Applause Magazine, Mar. 28 - Apr. 27, 2014 by The Publishing House

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Volume XXV

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NUMber 6

March – april 2014

Illustration by Kyle Malone

shadowlands

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LETTER From The chairman

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

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

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

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VOLUME XXV

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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

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

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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. 6

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Shadowlands costume designs by Angela Balogh Calin

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

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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?

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

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.

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-

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.

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

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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wealth management strategies and services through its Wealth Management Group. From investment management services to trust and estate administration, the Wealth Management Group offers clients sophisticated solutions options, sound advice and customized service. “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.

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

Garner Galleria Theatre

Buell Theatre

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

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Aug 11–Sept 13, 2015 The Ellie

and

denvercenter.org/ bwaysubs

Premium subscription

2014/15 Season

Generously Sponsored for the 11th Consecutive Season by:

“

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Daily News

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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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davidz@dcpa.org

•

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A P P L A US E

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

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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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

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

William Nicholson

WITH John Arp*, Stephanie Cozart*, Sam Gregory*, Douglas Harmsen*, John Hutton*, Charlie Korman, Graeme Malcolm*, Kathleen McCall*, Michael Santo*

SET DESIGN BY Lisa M. Orzolek

COSTUME DESIGN BY Angela Balogh Calin

DRAMATURGY BY Douglas Langworthy

LIGHTING DESIGN BY Charles R. MacLeod

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

DIRECTOR OF PRODUCTION Jeff Gifford

SOUND DESIGN BY Jason Ducat

CASTING BY Elissa Myers Casting/ Paul Fouquet, CSA

STAGE MANAGER Rachel Ducat*

DIRECTED BY

Christy Montour-Larson

PRODUCING PARTNERS Isabelle Clark

Martin & Jo Ann Semple

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

THE SPACE THEATRE • MARCH 28 – APRIL 27, 2014 2013/14 Season Partners

CAST C.S. Lewis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GRAEME MALCOLM* Joy Davidman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATHLEEN MCCALL* Warnie Lewis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN HUTTON* Christopher Riley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM GREGORY* Harrington . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL SANTO* Douglas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHARLIE KORMAN Alan Gregg/Doctor/Waiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DOUGLAS HARMSEN* Nurse/Registrar/Woman in Tea Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEPHANIE COZART* Priest/Waiter/Dr. Oakley/Clerk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN ARP* UNDERSTUDIES Understudies never substitute for the listed players unless a specific announcement for the appearance is made at the time of the performance.

JOHN ARP* (C.S. Lewis), STEPHANIE COZART* (Joy Davidman Gresham), LAWRENCE HECHT* (Warnie Lewis/Harrington/Priest/Waiter/Dr. Oakley/Clerk), KYRA LINDSAY (Nurse/Registrar/Woman in Tea Room), MAX RAABE (Douglas), JEFFREY ROARK* (Christopher Riley/Alan Gregg/Doctor/Waiter)

Place & Time: Oxford, England in the 1950’s. There will be one 15-minute intermission.

Production Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER C. EWING* Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RACHEL DUCAT* Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A. PHOEBE SACKS* Production Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PEARL KERBER Associate Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MEGHAN ANDERSON DOYLE *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

EXECUTIVE STAFF KENT THOMPSON (Producing Artistic Director) is in his ninth season as Producing Artistic Director of the Denver Center Theatre Company. In Denver he directed productions of Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Amadeus, The Liar and Measure for Measure, among others. Two of Kent’s major accomplishments since moving to Denver have been the Colorado New Play Summit, a premier national festival for new American plays, and the establishment of the Women’s Voices Fund, an endowment that supports the development of new plays by women. Prior to moving to Denver he was Producing Artistic Director of the Alabama Shakespeare Festival for 16 years. In 1991 Kent created the Southern Writers’ Project (SWP), designed to commission and develop new plays that presented 16 world premieres during his tenure. He served for eight years on the Board of Directors for Theatre Communications Group (TCG) and as its president for three years. He has served on peer review panels for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others.

