Applause Magazine, May 6-18, 2014 by The Publishing House

T H E

VOLUME XXV

D E N V E R

C E N T E R

F O R

T H E

P E R F O R M I N G

NUMBER 7

ONCE Tour Company © Joan Marcus.

APRIL – MAY 2014

ALSO PLAYING… ANIMAL CRACKERS n ROCK OF AGES n AMERICAN IDIOT

A R T S

ONCE

PHOTO BY TERRY SHAPIRO

PRODUCING ARTISTIC DIRECTOR’S LETTER INDEX

Kent Thompson

As you’ve heard by now, we’re launching our 36th Denver Center Theatre Company season with a major revision of the beloved musical, The Unsinkable Molly Brown, featuring a new book by Dick Scanlan (based on Molly Brown’s real life), several songs replaced by others from the Meredith Willson catalog, and a top creative team, led by three-time Tony® Award-winning director/choreographer Kathleen Marshall. And that’s just the thrilling start of an exciting year. Below (and on pages 16-17) I am outlining the rest of our 2014/15 season. William Golding’s Lord of the Flies, a title many of us read in school, tells the harrowing story of a group of schoolchildren dropped on an island after a plane crash during World War II. Left to their own devices, they sink into power struggles, even savagery, as bullying wins over cooperation; a scary, but touching play. Next up, Christopher Durang’s Vanya and Sonia and Masha and Spike (winner of the 2013 Tony for Best New Play) delivers a very funny, sometimes wistful reflection about middle-age ennui, loosely based on Uncle Vanya with hilarious Chekhovian references, and the addition of a muscular “boy toy” and a prophetic, Producing Artistic Director sassy housekeeper. Denver Center Theatre Company

ANIMAL CRACKERS

A madcap romp with all your favorite brothers: Groucho, Chico, Harpo, Zeppo—and Margaret Dumont. by Doug Langworthy

ROCK OF AGES

Chart-topping rock songs and ballads from the 1980s offer “nothing but a good time.” This show’s a party! by Genevieve Miller Holt

At the holidays we’ll hold to tradition with our sumptuous staging of A Christmas Carol. We’ll celebrate our 10th annual Colorado New Play Summit in February with two world premieres that emerged from this year’s Summit to serve as the centerpiece for the next one: James Still’s Appoggiatura, a romantic and tender story set in the mystical beauty of Venice as time bends and magic lies just around the corner—and Benediction, adapted by Eric Schmiedl to complete a trilogy drawn from the popular novels of Colorado’s acclaimed writer Kent Haruf. As with Haruf’s Plainsong and Eventide, Benediction weaves together the authentic, vivid and deeply human stories of Holt, a fictional small town on the eastern plains of Colorado. The spring brings One Night in Miami..., a surprising contemporary play by Will Kemp that fictionalizes a real meeting in a hotel room in Florida. After Cassius Clay won his first world heavyweight championship (1964 against Sonny Liston), he spent the evening with three close friends: football legend Jim Brown, the remarkable composer/singer/ producer Sam Cooke and Malcolm X, culminating in an announcement from Clay that shocked the world. I call One Night in Miami... a “dramedy” because it’s filled with laughter, insight and, yes, drama. Our final stage show is yet to be selected, but we’re looking at several fascinating projects. Do come along for the adventure. Do join us again as a season ticket holder. n

APPLAUSE

d e n v er center. or g

ONCE

Vacuum cleaner repairman meets immigrant flower seller, make music, fall in love and part. But not before changing each other’s lives— and enriching yours.

AMERICAN IDIOT

A musical based on Green Day’s Grammy® Award-winning album. Three friends must choose between dreams and suburbia. All you need to do is enjoy. by Rob Weiner-Kendt

APPLAUSE M

VOLUME XXV

■

NUMBER 7

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APRIL – MAY 2014

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

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

The Denver Center for the Performing Arts is a not-for-profit organization serving the public through the performing arts. BOARD OF TRUSTEES Daniel L. Ritchie, Chairman and CEO Donald R. Seawell, Chairman Emeritus Randy Weeks, President William Dean Singleton, Secretary/Treasurer W. Leo Kiely III, First Vice Chair Robert Slosky, Second Vice Chair

HONORARY MEMBERS Jeannie Fuller Glenn R. Jones M. Ann Padilla Cleo Parker Robinson HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES Lester L. Ward, President

Dr. Patricia Baca

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Margot Gilbert Frank

W. Leo Kiely III

Thomas W. Honig

Daniel L. Ritchie

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Robert C. Newman

Jim Steinberg

Richard M. Sapkin

Dr. Reginald L. Washington

Martin Semple Jim Steinberg

SENIOR MANAGEMENT STAFF

Peter Swinburn

Randy Weeks, President and Executive Director, Denver Center Attractions

Ken Tuchman Tina Walls Lester L. Ward Dr. Reginald L. Washington Judi Wolf Sylvia Young _______________________ Carolyn Foster, Executive Assistant to Daniel L. Ritchie Kim Schouten, Executive Assistant to Daniel L. Ritchie

Kent Thompson, Producing Artistic Director, Denver Center Theatre Company Dorothy Denny, Executive Vice President Vicky Miles, Chief Financial Officer Jennifer Nealson, Chief Marketing Officer Clay Courter, Director of Facilities Management

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L L U F E H T Y

MONT

COTTAGE JUNE 24 – AUGUST 9 Book by Terrence McNally Music and Lyrics by David Yazbek

JULY 22 – AUGUST 16 A new comedy, written by Sandy Rustin

JULY 1 – AUGUST 16

Book by Allan Knee - Music by Jason Howland Lyrics by Mindi Dickstein

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COMING ATTRACTIONS

Dixie’s Tupperware Party Now – April 20 Garner Galleria Theatre ON SALE NOW

once May 6 – 18 Buell Theatre ON SALE NOW

American Idiot May 23 – 25 Buell Theatre

Shadowlands Now – April 27 Space Theatre

ON SALE NOW

Animal Crackers Now – May 11 Stage Theatre ON SALE NOW

Celtic Woman April 19 Buell Theatre ON SALE NOW

Dixie’s Never Wear a Tube Top While Riding a Mechanical Bull... April 24 – May 11 Garner Galleria Theatre ON SALE NOW

Rock of Ages April 25 – 27 Buell Theatre

Pippin Sept 6 – 20 Buell Theatre Lord of the Flies Sept 6 – Nov 2 Space Theatre The Unsinkable Molly Brown Sept 12 – Oct 26 Stage Theatre Vanya and Sonia and Masha and Spike Oct 10 – Nov 16 Ricketson Theatre Kinky Boots Oct 29 – Nov 9 Buell Theatre

Forbidden Broadway: Alive and Kicking Nov 15 – March 1 Garner Galleria Theatre A Christmas Carol Nov 29 – Dec 29 Stage Theatre Jersey Boys Dec 10 – 14 Buell Theatre Dr. Seuss’ How the Grinch Stole Christmas! The Musical Dec 17 – 28 Buell Theatre Appoggiatura Jan 16 – Feb 22, 2015 Ricketson Theatre

One Night in Miami... Mar 20 – Apr 19, 2015 Space Theatre Annie April 29 – May 10, 2015 Buell Theatre Wicked June 3 – July 5, 2015 Buell Theatre The Book of Mormon Aug 11 – Sept 13, 2015 The Ellie

Benediction Jan 30 – Mar 1, 2015 Space Theatre Rodgers + Hammerstein’s Cinderella Feb 3 – 15, 2015 Buell Theatre

ON SALE NOW

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

SINGLE TICKETS ON SALE IN AUGUST

303.893.4100

TTY: 303.893.9582 • denvercenter.org AUDIO-DESCRIPTION, ASL INTERPRETATION AND OPEN CAPTIONING AVAILABLE AT SELECT PERFORMANCES; CHECK DATES/TIMES WHEN ORDERING.

