your membership, please contact David Zupancic:

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A P P L A US E

15

shadowlands

“The pain, now, is part of the happiness, then. That’s the deal.”

—Shadowlands

OF FAITH, LOVE AND LOSS This knotty trifecta is at the heart of Shadowlands, William Nicholson’s play about the faith and love story of C.S. Lewis and Joy Davidman b y S y l v i e Dr a k e

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When all was said and done, C.S. Lewis could not really tell us where his faith took him after the death of his beloved wife Joy. His book, A Grief Observed, written after her death from cancer at 45, was a necessary release of terrible anguish for him, but he struggled with the faith issue. A Grief Observed is Lewis’ cri de coeur, his way of coping with that enormous loss. But it does not quite tell us where the broken pieces of the rest of him lay.

Neither can William Nicholson. He based his award-winning play, Shadowlands, on the unexpected and unlikely encounter of this Irish atheist turned ecumenical Christian philosopher—with Joy Davidman, an American writer and poet born Jewish, turned atheist and finally Christian, who looked Lewis up because she admired his writing. Their meeting led to a fascinating love story. It also does them poor service to describe these two remarkable human beings in such cursory fashion, so the description stops here. The deeper marvel is that they met at all, that they fell in love and that they married.

By the time this all happened, Lewis had been a confirmed bachelor into his early 50s and Davidman, 17 years his junior, was a divorced American trying to establish a foothold in England. Neither of them expected to become the central players in such a grand romance and Lewis never dreamed that anything could change his life as radically as loving this woman did. You couldn’t make this up. icholson didn’t have to. The twice Oscar-nominated screenwriter (once for the film based on his stage version of Shadowlands) didn’t have to do much more than transform this deeply moving true story into a teleplay, stage and screenplay, basing a lot of the writing on Lewis’ own disarmingly frank observations.

Lewis himself stated that he considered himself an entirely orthodox Anglican to the end of his life, and we can only accept his word for it. But books such as his A Grief Observed do leave some room for doubt—his and ours.

“The message that Nicholson shares with us is: when we open ourselves to great love, we open ourselves to great pain and therefore, open ourselves to the full measure of life’s experiences,” says Christy Montour-Larson who staged the Denver Center Theatre Company production of Shadowlands.

“Shadowlands is an unlikely love story about the magic of change. It asks the question: ‘How can Lewis reconcile his belief in a benevolent God’s Heaven with the pain and suffering he experiences on earth?’ ” From a theatrical viewpoint, the answer is and should be unreachable because it ultimately doesn’t matter. Conclusions will

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shadowlands

differ with every viewer according to how he or she receives the play based on personal experience or conviction. What matters is the humanity of the struggle. o me,” Montour-Larson continues, “plays that help us understand what it means to be a human being are the best kind of theatre.

My two favorite quotes from the play that lift up this message are Jack [C.S. Lewis] saying, ‘I pray because I can’t help myself.

I pray because I’m helpless. I pray because the need flows out of me all the time, waking and sleeping. It doesn’t change God. It changes me.’ And secondly: ‘Why love if losing hurts so much? I have no answers anymore, only the life I have lived…’ ” So yes, it’s complicated. Not only the issues, but also the influences that shape one’s response to them. No one comes to this subject naked, certainly not the playwright who has acknowledged a lifelong preoccupation with matters of faith, life and death.

Nicholson’s father, a Methodist doctor, and

and grief and the word this issue. I have heard Shadowlands seems feminine energy is about to encompass both of nurturing, receiving and these.” being, and masculine (Nicholson, who energy includes protecmost recently wrote tion, giving and doing. the screenplay for If we open ourselves up, we have the power to Mandela: Long Walk work with both energies, to Freedom, based but we can’t deny what on Nelson Mandela’s we bring to the table. I autobiography of the Christy Montour-Larson see both of these enersame name, has stated gies being important to that he does not beShadowlands. Our story begins in 1950s lieve in a life to come; yet, he adds, “I don’t Oxford with a foot in the 16th century. It is reject it as an impossibility, but I think it’s unlikely.”) a masculine world of civilized routine. And “Regarding Lewis,” contributes Montourthen enters Joy: feminine, modern, bold and Larson, “he wasn’t interested in converting adventurous…” anyone. He did not quote the Bible, nor final question: does being a person was he a fundamentalist. Yes, he was very of faith help to appreciate this play conservative in some ways, but he was also and its dilemmas? And if one is not, very open and genuine. He relied on comdoes it diminish the play’s impact or even mon sense, ethics and imagination as a path alter one’s interpretation? to Christianity and he saw Christianity as “I don’t think it matters either way,” says the director. “This play is about human beings experiencing love and loss. Everyone has a belief system, whether they believe in God or not, and that faith is a fundamental part of the human condition. It’s just a question of what we put our faith in and how good the choices we make in doing that are.

“Lewis conducted a series of BBC talks about Christian beliefs from 1943 to 1945.

According to a survey of listeners dating to the 1940s, more than 50% of them identified themselves as atheist. He had a special affinity for the arguments, sensibilities and perspectives of religious doubters and was even called ‘the apostle to the skeptics.’

Lewis’ life journey was to figure out the world and what faith meant.

“I think we are all trying to do that in our a hallway with many rooms. So, I think he own way.” n would approve of Shadowlands.”

Still, is the case being made in the play for the triumph of anything? If so, what? Faith?

Love? Both? Neither?

“I see Shadowlands as both a triumph of love and faith. In the beginning, Lewis lectures on the meaning of love and suffering—yet he does not truly understand the March 28 – April 27 • Space Theatre depths of what he is saying—until he meets Joy.” Producing Partners: Isabelle Clark and ince this is a play where nuances Martin & Jo Ann Semple matter, do you think a woman would ASL Interpreted & Audio Described • April 27, 1:30pm direct this play differently from a man?

Perspective on the play: March 28, 6pm, Jones Theatre* “Directing is a subtle and complex art. *Attend a FREE moderated discussion about the play There may be as many methods for directwith DCTC’s creative team. All are welcome. ing as there are individual artists,” Montour Larson offers. “I used to think that my being a woman should not make a difference in Tickets: 303.893.4100 how I bring a story clearly, emotionally, Toll-free: 800.641.1222 • TTY: 303.893.9582 evocatively to an audience.

Groups (10+): 303.446.4829 • denvercenter.org “However, my thinking is evolving on

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“Everyone has a belief system, whether they believe in God or not, and that faith is a fundamental part of the human condition. It’s just a question of what we put our faith in and how good the choices we make in doing that are.”

—Christy Montour-Larson, Director his mother, the daughter of a South African Jew, both converted to Roman Catholicism when Nicholson was seven. But his journey has differed from theirs.

“I still considered myself a practicing Catholic as I began my university career, as a scholar at Christ’s College, Cambridge,” Nicholson has stated, “but by the time I left, all that was left was the space in me that my faith had occupied for so long. Much as I wanted to go on believing, it became clear to me that it’s we humans who make God, in our great need. God, if he existed, would have no need of humanity. But as all my writing demonstrates, the need or the puzzle or the hunger has never left me.

“The title Shadowlands comes from C.S. Lewis himself, in one of the Narnia books where he says, ‘we are in the Shadowlands,’ ” he explained. “I liked the phrase, and of course the play is in part an exploration of fate and so that seemed to be a good one… because it’s also a play about pain

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s the world’s leading airline United does more than connect passengers through safe, convenient air travel; it forges strong relationships with the people and communities it serves.

United is pleased to serve as the official airline for The Denver Center for the Performing Arts (DCPA) and proudly supports its remarkable contributions to the performing arts community in Denver and beyond.

Together with the DCPA, United celebrates the energy that artists, performers and dancers bring to Denver and the global stage.

“At United, we take our role as a community partner and corporate citizen seriously, and we are proud to support the DCPA. With more than 75 years of service to the Mile High City, we are also proud of our long-standing commitment to the Denver community that thousands of co-workers and customers call home,” said Michelle Baden, Managing Director of Corporate and Government Affairs.

In addition to the DCPA, United is honored to support several Colorado organizations including the Colorado Symphony Orchestra, Denver Botanic Gardens, Denver Public Schools Foundation, Latin American Educational Foundation, and Starlight Children’s Foundation of Colorado.

United co-workers also have donated more than 5,000 hours of service to various local partner initiatives, such as the Food Bank of the Rockies, and proceeds from its Pink Program have gone to the Denver Health Foundation Women’s Mobile Clinic to make cervical and breast cancer screens more readily available.

