Applause Magazine, June 13-July 1, 2018 by The Publishing House

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THE BOOK OF MORMON

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SIGHTLINE BY JANICE SINDEN

APPLAUSE M

VO LU M E X X I X • N U M B E R 7 • M AY - J U L 2 0 1 8

Thank you for joining us at today’s performance. Whether you are attending the final world premiere this season at our Theatre Company’s production of Human Error, performing your best air guitar to the film-turned-musical School of Rock, or enjoying our fourth engagement of The Book of Mormon, your patronage of the Denver Center for the Performing Arts makes an impact. You may have purchased your first ticket or completed your 39th season — that makes you part of our family. Your presence and your gifts help us create an all new generation of theatre lovers. As I write this letter, we are taking Shakespeare in the Parking Lot to high schools statewide. Our actors perform an adaptation of Romeo and Juliet or A Midsummer Night’s Dream for 15,000 students. Then they go into classrooms and apply these 400-year-old stories to situations that teens face every day — peer pressure, drug use, gangs and suicide. It is important work that equips students with tools to have meaningful, open dialogue. The DCPA just hosted the 34th annual DPS Shakespeare Festival (see page 18) and just around the corner is the Bobby G High School Musical Theatre Awards. Between the two programs, we will have provided more than 125 in-school workshops for 4,600 students. These separate initiatives each culminate in performances at the Arts Complex; nearly 7,000 students, teachers and avid fans fill our spaces with enthusiasm, energy and love of theatre. The exuberance these students feel, as well as the artistry and talent before you today, is thanks to you. If you bought your ticket tonight, thank you. If you added a contribution above and beyond your ticket price, thank you. If you subscribe, donate, attend our fundraisers or sponsor a show, thank you for your generosity. As we reach the end of our season and look forward to our 40th anniversary, we invite you to deepen your investment to the DCPA with a gift that supports the work on our stages, in our classrooms and throughout the community. To learn more or make a donation, please visit denvercenter.org/donate or call 303.572.4593. Thank you so much for your commitment to making world-class theatre available to everyone.

Janice Sinden, President & CEO Denver Center for the Performing Arts

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore SENIOR ART DIRECTOR: Adam Obendorf ART DIRECTOR: Kyle Malone SENIOR DESIGNERS: Casey Eickhoff, Brenda Elliott CONTRIBUTING WRITERS: Sylvie Drake, Hope Grandon, Rob Weinert-Kendt Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. 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

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BOARD OF TRUSTEES Martin Semple, Chairman Daniel L. Ritchie, Immediate Past Chairman William Dean Singleton, Secretary/Treasurer Robert Slosky, Vice Chairman Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond L. Roger Hutson Robert C. Newman Alan Salazar Hassan Salem Richard M. Sapkin June Travis Ken Tuchman Tina Walls Dr. Reginald L. Washington Judi Wolf Sylvia Young

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(Photo) Jesmille Darbouze, Alex Finke and Stephanie Martignetti in The Unsinkable Molly Brown; Photo by Jennifer M. Koskinen Illustrations by Kyle Malone

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HUMAN TO LAUGH IS DIVINE BY JOHN MOORE

In the new comedy Human Error, a young couple goes to what they think is a routine appointment at a fertility clinic only to discover that their fertilized embryo has been mistakenly implanted into somebody else. So, obviously…it’s a comedy. “You know: Another one of your standard-issue switched-fertilized-embryo farces,” jocular Midwestern playwright Eric Pfeffinger says with a laugh. It’s a funny premise…but you haven’t even gotten to the punchline yet. “So one couple are blue-state, latte-sipping, NPRlistening liberals,” Pfeffinger said. “And the other are NRAcardholding, pickup-truck-driving, red-state conservatives.” That’s the punchline: Two couples who, under normal circumstances, would never choose to be in the same room with each other, now will have to spend nine months building some kind of a family — and hopefully not killing each other along the way. As they say in comedy, your pain is another guy’s pleasure. “Human Error is a comedy about the state of the nation currently and the political polarization we are all grappling with,” Pfeffinger said of his play, which was featured at the Denver Center’s 2017 Colorado New Play Summit only a month after Donald Trump’s inauguration. And, well, there’s been a bit more rancor since then. “If anything, Americans’ inclination to isolate ourselves within comfortable ideological silos has only increased,” Pfeffinger said back on an April day when the national

headlines were dominated by the Cambridge Analytica scandal and Mark Zuckerberg testifying before Congress. The bad news is: Political, social and cultural polarization is just a given in America right now. “But the good news is: The worse things get, the better it is for my play,” Pfeffinger said with a smile. “So…yay?” Geography, technology and social status have made it easy for Americans to isolate themselves from anyone who doesn’t already think the same way they do, Pfeffinger said. That means we are only rarely confronted with contradictory or challenging points of view. But Pfeffinger has the power of the playwright in his fingers: He can put any two people he wants face-to-face on a stage. Or, in this case, he can put any two couples he wants face-to-face in the same bumbling fertility doctor’s office. “None of the people in my play know anybody else like the other couple,” Pfeffinger said. “They don’t have to confront the reality of someone who thinks differently until they are thrown together by this clerical mix-up at the clinic.” The play is not so much about the ethics of fertility technology, Pfeffinger says — as dramatic as that can be. “It’s more about the echo chambers we Americans often find ourselves in, and the defense mechanisms we adopt when we are forced to step outside our comfort zones and acknowledge that there are other people in the world who are not just like us.” But remember, Pfeffinger said his play is not a Lifetime movie event. He said it was funny. And not nasty, David Mamet kind of funny. “It’s BIG funny,” he said. “When I first

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

Illustration by Kyle Malone

TO ERR IS

heard about this kind of thing actually happening at fertility clinics, my first response was, ‘Oh that sounds like an episode of Three’s Company: “Wait, that’s not your embryo — that’s my embryo!” And…cut to commercial.’ “Human Error draws explicit connections to various kinds of classic comedy, particularly the TV sitcom, which is what I grew up mainlining.” So really, Pfeffinger had no choice but to take a comic approach to the subject. It’s all he knows. “Everything I write is a comedy. That’s how I function,” said Pfeffinger, who has past lives as both an improv comedian and a newspaper cartoonist. “Let’s take this thing that does not seem particularly funny to the people it is happening to and find the humor in it.” And after all that prolonged division and unrest in the country, he said, now might be a really good time for us to laugh. “A lot of people embrace comedy as an opportunity to escape from what is stressful about the world,” Pfeffinger said. “I happen to believe that comedy is one of the best ways to confront difficult ideas and to examine and articulate those ideas. Comedy lowers your defenses by making you laugh.”

COSTUME COLUMN In DCPA Theatre Company’s Human Error, Madelyn and Keenan are NPR-listening, latte-sipping, blue-state liberals, while Heather and Jim are NRA-cardholding, truckdriving, red-state conservatives. After a mix-up by their fertility doctor, Heather becomes pregnant with the wrong family’s embryo. Through a progression of growing “baby bumps,” the audience moves along with the couples on their ninemonth odyssey of clashing values and unlikely friendships. “We use a couple sizes of silicone bellies and bust pads that we switch out as the pregnancy progresses,” said Costume Designer Sara Ryung Clement. “Several of the scenes involve the characters doing yoga, so we want to fill out Heather’s pregnancy in a way that really adds weight as well as bulk. [Plus] there’s a reason that SNL’s ‘Activewear’ skit is so hilarious.” Clement also had great fun with the stereotypes. “I think there’s definitely humor in the ways that we both fulfill and thwart expectations and assumptions through what we wear,” said Clement. “I also find it helpful to think about the things that the characters love and fear, and how that’s expressed in their clothing choices.” See if you can identify what each character fears — apart from raising a baby — at Human Error playing through June 24 in the Garner Galleria Theatre.

“I happen to believe that comedy is one of the best ways to confront difficult ideas and to examine and articulate those ideas. Comedy lowers your defenses by making you laugh.” — ERIC PFEFFINGER, Playwright of Human Error

HUMAN ERROR MAY 18 - JUN 24 • GARNER GALLERIA THEATRE ASL & Audio-described performance: Jun 3, 1:30pm

Costume designs by Sara Ryung Clement

Pfeffinger has continued to hone the play in the 15 months since the Colorado New Play Summit, in close consultation with director Shelley Butler and dramaturg Sarah Lunnie. But not with the intent of either making the play more overtly funny or politically relevant. “Tonally, structurally and thematically, the play is pretty much the same now as it was at the Summit,” he said. “It’s more a matter of helping the play to become more of what it’s already wanting to be. That includes making the funny stuff funnier and the human stuff, uh, human-er.” Human Error will become the first Theatre Company season offering ever staged in the Garner Galleria Theatre, which will provide an intimate, cabaret-like atmosphere that will be new for many Theatre Company audiences. “This is a play where the comedy comes from the audience connecting with these very different, very recognizable people,” Pfeffinger said. “I think where the audience and the performers are palpably sharing the same space and breathing the same air, that’s where comedy thrives.”

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A ll people are equal M oments are shared D ifferences are valued D iscussion is encouraged We respect that everyone experiences our stories differently.

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SCHOOL OF ROCK

RETURNS ANDREW LLOYD WEBBER TO HIS ROOTS

It’s sometimes easy to forget how Andrew Lloyd Webber got his start. After all, with a string of West End/ Broadway hits including The Phantom of the Opera, Cats, Evita and Sunset Boulevard among many, many others, rock and roll seems…well…a bit out of sync. Yet this knighted composer — yes, he does bear the somewhat lofty title of “Sir” — is also considered the father of the rock musical. He actually got his start with Joseph and the Amazing Technicolor Dreamcoat followed closely by Jesus Christ Superstar. Fitting, then, that School of Rock, the Paramount Pictures film starring then little-known actor Jack Black, caught his attention. When down-on-his-luck rocker Dewey Finn can’t pay the rent, he poses as a substitute teacher at an elite private school. Not exactly the teacher type (and in need of a quick infusion of cash), he transforms these prepschool preteens into confidence-commanding rock stars who compete for $20,000 in the local Battle of the Bands competition. The plot of the musical actually hearkens back to Lloyd Webber’s professional beginnings. “I started with Joseph and the Amazing Technicolor Dreamcoat, which was a piece written for a school, performed first in a school. And it’s taking me back to something that I really care

The cast of The School of Rock Tour. © Matthew Murphy.

BY S U Z A N N E YO E

very deeply about, which is the importance of music in schools and education. “It’s really about how music changes the life of the kids in the show, and also changes the life of the leading man, because he finds himself, in a way, through the children and the music that they’re making.” But despite the fact that the movie is about music performed by schoolchildren, there is really very little music in the film itself, which intrigued Lloyd Webber. “Originally, the idea was first mooted to me by my wife, Madeleine, who got the rights to the whole thing. I thought maybe it was something that we would flesh out with existing rock songs, because there were a few in the original movie. But when I got into it…there was only the song we all called ‘Teacher’s Pet’ and then ‘The Legend of the Rent.’ So, I thought that it really did need a score.” In order to fully flesh out the story for the stage, Lloyd Webber realized he needed a dramatist with a major career. Lloyd Webber tapped Julian Fellowes whose career has spanned television (“Downton Abbey”), film (The Tourist) and theatre (Mary Poppins). Moving from what, to some, might seem more classical works into the world of rock, wasn’t an obvious transition. “It’s always good to do something that’s completely outside your kind of tame territory,” said Fellowes. “I was

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

thrilled when Andrew asked me if I’d do it.…Sometimes you have to talk yourself into things, or at least research them, to see if you want to do it. But I knew I wanted to do it straight away. “I think my job was to give a kind of emotional imperative, a kind of emotional path, for all of the different characters, which is either suggested or pretty clearly delineated,” continued Fellowes. “And to add that to the central comedy of the situation. But I hope we’ve been very faithful to the film too. I want people who adored the film to have a really good evening in the theater.” Lloyd Webber rounded out the team with Broadway lyricist Glenn Slater (The Little Mermaid) and director Laurence Connor (Les Misérables) both of whose credits also might not scream “rock and roll.”