He has directed for Arizona Theatre Company, Cleveland Play House, Lark Play Development Center, Kansas City Repertory Theatre, Virginia Stage Company, Alabama Shakespeare Festival, Northlight Theatre, San Jose Repertory Theatre, Eugene O’Neill Theater Center, Pioneer Theatre Company, A Contemporary Theatre, Seattle Repertory Theatre, Empty Space and Intiman Theatre in Seattle, the Kimo Theatre in Albuquerque, and Utah Shakespearean Festival. His popular production of 2 Pianos, 4 Hands has been seen at more than 20 theatres nationally, including DCTC’s successful 2003 production. CHARLES VARIN (Managing Director) and his team are responsible for administrative, financial and business operations related to producing DCTC’s season of productions and other artistic and educational initiatives. Prior to DCTC Charles was General Manager for Geva Theatre Center in Rochester, NY and also has worked at Glimmerglass Opera, Asolo Repertory Theatre and Florida Studio Theatre. Charles serves on the board of the Mile High Freedom Band and plays tuba with the organization.

Sense & Sensibility The Musical. Other Theatres: The Oregon Shakespeare Festival produced his adaptation (with Linda Alper and Penny Metropulos) of Dumas’ The Three Musketeers, and his translation of Brecht’s The Good Person of Szechuan. Target Margin Theatre produced his translations/ adaptations: Medea by Hans Henny Jahnn, Goethe’s Faust, and the opera The Sandman with David Herskovits and Thomas Cabanis. Awards/Training: Elliot Hayes Award for Dramaturgy; National Theatre Translation Fund Award; John Gassner Award in Critical Writing. Yale School of Drama.

KATHRYN G. MAES Ph.D (Voice and Dialect Coach). At the Denver Center: Hamlet, black odyssey, A Christmas Carol, Jackie & Me, The Most Deserving, Just Like Us, Death of a Salesman, When We Are Married, Fences, The Three Musketeers, Heartbreak House, Great Wall Story. Other Theatres: Royal Shakespeare Company, Royal National Theatre (Arthur Miller’s American Clock). Special/Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, JEFF GIFFORD (Director of Production) Head of Voice at the Denver Center oversees everything you see on stage Theatre Company and the National except the actors and is thrilled to be Theatre Conservatory 1989 to 1992. joining the Denver Center Theatre Ph.D. in Theatre Arts, University of Company, leading such a fine group of Pittsburgh; Advanced Diploma in Voice artisans. Prior to DCTC, Jeff was the Studies, Central School of Speech and Production Manager at the Dallas Theater Drama, London, England. BRUCE K. SEVY (Associate Artistic Center and South Coast Repertory in Director and Director of New Play Development) has directed such memorable Costa Mesa, CA. Guiding world premieres CHRISTY MONTOUR-LARSON (Director). At the Denver Center: The Denver Center productions as When We Are to their first opening night is especially Giver, Well. Other Theatres: Curious Married, Heartbreak House, Mariela in the gratifying and Jeff has worked on more than 35 of them. Among his favorites are Theatre Company (10 productions, Desert, The Voysey Inheritance, A Prayer Dinner with Friends, The Violet Hour, The including Good People, Time Stands for Owen Meany, Doubt, All My Sons, Still, Red, 9 Circles, A Number), The Master Class, Mrs. Warren’s Profession, A Beard of Avon, Mr. Marmalade, and the new musical FLY. Jeff holds an MFA from Arvada Center, New American Theatre, Christmas Carol, Cat On a Hot Tin Roof, California Institute of the Arts. Creede Repertory, Town Hall Arts The Little Foxes, Molly Sweeney, Amy’s Center, Phamaly, Rochester Civic View, Valley Song, Pierre, Dinner With ARTISTIC STAFF Theatre, Duluth Playhouse, Dark Horse Friends, and The Cripple of Inishmaan. Theatre, Seven Devils Playwright As Director of New Play Development, DOUGLAS LANGWORTHY Conference and Boulder Ensemble he oversees both the artistic and practical Theatre Company (upcoming: This). components of DCTC’s successful Colorado (Dramaturg). At the Denver Center: Awards: 2011 Henry Award for New Play Summit, including commissions Hamlet, Just Like Us, The Three Musketeers, When We Are Married, Outstanding Direction. Also, Denver from outstanding American playwrights.