We, at United, sponsored more than 400 children at a student matinee performance of Jackie & Me to share the thrill of a live theatrical performance—and we love bringing smiles to hundreds of local children undergoing medical treatment through the annual holiday “Fantasy Flights” trip to the North Pole and teddy bear deliveries to Rocky Mountain Hospital for Children and Children’s Hospital Colorado. n A proud sponsor of the Denver Center Attractions season

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APPLAUSE

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Denver Center Attractions

and

The Broadway division of The Denver Center for the Performing Arts

Barry & Fran Weissler present

Book by

Music by

Fred Ebb & Bob Fosse

Lyrics by

John Kander

Fred Ebb

Based on the play by Maurine Dallas Watkins

Original Production Directed and Choreographed by Bob

Fosse

Starring

Bianca Marroquín Terra C. MacLeod John O’Hurley Ron Orbach Also Starring

Carol Woods

C. Newcomer

Shamicka Benn-Moser Thomas Bevan Christophe Caballero Ian Campayno Mitchell Dudas Naomi Kakuk Stephanie Maloney Jon-Paul Mateo Jennifer Mathie Drew Nellessen Laura Oldham Lindsay Roginski Sherisse Springer Christopher VanDenhende Colt Adam Weiss Corey Wright Supervising Music Director

Music Director

Rob Fisher

Scenic Design

Costume Design

John Lee Beatty

Ken Billington

Orchestrations

Dance Music Arrangements

Sound Design

Script Adaptation

Lighting Design

William Ivey Long

Scott Lehrer David Thompson

Jesse Kissel

Ralph Burns

Peter Howard

Casting

Duncan Stewart & Company

Musical Coordinator

John Monaco

Presented in Association with

Executive Producer

Alecia Parker

Broadway Across America

General Management

Tour Marketing & Press

B.J. Holt

Anita Dloniak & Associates, Inc.

Technical Supervisor

Production Stage Manager

L.A. Lavin

Arthur Siccardi

Based on the presentation by City Center’s Encores!

Ann Reinking

Re-creation of Original Production Choreography by

In the style of Bob Fosse

David Bushman

Director Original New York Production

Re-creation of Original Production Direction by

Choreographer Original New York Production

David Hyslop

Walter Bobbie

Broadway Cast Recording on RCA Victor Sponsored in Denver by:

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and Season Sponsors

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CAST

in order of appearance Velma Kelly............................................................................................................. TERRA C. MACLEOD Roxie Hart..............................................................................................................BIANCA MARROQUÍN Fred Casely....................................................................................................................JON-PAUL MATEO Sergeant Fogarty..................................................................................CHRISTOPHER VANDENHENDE Amos Hart............................................................................................................................. RON ORBACH Liz............................................................................................................................. SHERISSE SPRINGER Annie...............................................................................................................................LAURA OLDHAM June............................................................................................................................ LINDSAY ROGINSKI Hunyak............................................................................................................................... NAOMI KAKUK Mona..................................................................................................................... STEPHANIE MALONEY Matron “Mama” Morton....................................................................................................CAROL WOODS Billy Flynn....................................................................................................................... JOHN O’HURLEY Mary Sunshine..................................................................................................................... C. NEWCOMER Go-to-Hell-Kitty..............................................................................................SHAMICKA BENN-MOSER Harry............................................................................................................................. MITCHELL DUDAS The Doctor........................................................................................................................ IAN CAMPAYNO Aaron............................................................................................................................DREW NELLESSEN The Judge.............................................................................................CHRISTOPHER VANDENHENDE The Bailiff....................................................................................................................... THOMAS BEVAN Martin Harrison.................................................................................................................COREY WRIGHT Court Clerk...................................................................................................................... THOMAS BEVAN The Jury............................................................................................................................ IAN CAMPAYNO THE SCENE: Chicago, Illinois. The late 1920s.

UNDERSTUDIES Understudies never substitute a listed player unless a specific announcement for the appearance is made at the time of the performance.

For Roxie Hart—LINDSAY ROGINSKI For Velma Kelly—LAURA OLDHAM For Billy Flynn—IAN CAMPAYNO For Amos Hart—THOMAS BEVAN, DREW NELLESSEN For Matron “Mama” Morton—STEPHANIE MALONEY For Mary Sunshine—C. CABALLERO For Fred Casely—IAN CAMPAYNO Dance Captain—CHRISTOPHE CABALLERO

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

ACT I “All That Jazz”.............................................................................................................. Velma and Company “Funny Honey”......................................................................................................................................Roxie “Cell Block Tango”...............................................................................................................Velma and Girls “When You’re Good to Mama”...............................................................................Matron “Mama” Morton “Tap Dance”............................................................................................................... Roxie, Amos and Boys “All I Care About”.................................................................................................................. Billy and Girls “A Little Bit of Good”.............................................................................................................Mary Sunshine “We Both Reached for the Gun”................................................Billy, Roxie, Mary Sunshine and Company “Roxie”...................................................................................................................................Roxie and Boys “I Can’t Do It Alone”............................................................................................................................Velma “My Own Best Friend”....................................................................................................... Roxie and Velma INTERMISSION ACT II Entr’acte...........................................................................................................................................The Band “I Know a Girl”.....................................................................................................................................Velma “Me and My Baby”................................................................................................................Roxie and Boys “Mister Cellophane” ..............................................................................................................................Amos “When Velma Takes the Stand”...........................................................................................Velma and Boys “Razzle Dazzle”...............................................................................................................Billy and Company “Class” ..................................................................................................Velma and Matron “Mama” Morton “Nowadays”........................................................................................................................ Roxie and Velma “Hot Honey Rag”................................................................................................................ Roxie and Velma Finale................................................................................................................................................Company Original choreography for “Hot Honey Rag” by Bob Fosse ORCHESTRA Musical Conductor—Jesse Kissel Associate Conductor/Piano/Accordion—Eric Barnes Pianist—Howard Levitsky; Drums/Percussion—Russ Nyberg Violin—Britt Swenson Saxophone, Clarinet and Piccolo—Art Bouton, Wil Swindler Baritone, Saxophone, Bass Clarinet—Elijah Samuels Trumpet and Flugel horn—Peter Olstad, Gabriel Mervine Tenor Trombone—Rob Olds, Adam Bartczak Tuba—James Gray String Bass—James Vaughn Banjo, Ukulele and Mandolin—Daniel Schwindt Music Contractor—James Harvey The musicians employed in this production are members of the American Federation of Musicians of the United States and Canada.

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MUSICAL NUMBERS

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WHO’S WHO in the CAST BIANCA MARROQUÍN (Roxie Hart) Originally from Mexico, made her Broadway in 2002 with this role. She is thrilled to come home to her Chicago family after filming her first starring role in a Spanish language soap opera (Televisa/Univision). Other Broadway Credits: Daniela in In the Heights, Carmen in The Pajama Game. Regional credits: And the World Goes Round at Barrington Stage, Bye Bye Birdie at North Shore. Theatre in Mexico: Disney’s Beauty and the Beast, Rent , Phantom of the Opera, Chicago, Vagina Monolgues. Awards: 2004 Helen Hayes Award for the Chicago National Tour, IRNE Award for her role in Bye Bye Birdie, Premios Heraldo for Chicago in Mexico.

Television: “One Life to Live,” Judge on “Mira Quien Baila” (Univision) and “Pequeños Gigantes” (Televisa). Bianca’s debut album, Nuestros Tesoros, will be released this spring. Follow on twitter @ biancamarroquin.

TERRA C. MacLEOD (Velma Kelly) has played the role of Velma Kelly around the world, from Broadway to the West End, French premiere (Montreal and Paris), international and national tours and the 10th Anniversary Gala. Other credits include Blood Brothers (Mrs. J.) and The Producers (Ulla), Vancouver Arts Club; Kiss of the Spider Woman (Spider Woman), L.A. Havok Theatre; Cats (Bombalurina) and The Pajama Game (Gladys), MTWLA; West Side Story (Anita), New Orleans Opera and Vancouver Arts Club (Jessie Award, Best Supp. Actress); Guys and Dolls (Adelaide), San Diego MT; Damn Yankees (Lola); A Chorus Line (Cassie).