“It’s really about how music changes the life of the kids in the show, and also changes the life of the leading man, because he finds himself, in a way, through the children and the music that they’re making.” — ANDREW LLOYD WEBBER, Composer

And while the creative might seem anything but typical, what’s even more surprising is that, ultimately, the show’s success relies almost entirely on the talents of nine to 13 year olds. The 12 children on stage who literally steal the show are required to be a quadruple threat — act, sing, dance and play an instrument. More than 22,000 children responded to the original Broadway casting call. “We watched some incredible kids playing instruments,” said Connor, “but what we didn’t know was whether they would be cohesive as a band. So, in the end, we brought about 24 children into a room, and we set up some amps and plugged in some guitars and set up a drum kit and they just played. And the first band we put together just rocked! And it was emotional. I mean, I think we all had little tears in our eyes. I think it really goes down as my favorite audition of all time.” Lloyd Webber continues, “You know, they really can play. It’s extraordinary for their age, just how great they are and how together they play. I mean, you could close your eyes and say ‘Oh gosh, this is a band that’s played together for years.’ You wouldn’t really think that it’s 10 and 11 year olds!” Despite the old adage from W.C. Fields who remarked, “Never work with children or animals,” Lloyd Webber can say (albeit a bit tongue in cheek) that he’s done both and come out unscathed. First, launching his decades-long career with Joseph and the Amazing Technicolor Dreamcoat, performed by 8 to 12-year-old boys. Then, debuting Cats, which remains the fourth longest-running show in Broadway history. And now, bringing audiences around the country the inspiring, fist pumping, heartwarming story in School of Rock — The Musical.

SCHOOL OF ROCK — THE MUSICAL MAY 29 - JUN 10 • BUELL THEATRE ASL, Audio-described & Open-captioned performance: Jun 10, 2pm

COMING UP FROM BROADWAY:

ON YOUR FEET! COSTUME COLUMN

If the “rhythm is gonna get you” and you “can’t control yourself any longer,” then hop into the conga line and shake your way right into The Buell Theatre for On Your Feet!, the musical about Emilio and Gloria Estefan. When “Conga” debuted in 1985, Gloria Estefan became an international celebrity. The music of the Miami Sound Machine dominated the charts for three decades. She and her musicproducer husband, Emilio, have collectively won 26 Grammy Awards and opened the door for future Latin performers in mainstream pop music. But their music is only half of the story. On Your Feet! is, first and foremost, a love story that recounts their 40-year romance full of love, triumph, adversity, family and internationally beloved, exhilarating music. The musical is packed with all of your favorites — “Rhythm is Gonna Get You,” “Conga,” “Get on Your Feet” and “Turn the Beat Around” among dozens more. Make sure to strap on your dancing shoes and feel the rhythm when this rags-to-riches story that epitomizes the American Dream heats up the Buell August 8-19.

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Photo by Adams VisCom

Photos by John Moore

There is nothing quite like seeing 5,000 children marching down Curtis Street dressed in Shakespearean attire and proudly raising their school banners high for all to see. They fill the entire block — shoulder to shoulder — overflowing onto the sidewalks and literally stopping traffic. Not your typical school day, but then, there’s nothing typical about the annual DPS Shakespeare Festival. First, it’s the oldest youth Shakespeare Festival in the country at 34 years running. Second, it’s the largest youth Shakespeare Festival in the country. And third, it is presented by three partners who even The King’s Men would envy — Denver Public Schools, Denver Public Schools Foundation and the Denver Center for the Performing Arts. The DCPA’s full partnership is still relatively new, though it has offered in-school support for decades. DCPA Education provides workshops to each participating school, provides feedback for all entries, presents its own Shakespeare in the Parking Lot performance during the festival, and is onsite throughout the event, serving as adjudicators, staff support and ambassadors. Additionally, working with the Arts Complex, the DCPA opens its doors to host a variety of scenes, songs and sword fights (with pool noodles, no less). Last year’s student essay winner, Vincent Haney from Denver North High School, summed up the importance of the day: “Theatre is the voice of our people,” Haney said. “And today, our message is as strong as ever. Today, we keep the arts alive. Today we triumph over hatred, over grief and over despair. Today we sing, today we dance, today we act.” To see a full recap of the DPS Shakespeare Festival, visit denvercenter.org/news-center.

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ANNOUNCING OUR BROADWAY

2018/ 19 SEASON DEAR EVAN HANSEN SEP 25 – OCT 13, 2018 BUELL THEATRE

XANADU NOV 3, 2018 - APR 28, 2019 GARNER GALLERIA THEATRE

COME FROM AWAY NOV 13 – 25, 2018 BUELL THEATRE

A BRONX TALE JAN 8 – 20, 2019 BUELL THEATRE

THE PLAY THAT GOES WRONG MAR 5 – 17, 2019 BUELL THEATRE

HELLO, DOLLY! MAR 27 – APR 7, 2019 BUELL THEATRE

ROALD DAHL’S CHARLIE AND THE CHOCOLATE FACTORY JUL 9 – 28, 2019 BUELL THEATRE

ANASTASIA AUG 7 - 18, 2019 BUELL THEATRE

2018/19 SUBSCRIBERS GET PRIORITY ACCESS TO THESE ADDITIONAL SHOWS

LOVE NEVER DIES OCT 23 – 28, 2018 BUELL THEATRE

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ROCK OF AGES JAN 25 – 27, 2019 BUELL THEATRE

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FIDDLER ON THE ROOF JUN 11 – 16, 2019 BUELL THEATRE

SUBSCRIBE TODAY FOR AS LOW AS 8 PAYMENTS OF $55.13 Due to the nature of live theatrical bookings, all productions, prices and dates are subject to change. 4- and 8-payment plans include a $10 per package payment plan fee.

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CAST

(in order of appearance)

Mormon..................................................................................................................................................................................................TYLER LEAHY Moroni....................................................................................................................................................................... ANDY HUNTINGTON JONES Elder Price................................................................................................................................................................................................KEVIN CLAY Elder Cunningham....................................................................................................................................................................CONNER PEIRSON Missionary Voice................................................................................................................................................................................RON BOHMER Price’s Dad............................................................................................................................................................................................RON BOHMER Cunningham’s Dad.......................................................................................................................................................................JARON BARNEY Mrs. Brown................................................................................................................................................................................ MONICA L. PATTON Guards..................................................................................................................................... WILL LEE-WILLIAMS, TYRONE L. ROBINSON Mafala...........................................................................................................................................................................................JACQUES C. SMITH Nabulungi.................................................................................................................................................................................... KAYLA PECCHIONI Doctor...................................................................................................................................................................... ANDRÉ-CHANCE GODDARD Elder McKinley....................................................................................................................................................... ANDY HUNTINGTON JONES Joseph Smith.......................................................................................................................................................................................RON BOHMER General..................................................................................................................................................................................................COREY JONES Mission President...............................................................................................................................................................................RON BOHMER Ensemble................................................................................................................................JARON BARNEY, CHRISTOPHER BRASFIELD, JAKE EMMERLING, ZACH ERHARDT, JOHN GARRY, ERIC GEIL, KEISHA GILLES, ANDRÉ-CHANCE GODDARD, TYLER LEAHY, WILL LEE-WILLIAMS, JOSH MARIN, STONEY B. MOOTOO, MONICA L. PATTON, JOHN PINTO JR., TYRONE L. ROBINSON, BRINIE WALLACE UNDERSTUDIES Understudies never substitute for the listed players unless a specific announcement is made at the time of the performance. For Elder Price—ZACH ERHARDT For Elder Cunningham—KENNY FRANCOEUR For Mafala Hatimbi—TYRONE L. ROBINSON, LEONARD E. SULLIVAN For Nabulungi—KRISTEN JETER, BRINIE WALLACE For McKinley/Moroni—JAKE EMMERLING, HENRY McGINNISS For Price’s Dad/Joseph Smith/Missionary President/et al—JARON BARNEY, JAKE EMMERLING For General—WILL LEE-WILLIAMS, TYRONE L. ROBINSON Standby for Elder Price—ROBERT COLVIN Standby for Elder Cunningham—JACOB BEN-SHMUEL Robert Colvin is appearing with the support of Actors’ Equity Association pursuant to an exchange program between American Equity and UK Equity.

SWINGS SCOTT DIFFORD, KENNY FRANCOEUR, KRISTEN JETER, HENRY McGINNISS, J NYCOLE RALPH, JAMARD RICHARDSON, LEONARD E. SULLIVAN DANCE CAPTAIN KENNY FRANCOEUR ASSISTANT DANCE CAPTAIN KRISTEN JETER THE BOOK OF MORMON ORCHESTRA Conductor/Keyboard 1—ANDREW GRAHAM; Associate Conductor/Keyboard 2—DANIEL KLINTWORTH; Guitar—TIM MOREY; Bass—ADAM OVERACKER; Drums—JEFF MacPHERSON; Keyboard Programmer—RANDY COHEN DENVER LOCAL ORCHESTRA Trumpet/Flugel Horn—JAKE BOLDMAN; Woodwinds—ART BOUTON Trombone/Bass Trombone—JAMES GRAY; Violin/Viola—NAOMI SMITH Keyboard Sub—BOKO SUZUKI; Local Musician Contractor—JAMES HARVEY THERE WILL BE ONE 15-MINUTE INTERMISSION The photographing or sound recording of any performance or the possession of any device or such photographing or sound recording inside this theater, without the written permission of the management, is prohibited by law. Violators may be punished by ejection and violations may render the offender liable for money damages.

THE BOOK OF MORMON

CAST

Conner Peirson

Kevin Clay

Andy Huntington Jones

Ron Bohmer

Corey Jones

Scott Difford

Robert Colvin

Eric Geil

Will Lee-Williams

Keisha Gilles

Josh Marin

J Nycole Ralph

Jake Emmerling

Jacques C. Smith

Jaron Barney

Jacob Ben-Shmuel

Zach Erhardt

Kristen Jeter

Stoney B. Mootoo

Tyrone L. Robinson

Christopher Brasfield

Kenny Francoeur

AndrÃ©-Chance Goddard

Henry McGinniss

Jamard Richardson

Kayla Pecchioni

Monica L. Patton

Leonard E. Sullivan

John Garry

Tyler Leahy

John Pinto Jr.

Brinie Wallace

THE BOOK OF MORMON

WHO’S WHO IN THE CAST KEVIN CLAY (Elder Price). National tour debut! Regional: Pittsburgh CLO, Music Theatre Wichita and Wagon Wheel Theatre. Proud graduate of Penn State with a B.F.A. in musical theatre. He would like to thank his family and, of course, Crew 15. CONNER PEIRSON (Elder Cunningham) is excited to jump into the Book of Mormon family. Favorite roles include Little Shop of Horrors (Seymour), Rent (Mark), Seussical (Horton) and Commedia in the Park. Thanks to my supportive family, friends and mentors. “Curtis G. this is all your fault.”

Ragtime (PCPA); Williamstown; Illinois Shakes, Chautauqua. “Love to my family!” JARON BARNEY (Ensemble). National tour debut! Regional: Elf: the Musical, Something’s Afoot (Pioneer Theatre Company). “Special thanks to my incredibly supportive family, Mike, the University of Utah MTP and The Book of Mormon team!” JACOB BEN-SHMUEL (Standby Elder Cunningham) is thrilled to be making his national tour debut with this brilliant show! He recently graduated from UCIrvine with his B.F.A. in music theater. Thanks to his incredible family, friends and mentors!

ANDY HUNTINGTON JONES (Elder McKinley). Broadway: Cats (Munkustrap), Bullets Over Broadway, Cinderella. Tours: Cinderella (Prince Topher), West Side Story (Riff). Regional: Muny, North Shore Music Theatre, Maltz Jupiter. Andy is a graduate of the University of Michigan who now lives in New York and is super stoked to be touring through your town.

CHRISTOPHER BRASFIELD (Ensemble). National tours: Hairspray, Smokey Joe’s Cafe ft. The Coasters. Off-Broadway: Choir Boy, Dear Edwina, The Columbine Project. TV: “The Chica Show” (NBC and Sprout). “Thanks to my amazing family and friends! xo.”

KAYLA PECCHIONI (Nabulungi). International tour: Dreamgirls (Ensemble, u/s Lorrell); New York: Radio City Christmas Spectacular. Kayla is so humbled to be joining this incredible family! Endless thanks to her friends, family, Eddie, Avalon Artists Group and the entire BoM team.