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

Denver Center Theatre Company 2013/14 Season Sponsors

Denver Center Attractions 2013/14 Season Sponsors

he silver screen springs to life at the Denver Center Theatre Company in this stage version of the Marx Brothers’ Animal Crackers—a boisterous comedy about the theft of a valuable painting from a society dinner party that is quintessential Marx Brothers mayhem. Costume designer Kevin Copenhaver takes you back to the 1930s through vintage creations in this whodunit spoof. As with many productions that went on to meet broader fame on the big screen, this play with music is smaller in scale, with a nimble cast of nine actors playing multiple characters— sometimes with just one line of dialogue in which to make a change! The frequency of the lightning-fast costume changes helps dictate fabric and color, as well as how a costume is built. “I will be looking for stretch charmeuse, fanciful woolens, knits that resemble the rougher textures of stretch fabrics from the period, and some wacky brocades and sleek fabrics for the ‘dream’ sequence near the end of the play,” Copenhaver noted. A strong color palette also assists in defining character and affiliation, both in the clothes and hair color. Women’s fashion in the 30s went from the boyish, columnar silhouette of the 1920s to a more feminine form achieved by cutting garments on the bias. Because men’s fashions have not changed drastically since the 1930s, they will seem almost modern save for differences in lapel width, shoulder shape, trouser width and rise. From the show’s zinging one-liners to its slapstick brilliance, you will travel back to the swank of the 30s as Groucho, Harpo, Chico and Zeppo zip around the stage—and take your breath away. n

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For in that sleep of death what dreams may come… -William Shakespeare, Hamlet, Act III, scene i

Jeri Zucherman

APPLAUSE

The Denver Center is saddened to announce the loss of Jeri Zucherman, longtime member of the Best of Broadway and Directors societies, who recently passed away. Our condolences to Jeri’s family and friends at this difficult time. Jeri will be greatly missed. n d e n ver center. or g

Animal Crackers costume designs by Kevin Copenhaver

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ANIMAL CRACKERS

G N I K AC

N N Y U F

Ani

ssic Marx Brothers comedy a l c s i s acker r C l brought to the modern a stage

LAN

ILLUSTRATION BY KYLE MALONE

BY DOUGLAS

nimal Crackers, the hilarious Marx Brothers movie, started its life as a long-running Broadway musical that was hand-tailored to showcase the energy of the madcap brothers (Groucho, Chico, Harpo and Zeppo) and their signature comic personae. In the stage show, with a book by George S. Kaufman, highbrow meets lowbrow to exhilarating effect. Mrs. Rittenhouse, a high-society matron, is throwing a big party to celebrate the return of Captain Spaulding (Groucho) from the wilds of Africa. To mark the festivities, she wants to reveal a famous painting she has borrowed for the occasion.

APPLAUSE

d e n v er center. or g

Zeppo, the youngest, usually played the handsome straight man, although once during the run of Animal Crackers, Zeppo went on for Groucho and was accounted even funnier than Groucho himself. (A fifth brother, Gummo, left the group during World War I.) After a successful run in 1915 at the Palace in New York City, Chico was getting restless, saying they were “too good” for vaudeville. This might have been sour grapes, as the brothers had gotten themselves banned from the major vaudeville circuits because of a dispute with impresario E.F. Albee (the adoptive grandfather of playwright Edward Albee). So they decided to try to conquer Broadway, pulling together the revue I’ll Say She Is out of their old routines and musical numbers, loosely

u livers classic Gro cho one-liners e d s r e Crack l a m Ani ve forever, or die trying”), comedy routin i l o t d es, te n (“I in o f p y t h n y e s ical shtick. d pl erludes an t n i l a ment u r t ins By the time the Marx Brothers opened that show, they were at the height of their pre-Hollywood fame. They had been honing their craft on the vaudeville stage for more than 25 years. Minnie Schoenberg Marx, their ferocious stage mother—whose own parents were a magician and a yodeling harpist and whose brother, Al Shean, became a vaudeville star—shoved all her boys onto the stage, like it or not. They started out as a singing group (first the Three, then the Four Nightingales), but as the boys’ voices began to change, they tried peppering the act with jokes, funny characters and mock fights, and found that their antics earned them more applause than their music. riss-crossing the country on the vaudeville circuit, the brothers developed the roles they became known for, each picking up a nickname along the way: Groucho, the wise-cracker with bushy eyebrows, moustache, glasses and a cigar; Chico (pronounced Chick-o, because he chased after the chicks), the con man with an Italian accent who played the piano—and Harpo, the wide-eyed innocent with bushy hair who didn’t speak at all but liked to steal silverware and play the harp.

tied together by the story of a rich girl’s adventures with a variety of men. he show opened in 1924 and played for 313 performances. The Marx Brothers were the toast of the town. Then followed two more Broadway hits—The Cocoanuts (1925) and Animal Crackers (1928). As their fame kept growing, there was only one place left for them to go: Hollywood. When the first talkie (The Jazz Singer) was released in 1927, the Marx Brothers were perfectly positioned to bypass silent film and proceed directly to making pictures with sound. By the time the brothers started working on their first film, they were in their 40s with a wealth of theatrical experience under their belts. Paramount snapped up the team with a lucrative five-film contract. So while they were performing Animal Crackers in the evenings in Manhattan, during the day they filmed The Cocoanuts over in Queens at the Astoria Studios. In typical zany fashion, Groucho found his perfect comic foil in Margaret Dumont (Mrs. Rittenhouse), who played a succession of matronly high-society widows whom Groucho alternately insulted and pursued for their money. Her trademark deadpan was always able

to fend off Groucho’s attempts to drag her through the swamps of low comedy. Trained as an operatic singer and actress, she became a de facto “fifth brother,” starring in seven Marx Brothers films and two of their Broadway musicals, including Animal Crackers. How then do you stage a play so closely associated with its Marxian creators? According to Bruce Sevy, who directed this production, the actors portraying the famous siblings won’t be doing imitations per se. hat would get tiresome,” he says. “The challenge is to inhabit the spirit of these guys and their comedy so that the scenes live and breathe in the moment.” In a nod to the brothers’ musical virtuosity the actor playing Ravelli, the Chico role, will be doing some live tricks at the keyboard (one involving an orange). So is Animal Crackers serious theatre? Absolutely not. Is there a place in the theatre for laughter and silliness and comic anarchy? Absolutely. But let’s let Groucho have the final word. In a sardonic moment he once said: “If it weren’t for the brief respite we give the world with our foolishness, the world would see mass suicide in numbers that compare favorably with the death rate of lemmings.” Whoever would have thought “lemmings” could be the punchline of a joke? n