Film/TV: The Lizzie Maguire Movie, “The Reagans,” “The Dead Zone,” “Jeremiah,” “Cold Squad,” “Life or Something Like It.” www.TerraCMacLeod.com JOHN O’HURLEY (Billy Flynn) is best known as J. Peterman on “Seinfeld,” the #1 syndicated television show in the world (seen in 85 countries), for which he won a Screen Actor’s Guild Award. He was also seen on the top-rated ABC hit “Dancing With the Stars,” ABC’s dramatic “DanceOff!” and as the host of “Family Feud.”

He is one of the most recognized voices on TV, appearing in dozens of animated

productions including King Neptune on “Sponge Bob Squarepants” and Blake the White Tiger on NBC’s “Father of the Pride.” O’Hurley’s first CD, Peace of Our Minds, a collaboration of his piano compositions with world-renowned cellist Marston Smith, debuted at #13 on Billboard. His CDs are available on John’s website www.JohnOHurley.com and at CDBaby.com. His musical theatre credits include starring roles in the national tours of Pirates of Penzance, Gentlemen Prefer Blondes and Brigadoon. He has also shown his musical talent in concert, singing with many symphony orchestras across the country.

RON ORBACH (Amos Hart) was the first Amos on the first national tour (1997 Jeff Award). Broadway: Soul Doctor, Laughter on the 23rd Floor, Chicago, etc.

Off-Broadway: The God Committee, Hotel Suite (Roundabout), etc. Regional: Bottom in A Midsummer Night’s Dream at Chicago Shakespeare Theater (2012 Jeff nomination); Tevye at Sacramento Music Circus; Pseudolus at Denver Center. Also, The Alley, Berkshire Theatre Festival, La Jolla Playhouse, The Goodman. TV: “Medium,” “NUMB3RS,” “Without a Trace,” “Law & Order,” “Platypus Man,” etc. Film: Clueless. Married for eleven blissful years to Kathleen Eads.

CAROL WOODS (Matron “Mama” Morton). A veteran of Broadway, music/ cabaret, television and motion pictures, Carol is respected by the who’s who of the theater and music industry. Her Broadway credits include Chicago, The Full Monty, One Mo’ Time, Stephen Sondheim’s Follies, Smokey Joe’s Café, The Goodbye Girl and The Best Little Whorehouse in Texas. She was nominated for an Olivier award for her performance in Blues in the Night and received a standing ovation at the 50th Grammy awards for her powerful rendition of Lennon and McCartney’s “Let it Be.” Her television and screen credits include Across the Universe, Honeymooners, Stepping Out, Steam, Sweet and Lowdown, “The Parent ‘Hood,” “The Practice,” “Third Watch,” “Law and Order” and most recently “The Good Wife.” Carol’s first love is singing, performing in concert halls and nightclubs from New York to London to Tokyo to Russia. Her solo Carnegie Hall concert “An Evening with Carol Woods” and her cabaret show “From

Blues to Broadway” have received outstanding reviews. Look forward to her newest project, “One Hour with You: The Music of Richard Whiting.” www.carolwoods.net C. NEWCOMER (Mary Sunshine).

Broadway: Chicago. Opera: Xerxes, Midsummer, Dido and Aeneas. Recording: Volpone with Wolf Trap Opera (Grammynominated). Thanks to DS & Company, LR, CA, LM and especially Mom & Dad. SHAMICKA BENN-MOSER (Go-to-HellKitty) is grateful to be returning to Chicago.

Recently seen: having moments with Jesus, American Music Awards/P!NK, MTV/ Awards Commercial, 2013 Tony Awards, operating CEO of ExLiebe, enjoying being a Mrs., blessed by Family!

THOMAS BEVAN (Bailiff/Court Clerk, Amos Hart u/s). First national tour! NYC: Radio City Christmas Spectacular. Regional: Hairspray, Legally Blonde and West Side Story. Film: The Last 5 Years. Thanks to David and Benton for this gift and love to Danny and Family!

CHRISTOPHE CABALLERO (Swing, Dance Captain) closed the 2010 Tonywinning La Cage aux Folles as Jacob: 3 other Broadway shows, 8 national tours; Vienna, Paris, Tokyo, Bruxelles and Madrid productions. Voice of Odd on “Code Lyoko” and numerous tv/film. www.

ChristopheCaballero.com IAN CAMPAYNO (The Doctor/The Jury, Billy Flynn u/s, Fred Casely u/s) is jazzed to join Chicago! Broadway: Mary Poppins. Tours: Mary Poppins, The Wizard of Oz, Cats. Regional: Legally Blonde, Cabaret, Chicago, A Christmas Carol, Hello Dolly. Thanks to my family, DDO, Duncan Stweart & Co., and all 3 Davids.

MITCHELL DUDAS (Harry) is proud to be joining the Chicago family for the first time!

He would like to thank his peers, teachers, MSA, and of course my family for their unwavering support!

NAOMI KAKUK (Hunyak). Broadway: The Producers, The Frogs (original casts/ recordings). National tours: Spamalot, Doctor Dolittle, Annie…Gun, Cats. Other favorites: “Smash,” The Producers (Universal Pictures),

Contact (Yellow Dress), Radio City Rockette.

B.F.A. in Ballet, University of Utah.

STEPHANIE MALONEY (Mona, Matron “Mama” Morton u/s) is making her touring debut! Favorite credits: The Marvelous Wonderettes (Betty Jean), Man of La Mancha (Aldonza), Into the Woods (Lucinda) and 42nd St. University of Michigan graduate. Love to my family and Sean. www.stephaniemaloney.com.

JON-PAUL MATEO (Fred Casely). Broadway: All About Me, The Wedding Singer, Hot Feet.

Regional: Guys and Dolls, West Side Story, La Cage aux Folles. TV/film: I Am Legend, JOB. Thank you Mom for your guidance.

JENNIFER MATHIE (Swing). Credits include: Spamalot, Radio City Rockette, Fosse, Follies at Encores, White Christmas, and numerous National TV Commercials. www.JenniferMathie.com. Thank you to everyone, and never ever stop believing! This is truly a dream come true.

DREW NELLESSEN (Aaron, Amos Hart u/s) is thrilled to be back with Chicago (North America, Bangkok, and Tokyo). Other credits include International tour of West Side Story (Riff and Diesel), Goodspeed Opera House, Sacramento Music Circus, and many more! Love to family and friends!

LAURA OLDHAM (Annie, Velma Kelly u/s) is jazzed to join the Chicago family! Favorite past credits include: Kate Monster/Lucy (Avenue Q), Maggie (A Chorus Line), Janet (The Drowsy Chaperone), and The Radio City Christmas Spectacular. As always, all my love to Aggressive Wynn, Papa Beard, and Morgan.

Proud graduate of Birmingham-Southern College.

LINDSAY ROGINSKI (June, Roxie Hart u/s). Chicago National Tour Roxie Hart, Roxie Hart Sacramento Music Circus, Lola Damn Yankees opposite Richard Kind. Off Broadway: La Goulou The Fartiste, Heat Wave: The Jack Cole Project. Other credits include: One For My Baby, Grease, 42nd St, Crazy for You, Godspell, Annie, and Closer Than Ever. Love to my dad Tom Ketcham, who is smiling from above.

SHERISSE SPRINGER (Liz) is thrilled for another Chicago experience. Recent credits:

A Chorus Line, Academy Awards, VMAs, Mamma Mia!, We Will Rock You, Cirque Du Soleil. Blessed with love from family, friends, Bloc talent and the man upstairs.

CHRISTOPHER VanDENHENDE (Sergeant Fogarty/The Judge) is honored to join the cast of Chicago the Musical.

Recent credits: Trouble a New Rock Musical (NYMF), The Tipping Scale, Stilleto Entertainment. He thanks family, teachers and friends.

COLT ADAM WEISS (Swing) is a graduate of the University of the Arts and received his B.F.A. in Jazz Dance Performance. He is excited to be back on the road with Chicago!

Instagram: @coltadamweiss COREY WRIGHT (Harrison). Favorite credits: Television—“Daily Show with John Stewart,” “The Conan Show.” Film— Where Do We Go From Here, In the Night.

Theater—Hairspray, Chicago the Musical, Miss Nowhere Diner. Love is my platform… for everything. Twitter: @coreycor518 (www. corey-wright.net) JOHN KANDER & FRED EBB (Music; Book/Lyrics). The John Kander and Fred Ebb collaboration of four decades created what many would consider Broadway standards and contemporary classics: Flora, the Red Menace; Cabaret (Tony Award); The Happy Time; Zorba; 70, Girls, 70; Chicago; The Act; Woman of the Year (Tony Award, Best Score); The Rink; Kiss of the Spider Woman (Tony Award, Best Score); and Steel Pier.