Post Ovation, True West and Denver Examiner awards. Named Top Director by CBS Denver. Training: BFA, University of Minnesota, Duluth. MFA in Directing, Mason Gross School of the Arts - Rutgers University. Affiliate Faculty Member at Metropolitan State University of Denver. ELISSA MYERS CASTING, Paul Fouquet, CSA. For PBS “Poisoner’s Handbook,” “Becoming Helen Keller,” and the mini-series “Mystery of Matter.” Other PBS projects include “The Abolitionists,” “Dolly Madison,” “Alexander Hamilton,” “John and Abigail Adams,” “Benjamin Franklin” (Emmy Award), “Liberty” (Peabody Award), “God in America,” “People vs. Leo Frank,” “Louisa May Alcott,” as well as PBS “Great Performances” (Artios Award for Outstanding Achievement in Casting). Additionally three “Movies of the Week,” as well as five pilots. Feature films include Hank and Asha (Audience Award at Slamdance 2013) and The Union. Theatre includes seven Broadway shows, including Tony nominated Having Our Say, as well as 26 Off-Broadway shows. Regional theatre casting in the past two years includes Denver Center, Geva Theatre, Cleveland Play House, Alabama Shakespeare Festival, Magic Theatre, Arena Stage, Alley Theatre, George Street Playhouse, and Arizona Theatre Company. The office has so far received 16 nominations and has won three Artios Awards for Outstanding Achievement in Casting.

DESIGNERS ANGELA BALOGH CALIN (Costume Designer). At the Denver Center: Great Wall Story, To Kill a Mockingbird, Absurd Person Singular, The Miracle Worker. Other Theatres: The Whale, Trip to Bountiful, Crimes Of The Heart (South Coast Repertory); Sense And Sensibility (Milwaukee Rep); Comedy Of Errors (Chautauqua Theatre Co.); Pericles,

The Bungler, Cymbeline (A Noise Within Theatre); A Midsummer Night’s Dream (The Hollywood Bowl); The Winter’s Tale, Christmas On Mars (The Old Globe); The Importance Of Being Earnest (Georgia Shakespeare); The Constant Wife (Pasadena Playhouse). Special/Awards/Training: LADCC, Garland, Drama–Logue Awards for costume and/or set design, 16 feature films; resident artist–A Noise Within Theatre. MFA in set and costume design, Academy Of Arts, Bucharest Romania.

Secret Comedy of Women, Denver, Des Moines, Winnipeg, and Charlotte.

LISA M. ORZOLEK (Set Designer). At the Denver Center: (200+ productions/21 seasons) Jackie & Me, Death of a Salesman, Great Wall Story, The Liar, Superior Donuts, Othello, Well, The Voysey Inheritance, The Trip to Bountiful, Gee’s Bend, Third, The Pillowman, Living Out, After Ashley, A Lovely Sunday for Creve Coeur, Boston Marriage, Visiting Mr. Green, Blue/ Orange. Other Theatres: A Midsummer Night’s Dream, Macbeth, Complete JASON DUCAT (Sound Designer). At Works of Shakespeare (Abridged), the Denver Center: (20 productions/5 Richard II (Colorado Shakespeare seasons) Jackie & Me; Death of a Festival); Love...Perfect...Change, Five Salesman; Other Desert Cities; Grace, Course Love, Girls Only, The Taffetas, or The Art of Climbing; When We Are My Way (Denver Center Attractions); Married; Fences; Heartbreak House; Twelfth Night, God’s Country (National Two Things You Don’t Talk About At Theatre Conservatory). Training: Dinner; The Adventures of Tom Sawyer; BFA in Scenic Design from Boston Superior Donuts; The House of the University. Spirits. Other Theatres: The Brothers PLAYWRIGHT Size, 9 Circles, Astronomical Sunset (Curious Theatre); Macbeth, Richard WILLIAM NICHOLSON II (Colorado Shakespeare Festival); (Playwright)William Nicholson was Marat/Sade, The Winter’s Tale (Purdue); Lab Coats on Clouds (Prague born in 1948, and grew up in Sussex and Gloucestershire. He was educated Quadrennial); The Princess and the at Downside School and Christ’s Pea, The Little Mermaid (Chicago Shakespeare Theater); Sideways Stories College, Cambridge, and then joined BBC Television, where he worked as from Wayside School (Hope Summer a documentary film maker. His plays Repertory Theatre). Training: MFA in Sound Design from Purdue University. for television include Shadowlands and Life Story. His first play, an adaptation CHARLES R. MACLEOD (Lighting of Shadowlands for the stage, was Designer). At the Denver Center: (300+ Evening Standard Best Play of 1990, and went on to a Tony Award winning productions/30 seasons). Death of a Salesman; Jackie & Me; black odyssey; run on Broadway. He was nominated for an Oscar for the screenplay of Grace, or the Art of Climbing; Lydia; the film version, directed by Richard Love, Janis; When Tang Met Laika; Attenborough and starred Anthony 1001. Selected lighting designs at the Hopkins and Debra Winger. Since then DCPA include: The 39 Steps, Gross he has written more films – Sarafina, Indecency: The Three Trials of Oscar Nell, First Knight, Grey Owl, Gladiator Wilde, All My Sons, The Miracle (as co-writer), for which he received a Worker, The Three Musketeers, Ring second Oscar nomination, Elizabeth: of Fire: The Music of Johnny Cash, Noises Off; Lost Highway: The Legend the Golden Age, Les Miserables, and Mandela: Long Walk to Freedom. He of Hank Williams, The Merry Wives has written and directed his own film, of Windsor, Betrayal, A Christmas Carol, Desire Under the Elms (Denver Firelight; and four further stage plays, Map of the Heart, Katherine Howard, and Japan tour). For Girls Only: The