ANIMAL CRACKERS

n the meantime, a quartet of young lovers vie for each other’s affections, while Spaulding attempts to woo his wealthy widowed hostess. As it’s a musical, there are plenty of songs and choral numbers with clever lyrics such as “He’s ended our anxiety/and saved our high society/from shameless impropriety.” Into this genteel entertainment about the pastimes of the very rich, the four Marx Brothers zip around like bottle rockets, derailing the story and bursting the bubbles of societal pretension. The play itself serves as a backboard for these expert vaudevillians to fling themselves against. Animal Crackers delivers classic Groucho one-liners (“I intend to live forever, or die trying”), comedy routines, instrumental interludes and plenty of physical shtick.

“T

Douglas Langworthy is the Literary Manager of the Denver Center Theatre Company

April 4 – May 11 • Space Theatre Producing Partners: Margot & Allan Frank, Robert & Judi Newman Sponsored by HealthONE The performance on Wednesday, April 23, is dedicated to the memory of Jeri Zucherman ASL interpreted, Audio Described & Open Captioned • May 4, 1:30pm Perspective on the play: April 4, 6pm, Jones Theatre Attend this FREE moderated discussion with DCTC’s creative team. All are welcome.

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

A P P L A US E

PREMIUM SUBSCRIPTIONS

PREMIUM SUBSCRIPTIONS Join Now – Support the Denver Center Theatre Company and enjoy the new 2014/15 Season as a VIP Member!

DIRECTORS SOCIETY Tailored for the subscriber who wants to get closer to the company: • Eight-play subscription on selected Wednesday evenings • Before the Show: members-only cocktail parties • After the Show: casual yet elegant dinners with the cast and crew • Behind-the-scenes programs led by Producing Artistic Director Kent Thompson • Personalized ticketing and exchange services

THE 2014/15 EVENTS The Unsinkable Molly Brown Sept 19 Lord of the Flies Oct 8 Vanya and Sonia and Masha and Spike Oct 22 A Christmas Carol Dec 10 Appoggiatura Jan 28 Benediction Feb11 One Night in Miami... April 1 Director’s Choice TBA April 15

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The Aurora Fox

presents

Book and Lyrics by Eric Idle, Music by John Du Prez and Eric Idle

April 11 - 27, 2014 ...raises silliness to an art form glorious, irresistible silliness! - The Sunday Times

Tickets: $22- 28

303-739-1970

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www.AuroraFox.org

Saf fron Tower, 2006, 27 x 5 x 5’ Deser t Botanical Garden, Phoenix, 2008 Jersey Boys former cast members of

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7 SHOWS FOR AS LOW AS $238! DENVERCENTER.ORG • 303.893.4100

Photos by Terry Shapiro

GROUPS (10+): 303.446.4829 • TTY: 303.893.9582

THE

UNSINKABLE

MOLLY BROWN Lyrics and Music by Meredith Willson Additional Lyrics and Book by Dick Scanlan Based on the Original Book by Richard Morris Directed and Choreographed by Kathleen Marshall Sept 12-Oct 26 • Stage Theatre WILLIAM GOLDING’S

LORD OF THE FLIES Adapted for the stage by Nigel Williams Sept 26-Nov 2 • Space Theatre

VANYA SONIA MASHA SPIKE

AND

By Christopher Durang Oct 10-Nov 16 • Ricketson Theatre

This exhilarating refresh of Meredith Willson’s 1960 musical tells the rags-to-riches romance of Colorado’s own heroine, Molly Brown. With a new book by Dick Scanlan (Thoroughly Modern Millie), new songs from the Willson songbook and staging by Tony-winning director/choreographer Kathleen Marshall (Anything Goes), the tempestuous can’t-live-with-him/can’t-live-without-him love story that survived the Silver Boom, Gold Rush and sinking of the Titanic returns to the stage in an all-new production.

A staple in classrooms for generations, Chicago Theatre Beat raves Lord of the Flies is a “powerful, passionate adaptation that breathes new life into the classic novel,” which tells the story of a group of English boys who become stranded on a deserted island. Intoxicated by sudden freedom, their games quickly descend to a savage struggle for power. A compelling glimpse into dystopia that explores the grimmest reaches of human nature and fragility of free will.

Absurdist master Christopher Durang blends melancholy with mayhem in what the The New York Times declares a “deliriously funny” black comedy. Winner of the 2013 Tony Award for Best Play, this Chekhovian mash-up erupts into chaos when Vanya and Sonia receive a surprise visit from their Hollywood star sister, Masha, and her boy-toy Spike. Residents and visitors of the normally quiet household are thrown into hilarious upheaval as they confront issues of sibling rivalry, regret, lust and love.

piro

(l-r) Leigh Nichols Miller, Drew Cortese, Caitlin Wise, Allison Pistorius

WORLD PREMIERE

APPOGGIATURA By James Still Jan 16-Feb 22 • Ricketson Theatre

Written by three-time Pulitzer nominee James Still, Appoggiatura follows three closely related Americans, each nursing a hunger and a hard-to-heal wound, as they travel to the romantic city of Venice seeking solace. As time bends and magic lies just around the corner, this favorite of the Colorado New Play Summit weaves a quirky and lyrical narrative exploring love, loss and the human soul.

WORLD PREMIERE

BENEDICTION By Eric Schmiedl Based on the novel by Kent Haruf Jan 30-Mar 1• Space Theatre

ONE NIGHT IN MIAMI... By Kemp Powers Mar 20-Apr 19 • Space Theatre

DIRECTOR’S CHOICE Mar 27-Apr 26 • Stage Theatre

Boasted a “masterful look at the end of life” by The Denver Post, this adaptation of best-selling Kent Haruf’s novel takes place on the high plains of Colorado. The final chapter of a trilogy, Benediction is a powerful drama about three souls searching for meaningful connections despite separation, loneliness and the race against time.

This slice-of-life dramedy that the LA Times calls “engaging and thought-provoking,” imagines what occurred the night of Cassius Clay’s historic win over heavyweight champ Sonny Liston. Declining a glamorous Miami Beach party, Clay chooses to celebrate in a hotel room with his closest friends: activist Malcom X, singer Sam Cooke and football player Jim Brown. Over the course of the night each man argues his vision for what it means to be black in 1964, culminating in an early morning announcement from Clay that will shock the world. Filled with “crackling good dialogue and timely themes,” as proclaimed by Variety, One Night in Miami... is a “decisive knockout.” Part of the thrill of live theatre is the element of the unexpected. We are reviewing a few dynamic choices for our final production of the 2014/15 season. Stay tuned!