Their collaboration also transferred itself to movies and television as they wrote original material for the Academy Awards; “Liza With a Z” (Emmy Award); HBO’s “Liza Minnelli’s Stepping Out” (Emmy Award); Funny Lady (Oscar nominated for “How Lucky Can You Get”); Lucky Lady; New York, New York; Stepping Out; and Chicago (Oscar nominated for Best Song). In the mid ’80s the song “New York, New York” becoming the official anthem of New York City. At the time of the unfortunate death of Mr. Ebb, Kander and Ebb had several projects in different stages of completion waiting in the wings: The Visit, All About Us, Curtains (currently on Broadway) and Minstrel Show.

Life goes on.

BOB FOSSE (Book). First director in history to win Oscar, Tony and Emmy awards in one year (1973) for the film Cabaret, the musical Pippin and the TV special “Liza With a Z.” He won the first of eight Tonys as choreographer for The Pajama Game followed by directing and choreographing Redhead, Little Me, Sweet Charity (stage and film), Chicago, Dancin’. Other choreography: Damn Yankees, New Girl in Town, How to Succeed…, Big Deal. Film: My Sister Eileen, The Pajama Game, Damn Yankees. Director: Lenny (Oscar nom.), All That Jazz (Oscar nom.), Star 80.

WALTER BOBBIE (Director) recently directed the Tony-nominated Venus in Fur on Broadway; Terrence McNally’s Golden Age at Manhattan Theatre Club, and David Ives’ School for Lies at Classic Stage. His international hit Chicago won him a Tony, Drama Desk and Outer Critics Circle awards and has become the longest-running revival in Broadway history. Other Broadway credits include High Fidelity, Sweet Charity, Twentieth Century and Footloose. Mr. Bobbie directs regularly for New York’s most prestigious theatre companies, served as artistic director of City Center’s Encores! and is on the Executive Board of the Society of Stage Directors and Choreographers.

ANN REINKING (Choreographer). 1997 Tony Award, Best Choreography for Chicago, as well as Drama Desk, Outer Critics Circle, Astaire and NY Drama Critics awards. Other credits include: director, co-choreographer for Fosse (1998 Tony Award for Best Musical); Tony nomination for Best Director in a Musical, Fosse, Nominations for Tonys in 4 different categories: Best Actress, Best Supporting Actress, Best Choreographer, Best Director (won the Tony for Best Choreography), as well as Tony nominations for her leading performances in Dancin’ and Goodtime Charlie; won the Lawrence Olivier Award for Fosse; recipient of Theatre World, Clarence Derwent and Outer Critics Circle awards for her work as Maggie in Over Here!

Film credits: Movie, Movie; All That Jazz; Annie; Micki and Maude. Recent choreography: Sondheim Suite for Pacific Northwest Ballet, Suite Kander for Missouri State Ballet, Ritmo & Ruido for Ballet Hispanico, Legends for Joffrey Ballet of Chicago, The Threepenny Opera for Williamstown Theatre Festival, Nilsson/Schmillson for Seattle’s Spectrum

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WHO’S WHO in the CAST

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WHO’S WHO in the CAST

Dance Theatre, “Bye Bye Birdie” for ABC-TV, national tour of the revival of Applause. Cochoreographed The White City and Light In The Dark/Thodos Dance Chicago. Choreographed The Harrison Tribute/American Ballet Theatre.

She is the recipient of the National Broadway Theatre Award for best choreography, Fosse, 2001, the Drama League Award for Distinguished Achievement in Musical Theatre 1999, Musical Hall of Fame Award 1999, Dance Library of Israel Award 1998, Distinguished Artist Award 1998, School of American Ballet Artistic Achievement Award 1997, National Art Club Award for Service to the Arts 1995, Governor’s Award—Ambassador of the Arts for the State of Florida 1994, Honorary Doctorate from Florida State University, Dance Magazine Award, Ford Foundation Scholarship for the San Francisco Ballet Company and the Robert Joffrey Scholarship with the Joffrey Ballet.

JOHN LEE BEATTY (Set Design).

Broadway: A Delicate Balance, The Heiress, The Sisters Rosensweig, The Most Happy Fella, Burn This, Penn & Teller, Ain’t Misbehavin’, Tally’s Folly, Fifth of July, Crimes of the Heart, Baby and Anna Christie, among many others. Off-Broadway: Sylvia; The Cryptogram; The Destiny of Me; The Substance of Fire; The Road to Mecca; Song of Singapore; Lips Together, Teeth Apart; A Life in the Theatre; 20 seasons at MTC and Circle Rep. Major regional theatres, film, opera and TV. Recipient of Tony, Obie, Drama Desk and Outer Critics Circle awards. Graduate: Brown and Yale.

WILLIAM IVEY LONG (Costume Designer) has designed costumes for 66 Broadway productions. Select credits include Big Fish, Roger and Hammerstein’s Cinderella, The Mystery of Edwin Drood, Young Frankenstein, Grey Gardens, Curtains, Hairspray, The Producers, Little Shop of Horrors, The Boy From Oz, Cabaret, Contact, The Music Man, Annie Get Your Gun, The Man Who Came to Dinner, Swing, 1776, Smokey Joe’s Cafe, Crazy for You, Guys and Dolls, Assassins, Lend Me a Tenor, Nine. He has also designed for Mick Jagger, Siegfried and Roy, the Pointer Sisters, Joan Rivers. He serves as Production Designer for North Carolina’s seasonal outdoor drama, The Lost Colony. Mr. Long has 13 Tony Award nominations, winning six times. He was inducted into the Theatre Hall of Fame in January 2006, and elected chairman of

the American Theatre Wing in June 2012.

KEN BILLINGTON (Lighting Designer).

Ninety-three Broadway shows, including Chicago; The Scottsboro Boys; Sondheim on Sondheim; White Christmas; [title of show]; The Drowsy Chaperone; Footloose; Sweeney Todd; and revivals of Bye Bye Birdie; Finian’s Rainbow; Dreamgirls; Sunday in the Park With George; Annie; Hello, Dolly!; Fiddler on the Roof; My Fair Lady. Touring productions of High School Musical, 9 to 5, Riverdance. Other: SeaWorld Park’s Shamu: One Ocean and Shamu Rocks!; Disneyland’s Fantasmic!; Bally’s Las Vegas’ Jubilee!; Radio City Music Hall Christmas Spectacular (27 years). Awards: Tony, Drama Desk, Outer Critics, Lumen (architecture), Ace (television).

SCOTT LEHRER (Sound Design). More than 25 years of sound design includes Broadway: Chita Rivera: The Dancer’s Life, The Caretaker, Frankie and Johnny…, The Dead, Angels in America, Once on This Island, The Heidi Chronicles. Lincoln Center Theater: Dessa Rose, The Frogs, A Man of No Importance, Invention of Love, Hapgood, Most Happy Fella.

Also, 25 Encores! Playwrights Horizons: Life With Albertine, Franny’s Way (Lortel Award), Assassins, Isn’t It Romantic, Geniuses. MTC: A Perfect Ganesh, Putting It Together. Second Stage: Little Fish, Saturday Night. He also creates sound for museums, corporate, film/ TV. Music recording: Last Forever (Nonesuch), Geoff Muldaur’s Private Astronomy (DG), Meredith Monk’s mercy (ECM), Hazmat Modine.

DAVID HYSLOP (Director Recreation) has been affiliated with the Broadway production of Chicago since 2005. One of his duties there has been to rehearse dozens of new cast members, including Huey Lewis, Usher, Brian McKnight, John O’Hurley, Lisa Rinna, George Hamilton and Sofia Vergara.

He has over 20 Broadway credits as a stage manager including Priscilla Queen of the Desert, La Cage, Democracy, 16 Wounded, Rocky Horror Show, The Blue Room, Jekyll & Hyde, An Ideal Husband, Grease!, and A Few Good Men. Resident theatres include seasons with PCPA/Solvang Theatrefest and with The American Conservatory Theatre in San Francisco. Currently: Director of the National Tour of Priscilla Queen of the Desert.