ROBERT COLVIN (Standby Elder Price) is thrilled to making his American debut in The Book of Mormon! Originally from just outside London, U.K. Previous credits include Legally Blonde (Warner, international), Dirty Dancing (Standby Johnny, West End and international tour), Grease (Danny, Sweden).

JACQUES C. SMITH (Mafala Hatimbi). Broadway/national tour: If/Then (Stephen), Rent (Benny). Regional: Old Globe, Goodman Theater (BTAA Award, Jefferson nomination), Pasadena Playhouse (FRED Award, NAACP nomination), Ebony Repertory Theatre (Ovation Award) and others. TV: “Marlon,” “Eagleheart,” “Oz” (series regular), “General Hospital,” “CSI: Miami,” “American Masters,” “Law & Order,” “ER” and others. Education: UCSD (M.F.A.), Princeton University (B.A.).

SCOTT DIFFORD (Swing) is ecstatic to become a Mormon! Broadway: Matilda, A Christmas Carol. Tours: Memphis (1st national), Ragtime. Selected Regional: Miss Saigon, Oklahoma!, White Christmas, Cats (PCLO); Joseph…Dreamcoat (Ogunquit Playhouse and Theater of the Stars); The Producers (Riverside Theater); NY Knicks Acroback Tumbler. Thanks to TKO, Heather, friends and family!

RON BOHMER (Price’s Dad and others). Select Broadway/tour: Ragtime (Father), The Scarlet Pimpernel (The Scarlet Pimpernel), The Woman in White (Sir Percival Glyde), The Phantom of the Opera (Phantom), Sunset Boulevard (Joe Gillis), Aspects of Love (Alex— Robby Award, Best Actor). Regional: The Fantasticks (El Gallo—Acclaim Award, Best Actor), Sunday in the Park with George (Critics Circle Award, Best Actor). COREY JONES (General). Regional: How the Grinch… (Old Globe); How to Fight Loneliness, King John, Titus Andronicus, The Tempest (Utah Shakespeare); Wild with Happy (Pittsburgh City Theater), The Elaborate Entrance of Chad Deity (Dallas Theater Center); The Color Purple (Celebration Theater); Gee’s Bend (Arkansas Repertory); Othello (Shakespeare Santa Cruz); Macbeth,

JAKE EMMERLING (Ensemble). National tour debut! Regional: South Pacific (Cable), West Side Story (Snowboy) and Much Ado About Nothing (Claudio). Thanks to his friends, family, educators and the BoM creative team. Proud Shenandoah Conservatory grad and Derry, Pa. native. ZACH ERHARDT (Ensemble). Recent CCM graduate. Regional: Jesus Christ Superstar (The Muny), Chuck Cranston in Footloose (Thunder Bay Theatre), Doody in Grease (John W. Engeman). “Thanks Nicolosi & Co., The Mindocks, Phil, Grace, the BoM team and my family.” KENNY FRANCOEUR (Dance Captain, Swing). Broadway: Book of Mormon. Tours: Anything Goes (Purser). Regional: Spamalot, The Little Mermaid, The Music Man, Spelling Bee. BM Vocal Performance from NYU Steinhardt. “Thanks to the Book of Mormon family, SW Artists, and my family!”

JOHN GARRY (Ensemble) is so excited to be here! Some favorites: Spamalot (nat’l tour), Bunnicula (Off-B’way), … Spelling Bee (Alabama Shakes) and clowning around with the physical comedy company Parallel Exit. “For Ben, my family, and friends—LOVE!!!” ERIC GEIL (Ensemble). Recently earned a B.F.A. from CCM and has performed at KC Starlight. He would like to thank his incredible family for their unending support, CYT, faculty at CCM, AEA and MT15 “you know what’s.” KEISHA GILLES (Ensemble) is thrilled to be joining this cast! National tour: Dreamgirls. Off-Broadway: Sistas The Musical. Regional: The Little Mermaid, Smokey Joe’s Café, The Drowsy Chaperone. Graduate of The Hartt School. Thanks to The Boys at Hoff! ANDRÉ-CHANCE GODDARD (Ensemble) is elated to be joining The Book of Mormon family in his national tour debut! Recent credits include Swing!, Fugitive Songs and Shining City. “Tremendous thanks to my supportive family.” New York University ’16. KRISTEN JETER (Assistant Dance Captain, u/s Nabulungi, Swing). Credits: Hair (Dionne), Smokey Joe’s Café (Brenda), All Shook Up (Lorraine), Nuncrackers. Raised in Smyrna, GA; attended the American Musical and Dramatic Academy in NYC. “Love and thanks to the Jeters for their never-ending support!” TYLER LEAHY (Ensemble). National tour debut! Regional: Farmer’s Alley Theatre, Music Theatre Wichita. Proud graduate of the University of Michigan with a B.F.A. for musical theater. “Thanks to my family, KMR and my MT16ers!” WILL LEE-WILLIAMS (Ensemble). OffBroadway: Seussical. National tour: Miss Saigon. NYC/regional: Philly in From My Hometown (Wilde Award-winner), Aida, Tommy, Rent. Film/web: Losing Lester, Passed Over. Recordings: Seussical: Original Off-Broadway Cast. “For my Roxana. Love to Dad, Mom and TIC.” ). National tour JOSH MARIN ( debut! Credits include: Steven Spielberg’s Lincoln, Mr. Black in The Wild Party, Chad Diety in The Elaborate Entrance do Chad Diety, Harpo in The Color Purple, Flick in Violet and most recently Benny in In The Heights! HENRY McGINNISS (Swing).National tour debut! Chicago: Paramount, Drury Lane, Marriott, Mercury, Griffin, Boho. Regional: KC Starlight, Peninsula Players. TV: “Chicago Fire.” Henry is a Joseph Jefferson Award-winner and two-time nominee. Proud CCPA graduate. “Love to my family and Hayley.”

MONICA L. PATTON (Ensemble) has worked with such notables as Eartha Kitt and Diahann Carroll. Broadway: Abby’s Song, Ragtime, Finian’s Rainbow. Tour: The Lion King, Annie, Joseph…Dreamcoat. Her novel and single, Beautiful Carnage is available on Amazon. JOHN PINTO JR. (Ensemble) would like to thank Anne, Scott and Casey for giving him this amazing job… again! Love and thanks to his incredibly supportive family and boyfriend. Dass it! J NYCOLE RALPH (Swing). Awardwinning producer best known for creating “Working Out the Kinks,” the first scripted sitcom series highlighting the natural hair movement. “Yaaaaaasssss!” Best Supporting Actress—Smokey Joe’s Café; Consuela and Anita—WSS Broadway tour. JAMARD RICHARDSON (Swing). Broadway/Off-Broadway: Book of Mormon, Waitress (reading), Invisible Thread. Proud OU alumni. “BOOMER!! Thanks and love to “G,” The Mine, BOM casting/creatives and my amazing family. MLMR this is for you!” #ShareLove. #GiveLove. #SpreadLove. TYRONE L. ROBINSON (Ensemble) worked with writing teams at “The Daily Show” and “The Colbert Report.” TV: “Law & Order: SVU.” Tour: Disney’s The Lion King, Ragtime (Best Actor nominee— Denver Henry Awards). Thanks family, friends, creatives! M.F.A.: NYU Tisch. LEONARD E. SULLIVAN (Swing). Nat’l tours: Hairspray, High School Musical. European tours: A Chorus Line, Smokey Joe’s Café, And The World Goes Round. Regional theaters: Paper Mill Playhouse, Goodspeed, Atlanta TUTS, San Jose Music Theatre. Thanks to Mom, Dad and Lenore. BRINIE WALLACE (Ensemble) is honored to be back in the states after premiering The Book of Mormon in Australia! Thanks to the Tombros’, Jen Waldman, the YoungArts Foundation, the Broadway Dreams Foundation and her PSU Misfits! Recent grad, Penn State. TREY PARKER (Co-Director, Book, Music, Lyrics) wrote and directed his first feature film, Cannibal! The Musical, while attending the University of Colorado-Boulder. A few years later, Trey co-created the hit animated series “South Park” with Matt Stone (his college friend and Cannibal! producer). Debuting on Comedy Central in 1997 and currently in its 21st season, “South Park” has won five Emmy Awards as well as the coveted Peabody Award. The same year “South Park” debuted, Parker wrote, directed and starred in the film Orgazmo. Two

years later, Parker and Stone released the critically acclaimed feature film South Park: Bigger, Longer & Uncut. The musical, which Parker directed and co-wrote, earned an Oscar nomination for Best Song and the first ever New York Film Critics Circle Award for an animated film. In 2004, the pair returned to theaters with Team America: World Police, an action movie co-written and directed by Parker that starred a cast of marionettes. It has been a long-time dream of Parker’s to write a musical for Broadway. Trey Parker is originally from Conifer, Colo. ROBERT LOPEZ (Book, Music, Lyrics) is the co-creator of the smash hit, Tony Award-winning Broadway musicals Avenue Q and The Book of Mormon. Along with his wife and collaborator, Kristen Anderson-Lopez, he wrote the songs for Disney’s Frozen, earning an Oscar and a Grammy for the movie’s signature song, “Let It Go,” and a Grammy for the Frozen soundtrack. Lopez and Anderson-Lopez also co-wrote the song “Remember Me” from Pixar’s Coco, the original musical Up Here for the La Jolla Playhouse’s 2015–16 season, the score for Disney’s Winnie the Pooh, and Finding Nemo: The Musical (playing at Walt Disney World since 2006). Currently, Lopez and Anderson-Lopez are adapting Frozen for Broadway and working on the Disney animated film Frozen 2. Lopez shared two Emmy Award wins for his music for Nickelodeon’s “The Wonder Pets” and Emmy nominations for the musical episode of “Scrubs” and the song “Moving Pictures,” which opened The 87th Academy Awards. His work has also been featured on TV shows, including “South Park,” “The Simpsons” and “Phineas and Ferb.” Lopez is one of only 12 artists to win all four major entertainment industry awards (Emmy, Grammy, Oscar and Tony awards). He has also won Drama Desk, Outer Critics Circle, Drama League, Lucille Lortel, Frederick Loewe and Edward Kleban awards. A graduate of Yale, Lopez now resides in Brooklyn with his wife and two daughters. Thanks Buzzetti, Mom, Dad, Billy, Katie, Annie and especially Kristen for all the love and support. MATT STONE (Book, Music, Lyrics) met Trey Parker at the University of Colorado, and together they made a short animated piece called The Spirit of Christmas. This launched their most recognized work, the critically acclaimed and award-winning television show, “South Park.” The animated series is in its 21st season on Comedy Central and has won Stone five Emmy Awards and the coveted Peabody Award. South Park: Bigger, Longer & Uncut, which Stone produced and co-wrote, earned an Oscar nomination and the New York Film Critics Circle Award for Best Animated Film. In addition to “South Park,” Stone has partnered with Parker on the low-budget Cannibal! The Musical, the superhero comedy Orgazmo and the marionette action thriller Team America: World Police. Matt Stone is originally from Littleton, Colo.