ADDED ATTRACTION

A CHRISTMAS CAROL By Charles Dickens Adapted by Richard Hellesen Music by David de Berry Nov 28-Dec 28 • Stage Theatre

2014/15 SEASON SPONSORS

Essential to the holiday season in Denver, A Christmas Carol promises to “warm your heart and renew your holiday spirit” according to the Examiner. Based on Charles Dickens’ classic novel, this joyous and opulent musical adaptation traces money-hoarding skinflint Ebenezer Scrooge’s triumphant overnight journey to redemption. A Christmas Carol illuminates the meaning of the holiday season in a way that has resonated for generations.

Elite In Connection With Steamboat All Arts Festival, Emerald City Opera presents

Giuseppe Verdiâ&#x20AC;&#x2122;s FALSTAFF (Sung in English)

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David Malis, Megan Marino, Chad Armstrong, Keri Rusthoi and Max Hosner Directed by Glynis Leyshon | Orchestra conducted by Adam Flatt |*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|**|*|*|*|

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Celebrating Henri de Toulouse-Lautrec and 94 avant-garde artists in the Parisian artistic and cultural scene, with over 180 objects that will delight you!

June 7 - August 17, 2014 Henri de Toulouse-Lautrec (1864-1901), Jane Avril, 1893, color lithograph, 48 ¾ x 36 inches, Musée d’Ixelles, Brussels.

2014 SUMMER SEASON June 20 – August 30

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Elite

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

The 27th Annual Schomp BMW Denver Polo Classic JUNE 27-29, 2014 The largest charitable polo event in the country Celebrating its 27th year, the Schomp BMW Denver Polo Classic is three days of exciting entertainment with all proceeds benefiting local children’s charities. The weekend events will take place at the exclusive Polo Reserve Development in Littleton. Set against the spectacular backdrop of the Rocky Mountains, under our signature white tent, patrons and guests of the Schomp BMW Denver Polo Classic will enjoy world-class polo matches, exquisite spirits, wines and beers, and gourmet food from some of the finest restaurants in Denver. Friday, June 27, Del Frisco’s - Sullivan’s Black Tie Ball Saturday, June 28, Family Day Sunday, June 29, Lockton Championship Day To purchase single day tickets or a weekend pass call 303-832-8390 or go to www.DenverPolo.com

An event of the Denver Active 20-30 Children’s Foundation benefiting at-risk and disadvantaged children

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Audition Audition and and let let your your inner inner voice voice sing! sing! Scheduling auditions for children entering Scheduling auditions for children entering 2nd-5th grades who love to sing and perform. 2nd-5th grades who love to sing and perform.

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nnua 6th A

Era

# esca p e s Blue Mountain Arts presents

COLORADO SHAKESPEARE FESTIVAL

June 6 - August 10, 2014 Tickets are now on sale

303-492-8008

MeMorial day weekend 2o14

May 23–25

Fri 4–8pm | Sat 11–8pm | Sun 11–5pm denver Performing arts Complex downtowndenverartsFestival.com

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“You cannot come to Taos without feeling that here is one of the chosen spots on earth.” —D.H. Lawrence

Lenny Foster

Taos is Taos.org/applause 800.348.0696

B Y G E N E V I E V E M I L L E R H O LT

When writer Chris D’Arienzo’s agent let him know that a musical based on ’80s heavy-metal hits was being produced in Los Angeles, he knew he was the man to write the book. You might say he couldn’t “fight this feeling any longer” or that he wouldn’t “stop believing,” but D’Arienzo knew he could do justice to some of the biggest hits of his youth by weaving them into a Broadway musical with real heart. To win the gig, however, he had to impress the producing team. “It was probably the ballsiest pitch of my life,” he says. When he arrived for the pitch meeting, he saw the writer who had just finished pitching shuffle out the room with deflated energy, and it lit a spark of inspiration inside D’Arienzo. “I walked to the conference room where all the producers were sitting and kicked in the door, threw my bag in, took my shirt off (revealing an authentic sleeveless Journey concert T-shirt underneath) and sauntered in like I was some kind of David Lee Roth character.” In a move that very easily could have gotten D’Arienzo kicked out of the building, he managed to impress the team of neophyte Broadway producers with his guts. They hired him immediately.

APPLAUSE

d e n ver center. or g

”

’Arienzo got to work. His gargantuan task was to identify pop and rock songs of the ’80s that he wanted to use, seek out the rights to use them, then interlace them to tell a story. “For me it was important to make sure that the songs transitioned seamlessly with the book so that they really acted as dialogue, instead of, ‘Hey, let’s take a time out to sing an ’80s pop song,’ ” he says. “I wanted to find a way to re-conceive them as show tunes, as if they were written for the show and not plugged in.” He sought out songs he liked, that represented the era and the genre, and informed the emotional journey of the characters. “It was actually the most fun I’ve ever had writing anything.” Some bands were understandably resistant to having their most famous rock anthems turned into a Broadway musical. “I get it,” says D’Arienzo. “If I was a hard rocker and someone told me they wanted to make a Broadway show out of my heavy-metal tunes, I would be very leery. But luckily a lot of them saw what we were trying to do.” The creative team found that it was mainly the bands that didn’t come see the show that staunchly refused use of their music. “It worked out, and I can honestly say that there isn’t a song in the show that I would replace.”

THE CAST OF ROCK OF AGES. PHOTO BY SCOTT SUCHMAN

ROCK OF AGES

ROCK OF AGES IS “NOTHIN’ BUT A

THE CAST OF ROCK OF AGES. PHOTO BY SCOTT SUCHMAN

gas for ten days; that was soul-sucking and horrible…. There is nothing worse than trying to do theatre for a room full of really drunk gamblers coming in on Rascal scooters with Margaritas-by-theYard hanging around their necks.” The production moved to off-Broadway in 2008, where it enjoyed a hugely successful run, and in 2009 transferred to Broadway. D’Arienzo spent five months working with the cast and crew to make the transition. “I can say without question [those were] the best five months of my professional life.” On the other hand, the team was not sure how audiences in New York, that mecca of high art, would receive such a cheeky, low-brow kind of show. “But people really dug it,” D’Arienzo recalls. “I was relieved, only because we were told from the beginning that New York would absolutely hate us. But we always believed in our show and the majority of people in the Broadway community really embraced [it] and made us feel right at home.”

adapted the screenplay for the feature film based on the musical (it starred Tom Cruise, Paul Giamatti, Mary J. Blige and Alec Baldwin and was directed by Adam Shankman). In addition to the Broadway and New York runs, the film and the ongoing national tour, the show has enjoyed hit productions in Australia, Asia and England. he world over, Rock of Ages has proved to be a light-hearted, joyful rock musical and a nostalgic trip down memory lane for audiences. Never underestimate the power of rock anthems, garish outfits—and a good bit of hairspray. n