DAVID BUSHMAN (Choreography Recreation). As a stage artist, David’s career began with leading roles in the works of world-class choreographers in classical and contemporary ballet. Upon leaving concert dance, David was cast in the first French production of Chicago, performing in Montreal and in Paris, followed by the National Tour of Chicago, during which he also served as dance captain. Other credits include: Director’s assistant for Cirque du Soleil, Las Vegas. David is honored to have had the opportunity to re-stage this current tour of Chicago.

JESSE KISSEL (Music Director/Conductor).

Broadway: Spider-Man: Turn Off the Dark, Leap Of Faith, Ragtime (Avery Fisher Hall 15th anniversary concert), The Visit (Actors Fund Benefit) with Chita Rivera and John Collum. Regional: The Scottsboro Boys (Los Angeles premiere) at Center Theatre Group, Titanic, Cats at the MUNY in St. Louis. Kennedy Center Spring Gala with Chita Rivera, Jenn Collella, Julie Murney (National Symphony Orchestra—JoAnn Folletta, Conductor), TOVAH: Out Of Her Mind (Tovah Feldshuh). Symphonic work: The Boston Pops—Red, White, and Blue, Indian Hill Symphony—Paul Whiteman Celebration, Naples Philharmonic—Rhapsody In Blue concert series. Former adjunct faculty at Marymount Manhattan College and NYU’s CAP 21. B.F.A. Boston Conservatory, M.M. Cincinnati Conservatory of Music in Orchestral Conducting.

DAVID THOMPSON (Script Adaptation).

Broadway productions include the librettos for The Scottsboro Boys (Tony and Drama Desk Award nominations, Hull-Warriner Award), Steel Pier (Tony nomination) and Thou Shalt Not. Off-Broadway: And the World Goes ‘Round (Drama Desk and Outer Critics Circle awards), Flora, the Red Menace (Drama Desk nomination).

Regional: McCarter Theater’s A Christmas Carol. Television: “Sondheim: A Celebration at Carnegie Hall,” “My Favorite Broadway.”

Thompson is a graduate of Northwestern’s Medill School of Journalism.

ROB FISHER (Supervising Music Director).

Original conductor and music director for Chicago and its Grammy Award-winning cast album and supervisor of Chicago companies worldwide. Music director and conductor of City

Center’s Tony Award-winning Encores! series since its inception in 1994. Other credits: Garrison Keillor’s radio broadcasts, concerts at Carnegie Hall, New York City Opera, PBS, the White House, guest symphony conductor and more than 20 recordings. Broadway tour: 3 Penny Opera starring Sting, Me and My Girl, A History of the American Film, A Day in Hollywood/A Night in the Ukraine, Little Johnny Jones, Big River.

JOHN MONACO (Music Coordinator) is a veteran of the musical theatre. He has been music coordinator for over 100 Broadway musicals and has performed in more than 40 Broadway shows. Mr. Monaco has had the privilege of working with Richard Rodgers, John Kander, Jule Styne, Elmer Bernstein, Harvey Schmidt, Philip Springer, George Forrest, Robert Wright, Janusz Stoklos, Steve Margoshes and many others.

DAVID BRIAN BROWN (Wig/Hair Design).

Broadway: Legally Blonde, Spamalot, Butley, Tarzan, The Wedding Singer, Chita Rivera: The Dancer’s Life, The Odd Couple, Dirty Rotten Scoundrels, Fiddler on the Roof, Nine, Gypsy, Flower Drum Song, Sweet Smell of Success, The Invention Of Love, Elton John and Tim Rice’s Aida, The Rainmaker, The Iceman Cometh, Annie Get Your Gun, Little Me, Chicago, Sideshow, 1776, Steel Pier, Big, Sunset Boulevard, the world premiere of Whistle Down the Wind. TV/Film credits include “Angels in America” (Emmy nominated), To Wong Foo….

DUNCAN STEWART AND COMPANY (Casting). Duncan Stewart CSA and Benton Whitley CSA are responsible for casting the new Broadway revival of Pippin, Chicago The Musical (Broadway and National tour), The Radio City Christmas Spectacular, the new North American tour of We Will Rock You, the Off-Broadway productions of Natasha, Pierre, and the Great Comet of 1812; Pageant; and upcoming A.R.T. production of The Tempest. Other projects include: Menier Chocolate Factory (U.S. casting), Hairspray, Saturday Night Fever, and Chicago (Royal Caribbean Productions), La Cage aux Folles (2010 Broadway revival and tour), Thriller Live (West End), as well as numerous regional theatres. Proud members of The Casting Society of America. www.dstewartco.com ARTHUR SICCARDI, THEATRICAL SERVICES INC. (Technical Supervisor) has been involved in more than 200 Broadway

shows: Hello, Dolly!; A Chorus Line; Cats; The Real Thing; Ballroom; Dreamgirls; Chess; Broadway Bound; Jerome Robbins’ Broadway; Cat on a Hot Tin Roof; Gypsy; Lost in Yonkers; Fiddler on the Roof; Falsettos; The Goodbye Girl; My Fair Lady; Sunset Boulevard; Laughter on the 23rd Floor; Whistle Down the Wind; The Tony Awards and Night of a Thousand Stars. In 2012, he received a Tony Honor for Excellence in the Theatre.

L. A. LAVIN (Production Stage Manager).

Resident Director: How to Train Your Dragon, Walking with Dinosaurs. Production Stage Manager—Broadway: Grease, The Music of Andrew Lloyd Webber in Concert.

National tours: Thoroughly Modern Millie, Blast, Chicago, Grease, The Music of Andrew Lloyd Webber, Les Misérables, Phantom of the Opera, Cats, Annie. Las Vegas: Hans Klok and the Beauty of Magic, Forever Plaid, Chicago, Always Patsy Cline, Nevada Ballet Theater. Regional Theater: The Mark Taper Forum.

JEFF NORMAN (Stage Manager). Credits include the Las Vegas productions of Disney’s The Lion King, Mamma Mia! and Cirque du Soleil’s “O” at the Bellagio. Toronto productions of Disney’s The Beauty and The Beast, Miss Saigon, Les Miserables, Chess In Concert and on the opening team for Disney Cruise Lines.

Proud member of Actors’ Equity Association.

RICK PESSAGNO (Assistant Stage Manager). Las Vegas AEA Productions include Surf The Musical (Planet Hollywood Hotel), Million Dollar Quartet (Harrah’s Hotel), [title of show] (Tidwell Productions).

My journey with Chicago began in 1997 with the first national tour where I originated the role of Fred Casely. It’s a full circle experience. Thrill and thankful to my friends Lynda and Hilary for believing in me! Places Please!

BARRY and FRAN WEISSLER (Producers) have had a producing career that spans over 40 years. They are the recipients of seven Tony Awards. Othello starring James Earl Jones and Christopher Plummer, Fiddler on the Roof with Topol, Gypsy with Tyne Daly, Annie Get Your Gun with Bernadette Peters and Reba McEntire, the 2010 revival of La Cage aux Folles with Kelsey Grammer, their new hit, Pippin, currently on Broadway at the Music Box Theatre and Chicago, the

longest-running American musical on both Broadway and the West End. Other Broadway credits include Zorba, My One & Only, Falsettos, Grease, Seussical, Wonderful Town, Sweet Charity and The Scottsboro Boys. Current projects include a musical adaptation of the independent film Waitress.

BROADWAY ACROSS AMERICA (Producer) is operated by British theatre producer John Gore (Owner & CEO) and presents in 40 North American markets under the supervision of Beth Williams (CEO—Theater Division).

Current/upcoming productions include Million Dollar Quartet; Pippin; Big Fish; Betrayal; Bullets Over Broadway; Little Miss Sunshine; Tuck Everlasting; The Blonde Streak; and Bull Durham. For more information please visit BroadwayAcrossAmerica.com and Broadway.com ALECIA PARKER (Executive Producer) serves as executive producer of all worldwide productions of Chicago, Pippin on Broadway, and the current touring production of Priscilla Queen of the Desert. Currently licensing Once the Musical internationally. Other credits, spanning more than 30 years, include executive producer of La Cage aux Folles, The Scottsboro Boys, Sweet Charity, Wonderful Town, Seussical; associate producer of Annie Get Your Gun, My Thing of Love, Grease!, My Fair Lady, Falsettos, Fiddler on the Roof, Cat on a Hot Tin Roof, Cabaret, Zorba starring Anthony Quinn. She is the proud mother of Michael a senior at Washington University in St. Louis.