CASEY NICHOLAW (Co-Director and Choreographer). Currently represented on Broadway as director/choreographer of Disney’s Aladdin (2014 Tony, Drama Desk and Outer Critics Circle award nominations, Best Choreography), and co-director/choreographer of The Book of Mormon (2011 Tony, Drama Desk and Outer Critics Circle awards as co-director, receiving same nominations for choreography, and Olivier Award recipient). Currently represented on the West End as director/choreographer of Dreamgirls, Aladdin, and The Book of Mormon. Other Broadway director/ choreographer credits: Tuck Everlasting; Something Rotten! (2015 Tony nominee, Best Direction/Choreography); Elf: The Musical; The Drowsy Chaperone (2006 Tony, Drama Desk and Outer Critics Circle nominations); Monty Python’s Spamalot, directed by Mike Nichols (2005 Tony, Drama Desk and Outer Critics Circle nominations, Best Choreography). City Center Encores!: Most Happy Fella, Anyone Can Whistle and Follies (director/ choreographer). SCOTT PASK (Scenic Design). Over 50 Broadway designs including The Book of Mormon (Tony Award); The Pillowman (Tony); The Band’s Visit; Mean Girls; Waitress; Oh, Hello on Broadway; Pippin (Tony nomination); Something Rotten!; The Visit; An Act of God; It’s Only a Play; I’ll Eat You Last; A Steady Rain; The Coast of Utopia (Tony, Drama Desk, Outer Critics Circle and Hewes awards); Pal Joey (Tony nomination); Les Liaisons Dangereuses (first revival, Tony nomination, Drama Desk Award); A Behanding in Spokane; Nine; Promises, Promises; Speed the Plow; Take Me Out; Martin Short…; The Vertical Hour; Sweet Charity; Urinetown. London: The Book of Mormon, The Playboy of the Western World, The Country Girl, LoveSong, On An Average Day (all West End); Tales from Hollywood, Take Me Out and The Same Deep Water as Me (Donmar). Also Peter Grimes (Met Opera), Cirque du Soleil’s Amaluna. STEPHEN OREMUS (Music Director/ Vocal Arranger/Co-Orchestrator). Broadway: Kinky Boots (Tony Award for Best Orchestrations and Grammy Award); The Book of Mormon (Tony and Drama Desk awards for Best Orchestrations and Grammy Award). Worldwide music supervisor/arranger of Wicked; music supervisor/vocal arranger/orchestrator of Broadway productions/tours of The Book of Mormon, Avenue Q, All Shook Up and 9 to 5: The Musical. Conductor/contributing arranger for the Oscar-winning Disney film Frozen. Music director of “The Wiz Live” on NBC TV and The 87th Academy Awards telecast; arranging Lady Gaga’s tribute to The Sound of Music and orchestrator/conductor for Lady Gaga’s performance of “Till It Happens to You” on The 88th Academy Awards. Music director/conductor for Rufus Wainwright’s concerts: Rufus Does Judy and House of Rufus.

THE BOOK OF MORMON

STONEY B. MOOTOO (Ensemble). Native of the Bronx, New York, Stoney B. Mootoo is a recent graduate of UNCG’s Acting & Musical Theatre program, including intensive training from Tony Awardwinning musical director Dominick Amendum.

THE BOOK OF MORMON

ANDREW GRAHAM (Music Director/ Conductor). New York: The Book of Mormon, Wicked and Avenue Q. Las Vegas: Spamalot, Avenue Q. National tours: Wicked, Avenue Q, Pippin, Thoroughly Modern Millie, Seussical, The Music Man, Footloose. European tours: Hair and Grease. Regional: world premiere of Disney’s Freaky Friday at Signature Theatre, La Jolla Playhouse, Cleveland Play House and Alley Theatre; Aida, Annie and Footloose at The Muny; Beauty and the Beast and the world premiere of Disney’s When You Wish at Tuacahn Center for the Arts. He holds degrees from both Capital University in Columbus, Ohio, and Trinity College of Music in London. ANN ROTH (Costume Design) is a Tony Award-winning costume designer with over 100 theater design credits. Select designs include the original Broadway productions of The Odd Couple, Purlie, Seesaw, The Best Little Whorehouse in Texas, They’re Playing Our Song, Hurlyburly, The House of Blue Leaves, The Book of Mormon and The Nance (Tony Award). Film credits include The English Patient (Academy Award), The Post, Julie & Julia, The Reader, Doubt, Mamma Mia!, Cold Mountain, The Hours, The Talented Mr. Ripley, The Birdcage, Klute, Working Girl, Silkwood, 9 to 5, Hair and Midnight Cowboy. Roth was inducted into the Theater Hall of Fame in 2011. BRIAN MacDEVITT (Lighting Design). The Book of Mormon (Tony Award). Recent New York City: Death of a Salesman directed by Mike Nichols, The Mountaintop with Samuel L. Jackson, Chinglish on Broadway, and The Enchanted Island at the Metropolitan Opera. Last season he designed Le Compte Ory at the Metropolitan Opera. Dance: American Ballet Theater, Tere O’Connor Dance, Merce Cunningham, Lar Lubovitch, and Nancy Bannon, among others. Director: Proof at Theater Three. Awards: five Tonys, Obie, Bessie, Outer Critics’, Hewes, and Drama Desk, among others. He is a member of Naked Angels and faculty at University of Maryland. He is a father to Jake and Georgie. BRIAN RONAN (Sound Design). Over 35 Broadway designs including Springsteen on Broadway, War Paint, Tuck Everlasting, Sting’s The Last Ship, Beautiful, If/Then, The Book of Mormon, Anything Goes, American Idiot, Next to Normal, Spring Awakening, Grey Gardens and Cabaret. Off-Broadway designs include Bowie’s Lazarus, Giant, Rent, Everyday Rapture, Saved, 10 Million Miles and Bug. He is the recipient of Obie, Lucille Lortel, Drama Desk, Olivier and Tony awards. He has had the opportunity to work with the most talented composers, directors, designers, actors, musicians and stagehands in the world for which he is eternally grateful. LARRY HOCHMAN (Co-Orchestrator). Tony Award: The Book of Mormon. Tony nominations: Fiddler on the Roof; A Class Act; Spamalot; The Scottsboro

Boys; Something Rotten!; She Loves Me; Hello, Dolly! Five Emmy Awards as composer of “The Wonder Pets” (Nickelodeon). Other Broadway: The Addams Family, Jane Eyre. Twenty-eight regional and Off-Broadway shows. Films: multiple Disney films and The Informant! (Marvin Hamlisch). Composer: The Little Mermaid II, Spielberg’s “Amazing Stories,” In Memoriam (symphonic poem). Recordings, concerts: Sir Paul McCartney, Not the Messiah (Eric Idle), Mandy Patinkin, Audra McDonald, Brian Stokes Mitchell, Barry Manilow, Boston Pops, San Francisco Symphony, New York Philharmonic. GLEN KELLY (Dance Arrangements) arranged music and wrote original lyrics for Bullets Over Broadway. He supervised and arranged Mel Brooks’ The Producers and Young Frankenstein. Other arranging credits include Beauty and the Beast, Spamalot, The Drowsy Chaperone, A Christmas Story, The Scottsboro Boys, Aladdin and Something Rotten! He won a Drama Desk Award for his original score to The Nance. JOSH MARQUETTE (Hair Design). NY/ London: Dreamgirls; Paramour; Tuck Everlasting; School of Rock; Something Rotten!; Aladdin; Kinky Boots; The Book of Mormon; Trip of Love; First Date; Elf; Dogfight; The Best Man; Look Back in Anger; The Drowsy Chaperone; Pig Farm; …Trailer Park Musical; Altar Boyz; Show Boat at Carnegie Hall; Mamma Mia! at Encores!; Most Happy Fella; No, No, Nanette; and Follies. West Coast: Robin and the 7 Hoods, Peep Show, Minsky’s, Vanities. Television: “The Slap,” “30 Rock,” “Saturday Night Live.” CARRIE GARDNER, C.S.A. (Casting) also serves as casting director for the Roundabout. Broadway: Cyrano de Bergerac, Importance of Being Earnest, The Pee-wee Herman Show, Bloody Bloody Andrew Jackson, American Idiot, Spring Awakening, Mrs. Warren’s Profession, and Les Liaisons Dangereuses. Off-Broadway: Sons of the Prophet, Look Back in Anger, Suicide Incorporated, Dream of the Burning Boy, Tigers Be Still, Ordinary Days, The Understudy, The Language of Trees, Distracted, Speech & Debate, and Marriage of Bette & Boo. MICHAEL KELLER (Music Coordinator). Current Broadway: Dear Evan Hansen, Hamilton, The Color Purple, School of Rock, Kinky Boots, Wicked, The Lion King. Upcoming Broadway: War Paint, Anastasia, The SpongeBob Musical, Half Time. Tours: Kinky Boots, The Book of Mormon, The Lion King, Wicked. STEVE BEBOUT (Associate Director) also served as associate director of The Addams Family (Broadway, tour, Brazil and Australia), Sister Act (Broadway), 101 Dalmatians (tour) and Girl Crazy (Encores!). Directing credits include I Got Fired and Two Rooms in New York City. Regional: The Full Monty, The Buddy Holly Story and Little Shop of Horrors.

NYU: Urinetown: The Musical and Bye Bye Birdie. Thanks to Casey, Trey, Jen and the entire BoM team. JENNIFER WERNER (Associate Director). Associate Director: The Most Happy Fella, Follies (Encores!); Robin and the 7 Hoods (Old Globe); Winnie the Pooh (int’l tour). Choreography: As Long As… (Roundabout), NFL national commercials, Drama League Awards, ABC’s upfronts, Cabaret (Paris, numerous regional productions), The Black Suits (Center Theatre Group), The Wiz (Maltz Jupiter Theater), My Fair Lady (Ogunquit), A Wonderful Life (Engeman), The Phantom… (NCT). Director: The Little Mermaid, Spamalot (NCT); Chess (Wharton Center). Choreography OffBroadway: Bloodsong of Love (Ars Nova), The Plant That Ate Dirty Socks (Lortel/ Theatreworks), ReWrite (Urban Stages) and Things to Ruin (Second Stage). JOHN MacINNIS (Associate Choreographer). Credits include director and choreographer of medal ceremonies at the Olympic Winter Games (2002 and 2010) and Radio City Christmas Spectacular in Mexico City, Mexico. He choreographed Disney’s Beauty and the Beast, currently running in Europe. He also choreographed at Shaw Festival, Godspeed, 5th Avenue, Pittsburgh CLO, TUTS, MTW, Sacramento Music Circus and North Shore Music Theatre. He has performed in eight Broadway shows. AURORA PRODUCTIONS (Production Management). Current projects: Amy and the Orphans, Anastasia, Angels in America, Bobbie Clearly, The Book of Mormon (Broadway and tour), Children of a Lesser God, Farinelli and the King, Carousel, Frozen, The Iceman Cometh, School of Rock, Springsteen on Broadway, Stories By Heart, The Humans (tour), Three Tall Women, Travesties. Upcoming: The Boys in the Band, Head Over Heels, Skintight. Aurora has been providing technical supervision and production management to the entertainment industry since 1989. PAIGE GRANT (Production Stage Manager) is happy to be part of The Book of Mormon. National tours: The King and I, Jersey Boys (first national tour), Rodgers + Hammerstein’s Cinderella, War Horse. New York: productions with Manhattan Theatre Club. Las Vegas: Jersey Boys. Regional: La Jolla Playhouse and California Shakespeare Theatre. B.F.A. Cincinnati College-Conservatory of Music. Love and thanks to Mom in Washington and friends across the country. JASON J. CARROLL (Stage Manager). B ro a d way : Le s M isé ra bl es 25 t h anniversary production, In My Life, Cabaret, Thou Shalt Not. National tours: Les Misérables 25th anniversary production, The Phantom of the Opera, The Full Monty, Million Dollar Quartet, The Producers, Jolson. Off-Broadway: Hair and Bloomer Girl (Encores!), Mr. Goldwyn, Blue Window. Regional: Goodspeed and Paper Mill. B.F.A. University of Michigan.