ROCK OF AGES

When asked if there was one song that got away, one that he would have really wanted in the show, D’Arienzo says, “I always dreamt of starting the show with [Guns N’ Roses’] ‘Welcome to the Jungle.’ I was really bummed at first when they wouldn’t give it to us, but then I started playing with the opening and re-listened to David Lee Roth’s ‘Livin’ In Paradise’ and I realized that Roth’s song worked so much better… Although I think ‘Jungle’ is one of the greatest rock songs ever written, I do believe it was a happy accident and a real gift from Diamond Dave!” ith a portfolio of awesome ’80s tunes in hand, D’Arienzo created a plotline that spoke to the spirit of rock’n’roll of the era. Sherrie (as in ‘Oh Sherrie’) is an aspiring actress just off the bus seeking fame in L.A. She lands a job at a bar on the Sunset Strip and meets aspiring rocker Drew, who’s bussing tables waiting to make the big time. Along with other kooky denizens of the Strip, the two set out to save the bar (and the rock’n’roll lifestyle it represents) from greedy

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

“For me it was important to make sure that the songs transitioned seamlessly with the book so that they really acted as dialogue, instead of, ‘Hey, let’s take a time out to sing an ’80s pop song.’ ” — Chris D’Arienzo

developers plotting to tear it down. D’Arienzo knew two of the songs he had in hand would inform the plot— Journey’s “Don’t Stop Believin’ ” and Starship’s “We Built This City.” “The other songs really informed character more…. I always tried to avoid songs that were really literal,” D’Arienzo says of his process. So as our hero and heroine fall in love, we rock out to Foreigner’s “Waiting for a Girl Like You,” and as the characters set out to follow their hearts we hear, “Here I Go Again on My Own” by Whitesnake, and as the crew protests against the developers, we chant, “We’re Not Gonna Take It.” In 2006, once the script was crafted, the creative team of Rock of Ages took the show to a bar in L.A, where the reception was enormously positive. “[The bar] was packed every night,” says D’Arienzo. “Then we went to Ve-

ote to theatregoers over the age of 25: while the music will leave you dancing in the aisles and nostalgic for a bygone era, the costumes in the show are equally authentic and may hit a bit close to home. “There were some really bad looks back then,” acknowledges D’Arienzo, “and I think I tried them all.” Pegged pants, layered tops, polo shirt upon polo shirt (collar up, of course), with a button-up on top and a T-shirt underneath, the styles, in retrospect, were not kind. “But I have to say women’s clothes were more tragic. Everything was either baggy and ill-fitting or super tight and slutty. There was very little in between.” D’Arienzo has stayed actively involved in the life of the show. In Manhattan he watched over the setting up of the re-opening of Rock of Ages on Broadway (after a brief hiatus and move to a smaller Broadway house). He also

CHRIS CICCHINO ROCK OF AGES LEAD GUITARIST. PHOTO BY SCOTT SUCHMAN

April 25 – 27 • Buell Theatre ASL interpreted, Audio Described & Open Captioned • April 26, 2pm

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

A P P L A US E

ART PARTNERS

WELLS FARGO ADVISORS Proudly working together for a better Colorado

side from the contribution Wells Fargo Advisors, LLC, makes to The Denver Center for the Performing Arts, team members in the Rocky Mountain Market of Wells Fargo Advisors strive to make a difference in their local communities…whether it’s through contributions of time, talent or resources. Wells Fargo invested $78.9 million in 28,000 not-forprofit organizations in 2012. Team members also personally contributed more than $60 million and logged more than 232,000 volunteer hours. More recently, Wells Fargo contributed $100,000 to the American Red Cross, $30,000 to the Salvation Army and $20,000 to Foothills Relief Fund to support flood disaster relief and recovery efforts in Colorado. Wells Fargo Advisors, LLC is proud to make a difference in the lives of those in need. n

Wells Fargo Advisors Rocky Mountain Market team members jumped into action collecting donations to aid wildfire victims.

The Colorado Springs branch raised more than $10,000 for the American Cancer Society with a Relay for Life team led by Stephen Drexler, Managing Director – Investments. Wells Fargo Advisors’ Managing Director - Market Manager Marc Beshany and his team presented a check for $18,000 to Jeff Reilly, Chief Development Officer of the American Red Cross Mile High Chapter.

A proud sponsor of the 2013/14 Denver Center Theatre Company Season Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company. 0214-00836

APPLAUSE

d e n ver center. or g

Denver Center Attractions

and

The Broadway division of The Denver Center for the Performing Arts

BARBARA BROCCOLI JOHN N. HART JR. PATRICK MILLING SMITH FREDERICK ZOLLO BRIAN CARMODY MICHAEL G. WILSON ORIN WOLF PRODUCTIONS ROBERT COLE, EXECUTIVE PRODUCER in association with

NEW YORK THEATRE WORKSHOP present

book

music and lyrics

ENDA WALSH

GLEN HANSARD & MARKÉTA IRGLOVÁ based on the motion picture written and directed by

JOHN CARNEY starring

STUART WARD DANI DE WAAL RAYMOND BOKHOUR MATT DEANGELIS JOHN STEVEN GARDNER DONNA GARNER EVAN HARRINGTON RYAN LINK BENJAMIN MAGNUSON ALEX NEE ERICA SWINDELL KOLETTE TETLOW CLAIRE WELLIN

scenic and costume design

BOB CROWLEY CLIVE GOODWIN STEPHEN GABIS sound design

associate director

SHAUN PEKNIC

associate set designer

production stage manager

FRANK MCCOLLOUGH

NATASHA KATZ

dialect coach

lighting design

JIM CARNAHAN, CSA/STEPHEN KOPEL resident music supervisor YASMINE LEE JASON DEBORD

associate movement director

associate lighting designer

PETER HOERBURGER

DANIEL S. ROSOKOFF

casting

associate sound designer

ALEX HAWTHORN

tour press representative

ALLIED LIVE

company manager

CHRIS DANNER

production manager

AURORA PRODUCTIONS general manager

LISA M. POYER

music supervisor and orchestrations

MARTIN LOWE STEVEN HOGGETT JOHN TIFFANY movement by

directed by

Once was originally developed at the American Repertory Theater, Cambridge, Massachusetts, in April 2011, Diane Paulus, Artistic Director, Diane Borger, Producer Sponsored in Denver by