The Retreat from Moscow and Crash. He lives in Sussex with his wife, the social historian Virginia Nicholson, and their three children.

STAGE MANAGEMENT RACHEL DUCAT* (Stage Manager). At the Denver Center: black odyssey; The Most Deserving; A Weekend with Pablo Picasso; Grace, or The Art of Climbing; The Giver; Heartbreak House; Two Things You Don’t Talk About At Dinner; The Liar; Superior Donuts; The Catch; The House of the Spirits. Other Theatres: Twelfth Night, Treasure Island and Richard III (Colorado Shakespeare Festival); Curious Theatre Company; Jersey Boys, Wicked, Dirty Dancing (Broadway in Chicago); Chicago Shakespeare Theatre; Cleveland Play House, Hope Summer Repertory Theatre. Training: BA in Theatre Production from University of Delaware.

Heartbreak House, The Taming of the Shrew, To Kill a Mockingbird, Othello, Garbo In My Eyes, Absurd Person Singular. Other Theatres: The Mousetrap, 1940’s Radio Hour, The Lion In Winter (Arvada Center); Around The World In Eighty Days, GhostWriter, The Ladies Man, The Imaginary Invalid, The Bad Man, Everything In The Garden (Creede Rep). STEPHANIE COZART* (Nurse/ Registrar/Woman in Tea Room/ Understudy). At the Denver Center: 20 productions, including Hamlet, Sylvia, Arcadia, Plainsong, Amadeus, A Flea in Her Ear, The Skin of Our Teeth, King Lear, Macbeth, A Christmas Carol. Off-Broadway: Lost in Yonkers (TACT), Seven Rabbits on a Pole (Urban Stages). Regional: The Syringa Tree (Portland Stage, Repertory Theatre of St. Louis, Cincinnati Playhouse, Capitol Rep, Lizard Head Theatre). Other theatres include: Actors Theatre of Louisville, Alabama Shakespeare Festival, Virginia Stage, Paper Mill Playhouse, Laguna Playhouse, Adirondack Theatre Festival. TV/Film: “The Good Wife,” “Law and Order: SVU,” “Reflection.” Training: MFA, National Theatre Conservatory.