BRIAN USIFER (Associate Music Supervisor). Music Director of Kinky Boots on Broadway. Associate Music Supervisor of the Kinky Boots North American tour, as well as the Toronto and London productions. B’way/Off-B’way orchestras include …Spelling Bee, Avenue Q and Altar Boyz. DAVID TURNER (General Manager) is a partner in Thompson Turner Productions. Previous credits with Stuart Thompson include Boeing-Boeing, The Seagull, You’re Welcome America, God of Carnage, Fences, Jerusalem, King Charles III, The Present and worldwide companies of The Book of Mormon. Previous management credits include …Spelling Bee, Show Boat and Barrymore on Broadway and numerous Off-Broadway plays and musicals. From 1994 to 2007 he founded and ran the Adirondack Theatre Festival, where he produced more than 60 plays and musicals and led the construction of a new theater in a vacant Woolworths store in Glens Falls, N.Y. ADAM J. MILLER (Associate General Manager). With Stuart Thompson Productions: The Seagull, Boeing-Boeing, Exit the King, Lend Me a Tenor and Elling. Other Broadway/tour management: Burn the Floor, A Chorus Line, Ring of Fire, Chitty Chitty Bang Bang, Bombay Dreams, Ma Rainey’s Black Bottom and Urinetown The Musical. ALLIED TOURING (Tour Marketing & Press) is a full-service engagement management agency representing Broadway tours and other live touring events across North America. Current tours: An American in Paris, The Book of Mormon, Bright Star, Rodgers & Hammerstein’s Cinderella, Elf the Musical, The Humans, Kinky Boots, Motown the Musical, RENT, School of Rock, Something Rotten!, and Irving Berlin’s White Christmas. Upcoming tours: Bandstand; Bat Out of Hell; Roald Dahl’s Charlie and the Chocolate Factory; Hello, Dolly!; The Lightning Thief; Mean Girls; The Play that Goes Wrong; Rock of Ages; and SpongeBob SquarePants. ANNE GAREFINO (Producer) has been the executive producer for the Emmy and Peabody award-winning television series “South Park” since the show began. This year the show celebrated its 21st season. She has produced two critically acclaimed films with Trey Parker and Matt Stone: South Park: Bigger, Longer & Uncut and Team America: World Police. Before moving to Los Angeles, she lived in Washington, D.C. and worked for the public television station WETA-TV. During

her tenure at WETA, she co-produced the “In Performance at the White House” series. The Tony-winning production of The Book of Mormon marks Anne’s Broadway debut. She began her career in entertainment at the Folger Shakespeare Theatre on Capitol Hill and is thrilled and honored to be working in theater again. Anne attended Boston College and the American Film Institute, and is originally from Lambertville, N.J.

SCOTT RUDIN (Producer). Films

include Lady Bird, Fences, Ex Machina, Steve Jobs, Top Five, While We’re Young, Inherent Vice, The Grand Budapest Hotel, Captain Phillips, Inside Llewyn Davis, Frances Ha, Moonrise Kingdom, Extremely Loud & Incredibly Close, The Girl With the Dragon Tattoo, Margaret, Moneyball, True Grit, The Social Network, Greenberg, It’s Complicated, Fantastic Mr. Fox, Julie & Julia, Doubt, There Will Be Blood, Margot at the Wedding, The Darjeeling Limited, No Country for Old Men, Notes on a Scandal, The Queen, Closer, The Life Aquatic, Team America, The Village, School of Rock, The Hours, The Royal Tenenbaums, Wonder Boys, Sleepy Hollow, South Park, A Civil Action, The Truman Show, In & Out, First Wives Club, Mother, Clueless, Nobody’s Fool, The Addams Family, Addams Family Values, Searching for Bobby Fischer, The Firm and Sister Act. Theater includes Passion; Seven Guitars; A Funny Thing…; The Chairs; The Blue Room; Closer; Amy’s View; Copenhagen; The Goat, or Who Is Sylvia?; Medea; Caroline, or Change; The Normal Heart; Who’s Afraid of Virginia Woolf?; Doubt; The History Boys; Faith Healer; Gypsy; God of Carnage; Fences; The Motherf**ker With the Hat; Jerusalem; Death of a Salesman; One Man, Two Guvnors; Betrayal; A Raisin in the Sun; This Is Our Youth; The Curious Incident…; A Delicate Balance; The Iceman Cometh; Between Riverside and Crazy; Fish in the Dark; The Audience; Skylight; The Flick; A View from the Bridge; The Humans; The Crucible; Blackbird; Shuffle Along…; The Front Page; The Wolves; The Glass Menagerie; Hello, Dolly!; and A Doll’s House, Part 2. Television includes “The Newsroom,” “Silicon Valley,” “The Night Of” and “Five Came Back.” ROGER BERLIND (Producer). Recent productions include Copenhagen; Kiss Me, Kate; Proof; Medea; Anna in the Tropics; Caroline, or Change; Wonderful Town; Doubt; The History Boys; Who’s Afraid of Virginia Woolf?; Faith Healer; Deuce; The Year of Magical Thinking; Curtains; Rock ’n’ Roll; Is He Dead?; Gypsy; 13; Equus; Ragtime; A Little Night Music; A Behanding in Spokane; Driving Miss Daisy; La Bête; Arcadia; and Jerusalem. SCOTT M. DELMAN (Producer) is a theater producer and investor. Over the past eight years, Scott has participated in some 60 Broadway plays and musicals, which in turn have received 33 Tony nominations and 14 Tony Awards.

J E A N D O U M A N I A N ( P r o d u ce r ) . Tribes (Drama Desk Award); Cock; The Mountaintop (Olivier Award); Death of a Salesman (Tony Award); The Motherf**ker with the Hat; The House of Blue Leaves; August: Osage County (Tony Award, Pulitzer Prize); and Our Town (Lortel and Obie Awards); as well as film adaptations of August: Osage County, Blackbird, and Galveston. ROY FURMAN (Producer). Currently on Broadway: Hello, Dolly! (Tony Award); Dear Evan Hansen (Tony); and The Band’s Visit. Other Tony Award-winning productions include Spamalot, The Color Purple, Skylight, The Humans, A Raisin in the Sun, War Horse, A View from the Bridge, Curious Incident… and The History Boys. Co-founded investment firm Furman Selz, now vice chairman of Jefferies & Company and chairman of Jefferies Capital Partners, its private equity arm. Vice chairman of Lincoln Center and chairman emeritus of Film Society of Lincoln Center. STEPHANIE P. MCCLELLAND (Producer) is the founder of Green Curtain Productions and is a multi-award-winning producer (13 Tony, 12 Drama Desk, 10 Drama League, 10 Outer Critics Circle, one Olivier). Credits include more than 90 theatrical productions worldwide. Represented on Broadway this season by The Book of Mormon and Hello, Dolly! KEVIN MORRIS (Producer). In addition to representing Trey and Matt, Kevin writes fiction. He is the author of the 2016 novel, All Joe Knight (Grove Atlantic, 2016) and the collection of short stories, White Man’s Problems (Black Cat Press, 2015). All Joe Knight was long-listed for the Center for Fiction First Novel Prize. SONIA FRIEDMAN PRODUCTIONS LTD. (Producer) has initiated and p ro d u ce d m o re t h a n 1 6 0 n ew productions in the West End and on Broadway. JON B. PLATT (Producer). Angels in America, Copenhagen, God of Carnage, The Humans, The Book of Mormon, Death of a Salesman, Clybourne Park, A Raisin in the Sun, Wicked, A View from the Bridge, Venus in Fur, The Curious Incident of the Dog in the Night-Time, The Front Page, The Crucible, The Audience, Fish in the Dark, Skylight. STUART THOMPSON (Executive Producer). Select Broadway credits: Sweat (2017 Pulitzer Prize for Drama), Six Degrees of Separation, The Present, The Curious Incident of the Dog in the Night-Time, King Charles III, No Man’s Land/ Waiting for Godot, The Testament of Mary, Cat on a Hot Tin Roof, Death of a Salesman, Jerusalem, The Motherf*cker with the Hat, A View from the Bridge, God of Carnage, Exit the King.

THE BOOK OF MORMON

DERRIC NOLTE (Assistant Stage Manager). Broadway: Bullets Over Broadway, Annie, Evita. Off-Broadway: Rent, Avenue Q. New York: Gentlemen Prefer Blondes, Cotton Club Parade (Encores!); Carousel (N.Y. Philharmonic). Regional: Paper Mill Playhouse, Porthouse Theatre. Education: University of Cincinnati’s College-Conservatory of Music.

THE BOOK OF MORMON

STAFF FOR THE BOOK OF MORMON GENERAL MANAGEMENT THOMPSON TURNER PRODUCTIONS Oliver Benjoseph Micah Frank Rebecca Habel Garrett Holtz Carrie Jablansky Adam Jackson Jasmin L. Jakobsen James Lawson Sammie Liebman Shaun Moorman Brittany Weber COMPANY MANAGER Spencer Smith PRODUCTION MANAGEMENT AURORA PRODUCTIONS Steven Dalton, Cori Gardner, Ben Heller, Anthony Jusino, Isaac Katzanek, Liza Luxenberg, Chris Minnick, Serena Montsma, Ryan Murphy, Gene O’Donovan, Geoff Quart, Luke Ricca, Mackenzie Whiting TOUR BOOKING AND ENGAGEMENT MANAGEMENT THE BOOKING GROUP Meredith Blair, President Kara Gebhart, Vice President Operations TOUR PRESS & MARKETING ALLIED TOURING Marya Peters Andrew Damer Meghan Kastenholz Sarah Dahlberg Jen Gallagher Anne Dailey Meyer Scott Praefke Jacqueline Smith Anne Waisanen BROADWAY PRESS OFFICE BONEAU/BRYAN-BROWN Chris Boneau Kelly Guiod ASSOCIATE DIRECTOR Steve Bebout BROADWAY ASSOCIATE DIRECTOR Jennifer Werner ASSOCIATE CHOREOGRAPHER John MacInnis SCOTT RUDIN PRODUCTIONS Helena Budnik Garrett Basch Patrick Wengler Tom Ishizuka Daniel Goldberg Daniel Unitas Sam Martinez Henry Cropsey Rachel Marc Production Stage Manager.............Paige Grant Stage Manager................................. Jason J. Carroll Assistant Stage Manager....................... Derric Nolte Assistant Company Manager.................Alexa Bishop Dance Captain................................Kenny Francoeur Assistant Dance Captain....................... Kristen Jeter Associate Scenic Designer.............Frank McCullough Assistant Scenic Designers............... Lauren Alvarez, Christine Peters Associate Costume Designer.......Matthew Pachtman Assistant Costume Designer................Irma Brainard Costume Shoppers...................... Summer Lee Jack, Isabelle Simone Associate Lighting Designers...... Benjamin C. Travis, Jennifer Schriever Assistant Lighting Designer.......................Carl Faber Associate Sound Designer..................Cody Spencer Production Carpenter.......................... Mike Martinez Production Electrician................................Dan Coey Production Sound Engineer....... Christopher C. Sloan Production Props..................................Peter Sarafin Moving Light Programmer................ David John Arch Keyboard Programmer........................ Randy Cohen Drum Programmer............................Sean McDaniel Head Carpenter...............................LaVoid McKibbin Advance Carpenter...........................Tom Bertino Jr. Deck Carpenter.....................................Steve Ruelle Automation..............................................Steven Ball

Flyman.................................Brent “Squatch” Jahnke Head Props....................................... Ryan Marquart Assistant Props..................................Jill B. Gounder Head Electrician.......................................Bob Jarvis Deck Electrician................................... Mike Novosel Advance Electrician............................. Jody Durham Followspot............................................Mike Holmes Head Sound..................................... Jason DeJardin Assistant Sound................ Sean Luckey, Alicia Martin Wardrobe Supervisor........................Gerbie Connolly Assistant Wardrobe.................................... Joe Reid Stitcher............................................. Michael Harrell Hair Supervisor................................ Sonya Reynolds Assistant Hair Supervisor.......................Lynn Grassy Associate Musical Supervisor..................Brian Usifer Assistant to Anne Garefino................... Carly J. Price Production Assistants........................ Alan D. Knight, Katrina Olson, Lori Byars Engagement Manager........................... Garrett Holtz Casting Associate.................................Kate S. Boka Casting Consultant.................................Jeremy Rich Rehearsal Pianist............................. Kathryn Sherrell Rehearsal Drummer............................ Gary Seligson Banking...................................... City National Bank/ Erik Piecuch, Michele Gibbons Payroll.................................Castellana Services, Inc. Accountant.......................WithumSmith+Brown, PC/ Robert Fried, CPA, Karen Kowgios, CPA Controller............................................... J.S. Kubala Insurance................................... DeWitt Stern Group Legal Counsel........................Lazarus & Harris LLP/ Scott Lazarus, Esq., Robbert C. Harris, Esq. Marketing Consultant.......................Crispin Ollington Advertising................................................. SpotCo/ Digital Outreach................ BLT Communications, Inc. Logo and Artwork Design.. BLT Communications, Inc. Website Deisgn................ BLT Communications, Inc. Vocal Consultant.......................................Liz Caplan Production Photographer...................... Joan Marcus Travel Agent..................... Tzell Travel/The “A” Team Company Housing.............. Chris Renzulli/Tourwerks Transportation........................ Executive Car Service Rental Cars.........Hertz Entertainment/Shauna Neeld Physical Therapy..........Neuro Tour Physical Therapy CREDITS Scenery fabrication by PRG-Scenic Technologies, a division of Production Resource Groups, LLC, New Windsor, NY. Lighting equipment provided by PRG Lighting, Secaucus, NJ. Sound equipment provided by Masque Sound. Costumes by Eric Winterling, Inc; Gilberto Designs, Inc.; Katrina Patterns; Izquierdo Studios, Ltd; Studio Rouge, Inc. Millinery by Rodney Gordon, Inc. Custom fabric printing by First 2 Print LLC.; Jeff Fender Studios; Eyewear provided by Dr. Wayne Goldberg. Custom footwear by LaDuca Shoes, Inc., Props executed by Cigar Box Studios, Tom Carroll Scenery, Jerard Studios, Daedalus Design and Production, Joe Cairo, J&M Special Effects, Jeremy Lydic, Josh Yoccom, Anna Light. Wigs made by Hudson Wigs. Makeup provided by MAC Cosmetics. Keyboards from Yamaha Corporation of America. Drums by Pearl Drums. Cymbals provided by Zildjian Cymbals. SPECIAL THANKS John Barlow, Lisa Gajda, Angela Howard, Bruce Howell, Beth Johnson-Nicely, Sarah Kooperkamp, Kristen Anderson-Lopez, Katie Lopez, Annie Lopez, Kathy Lopez, Frank Lopez, Billy Lopez, Brian Shepherd, Eric Stough, Boogie Tillmon, The Vineyard Theatre, Darlene Wilson. Souvenir merchandise designed and created by The Araca Group. Rehearsed at New 42nd Street Studios.