B.J. HOLT (General Manager) has been in a variety of management positions for Broadway, West End, U.S. and international touring theatrical productions including Chicago, Fosse, La Cage aux Folles, Les Misérables, Miss Saigon, Pippin, Priscilla Queen of the Desert, Seussical, and Sweet Charity.

His favorite role, however, is to be father to Christina and Payson, who make everything worthwhile!

CITY CENTER’S ENCORES! GREAT AMERICAN MUSICALS IN CONCERT. City Center, a not-for-profit theater founded in 1943 as Manhattan’s first performing arts center, is home to many of America’s leading dance companies, education programs and popular engagements. The award–winning series Encores! was created in 1994 to revisit rarely heard scores, of which Chicago is one.

CHICAGO

WHO’S WHO in the CAST

CHICAGO

STAFF FOR CHICAGO

Assistant to Fran Weissler................Nikki Pelazza

GENERAL MANAGEMENT

Assistant to Alecia Parker...........Cristina Boccitto

B. J. Holt, General Manager

Assistant to BJ Holt......................... Tyler Forrest

Nina Skriloff, International Manager

Receptionist............................. Michelle Coleman

Hilary Hamilton, Associate General Manager

Messenger........................................ Victor Ruiz

TOUR MARKETING/PRESS

TOUR DIRECTION

Anita Dloniak & Associates. Inc.

Columbia Artists Theatricals

Anita Dloniak Diane Rodes Melissa A. Hazek

1841 Broadway, Ste. 914,

COMPANY MANAGER......... MARION TAYLOR PRODUCTION STAGE MANAGER........ L.A. LAVIN Stage Manager................................Jeff Norman Assistant Stage Manager ............. Rick Pessagno General Management Associate.Stephen Spadaro Associate Lighting Designer............ John Demous Associate Sound Designer........... Michael Viveros Wardrobe Supervisor.......................... Alice Testa Assistant to William Ivey Long......Donald Sanders

New York, NY 10023 212.841.9640 tel/212.841.9542 fax www.columbiaartiststheatricals.com CREDITS Scenery built and painted by Hudson Scenic Studios, Lighting equipment from PRG Lighting.

Sound Equipment by PRG Audio.

Makeup Provided by M-A-C.

Production Carpenter.................. Michael Clifford Flyman........................................ Michael Moore Production Electrician...................James Fedigan Master Electrician...................... Leslie Bindeman Assistant Electrician .......................Emily Stamm Production Sound Engineer.................Anne Davis Assistant Sound ............................ Rhys Dawson Master of Properties...................Steven Callahan Hair Supervisor............................Scott Mortimer Banking.................................City National Bank/ Michele Gibbons Music Preparation......Donald Oliver, Evan Morris/ Chelsea Music Service, Inc. Payroll...........................Castellana Services, Inc.

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The musicians employed in this production are members of the American Federation of Musicians.

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

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

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

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

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

Accountants....... Rosenberg, Neuwirth & Kuchner, Mark D’Ambrosi, Marina Flom Counsel....................Seth Gelblum/ Loeb & Loeb Insurance.............. Stockbridge Risk Management Art Design.......................................Spot Design Advertising......................SPOTCo, Drew Hodges Juliana Hannett, Chris Scherer,

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

DCPA MARKETING STAFF Jennifer Nealson . . . . . . . . . . . . . . . . Chief Marketing Officer Sylvie Drake. . . . . . . . . . . . . . . . . . . . . Director of Publications Brianna Firestone. . . . . . . . . . . . Director of Marketing, DCTC Janet Flesch. . . . . . . . . . . . . . . Director of Strategy and Insights Suzanne Yoe . . . . . . . . . . . . . Director of Creative Services and

Cultural Affairs Jessica Bergin . . . . . . . . . . . . . . . . . . . . . . Box Office Manager Nick Brown. . . . . . . . . . . . . . . . . . . . . . Account Sales Manager Nathan Brunetti. . . . . . . . . . . . . . . . . . . . . . . . . Digital Manager Kim Conner. . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic Designer FloraJane DiRienzo. . . . . . . . . . . . Business Relations Manager Anita Edwards. . . . . . . . . . . . . . . . . . . . . Web Services Manager Brenda Elliott. . . . . . . . . . . . . . . . . . . Senior Graphic Designer Simone Gordon. . . . . . . . . . . . . . . . . . . . . . . . . Project Manager Alexandra Griesmer . . . . . . PR & Promotions Manager, DCTC Tristan Jungferman. . . . . . . . . . . . . . . . . . . Box Office Manager Jennifer Kemps. . . . . . . . . . Groups Sales Business Coordinator Laura Kirby. . . . . . . . . . . . . . . . . . . . . . . . . Box Office Manager Carol Krueger. . . . . . . . . . . . . . . . . . Theatre Services Manager Jennifer Lopez. . . Assoc. Director of Ticket Services/Operations Kyle Malone. . . . . . . . . . . . . . . . . . . . Senior Graphic Designer Jane McDonald. . . . . . . . . . . . . Marketing Coordinator, DCTC John Moore. . . . . . . . . . . . Assoc. Director of Content Strategy Mark Onderdonk. . . . . . . . . . . . . . . . . . . . . . Business Manager Kirk Petersen. . . . Assoc. Director of Ticket Services/Patron Relations Tina Risch. . . . . . . . . . . . . . . . . . Community Services Manager Anthoney Sandoval. . . . . . . . . . . . . . . . . . . Box Office Manager Joe Schurwonn. . . . . . . . . . . . . . . Marketing Financial Analyst Jill Schwager. . . . . Student Matinee and Group Tours Associate David Smith . . . . . . . Assoc. Director of Subscription Services Emily Zeck. . . . . . . . . . . . . . . . . . . . . . . Subscription Manager

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

DEVELOPMENT DEPARTMENT

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

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

Stephen Sosnowski Web Design.................................. Tarantula.com Production Photography.....................Paul Kolnik Merchandising.............................Creative Goods/ Karen Williamson STAFF FOR NATIONAL ARTISTS Head of Marketing Strategy............ Clint Bond Jr. Director of Marketing......................... .Ken Sperr Director of Business Affairs..... Daniel M. Posener Dramaturg/Creative Consultant... Samantha Barrie Chief Financial Officer...................... Bob Williams Accounting.............................. Marian Albarracin Associate to Barry Weissler............ Brett England

THE BUELL THEATRE

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

CITY & COUNTY OF DENVER Michael Hancock, Mayor

ARTS AND VENUES Kent Rice, Director

For information call: 720.865.4220

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DenverDBSCenter.org

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DENVER CENTER TRAVEL

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Please join us across the pond for…

Edinburgh International Festival

Every August, the Edinburgh International Festival transforms one of the world’s most beautiful cities, presenting the finest creators and performers from the world of the arts — for everyone. Edinburgh’s six major theatres and concert halls, a few smaller venues and often some unconventional ones, come alive with the best classical music, theatre, opera, dance and visual art from around the globe.

Fringe Festival

The Edinburgh Festival Fringe is the largest arts festival in the world. Every year thousands of performers take to a multitude of stages all over city to present shows for every taste. From big names in the world of entertainment to unknown artists looking to build their careers, the festival caters to everyone and includes theatre, comedy, dance, physical theatre, experimental theatre, musicals, operas, music, exhibitions and other events.

The Royal Edinburgh Military Tattoo

Music, dance and precision displayed with the Massed Pipes and Drums, the Bands of Her Majesty’s Royal Marines, cultural troupes, singers and the poignant refrain of the Lone Piper against the stunning backdrop of Edinburgh Castle. A singular and memorable event.

Optional London/West End Add-on, August 19-24

After Edinburgh, an optional tour of London’s West End is available. This add-on features deluxe Leicester Square hotel accommodations and tickets to four West End shows of your choice.

To view the complete daily itinerary and for pricing (a nominal portion benefits the DCPA), please visit www.denvercenter.org/travel or contact David Zupancic at 303.446.4811 or davidz@dcpa.org.

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And Chairman/CEO Daniel L. Ritchie

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TRAVEL WITH THE DENVER CENTER

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FOLLOW THE REGION’S PERFORMING ARTS BEFORE, DURING AND AFTER THE PERFORMANCE

Colorado’s Family Law Team

Connect with Colorado’s Performing Arts Publications on Facebook, Twitter, Linkedin and YouTube.