A PHOEBE SACKS* (Assistant Stage Manager). At the Denver Center: (11 seasons) World Premieres: The Legend of Georgia McBride; Sense & Sensibility The Musical; Ed, Downloaded; Great Wall Story; The Whale; Map of Heaven; Eventide; Sunsets and Margaritas; Inana; Almost Heaven; The Immigrant; Pierre; 1933. Other productions include: Death of a Salesman, Fences, American Night: SAM GREGORY* The Ballad of Juan José, Ruined, (Christopher Riley). At The 39 Steps, Mariela in the Desert, the Denver Center: Well, Glengarry Glen Ross, Gee’s (over 40 productions) Bend, Lobby Hero, Visiting Mr. Green, World Premieres: The Copenhagen, King Hedley II, The Most Deserving, Lonesome West, Dinner With Friends. Plainsong, Eventide, Training: BA in Technical Theatre from Two Things You Don’t Talk About At the University of Northern Colorado. Dinner. Other Favorites: Hamlet, The ACTING COMPANY 39 Steps, Doubt, The Voysey Inheritance, Ruined, A Midsummer JOHN ARP* (Priest/ Night’s Dream, Noises Off, A Flea in Waiter/Dr.Oakley/ Her Ear, Hotel on Marvin Gardens, Clerk/Understudy). At You Never Can Tell, Tartuffe. Other the Denver Center: Theatres: Seattle Rep, Cincinnati Other Desert Cities, Playhouse, Milwaukee Rep, Cleveland When We Are Married, Play House, San Jose Rep, American

Players Theater, Eureka Theater, George Street Playhouse, O’Neill Theater National Playwrights Conference, Alabama/California/ Colorado Shakespeare Festivals, Boulder Ensemble Theater Company, Paragon. TV/Film: “NY Undercover,” “One Life to Live,” “As the World Turns.” DOUGLAS HARMSEN* (Alan Gregg/Doctor/Waiter). At the Denver Center: Hamlet, Arcadia, Gross Indecency, The Pillowman, Amadeus, A Flea In Her Ear, Copenhagen, Macbeth, A Midsummer Night’s Dream, Racing Demon, Life With Father, Uncertainty, Season’s Greetings, Candida, Treasure Island, The Miser, The Elevation of Thieves, The Living, A Christmas Carol. JOHN HUTTON* (Warnie Lewis). At the Denver Center: Hamlet, A Christmas Carol, Death of a Salesman, When We Are Married, To Kill a Mockingbird, Superior Donuts, A Midsummer Night’s Dream, House Of The Spirits, Othello, Miracle Worker, Trip To Bountiful, Plainsong, Diary Of Anne Frank, Measure for Measure, Dirty Story, The Merchant Of Venice, Copenhagen, Betrayal, Uncle Vanya, Side Man and Grace, or The Art of Climbing. Other Theatres: A.C.T., The Goodman, The Old Globe, Center Stage, Curious Theatre, The Colorado Shakespeare Festival. TV/Film: Juncture, Lincoln. CHARLIE KORMAN (Douglas). At the Denver Center: Ed, Downloaded; A Christmas Carol (four seasons). Other Theatres: Lumiere in Beauty and the Beast, Matchmaker in

Mulan, TweedleDee in Alice in Wonderland (Kids Theatre West), Daddy Warbucks in Annie Jr. (Catchpenny Theatre). Training: Dance Conservatory of Denver, vocal training with Bob Downard.