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2017/18 BROADWAY SEASON

PLEASE BE ADVISED • LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas. • PHOTOS, RECORDING & CELL PHONE USE are prohibited. • CHILDREN 6+ are welcome in our theatres and must be ticketed. • DRINKS are allowed in provided containers. • ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you. • BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@dcpa.org or 303.893.4836. Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719 Linda Ackerschott Carrie Breidenbach Vonnie Clough Janel Clough Craig Cory Cyndie Cory Laura Cotugno Steve Davies Anne Davis Carolyn Dore Deborah Guess

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

DPAC House Crew Mark Anthony Randy Mitchell Perry Elliot Tanya M. Rist James R. Gralian Albert Sainz, Sr John Kendrick David A. Wilson THE ELLIE CAULKINS OPERA HOUSE 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 The actors and stage managers employed in this production are members of Actor’s Equity Association, the union of professional actors and stage managers in the United States. Backstage employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.). The musicians, conductors, music preparation personnel and librarians employed in this production are members of the American Federation of Musicians of the United States and Canada. The Director and Choreographer are members of the Stage Directors and Choreographers Society, a national theatrical labor union. The press agents and company managers employed in this production are represented by the Association of Theatrical Press Agents & Managers. The professional local musicians employed in this production are represented by the Denver Musicians Association, Local 20-623 of the American Federation of Musicians.

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We applaud the DCPA for 40 years of excellence in the performing arts Liz Sharrer, Chair, 303.295.8000, lsharrer@hollandhart.com 555 17th Street, Suite 3200, Denver, Colorado 80202 | www.hollandhart.com

Proud Supporter of the Arts

PROUD SPONSOR OF THE BOOK OF MORMON

“One of the key attributes of the growth in Denver is the rich investment in arts and culture made over many years.” HASSAN SALEM, — President of U.S. Bank in Colorado

The arts are a significant part of making Denver an amazing place to live and work. U.S. Bank believes in the power of play, which includes the arts. Play brings joy, helps problem-solving skills, creativity and relationships, and builds social and emotional learning. That’s why U.S. Bank is a long-time supporter of the magnificent programs and spectacular performances at the Denver Center for the Performing Arts (DCPA). The arts educate, promote understanding, broaden our perspectives and enable communities to share rich cultural experiences. Denver is fortunate to have a thriving arts community, which is home to some of the nation’s finest theatres, museums and artists. “At U.S. Bank, our commitment to corporate social responsibility comes to life through Community Possible, our corporate giving and engagement platform that closes the gap between people and possibility in the areas of Work, Home and Play,” said Hassan Salem, President of U.S. Bank in Colorado and DCPA Trustee. “The DCPA is an organization that is dedicated to bringing play to everyone in our community. DCPA is an outstanding organization, providing amazing performances, programs and outstanding arts education.” In 2017, U.S. Bank contributed more than $58.4 million to nonprofit organizations through Community Possible, with an emphasis on community development, diversity and inclusion, financial education and the environment. Additionally, its employees volunteered more than 188,000 hours, demonstrating that employee engagement is a major component of its community success. U.S. Bank also is committed to providing consumers and businesses with a comprehensive range of financial tools and services to help them work toward their goals. For clients with more complex financial needs, U.S. Bank offers wealth management strategies and services. From investment management services to trust and estate administration, U.S. Bank offers clients sophisticated plans, sound advice, and customized service. “One of the key attributes of the growth in Denver is the rich investment in arts and culture made over many years,” said Salem. “The DCPA is a perfect example of what a first-class theatre that draws some of Broadway’s biggest hits has added to our community. We are privileged to host a variety of client events at DCPA and we always leave feeling very proud of our arts and culture community in Denver. Let’s all continue to celebrate DCPA, which is a shining example of why Denver is a leader in providing arts and culture opportunities.”

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

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IT’S NOT RELIGION,

Songwriter Robert Lopez doesn’t mind that The Book of Mormon, the Broadway juggernaut he co-authored with Matt Stone and Trey Parker, is popularly thought of as the “South Park” musical because of Stone and Parker’s involvement. He knows full well, having co-authored the puppet sensation Avenue Q, what it’s like to introduce a form-breaking original show that’s not a jukebox musical or an adaptation of a movie. “When we did Avenue Q, it was really hard to convey to people what it was supposed to be, and why people should go see it,” said Lopez. “So I understand why the producers used the ‘South Park’ hook to promote this show. I can’t imagine anyone wanting to see a show called The Book of Mormon if it wasn’t by them.” But Lopez isn’t shy about setting the record straight. “It was a show that was my idea,” he said, adding crucially, “and when we met I discovered they happened to have the same idea.” Indeed, the initial Lopez/Stone/Parker summit is by now the stuff of musical theatre legend. When Stone and Parker went to see Avenue Q on Broadway in 2003, they were flattered, if a little puzzled, to see themselves thanked in Lopez’s Playbill bio, since they didn’t know him. That in turn led to an informal post-show meeting and eventually to a collaboration around their shared fascination with Mormonism.

B Y R O B W E I N E R T- K E N D T

The Playbill tribute was there, Lopez recalled, because Parker and Stone’s 1999 musical film—South Park: Bigger, Longer, and Uncut—had been an inspiration for Lopez and his Avenue Q co-writer, Jeff Marx. “Well, it was a pretty barren 10 years,” Lopez joked, before explaining his own admiration for the film. “It shows an understanding not only of how musicals are structured and how they work but of the meaning of the form.” It’s important, Lopez continued, that a musical not be simply a play with songs as garnish; form and content should harmonize. “When you’re writing one of these shows, you have to figure out what the music means to the story,” said Lopez. With Book of Mormon it’s a) the naïveté of the missionaries, and b) their beliefs. And music embodies those feelings.” The Mormon-missionaries-abroad premise that gives the musical its shape wasn’t among the initial ideas of any of the authors, said Lopez. “My idea was to read the Book of Mormon and find the epic story that, in telling it, would make fun of itself,” said Lopez. “Their idea was to do the story of Joseph Smith as a musical. Then they suggested we all do it together, which I thought was a great idea.” But in October of that year, that notion seemed to be moot when “South Park” aired the episode “All About Mormons,” which irreverently recounted the story of

- JUL APPLAUSE • MAY – JUL 2018 2018 •• 303.893.4100 303.893.4100 •• DENVERCENTER.ORG DENVERCENTER.ORG

“…any kind of art that tells a story is a form of religious experience—it’s a consciousness-changing endeavor.” — ROBERT LOPEZ, Songwriter for The Book of Mormon “In college I sang in choirs and I started to see the mechanics behind the Mass,” he said. “There is quite literally a backstage, and the Mass is quite literally stagecraft. Where I went they had incense, and there was an organ that had something called a zimbalstern—a wheel that tinkles when you push the key and makes it feel like there are angels in the church. There are stories, there’s a throughline, there’s a snack. It’s everything that theatre does; it’s basically a proto-musical.” He even recalled one priest saying to another, with a knowing sigh worthy of a Broadway hoofer, “Two shows today.” For a while, like many freshly minted non-believers, Lopez said, his attitude was, “Forget about that stuff. It wasn’t until later that I started to think: What is real about it? Science is a kind of religion itself; we don’t all check out every experiment for ourselves. We take a lot on faith.” Though he now stops short of fully re-upping on his childhood faith, Lopez clearly feels, as The Book of Mormon demonstrates, that religion is a part of human experience and that, on balance, it may be a net good. “God, whether he does or doesn’t actually exist, does exist as part of the human experience,” said Lopez. “That’s undeniable.” And if his glimpses behind the curtain of the Catholic Mass first made him question the objective truth of the narrative behind the ritual, Lopez harbors no doubts about the value of stage storytelling. “Any kind of literature, any kind of art that tells a story is a form of religious experience—it’s a consciousness-changing endeavor,” said Lopez. “It transmits spirit through it. In musical theatre, we’re lifting people up, giving them stories and arming them for experiences they encounter in life.” He almost makes it sound like a mission. Rob Weinert-Kendt is Editor-in-Chief at American Theatre.

THE BOOK OF MORMON JUN 13 – JUL 7 • THE ELLIE ASL, Audio-described and Open Captioned performance: Jun 24, 2pm

The Book of Mormon Company © Julieta Cervantes 2017

COMING UP FROM BROADWAY:

LES MISÉRABLES In anticipation of the return engagement of Les Misérables (Jul 25 - Aug 5), Applause wants to test your knowledge of the 33-year old musical. 1 The title of this musical is correctly pronounced: A Lay Miz-Ah-Rob B Less Miserabels C Lace Miserah-blays 2 Jean Valjean attempts to elude Inspector Javert by disappearing: A Across the lake below the Paris Opera B Into the sewers of Paris C Into the tavern run by the Thénardiers 3 What is the significance of the number 24601? A It is the street address of the ABC Café where Marius and his fellow students hang out B It is Fantine’s employee number at the factory C It is Jean Valjean’s prisoner identity number 4 True or False – Les Misérables is sung completely in French. A True B False 5 True or False – Les Misérables has been seen by over 70 million people worldwide A True B False 6 Finish the lyrics… “I dreamed a dream in time _______” A That were mine B Gone by C And days 7 What does Thénardier steal from Marius in the sewers of Paris? A Gold tooth B Wallet C Ring 8 Including the present engagement, how many times has Les Misérables toured through Denver? A 4 B 7 C 11 Answers: 1 – A, 2 – B, 3 – C, 4 – B, 5 – A, 6 – B, 7 – C, 8 - C

Smith, Mormonism’s founding prophet. Lopez wasn’t crestfallen, exactly, but he figured that Parker and Stone had taken the idea and run with it. So he and Marx were pleasantly surprised to get an email from the “South Park” provocateurs, revisiting the idea of their collaboration. “We were like, ‘Oh, we thought you had done that idea already,’” Lopez said. The writers found that not only was there much more to say about Mormons than could be conveyed in a 22-minute TV episode, but that the story of this relatively new religion was an ideal way to treat larger satirical themes. “We discovered that we all had the same feelings about religion and God—that God doesn’t exist and yet somehow he does,” said Lopez. “And that even though the stories are made up, the leap of faith that people make makes them better people.” While Lopez’s interest in Mormonism was secondhand, his own interest in religion is more personal. “I went through my own crisis of faith,” he said. “I went to church; I grew up Catholic-ish. I did believe when I was young.” His beliefs faded in college though not quite for the usual reasons. In fact, it was up-close exposure to religious practice that soured Lopez.

PROUD SPONSOR OF SATURDAY NIGHT ALIVE AND THE RANDY WEEKS MEMORIAL GOLF TOURNAMENT

C “Comcast Spotlight is honored to support Denver Center for the Performing Arts as a sponsor and as a business partner that finds DCPA audiences with TV and online advertising.”