Scan this code to learn more about Colorado’s Performing Arts Publications.

www.coloradoartspubs.com To learn about advertising in our arts publications, call Tod Cavey at 303-428-9529.

Innovation Inspires Performance CSU’s Department of Music, Theatre and Dance is helping prepare a new generation for greatness.

UniversityCenterForTheArts.com

The Harris Law Firm Plays a Different Tune

by Controlling Costs and Limiting Litigation 1125 17th Street, Suite 1820 • Denver, CO 80202

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www.harrisfamilylaw.com

chicago

THE AMAZING COMEBACK(S) OF A GREAT AMERICAN MUSICAL b y G e n e v i e v e M i l l e r H o lt

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of rehearsal. The cast worked through morning, broke for lunch and returned to the studio only to be told that Fosse had taken ill and had to be hospitalized.

“I went numb,” said Brown. “We all were in a state of disbelief.” Work on the show stopped as Fosse suffered two heart attacks and underwent bypass surgery. onths later, the Chicago team reassembled. Though still suffering from depression, a recovering Fosse began to construct his iconic musical.

“Every costume, every gesture, every bit of lighting, every word and moment were all woven together like fabric to

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Still considered one of Fosse’s towering undertakings and representative of his highly individual, cheeky, sly and sensual style, Chicago has toured the world. create the story,” said Brown, who played the role of June. Verdon played Roxie Hart while Chita Rivera, wildly popular since starring in West Side Story (1957), was Roxie’s jailbird cohort Velma.

Mounting the show, like any other new musical, was tedious and trying. “The creative team was working very hard to make it good,” Brown remembered, “but there were a lot of teeth gnashing and hair graying.”

Chicago opened on Broadway on June 3, 1975, to mildly positive reviews and enthusiastic audience response. Fosse considered it a compliment that some took offense at his cynical take on the American justice system and the cult of celebrity. “When people walked out,” said Brown, “Bob got tickled because he figured that in order to be offended, they must have ‘got it.’ ” But when the Tony Awards came around, the unconventional A Chorus Line won them all. Chicago came away with nothing. In his review of Chicago’s 1996 revival, New York Times critic

Ben Brantley reflected that the 1975 production of Chicago had been, “in a sense, the evil twin of its rival musical, as acerbic and cold-hearted as the other was sentimental and warm.” The fact is that it was a show before its time and it had run up against Michael Bennett’s unprecedented achievement. Chicago closed after 936 performances while A Chorus Line went on to become the longest-running American musical in Broadway history up to that time.

Timing is indeed everything, but Chicago would eventually get its due.

The 1996 revival was a resounding success, winning six Tonys and a Grammy (for best cast recording), while the smashing film version, gloriously directed by Rob Marshall, won the 2002 Academy Award for Best Picture and helped intensify the interest in the stage show. till considered one of Fosse’s towering undertakings and representative of his highly individual, cheeky, sly and sensual style, Chicago has toured the world. It has returned to Denver for a fifth time, and, amazingly, it continues its strong run on Broadway.

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The 1975-76 season on Broadway was one for the history books. Meryl Streep earned her first Tony® nomination and Sondheim’s unique Pacific Overtures premiered on Broadway. But the most remarkable event that season was the nearly simultaneous creation of two of the theatre’s most enduring and innovative musicals.

In the preceding year, while visionary director and choreographer Michael Bennett was interviewing dancers and workshopping a new theatre piece that would become A Chorus Line, the equally visionary Bob Fosse and legendary Broadway dancer Gwen Verdon (his wife at the time) were approaching composer John Kander and lyricist Fred Ebb (of Cabaret fame) to join them in creating a new piece too: the musical version of a 1926 play about an infamous dame who’d killed her husband. osse was an established Broadway director and choreographer at this point, with Pippin and Sweet Charity to his credit and a corps of loyal dancers with whom he liked to work.

Broadway veteran and Denver resident Candy Brown was one of them, and she attested that Fosse adored his dancers and loved the actor’s craft. “He was very professional and detailed,” she said, “a taskmaster, but he asked no more of anyone than he asked of himself.”

In January 1974, while Brown was dancing nightly in Fosse’s Pippin on Broadway, she and 18 other dancers gathered for a late-night discussion about their lives and the challenges of being a Broadway gypsy. Those conversations were taped and eventually became the content of Michael Bennett’s landmark A Chorus Line. Bennett’s project was an unknown quantity at this stage, however, a series of loose workshops with only the glimmer of becoming something bigger; so some participants defected to more secure gigs. Again, Brown was among them, leaving Bennett to join Fosse’s Chicago, not knowing at the time that the switch would put her in the unique position of contributing to two of the most important musicals of the decade.

“I felt a loyalty to Bob,” she said, “as Chicago would be my third project with him... not to mention the fact that no one knew if the Michael Bennett workshop would even be a show.”

In January 1975, with Kander, Ebb and Fosse having completed a working version of Chicago, Brown and the rest of the cast arrived for the first day

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Genevieve Miller Holt is the General Manager for Broadway Across America in Cincinnati. Formerly, she was Director of PR & Promotions at The Denver Center for the Performing Arts.

March 18 – 23 • Buell Theatre Sponsored by Comcast ASL Interpreted, Audio Described & Open Captioned March 22, 2pm

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

A P P L A US E

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CBS4’s Your Link To Local Coverage Where Are You Each Morning?

We know you’re busy in the mornings getting ready for work, putting plans in place for the day. When you want to know what to expect from news, traffic and weather, and where to go for fun when the workday is done, the place to turn to is CBS4 and www.cbsdenver.com.

Weekdays on CBS4 This Morning and CBS4 News at Noon you’ll find anchors Alan Gionet and Britt Moreno with the latest news and information alongside Joel Hillan with regular traffic updates and Lauren Whitney with a look at the day’s weather.

You’ll also hear about all of the fun things to do in Denver as we cover the local arts scene with the latest music, theatre and restaurant reviews. Any time you want more information, click on www.cbsdenver.com. It’s instant access day or night and includes extensive entertainment coverage and streaming video previews. n

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CBS4 is proud to support The Denver Center for the Performing Arts and to showcase local arts...

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by Pau ago • l Koln ik

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CBS4 This Morning Team

FER M KOSKINEN

any cast • Photo by JENNI Denver Center Theatre Comp

24

APPLAUSE

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to by JENNIFER

Death of a salesman

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SPECIAL EVENTS

presents

VIP Evenings

The best seats to the best shows…..

Announcing VIP evenings for the coming season!

A great way to entertain clients, celebrate a special occasion or have fun with friends and family. All events include center orchestra seating, pre-show cocktails, hors d’oeuvres and catered dinner. A tax-deductible contribution is included with each ticket purchase. “

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APPLAUSE

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Colorado new play summit

it’s All about

The process the Jones for the line up in front of Summit attendees lorado New Play Summit. ninth annual Co

The ninth Colorado New Play Summit may have started in a Denver Deep Freeze, but its sizzling energy melted snow, ice and cold

T

April Matthis &

Tony Todd in a

scene from Zeni th.

guson, ie McBride, Lynnda Fer L to R: Michael Santo, Bill k rehearsing Benediction.

Fal a Tar Tricia Moreland and

Curtis McClarin Victory Jones an in a moment from the readin g of d The Incredible One Woman Ba nd..

28

APPLAUSE

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he weather was not cooperating when the Denver Center Theatre Company launched its ninth Colorado New Play Summit on Feb. 7. But for the people who showed up—and they came from everywhere—that was never going to be a problem.

Avid consumers of new work, they arrived at this banquet to nourish both interest and curiosity. In addition to the five new plays that were read by actors at music stands, Denver Center stages delivered fully staged productions of two plays that emerged from last season’s Summit: Matthew Lopez’s giddy The Legend of Georgia McBride and Marcus Gardley’s probing makeover of Greek myth in black odyssey. (For an added treat, in a more classic vein, a handsome production of Hamlet also was on view.)

A brief rundown of the new plays read includes: • James Still’s Appoggiatura, an evershifting collage of a memorable first-time visit to Venice by three closely related people, each nursing a hunger and a hardto-heal wound. This nostalgic exercise is laced with music, humor and tender intimations of immortality.

• Wit marks Laura Schellhardt’s The Comparables, a smart, hard-shelled, high-heeled trip through the merciless machinations driving the rivalry in an all-female “boutique” real estate office.