and

ONCE

and Season Sponsors

ONCE

THE COMPANY

STUART WARD

DANI DE WAAL

RAYMOND BOKHOUR

MATT DEANGELIS

JOHN STEVEN GARDNER

DONNA GARNER

EVAN HARRINGTON

RYAN LINK

BENJAMIN MAGNUSON

ERICA SWINDELL

ALEX NEE

ESTELLE BAJOU

ZANDER MEISNER

TINA STAFFORD

KOLETTE TETLOW

CHARLEENE CLOSSHEY

CLAIRE WELLIN

STEPHEN MCINTYRE

TIFFANY TOPOL

MATT WOLPE

Da.......................................................................................... RAYMOND BOKHOUR Mandolin Girl...................................................................................................... DANI de WAAL Piano Švec.............................................................................................. MATT DeANGELIS Guitar, Mandolin, Banjo, Drum Set, Percussion Eamon............................................................................. JOHN STEVEN GARDNER Piano, Guitar, Percussion, Melodica, Harmonica Baruška.......................................................................................... DONNA GARNER (5/13-5/18) TINA STAFFORD Accordion, Concertina Billy......................................................................................... EVAN HARRINGTON Guitar, Percussion, Ukulele Emcee........................................................................................................ RYAN LINK Guitar, Banjo Bank Manager.................................................................... BENJAMIN MAGNUSON Cello, Guitar Andrej.........................................................................................................ALEX NEE Electric Bass, Ukulele, Guitar, Percussion Ex-Girlfriend.................................................................................ERICA SWINDELL Violin, Percussion Ivanka.......................................................................................... KOLETTE TETLOW Guy..................................................................................................... STUART WARD Guitar Réza................................................................................................. CLAIRE WELLIN Violin DANCE CAPTAIN—ERICA SWINDELL MUSIC CAPTAIN—JOHN STEVEN GARDNER Stuart Ward is appearing with the support of Actors’ Equity Association pursuant to an exchange program between American Equity and UK Equity. THERE WILL BE ONE 15-MINUTE INTERMISSION.

UNDERSTUDIES

Understudies and standbys never substitute for listed performers unless a specific announcement is made at the time of the performance. For Eamon—ZANDER MEISNER, MATT WOLPE For Andrej—ZANDER MEISNER, MATT WOLPE For Réza—ESTELLE BAJOU, CHARLEENE CLOSSHEY, ERICA SWINDELL For Guy—RYAN LINK, ALEX NEE For Da—STEPHEN McINTYRE For Girl—ERICA SWINDELL, TIFFANY TOPOL For Baruška—TINA STAFFORD For Švec—ZANDER MEISNER, MATT WOLPE For Bank Manager—STEPHEN McINTYRE For Ex-Girlfriend—ESTELLE BAJOU, CHARLEENE CLOSSHEY For Billy—STEPHEN McINTYRE, MATT WOLPE For Emcee—ZANDER MEISNER, MATT WOLPE

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches.

ONCE

CAST

(in alphabetical order)

ONCE

MUSICAL NUMBERS ACT ONE “Leave”................................................................................................................................... Guy “Falling Slowly”.......................................................................................................... Guy & Girl “North Strand”................................................................................................................Ensemble “The Moon”................................................................................................ Andrej (as Ensemble) “Ej, Pada, Pada, Rosicka”...............................................................................................Ensemble “If You Want Me”...........................................................................................Guy, Girl, Ensemble “Broken Hearted Hoover Fixer Sucker Guy” �� Guy “Say It to Me Now”................................................................................................................ Guy “Abandoned in Bandon”.........................................................................................Bank Manager “Gold”.................................................................................................................Guy & Ensemble

ACT TWO “Sleeping”............................................................................................................................... Guy “When Your Mind’s Made Up”......................................................................Guy, Girl, Ensemble “The Hill”................................................................................................................................. Girl “Gold” (A capella)..........................................................................................................Company “The Moon”....................................................................................................................Company “Falling Slowly” (Reprise).............................................................................Guy, Girl, Ensemble

STUART WARD (Guy) is an English actor who studied at LIPA in Liverpool. He is a passionate singer-songwriter; his debut EP Pictures is available for purchase at the merchandise stand in the theater lobby. More info at www. stuartward.net. West End: Once, The Recruiting Officer (Donmar), Dreamboats and Petticoats. NYC: The Hired Man. UK theater: The Go-Between, The Mayor of Zalamea. Television: “Downton Abbey,” “Holby City” and “Anthem for Doomed Youth.” Film: Our Girl. DANI de WAAL (Girl). Broadway: Picnic. West End: Mamma Mia! (Sophie Sheridan). Edinburgh Fringe: Just So. Workshops: The Last Ship, LIFT, Defect. Film: NonStop. Dani trained at the Guildhall School of Music & Drama, London. “Thank you Stone Manners Salners. Love to the Support System, near and far.” RAYMOND BOKHOUR (Da). Bro adway: Chic ago (He le n Hayes Best Actor nomination). Film: Man on the Moon, Changing Lanes. TV: “30 Rock,” “Flight of the Conchords,” “Third Watch,” “L&O.” Also a composer recorded by London Symphony, Warsaw Philharmonic, Moravian Philharmonic. Co-authored The Suicide: A Musical Comedy directed in concert by John Rando. “For you, Dad.” MATT DeANGELIS (Švec). Broadway, West End, and first national tour of Hair (Woof) and the first national tour of Green Day’s American Idiot. He’s humbled to be performing with this clan of wonderful people and musicians. He believes in optimism, kindness, marriage equality, Actors’ Equity Association and the Boston Red Sox! Twitter: Mattdeangelis22.

JOHN STEVEN GARDNER (Eamon). NYC: Under the Greenwood Tree (Flea Theater). Regional: Shakespeare Theatre of N.J., Hope Summer Repertory Theatre, Edinburgh Fringe Festival (Scotland). B.F.A.: Ithaca College. “Thank you Jim Carnahan and Stephen Kopel, creative team, cast and crew! Love to Mom and Dad.” DONNA GARNER (Baruška). Selected theater: Thea in Two Pianos, Four Hands (Canadian tour, Portsmouth, N.H. Opera House); Vi Petty in Buddy Holly (Theatre Aquarius, Charlottetown Festival, Stage West Calgary); Fräulein Schneider in Cabaret; Vicki in Full Monty (Rose Theatre); Fairy Godmother (Disney). “To my love: ‘I carry your heart.’” EVAN HARRINGTON (Billy) is immensely grateful to be a part of this show! Broadway: Peter and the Starcatcher (Alf), Avenue Q (Brian), The Phantom of the Opera (Piangi). Regional: Assassins (John Hinckley, Jr.), Sweeney Todd (Beadle/Pirelli), Into the Woods (Baker), The Full Monty (Dave). TV: “30 Rock.” evanharrington.com. RYAN LINK (Emcee, u/s Guy). Broadway: Wonderland (Knight/ Rabbit u/s), Hair (Berger/Woof u/s), Rent (Roger). Tours: Hair (Woof), Aida (Radames s/b). Hometown: Seattle. Actors’ Equity since 2002. Proudly “going through it” since 2007, and now teaching at Matthew Corozine Studio (NYC). “For Granny and Grandpa, who knew the joys of music. Lokah Samastah Sukhino Bhavantu….” ryanlink.com. BENJAMIN MAGNUSON (Bank Manager). Broadway/tour: Sweeney Todd (2005 revival and tour), Guys and Dolls (2009 revival),