“Comcast Spotlight is honored to support the Denver Center for the Performing Arts,” said Rick Stanley, Senior Vice President, “as both a sponsor and a business partner that finds DCPA audiences with TV and online advertising.” Technology is a powerful driver of innovation and economic growth. That’s why Comcast invests resources in ways that help communities realize the transformative potential of media and technology to solve problems, improve lives and to create opportunity. Comcast is committed to increasing access to technology, providing skills that help individuals fully participate in the digital economy, and empowering innovators, entrepreneurs, Comcast employees and businesses to use media and technology for good. At the center of media and entertainment, Comcast Spotlight combines the power of traditional television and premium digital video advertising to reach audiences through high-quality content at any time, on any device — and the company is ready to prove its impact on your business. Comcast Spotlight has the insight, analytics and tools businesses need to find audiences and opportunities. Let them help you achieve your marketing and advertising goals.

ComcastSpotlight.com | 888.877.9799

— RICK STANLEY, Senior Vice President of Comcast Spotlight

Comcast Cares Day is the perfect opportunity to do good in your community, and have fun spending time with your coworkers, families, and friends while helping those in need. To date, we’ve contributed more than 5 million service hours to improve communities at 8,800 projects in the U.S. and around the world. This year, we’re excited to achieve another incredible milestone in this journey of service — our 1 millionth volunteer.

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

Celebrating Moms with a team dedicated to making dreams come true.

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PROUD SPONSOR OF THE DCPA’S WOMEN WITH HATTITUDE

M By supporting the DCPA, Macy’s enables creative women to share their individual talent and perspective.

Macy’s is dedicated to “Making Life Shine Brighter” through service to its customers, colleagues and communities. Its colleagues come from all walks of life and represent the full spectrum of the American experience. Having served American families for 160 years, it also can be said that Macy’s is deeply engaged in the lives and traditions of many. It helps create memories. Creating and celebrating community is part of the Macy’s DNA. The company celebrates together during special occasions and shows up during times of need. Its employees create and share joy during the holidays. Macy’s is proud to be an integral part of the local communities it serves as an employer, as a hub for both connection and commerce, and as a responsible corporate citizen. Macy’s commits to giving back. Macy’s is proud to support the Denver Center for the Performing Arts (DCPA), a place where learning is encouraged, creativity shines and memories are made. By supporting the Women’s Voices Fund, Macy’s enables creative women to share their individual talent and perspective, as well as their experience with the community. Macy’s is America’s Department Store. The company has a history of re-invention and always looking forward. It believes in taking care of its colleagues, who help care for communities across the nation. Macy’s is proud to be a member of the Denver community and to support the Denver Center for the Performing Arts.

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

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Announcing the

2018 2019

Town Hall Arts Center Main Stage Season

Music by Green Day Lyrics by Billie Joe Armstrong Book by Billie Joe Armstrong and Michael Mayer

September 7 – October 7, 2018

November 9 – December 23, 2018

January 11 – February 3, 2019

February 15 – March 17, 2019

March 29 – April 28, 2019

May 17 – June 16, 2019

2450 West Main Street Littleton TownHallArtsCenter.org 303.794.2787

IN THE SPOTLIGHT Denver Center for the Performing Arts’ biggest stars step into the spotlight — actors, designers, students and you.

UPCOMING

SHOWS Human Error Now – Jun 24 Remote Denver May 22 – Jul 1 School of Rock May 29 – Jun 10 The Book of Mormon Jun 13 – Jul 7 Mixed Taste Jul 11 – Aug 22 Sex Tips for Straight Women from a Gay Man Jul 12 – Aug 5

Les Misérables Jul 25 – Aug 5 On Your Feet! Aug 8 – 19 Vietgone Aug 24 – Sep 30 Beautiful - The Carole King Musical Sep 4 – 9

Oklahoma! Sep 7 – Oct 14 The Improvised Shakespeare Company Sep 13 – 30 The Constant Wife Sep 21 – Oct 21 Dear Evan Hansen Sep 25 – Oct 13 Corduroy Oct 5 – Dec 9 Love Never Dies Oct 23 – 28

Bite-Size: An Evening of Micro Theatre Oct 23 - Nov 18 Breakin’ Convention Nov 3 - 4 Xanadu Nov 3, 2018 – Apr 28, 2019 Come From Away Nov 13 – 25

1 DCPA STAFF took part in a two-day session on equity, diversity and inclusion facilitated by artEquity. 2 EDUCATION launched its spring session of Shakespeare in the Parking Lot and visited Strive Prep on Shakespeare’s birthday. 3 & 4 SEAWELL GRAND BALLROOM hosted the sold-out CBCA Business for the Arts Awards Luncheon at which OFF-CENTER’s This Is Modern Art cast performed and its partner, The Stanley Marketplace, was recognized. (l-r CBCA Chair Mark Davidson, Bryant Palmer of Stanley, Mark Shaker of Stanley, CBCA Executive Director Christin Crampton-Day) 5 THEATRE COMPANY hosted a Subscriber Open House at which incoming Artistic Director Chris Coleman revealed the 40th anniversary season. 6 BROADWAY was congratulated by Governor John Hickenlooper for the success of Frozen at Visit Denver’s Tourism Hall of Fame induction ceremony held in the SEAWELL GRAND BALLROOM. (l-r Heidi Bosk, Emily Lozow, Alicia Bruce, Jeff Hovorka, Janice Sinden, Governor John Hickenlooper, John Ekeberg, Ashley Brown, Austin Walker, Lisa Mallory) 7 THEATRE COMPANY actress Lulu Fall of The Who’s Tommy wowed the audience at a recent fundraiser to benefit the Denver Actors Fund. 30

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

A Christmas Carol Nov 21 – Dec 24 The SantaLand Diaries Nov 23 – Dec 24 Irving Berlin’s White Christmas Dec 5 – 15 Cirque Eloize - Hotel Dec 19 – 23 A Bronx Tale Jan 8 – 20, 2019 Last Night and the Night Before Jan 18 – Feb 24, 2019

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

THINK DRINK EAT LOCAL

Show your tickets and receive a free appetizer with your purchase of two entrées.

Free Theatre Parking at Independence Plaza $29 95 3-Course Dinner or 10% Off Your Bill Located 2 Blocks from DCPA

LOCA

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FOOD BY EXECUTIVE CHEF JAKE QUINTANA

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Celebrating 20 Years of Business

Thank You Denver!

Offer good at both locations!

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934 16TH ST. DENVER 80202 TEL (303) 893-2233 @ R I A LT O C A F E

Voted Best Indian Restaurant 18 years straight!

Show your DCPA ticket for complimentary valet parking at the Le Méridien hotel + Glass of Wine, Draft Beer, or Modern Cocktail with Entrée purchase!

Breakfast • Lunch • Dinner • Brunch (Sat + Sun) CorinneRestaurant.com • +1 720 996 1555 1455 California Street | 3-Blks from DCPA

Free Entrée

Buy one entrée and get the 2nd of equal or lesser value with purchase of appetizer. (Max. value $15) Dine-in only, Lunch menu excluded

Not valid with other offers • One coupon per table

Expires 7-27-18

ALL YOU CAN EAT LUNCH BUFFET $10.99 Free Delivery RheinHausDenver.com

303.629.5777

1533 Champa Street • Denver, CO 80202

OVEN-TOASTED SANDWICHES SALADS & SOUPS GLUTEN-FREE & VEGGIE OPTIONS ICE CREAM

Join us before the show! • Free Cocktail, Social Beer or House Wine • $7 Valet Parking • 2 Blocks from DCPA 1400 STOUT ST. DENVER 80202 | TEL: 720 214 9100

RECEIVE $2 OFF WHEN YOU BRING IN THIS AD

Over 250 Dishes Made Fresh. Every Day. 16th Street Mall, Denver, CO 80202. Located on the first floor. 303-595-0333

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Join the Band Today!

Aurora 720-789-8866

For a free lesson contact: Broomfield Denver 303-325-3772 720-221-6991

www.SchoolOfRock.com

MILE HIGH STADIUM | 6:30 PM | GATES OPEN AT 5 PM

COLORADO’S AWARD-WINNING THEATRE COMPANY FEATURING ARTISTS WITH DISABILITIES

aan ASCEND ASSC event

TICKETS 1-888-306-DRUM (3786) DrumsAlongTheRockies.com Group sale specials available.

JULY 12–AUGUST 5 VISIT www.phamaly.org CALL DCPA Box Office 303.893.4100

SPACE THEATRE

AT THE DENVER CENTER FOR THE PERFORMING ARTS

INTO THE WOODS IS PRESENTED THROUGH SPECIAL ARRANGEMENT WITH MUSIC THEATRE INTERNATIONAL (MTI). ALL AUTHORIZED PERFORMANCE MATERIALS ARE ALSO SUPPLIED BY MTI. WWW.MTISHOWS.COM

DCPA CORPORATE MEMBER AND PROUD SPONSOR OF SATURDAY NIGHT ALIVE

“Pinnacle Entertainment supports organizations that share a genuine compassion, concern and respect for the communities they call home.” — SEAN DEMEULE, General Manager of Ameristar

In its pursuit of becoming the best entertainment company in the world, Pinnacle Entertainment — the parent company of Ameristar Casino Resort & Spa in Black Hawk — is dedicated to making a difference in numerous ways from altruistic contributions and monetary donations to humanitarian and environmental efforts. Through its community outreach program, Pinnacle Cares, each of the company’s properties and team members help those who need it most by volunteering their time to important causes and making financial contributions. “Pinnacle Entertainment supports organizations that share a genuine compassion, concern and respect for the communities they call home,” said Sean Demeule, General Manager of Ameristar. “One such organization is the Denver Center for the Performing Arts (DCPA). From bringing Broadway shows to Denver and presenting world-class plays to providing educational programs that fuel the passion and creativity of 84,000 youth every year, the DCPA is truly a remarkable organization that cares.” It’s this similar level of dedication to not only entertain audiences, but also positively impact their community that inspired Pinnacle Entertainment to become a proud charitable supporter — a stance that will help the DCPA continue to create memorable and magical experiences through the performing arts and support Pinnacle Entertainment’s fundamental mission: to help others live their best lives.