Shades of The Devil Wears Prada meets Glengarry Glen Ross.

• Rap music is the link (and motivator) in Idris Goodwin’s Victory Jones and The Incredible One Woman Band as an aspiring musician tries to reconnect with her estranged and recalcitrant father; it’s an unsentimental riff that bears tortuous, engaging and unexpected results.

• Anyone who saw Eric Schmiedl’s adaptations of Kent Haruf’s Plainsong and Eventide in previous Denver Center seasons would have to look forward to his adaptation of the third book in this

trilogy. The Haruf/Schmiedl Benediction presented another slice of life in Haruf’s fictional small town of Holt, Colorado, with its denizens reminiscent of a quieter if not simpler time. (A Colorado Our Town?)

• And playwright Kirsten Greenidge jolts us with a trenchant awareness of the real lives behind the banality of those awful freeway accidents we hear about nightly on the local news. Her play Zenith reminds us of what it means to be human—pain, irrationality, messiness and all.

The Summit would not be the Summit without its late-night Playwrights’ Slam—that laidback shakedown by contributing dramatists and commissioned writers reading from works in progress, rapping their own doodles or opening a window into their private worlds.

This year’s casual event gave us Eric Schmiedl sweetly looking back at growing up with Granny; Kirsten Greenidge sharing an excerpt from a work in progress about Thomas Jefferson and Sally Hemings in Paris; James Still reading from “When Lydia Hinkley Gives a Bird the Bird,” his comic take on the Minerva Society of 1859 and an irritating excess of literary nightingales. Catherine Trieschmann and Marcus Gardley, replete with invented drag queen names, delivered more flippant takes of their own on a variety of subjects. Karen Zacarías chose a more serious piece about her immigration to the United States in the age of AIDS. Above all, the Summit provided animated mealtime conversation and lively networking among the large contingent of industry guests, theatre professionals, subscribers, trustees, playwrights, directors, foundation reps, members of the press and other enthusiasts, so many of whom hailed from other cities and states. The Summit remains a powerful highlight of the season and an energizing event for all lovers of theatre. n —Sylvie Drake

Colorado new play summit

colo rad o new play summit 2014

Actors at work

il Matthis and Bowen, Gabra Zackman, Apr L to R: Candy Brown, Jason ith.

Zen of g din rea Tony Todd in the

Photos by john moore & Suzanne Yoe

Cheyenne Casebier Actors Linda Gehringer and es. rehearsing The Comparabl

jad Idris Goodman and Brian Qui

Kent Thompson and Eric Schmiedl rehearsing Benediction.

at the Summit. ..

Julian Remulla addin g music to the reading of Appoggiat ura.

L to R, back row: Bru ce Sevy, Kent Thomps on, Idris Eric Schmiedl. Front row: Emily Tarquin, Ma Goodman, James Still, rcus Gardl Greenidge, Karen Za carías, Catherine Triesc ey, Kirsten hmann.

ction with Actor Tracy Shaffer of Benedi Still. es Jam t igh ywr pla ra Appoggiatu

a at the Playwrights’ Slam.

Bruce Sevy, Tricia Mo reland and Amelia Corrado at the Summ it meet and greet.

well Chairman Emeritus Don Sea Denver Center Founder and d.

Fun ces Voi of the Womens in front of current members

Sponsored by: Women’s Voices Fund • Producing Partners: Joy S. Burns, Leo & Susan Kiely, Daniel L. Ritchie, Bob & Carole Slosky Special thanks to the Harold & Mimi Steinberg Charitable Trust for continued support of New Play Development at The Denver Center for the Performing Arts 303.893.4100

A P P L A US E

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next up

Looking ahead…

Tickets: 303.893.4100 Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829

denvercenter.org

Rock of Ages

Illustration by Kyle malone

Animal Crackers April 4 – May 11

April 25 – 27

Stage Theatre

Buell Theatre

A boisterous, knockabout comedy that begins when a valuable painting goes missing at a society dinner party and chaos ensues. This Marx Brothers classic is chock-full of physical comedy and oneliners sure to have you rolling in the aisles.

The style trends were laughable, but the music of the 1980s was “nothing but a good time.”

This Tony-nominated musical about a small town girl named Sherrie (“Oh Sherrie”) who heads to LA to find adventure and stardom—and Drew, the aspiring rock star she meets on the way—is set to a soundtrack of chart-topping songs and power ballads of the 80s.

Think rock’n’roll, big hair and tight pants!

ASL interpreted, Audio Described and Open Captioned performance May 4 @ 1:30pm.

ASL interpreted, Audio Described and Open Captioned performance April 26 @ 2pm.

once May 6 – 18 Buell Theatre

Photo by Frank ockenFels | original broadway casT

This Tony® Awarded Best Musical tells the story of an Irish musician and a Czech immigrant drawn together by their love of music. Over one fateful week, their friendship and collaboration evolves into a complicated romance, heightened by the songs they create together.

ASL interpreted, Audio Described and Open Captioned performance May 18 @ 2pm.

American Idiot May 23 – 25 Buell Theatre

the groundbreaking BROADWAY musical

Based on Green Day’s Grammy® Award-winning multi-platinum album, this smash-hit musical tells the story of three lifelong friends, forced to choose between their dreams and the safety of suburbia—a quest for true meaning in a post-9/11 world that leads them on the most exhilarating theatrical journey of the season.

ASL interpreted, Audio Described and Open Captioned performance May 24 @ 2pm.

Spark a dialogue today by participating in our free CONNECT program. Designed to enhance your theatre experience, the CONNECT program offers a variety of opportunities, including moderated discussions with the cast and creative staff, educational resources, tours, and other special events. For more information visit www.denvercenter.org/CONNECT 30

APPLAUSE

d e nver center. or g

W

hile DaVita does dialysis, it is not just about dialysis. As a community first and a company second, DaVita is committed to improving the lives of patients, teammates (employees) and partners, and the communities in which it operates around the globe.

Known as the Trilogy of Care, this vision for corporate social responsibility plays out in three parts: Caring for Patients, Caring for Each Other and Caring for the World.

Caring for Patients Over the past 13 years, DaVita has been able to provide resources to help patients maintain a good quality of life through improved clinical outcomes. DaVita also aims to give people with chronic kidney disease the information they need to make healthy choices and slow the progression of their disease.

Caring for Each Other DaVita’s award-winning training programs provide teammates with the opportunity to learn and grow, whether they are frontline contributors or seasoned leaders. To help teammates manage change in their personal lives, DaVita also created a wide range of programs to support them emotionally and financially.

Caring for the World DaVita supports nonprofit groups that are dedicated to community development and sending forth ripples of citizen leadership.

Since 2006, approximately 28,000 DaVita volunteers have served more than 59,000 hours through more than 950 Village Service Days (community service projects) across the U.S. Since 2007, Tour DaVita—an annual 220mile bike ride—has continued to increase awareness about kidney disease and has raised more than $5 million in the fight against the disease.

DaVita teammates have also given nearly $3 million as part of the “DaVita Way of Giving,” the company’s locally focused giving initiative to help 501(c)3 nonprofit organizations across the U.S. grow and thrive.

Caring for Denver Since DaVita’s move to Denver in 2010, the company has been dedicated to engaging this unique community in ways that encourage innovation, creativity and service excellence in the areas of culture, education and health among others.

DaVita is proud to support The Denver Center for the Performing Arts (DCPA), which truly embodies the values of innovation and creativity—keeping the arts alive in distinctive ways to inspire a new generation of leaders. DCPA’s commitment to arts education is truly inspirational, and DaVita is grateful for its commitment to this community. n

Art Partner

DaVita: Committed to Community

As a community first and a company second, DaVita is committed to improving the lives of patients, teammates (employees) and partners, and the communities in which it operates around the globe.

A proud sponsor of the DCPA Arts in Education programs

To find out more about DaVita’s community engagement efforts, please visit www.DaVita.com/CommunityCare.

Left: DaVita teammates and vendors dig out equipment after flooding destroyed a local Colorado farm last fall.

Right: A DaVita teammate gives a new pair of shoes to a child at Greenlee Elementary in Denver as part of DaVita’s nationwide community service initiative “Shoes-apalooza.” Partnering with national charity Shoes That Fit, DaVita teammates provided nearly 13,000 pairs of shoes to children in 167 schools across the country.

303.893.4100

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31

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Get into the ACT…

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APPLAUSE

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