MICHAEL SANTO* (Harrington). At the Denver Center: Jackie & Me, Death of a Salesman, Glengarry Glen Ross, Merry Wives of Windsor, Love’s GRAEME Labor’s Lost, Lips Together Teeth Apart, MALCOLM* (C.S. Taking Leave, The Living and Love, Lewis). At the Denver Janis. Other Theatres: Marin Center: Debut. Shakespeare, American Conservatory Broadway: Equus, Theatre, San Jose Repertory Theatre, Translations, Aida, The Seattle Repertory Theatre, Intiman King and I, M. Theatre, Mark Taper Forum, Oregon Butterfly (1st National). Off Broadway: Shakespeare Festival, Cincinnati A Dangerous Personality (Perry Street), Playhouse in the Park, Alaska Repertory Oroonoko (TFNA), Macbeth (NYSF), Theatre, Cleveland Play House, The Learning Curve (Beckett), Shakespeare Theatre, Hartford Stage Hapgood (LCT), Aristocrats & Prin Company, Portland Stage Company, (MTC). Regional: Absurd Person Milwaukee Repertory Theatre. Singular (Barrington Stage), Moises Kaufman’s 33 Variations (Arena), Safe UNDERSTUDIES in Hell and Pentecost (Yale Rep), Translations, Betrayal, and Scrooge in LAWRENCE A Christmas Carol (McCarter), Under HECHT* Milk Wood (Hartford), Travesties (Long (Understudy). At the Wharf), Y2K (ATL). TV/Film: “The Denver Center: A Blacklist,” “Boardwalk Empire,” “Law Midsummer Night’s & Order: CI,” “Law & Order,” Dream, Glengarry Glen “Whoopi,” “Mr. Halpern & Mr. Ross, The Pillowman, A Johnson,” The Extra Man, National Skull in Connemara. Other Theatres: Red Treasure, Everything’s Jake, (Curious Theatre Company); Vigil Rosencrantz and Guildenstern are (Cherry Creek Theatre Company); A Undead, The Eden Myth. Narrator of Midsummer Night’s Dream (Colorado over 400 Audio Books. Shakespeare Festival); King Lear (Shakespeare Santa Cruz); How I KATHLEEN Learned to Drive (San Diego Rep); Gross MCCALL* (Joy Indecency (Theatre on the Square); Davidman) is in her Shadowlands (Arizona Theatre ninth season at the Company); Hamlet (Oregon Shakespeare Denver Center Theatre Festival); Sylvia (San Jose Rep); A Lie of Company. Kathleen the Mind, Night and Day, Buried Child has been a professional (ACT, San Francisco); My Fair Lady actress for over 25 years working on (PCPA); A View from the Bridge Broadway, Off-Broadway, national (Berkeley Rep). Film: Scream. Special: tours, and at regional theatres Head of Acting, Denver Center Theatre throughout the country, as well as in Academy. television and film. She is an inductee of Marquis Who’s Who of American KYRA LINDSAY Women in the Arts and a 2013 Lunt/ (Understudy). At the Fontanne Fellowship Recipient. Denver Center: A Training: London Academy of Music Christmas Carol, and Dramatic Art. kathleenmccall.net Death of a Salesman. Other Theatres: Harry

the Great, The Drowsy Chaperone (Creede Repertory Theatre); White Christmas (Starkey Theatrix); Annie Warbucks (Candlelight Dinner Playhouse); Taming of the Shrew, Love, Sex, and the I.R.S., Little Shop of Horrors (Shuler Theatre); Tomato Plant Girl (Denver Children’s Theatre); The Unsinkable Molly Brown (Town Hall Arts Center); Nunsense, Baby (Southern Colorado Repertory Theatre). MAX RAABE (Understudy). At the Denver Center: A Christmas Carol. Other Theatres: Tiny Tim in A Christmas Carol (Colorado Shakespeare Festival). Special/ Training: Denver Center Theatre Academy, Colorado Shakespeare Festival School of Theatre, Dalcroze School of the Rockies. Max is in the third grade at Christ the King Roman Catholic School and enjoys lacrosse, skiing, and the performing arts. JEFFREY ROARK* (Understudy). At the Denver Center: Hamlet, A Christmas Carol, To Kill A Mockingbird, Heartbreak House, The Trip to Bountiful, King Lear, White Christmas, Gross Indecency, A Winter’s Tale, The Tempest, Merry Wives of Windsor, Dracula. Other Theatres: The Crucible, Evita, Big River, Jekyll & Hyde, Cabaret, Legally Blonde and Curtains (Arvada Center); An Ideal Husband (Papermill Playhouse); My Fair Lady, HMS Pinafore (Berkshire Theatre Festival); Sorrows of Stephen (Blue Heron Theater-Off-Broadway); Drood, Life is a Dream (Creede Repertory); The Doyle and Debbie Show, My Way (Denver Center Attractions). Training: BFA, Miami University, MFA, National Theatre Conservatory.