Les Misérables (25th anniversary). Regional: American Conservatory Theater, La Jolla Playhouse, Long Wharf Theatre, Paper Mill Playhouse, Human Race Theater, Chicago Shakespeare Theater, Drury Lane. Film/television: The Other Guys, “30 Rock.” Training: CCM. For Em. benjaminmagnuson.com. ALEX NEE (Andrej, u/s Guy). Credits include international tour of American Idiot (Johnny), Rent (Roger), Spring Awakening (Melchior) and The Who’s Tommy (Hawker). Proud Northwestern alum. He can’t believe that he gets to chill in a pub and jam with such beautiful people. “Thank you for everything, I have no complaints whatsoever.” @alexnee42. ERICA SWINDELL (Ex-Girlfriend, u/s Girl, Réza). Broadway: Once (Girl u/s, Réza u/s, Ex-Girlfriend u/s). OffBroadway: Mary Broome (Mint Theater Company). NYC theater: Romeo and Juliet (American Globe Theatre), The Lady Drug Dealer (Fringe NYC). Regional: Much Ado About Nothing (Penn Shakes). “Love to family. For Gdawg.” ericaswindell.com. KOLETTE TETLOW (Ivanka). Age 8, national tour debut! Credits include commercials/print ads. “Thank you David Doan, Rochelle Shulman of RKS, Erin Kesser and Bob Marks for your guidance. Love to my Pittsburgh family and friends. Thank you mom and dad for everything! Thrilled to be a part of Once!” kolettetetlow.com.

CLAIRE WELLIN (Réza). Broadway: Once. Regional: Eastland (Lookingglass Theatre); To Kill a Mockingbird and Man In Love (Steppenwolf Theatre); A

ONCE

WHO’S WHO in the CAST

ONCE

WHO’S WHO in the CAST

Christmas Carol (The Goodman Theatre); and Killer Joe (Profiles Theatre). Claire leads the gypsy folk band Youth in a Roman Field and contributes to the Chicago-based Glad Fanny. B.F.A., Minnesota S t a t e U n ive r s i t y M a n k a t o . clairewellin.com.

E. 59), Illyria (Prospect Theatre Co.). Regional: Westport Country Playhouse, La Jolla Playhouse, Denver Center, Arena Stage, Paper Mill, Goodspeed Musicals, Shakespeare Theatres of New Jersey, Maine, Utah and Texas. Equity!

ESTELLE BAJOU (u/s Réza, Ex-Girlfriend) is wonderstruck to join this remarkable troupe. Theater: PS122, LaMaMa, Rattlestick, HERE, Lark PDC, 59E59, Abingdon. Tour: The Diary of Anne Frank (Anne). TV: “Boardwalk Empire.” Film: Chaplin of the Mountains. “Pour toi, maman.” estellebajou.com.

TIFFANY TOPOL (u/s Girl). Credits include Xanadu (first national tour), Writers’ Theatre, Lookingglass Theatre, Marriott Theatre, Milwaukee Rep. Tiffany collaborates with castmate Claire Wellin in her band, Glad Fanny, while also contributing to Claire’s proiect, Youth in a Roman Field.

CHARLEENE CLOSSHEY (u/s Réza, Ex-Girlfriend) Broadway: Once (u/s Reza, ExGirlfriend). NYC Theatre: produced, composed score, and starred in Feather: A Musical Portrait (NYMF). Regional: Hair, Nine, Striking 12. Film: Balsam Falls, A Thousand Cuts, and Hushabye. With gratitude and love! www.charleeneclosshey.com STEPHEN McINTYRE (u/s Da, Bank Manager, Billy). Shenandoah 1989 Broadway debut. Sweeney Todd 2006 Broadway and national tour (Jonas Fogg and Upright Bass/Cello). Broadway pit orchestras with tuba: Chicago, Chitty…. “Thank you Janet for 25 years of love and encouragement.” ZANDER MEISNER (u/s Andrej, Švec, Eamon, Emcee) is elated to be a part of Once. National tours: Annie (Rooster), Cats (Rum Tum Tugger). NYC/regional: FringeNYC, Drilling Company, Northlight among many more. Graduate: IU Music. Thanks to Stephen Kopel, Jim Carnahan, SpotCo and all who led him to this. TINA STAFFORD (u/s Baruška). New York: Ionescopade (York Theatre), I Married Wyatt Earp (59

MATT WOLPE (u/s Andrej, Švec, Eamon, Emcee, Billy). Regional: Ensemble Theatre, Kirk Douglas, Pasadena Playhouse, Sacramento Music Circus, La Mirada. Matt attended The Boston Conservatory and Berklee College of Music. He’s also an accomplished songwriter. “Love and thanks to Mom, Pops, Saunders/Wolpe crew and Gage.” Info and music: MattWolpe.com. ENDA WALSH (Playwright) is an Irish playwright living in London. He is the winner of numerous international awards, and his work has been translated and produced worldwide. Recent plays: Misterman (Landmark, Ireland); Penelope, The New Electrical Ballroom, The Walworth Farce (all Druid Theatre, Ireland). Other plays: Chatroom, The Small Things, Bedbound, Disco Pigs. Shorter plays: How These Desperate Men Talk, Lynndie’s Gotta Gun, Gentrification, My Friend Duplicity, Room 303. Film: Hunger. Walsh was awarded the Tony Award and the Outer Critics Circle Award for his work on Once. GLEN HANSARD (Music and Lyrics). Film: The Commitments, Once. Albums: Strict Joy, the soundtrack of Once (Academy

Award, Best Original Song, “Falling Slowly”), The Swell Season, The Cost, Burn the Maps, Set List: Live in Dublin, For the Birds, Dance the Devil, Fitzcarraldo, Another Love Song. MARKÉTA IRGLOVÁ (Music and Lyrics). Film: Once. Albums: The Swell Season, the soundtrack of Once (Academy Award, Best Original Song “Falling Slowly”), Strict Joy, Anar. JOHN CARNEY (Writer and Director of the Film, Once) is a Dublin-based writer-director who came to the world’s attention following the box office hit and critically acclaimed musical feature film Once, which garnered multiple Independent Spirit, Sundance and Raindance awards. Previously, John was a bassist in the Irish rock band the Frames, where he met Glen Hansard. These musical roots continue to be evident in John’s work with his latest production, Can a Song Save Your Life?, heading into production in NYC. Other upcoming projects include Dogs of Babel for David Heyman and Nathan Kahane starring Steve Carell and a feature adaptation of M.R. James’s Casting the Runes for Barbara Broccoli and Michael G. Wilson. JOHN TIFFANY (Director) won Tony, Drama Desk and Outer Critics Circle awards for his work on Once. Recent work: The Glass Menagerie (Broadway and A.R.T.); Let the Right One In; Macbeth (also Broadway); Enquirer; The Missing; Peter Pan; The House of Bernarda Alba; The Bacchae; Black Watch (Laurence Olivier Award for Best Director, Critics’ Circle Award for Best Director); Elizabeth Gordon Quinn; Home: Glasgow (all National Theatre of Scotland); Jerusalem (West Yorkshire Playhouse); Las Chicas del Tres y Media Floppies (Granero