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

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DCPA TEAM

DCPA

Will Stowe........... Event Technology Specialist Dawn Williams................................Director, Event Janice Sinden..............................President & CEO Sales & Marketing Maggie Lamb........................Executive Assistant Juan Loya, Carmen Molina, Blanca to the CEO Primero, Judith Primero, Angeles Reyes Soto.................................................Custodians BROADWAY & CABARET MARKETING, SALES & PATRON John Ekeberg.........................Executive Director, SERVICES Broadway Alicia Bruce................................. General Manager Lisa Mallory.......................................Vice President, Marketing & Sales Ashley Brown...........................Business Manager Abel Becerra.........Technical Director, Cabaret Eric Boone...........................Front End Developer Heidi Bosk....................Associate Director, PR & Integrated Marketing DEVELOPMENT Jonalyn Bradshaw.....................Education Sales Shawn Bayer..........................Director, Corporate Coordinator Partnerships Nathan Brunetti.....Email Marketing Manager Megan Fevurly.......................Associate Director, Flora Jane DiRienzo..............Director, Strategic Individual Philanthropy Partnerships Melissa Olson..............Development Associate Casey Eickhoff..........Senior Graphic Designer Marc Ravenhill....................Director, Individual & Brenda Elliott.............Senior Graphic Designer Institutional Philanthropy Brianna Firestone.................Director, Customer Experience & Loyalty David Zupancic............Director, Directed Gifts Hope Grandon................PR & Events Manager EDUCATION Brittany Gutierrez.................... Communications Coordinator Allison Watrous.....................Executive Director, Donna Hendricks..........Executive Assistant to Education Marketing & Broadway Patrick Elkins-Zeglarski.....Associate Director, Jeff Hovorka......... Director, Sales & Marketing Education and Curriculum Management Jennifer Kemps...............Group Sales Manager Stuart Barr.........Education Technical Director Emily Kent................................Director, Marketing Claudia Carson...........................Teaching Artist & David Lenk.......................................Video Producer Education Program Coordinator - Emily Lozow......Marketing & Digital Manager Playwriting & Bobby G Adam Lundeen...........Marketing Technologist Leslie Channell........................Business Manager Kyle Malone.............................................Art Director Melissa Sumner.. Office Manager & Registrar Carolyn Michaels....................................Copywriter Linda Eller........................................................Librarian Cheyenne Michaels.. Marketing Coordinator Tim McCracken...................................Head, Acting John Moore....................... Senior Arts Journalist Andre Rodriguez......................Teaching Artist & Adam Obendorf..................Senior Art Director Education Program Julie Rada......................Audience Development Coordinator - Shakespeare Associate David Saphier....Teaching Artist & Education Joseph Schurwonn.................Financial Analyst Program Coordinator - Andrew Sanders........................Project Manager In School Programming Rob Silk......................Director, Creative Services Elizabeth Schmit...................Assistant Registrar Austin Walker....................... Marketing Assistant Rachel Taylor......Teaching Artist & Education Suzanne Yoe...........Director, Communications & Cultural Affairs Program Coordinator Literacy Engagement and Resiliency Programming THEATRE SERVICES Justin Walvoord........................Teaching Artist & Education Program Coordinator - Carol Krueger........Theatre Services Manager Teacher Professional Development Ethan Aumann, Nora Caley, Samantha Egle, Jahnice Jones, Chloe McCleod, Joelle Montoya, Maggy Stacy, Robyn Yamada.............Teaching Artists Hadley Kamminga-Peck, LeiLani Lynch, Aaron McMullen, Gregory Melton, Joyce Murphey, Margaret Ohlander, FACILITIES & EVENT SERVICES Dylan Phibbs, Valerie Schaefer, Lauren Clay Courter......................................Vice President, Veselak, Mica Ward..............Theatre Company Facilities & Event Services House Managers Dwight Barela, Zachary Brent, Clint Flinchpaugh, TICKETING SERVICES Michael Kimbrough................................ Engineers Quentin Crump .....................Security Specialist Jennifer Lopez.............................................. Director, Ticketing Services Jane Deegan............................Facilities & Events Office Manager Kirk Petersen.......................Assoc. Dir., Ticketing Services – Patron Relations Tom Duffin...........Manager, Event Technology Colin Dieck.......... Event Technology Specialist Micah White.........................Assoc. Dir., Ticketing Services – Subscription Services Stori Heleen........ Event Technology Specialist Jaymes Kimbrough..............Event Technology Katie Clow.........................Subscription Manager Specialist Jessica Bergin, Vincent Bridgers, Clint King.................................Security Supervisor Tristan Jungferman.......Box Office Managers Billy Dutton............Senior Box Office Manager Savanna Campbell, Matt Leaver.................................Events Managers Amanda Gomez...........VIP Ticketing Manager Brian McClain.....................Custodial Supervisor Román Anaya, D.J. Dennis, Tara Miller................Sr Manager Event Services Edmund Gurule, Noah McDermott, Brook Nichols......Director, Event Technology Hayley Solano.......................................Show Leads Maggi Quinn................................................... Director, Kirsten Anderson, Roger Haak, Facilities Management Rebecca Hibbert, Scott Lix,

Gregory Swan.....................Subscription Agents Ally Beacom, Malcolm Brown, Rena Bugg, Keenan Coke, Kelcee Covert, Jennifer Gray, Shari Hansen, Joel Innes, Noah Jungferman, Alia Kempton, Daniel Lindsey, Gustavo Márquez, Clayton Nickell, Zach Page, Gunnar Reinig, Liz Sieroslawski, Brad Steinmeyer, Andrew Sullivan, Tomas Waples, Cindy Yeast......................Ticket Agents SHARED SERVICES Vicky Miles..............................Chief Financial,ficer Jennifer Jeffrey........................Director, Financial Planning & Analysis Julie Schumaker..................Executive Assistant to the CFO & Board Liaison ACCOUNTING Jennifer Siemers...............Director, Accounting Michaele Davidson..............Senior Accountant Linda Erickson........................Senior Accountant Juliette Hidahl............................Accounting Clerk Kim Stewart................................Staff Accountant HUMAN RESOURCES Shaunda Van Wert.......................Vice President, Human Resources Brian Carter..........Director, Human Resources Jamie Hawkins..............................HR Coordinator Karen Jewell.........Director, Human Resources Monica Robles...................Mailroom Supervisor INFORMATION TECHNOLOGY Yovani Pina........................................Vice President, Information Technology Rick Bennett..............................................Director, IT Simone Gordon................Program Manager, IT Christopher Hoge...............................................VoIP/ System Administrator Paul Howell..................................................Help Desk Jacob Parker........................Software Developer David Tschan.............................................Director, IT John H. Voorheis..........Manager, Infrastructure THEATRE COMPANY ADMINISTRATION Charles Varin...........................Managing Director Ryan Meisheid.....Associate Managing Director Allison Taylor Brinkhoff.....Company Manager Katie Grayson...Assistant Company Manager ARTISTIC Chris Coleman.............................. Artistic Director Nataki Garrett........Associate Artistic Director Charlie Miller.........Associate Artistic Director/ Off-Center Curator Douglas Langworthy............Literary Director/ Director, New Play Development Melissa Cashion.........................Artistic Producer Grady Soapes.....................Associate Producer/ Director, Casting Chad Henry............................... Literary Associate PRODUCTION Jeff Gifford............................Director, Production Kate Coltun..........................Production Manager Matthew Campbell.........Assistant Production Manager Julie Brou..............................Production & Artistic Office Manager Scenic Design Lisa M. Orzolek.............Director, Scenic Design Kevin Nelson, Nicholas Renaud..........................Scenic Design Assistants

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

Lighting Design Charles R. MacLeod...............Director, Lighting Lily Bradford............Lighting Design Assistant Reid Tennis+.....................Production Electrician Multimedia Gregory W. Towle..........Projection Supervisor Topher Blair........................Multimedia Specialist Sound Design Craig Breitenbach.......................Director, Sound Alex Billman+, Frank Haas+, Tyler Nelson+...........................Sound Technicians Stage Management Kurt Van Raden..Production Stage Manager Christoper C. Ewing....Senior Stage Manager Kailey Buttrick, Rachel Ducat, Heidi Echtenkamp, Corin Ferris, Rick Mireles, Kristen O’Connor, D. Lynn Reiland...........................Stage Managers Scene Shop Eric J. Moore..............................Technical Director Robert L. Orzolek...............Associate Technical Director Albert “Stub” Allison.........Assistant Technical Director Louis Fernandez III....................Lead Technician Tyler Clark, Brian “Marco” Markiewicz, Wynn Pastor, Kyle Scoggins, Kyle Simpson Mara Zimmerman................Scenic Technicians Prop Shop Robin Lu Payne....................Properties Director Eileen S. Garcia...................Assistant Properties Director Jamie Stewart Curl, David Hoth, Georgina Kayes, Katie Webster..................Props Artisans Paint Shop Jana L. Mitchell...................Charge Scenic Artist Melanie Rentschler...............Lead Scenic Artist Kristin Hamer MacFarlane............Scenic Artist Costume Shop Janet S. MacLeod.................Costume Director/ Costume Design Associate Meghan Anderson Doyle......................Costume Design Associate Carolyn Plemitscher, Jackie Scott..... Drapers Cathie Gagnon..........................................First Hand Sheila P. Morris..................................................... Tailor Costume Crafts Kevin Copenhaver.... Costume Crafts Director Chris Campbell.......Costume Crafts Assistant Wigs Diana Ben-Kiki........................................Wig Master House Crew Doug Taylor+.................Supervising Stagehand Jim Berman+, Jennifer Guethlein+, Stephen D. Mazzeno+, Miles Stasica+, Tyler Stauffer+, Matt Wagner+.....Stagehands  Kyle Moore+.........................Assistant Stagehand Wardrobe Brenda Lawson.....................Director, Wardrobe Taylor Malott^, Jessica A. Rayburn^....................Wig Assistants Robin Appleton^, Amber Donner^, Anthony Mattivi^, Tim Nelson^, Lisa Parsons Wagner^, Alan Richards^..............................................Dressers + Member, I.A.T.S.E. Local 7 ^Member, I.A.T.S.E. Local 719

As of 4/23/18

ANNUAL LUNCHEON Featuring a live interview with icon and activist Billie Jean King

OCTOBER 10, 2018 11:30 A.M. COLOR ADO CONVENTION CENTER, DENVER

Purchase tickets, tables, and sponsorships at

wfco.org

“NO ONE CHANGES THE WORLD WHO ISN’T OBSESSED.”

if you relocate,

BILLIE JEAN KING

your memorial plans move with you.

For more information call 303-285-2967

If you create a memorial plan with one of our locations, then move more than 75 miles, your plan is completely transferable to any Dignity Memorial location across the country. So nothing is lost, only peace of mind is gained. N AT I ON A L T RA N S FE RA B I LI T Y.

Four Four Diamonds Diamonds AAA AAA -- 5280 magazine Four Stars 5280AAA magazine Four FourStars Diamonds

Four Stars - 5280 magazine

magazine complex Four Starsfrom- 5280 Just Just 33 blocks blocks from the the theater theater complex 909 Street atat Champa Just from the complex 909 17th 17th Champa Just 33 blocks blocks fromStreet the theater theater complex 909 17th Street at Champa Call 303.296.3525 for reservations Call 909 303.296.3525 reservations 17th Street for at Champa Call Call 303.296.3525 303.296.3525 for for reservations reservations

FUNERAL HOME AND CEMETERY LOCATIONS SERVING THE GREATER DENVER AREA:

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888-816-0866 DignityColorado.com

Participants in Remote. Photo by Craig Schwartz.

Off-Center

JUL

NOW– 1 MEET UP.

PUT ON HEADPHONES. HAVE YOUR PERSPECTIVE OF THE MILE HIGH CITY CHANGED FOREVER.

FUN FACTS ABOUT SCHOOL OF ROCK — THE MUSICAL, THE BOOK OF MORMON April 2018 puzzle AND HUMAN ERROR

ACROSS

Fun facts about The School of Rock, The Book of Mormon and Human Error 1 2

DOWN

5 6

8 9

12 13 14

15 16 17

ACROSS

2 Fleetwood frontwoman Stevie ______ has a song in School of Rock 4 The band Dewey Finn is kicked out of is called No __________ 6 He first said, “To err is human” 10 School of Rock was the first Andrew Lloyd Webber musical since Jesus Christ ________ to debut on Broadway rather than the West End 13 School of Rock book writer Julian Fellowes is the mastermind behind “______ Abbey” 14 The idea for Avenue Q came to The Book of Mormon’s Bobby Lopez a week after he saw the film South Park: Bigger, ____ and Uncut 15 The artistic job Human Error playwright Eric Pfeffinger once held at a newspaper 17 Parker and Stone’s student film was originally titled Alfred ____: The Musical

DOWN

2 38 Fleetwood frontwoman Stevie ______ 1 Trey Parker was born in this Colorado town APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG has a song in The School of Rock 3 Trey Parker and Matt Stone met at the 4 The band Dewey Finn is kicked out of is University of _______ called No __________ 5 Title of the very first song written for The 6 He first said, “To err is human” Book of Mormon

1 Trey Parker was born in this Colorado town 3 Trey Parker and Matt Stone met at the University of _______ 5 Title of the very first song written for The Book of Mormon 7 The grade the School of Rock students are in 8 Musical that inspired The Book of Mormon song “Making Things Up Again”: Sunday in the Park with _____ 9 School of Rock source film was made by Richard _______ 10 Dewey Finn pretends to be a _______ teacher in School of Rock 11 An unborn offspring in the process of development is called an ________ 12 The tubes you hope aren’t blocked if you want to get pregnant 16 Dewey and his students sing a song that says what school subject “is a wonderful thing”?

For answers please visit denvercenter.org/news-center

If you could see Nebraska through my eyes, you’d see a never-ending meadow. You’ll see a lot of green, brown, and gold. A whole bunch of woods and valleys that have to be explored. In them you’d find life hidden like buried treasure. And catch it when you can. My name is Henry, and this is the Nebraska Sandhills through my eyes. Get your free Travel Guide. VisitNebraska.com