DENVER CENTER THEATRE COMPANY STAFF

PLEASE BE ADVISED

EXECUTIVE Kent Thompson, Producing Artistic Director Bruce K. Sevy, Associate Artistic Director Charles Varin, Managing Director Jeff Gifford, Director of Production

ARTISTIC New Play Development: Bruce K. Sevy, Director of New Play Development Douglas Langworthy, Literary Manager/Dramaturg Chad Henry, Literary Associate Emily Tarquin, Artistic Associate/ New Play Coordinator Sylvie Drake, Advisor PRODUCTION Jeff Gifford, Director of Production Rick Noble, Assistant Production Manager Robert L. Orzolek, Interim Technical Director Christopher C. Ewing, Production Stage Manager Julie Brou, Production and Artistic Office Manager Scenic Design Lisa M. Orzolek, Director of Scenic Design Scenic Design Assistants: Lindsey Mayer, Nicholas Renaud Lighting Design Charles R. MacLeod, Director of Lighting Lighting Design Assistant: Lily Bradford Multimedia: Charlie I. Miller, Resident Multimedia Specialist Topher Blair, Multimedia Assistant/Operator Sound Design John E. Pryor, Director of Sound Sound Designers: Craig Breitenbach, Jason Ducat, Tyler Nelson Stage Management Christopher C. Ewing, Production Stage Manager Stage Managers: Matthew Campbell, Rachel Ducat, A. Phoebe Sacks, Kurt Van Raden Production Assistants: D. Lynn Reiland Stage Management Interns: Becky Fryberger, Pearl Kerber, Kristen Littlepage Scene Shop Josh Prues, Assistant Technical Director Lead Technicians: Albert “Stub” Allison, Louis Fernandez III Scenic Technicians: Mike Hamer, Justin Hicks, Brian “Marco” Markiewicz, Keli Sequoia, Ross Wick

Prop Shop Robin Lu Payne, Properties Director Eileen Garcia, Assistant Properties Director Roo Huigen, Lead Props Artisan Props Artisans: Jamie Stewart Curl, Charles Dallas, David Hoth, Katie Webster Paint Shop Jana L. Mitchell, Charge Scenic Artist Melanie Rentschler, Lead Scenic Artist Brian Proud, Scenic Artist Paint Intern: Darcey James Costume Shop Janet S. MacLeod, Costume Director Costume Design Associates: Meghan Anderson Doyle Drapers: Stephanie Cooper, Carolyn Plemitscher, Louise Powers, Jackie Scott First Hands: Cathie Gagnon Tailor: Sheila P. Morris Stitchers: Belinda Haaland, Kelly Jones, Teresia Larsen, Jenny Milne, Zoe Pielsticker, Britta Powers Costume Crafts Kevin Copenhaver, Costume Crafts Director Costume Crafts Artisans: Judy Craigo-Robb. Karen King Wigs Diana Ben-Kiki, Wig Master House Crew Doug Taylor*, Supervising Stagehand Stagehands: Mariah Becerra*, Jennifer Guethlein*, Andrew Hamer, Stephen D. Mazzeno*, Miles Stasica*, Matt Wagner*, Jim Berman* (*IATSE Local 7 Stagehands) Wardrobe Brenda Lawson, Director Wig Assistants: Jocelen Barnett, Maria Y. Davis Dressers: Robin Appleton, Amber Donner, Amoreena Kissel, Tim Nelson, Alan Richards, Brooke Vlasich

ADMINISTRATION Charles Varin, Managing Director Ryan Meisheid, Associate Managing Director Alyssa Stock, Company Manager Allison Taylor, Assistant Company Manager Cassie Brown, Business Administrator

MARKETING Brianna Firestone, Director of Marketing Alexandra Griesmer, PR & Promotions Manager Jane McDonald, Marketing Coordinator

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

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

Member of the Colorado Theatre Guild

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

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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. 20

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And Chairman/CEO Daniel L. Ritchie

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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

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. Who says you can’t go home again? n

chicago

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

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

Art PartnerS

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

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guson, ie McBride, Lynnda Fer L to R: Michael Santo, Bill k rehearsing Benediction. Fal a Tar Tricia Moreland and

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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

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

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.

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Get into the ACT…

with the Denver Center Theatre Academy • Classes taught by industry professionals • 14 state of the art studios • Class sessions offered four times a year for ages 3 – 103

denvercenter.org/ACT 303.446.4892

APPLAUSE

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