Theatre, Mexico City; Edinburgh Festival Fringe); If Destroyed True, Mercury Fur, The Straits (Paines Plough); Gagarin Way (Traverse, Edinburgh). Education: University of Glasgow (M.A. in Theatre and Classics). Associate Director (National Theatre of Scotland, 2005–2012). Radcliffe Fellow (Harvard University, academic year 2010–2011). Associate Director (Royal Court). STEVEN HOGGETT (Movement). For Once, Steven won the Obie, Lortel and Calloway awards. Broadway: The Glass Menagerie (also A.R.T.), American Idiot, Peter and the Starcatcher (Lortel Award). West End: The Curious Incident of the Dog in the Night-Time. International: Rocky the Musical (Stage Entertainments), Rigoletto (Met Opera), The Full Monty (Sheffield), Let the Right One In, Black Watch (Olivier Award, Best Choreographer) (National Theatre of Scotland), The Light Princess (Royal National Theatre), What’s It All About (NYTW), Lovesong, Beautiful Burnout, Othello (TMA Award, Best Director) (Frantic Assembly, founding Artistic Director). M ARTI N LO WE (Musical Supervisor, Orchestrations and Additional Material) was awarded Tony, Grammy, Drama Desk and Obie awards for his work on Once. Theater: Once (NYTW); Jedermann (Salzburg Festival); The Light Princess; War Horse; Caroline, or Change; Jerry Springer: The Opera; A Funny Thing Happened on the Way to the Forum; Nation (National Theatre); An Appointment with the Wicker Man; The Wolves in the Walls (National Theatre of Scotland/Improbable); Mamma Mia! (London, Tokyo, Seoul, international tour, Stockholm, Shanghai); The Full Monty; Once on This Island; Cats; Les Misérables

(West End). Recordings: Once, Mamma Mia! (original London cast and movie soundtrack), Jerry Springer: The Opera. Martin was musical director for Mamma Mia! the movie (Universal). BOB CROWLEY (Scenic and Costume Design). Theater includes The History Boys (National Theatre; Broadway, Tony Award); Les Liaisons Dangereuses and The Plantagenets (RSC, Olivier Award); Don Carlos (Met); Pavane and Anastasia (Royal Ballet); La Traviata (ROH); Alice in Wonderland (ROH, Canada). Broadway: The Coast of Utopia (Tony), Carousel (Tony), Disney’s Aida (Tony), Tarzan, Mary Poppins (Tony), The Year of Magical Thinking. Crowley won a Tony Award for his work on Once. Recipient of the Royal Designer for Industry Award and the Robert L.B. Tobin Award for Lifetime Achievement in Theatrical Design. NATASHA KATZ (Lighting Design) won a Tony for her work on Once. She has designed extensively for plays, musicals, dance, opera and architectural installations in the U.S. and throughout the world. Recent Broadway: Motown, Follies, Hedda Gabler, Sister Act, The Addams Family, The Coast of Utopia: Salvage, Aida and Beauty and the Beast. Awards: Tony, Drama Desk, Outer Critics, Broadway League Touring Award, Whatsonstage, The Lucille Lortel and The Ruth Morly Design Award. Natasha is thrilled to be working on Once again. CLIVE GOODWIN (Sound Design). Broadway: The Glass Menagerie, Once (Tony Award, Best Sound Design of a Musical). London West End: Once. OffBroadway: Once (Lortel nomination for Outstanding Sound Design), What’s It All About.

American Repertory Theater (A.R.T.), Cambridge, Mass.: Pippin, The Glass Menagerie, Once, Prometheus Bound, The Blue Flower (IRNE and Elliot Norton awards for Best Sound Design of A Musical), Cabaret with Amanda Palmer. Worldwide: Sound designer/engineer for Radiohead, Underworld, Pulp. Film/television: Greetings from Tim Buckley, “Dancing with the Stars” (BBC), “Later with Jools Holland” (BBC), “The Sound of Musicals” (BBC). STEPHEN GABIS (Dialect Coach). Selected Broadway/OffBroadway: Tribes, Magic/Bird, Look Back in Anger, Man and Boy, Bluebird, Through a Glass Darkly, Lombardi, The 39 Steps, A View From the Bridge, Lend Me a Tenor, Port Authority, Memphis, Jersey Boys, Coram Boy, Brief Encounter, The Lieutenant of Inishmore, Doubt. Regional: Educating Rita (Huntington); Shirley Valentine, The Train Driver (Long Wharf). Selected film/TV: “Prime Suspect,” “Boardwalk Empire,” Salt, Across the Universe, “Bernard and Doris.” L I Z C A P L A N VO C A L S T U D I O S , L L C ( Vo c a l Supervisor). Broadway: Motown: The Musical, The Book of Mormon, American Idiot, Rock of Ages, 13 (JRB). Off-Broadway: Once (NYTW), Voca People. Consultant: Dogfight (2nd Stage), Chaplin, Bring It On, Wicked, Godspell, Next to Normal, In the Heights, Rent. Film: Shame, Les Misérables. Television: “The Colbert Report,” “Totally Biased With W. Kamau Bell.” Recording artists: The Bedingfield, The Donnas, Goo Goo Dolls, Lily Allen, Nick Littlemore (Empire of the Sun, Pnau), Chantal Claret (Morningwood), Eric Hutchinson. Tony Award-winning students: Nikki M. James, Steve Kazee and Patina Miller. Lizcaplan. com.

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WHO’S WHO in the CAST

ONCE

WHO’S WHO in the CAST

JIM CARNAHAN (Casting). Roundabout’s director of artistic development. Shows cast for Roundabout: Harvey, Anything Goes, The Road to Mecca, The Importance of Being Earnest, Sondheim on Sondheim, Bye Bye Birdie, Sunday in the Park…, 110 in the Shade, The Pajama Game, Twelve Angry Men, Assassins, Twentieth Century, Nine, Big River, Cabaret. Other Broadway: The Mountaintop, On a Clear Day…, Jerusalem, Arcadia, The Scottsboro Boys, La Bête, American Idiot, The Seagull, Spring Awakening, BoeingBoeing, Curtains, The Pillowman, La Cage, Chitty…, Democracy, Fiddler on the Roof, …Millie. Film: A Home at the End of the World, Flicka. TV: “Glee” (Emmy nom.). SHAUN PEKNIC (Associate Director). Broadway: Once (Associate Director). West End: Once (Associate Director). Select directing credits: Pageant Princess (Bleecker Street Theatre), The Girl With the Red Balloon (The Tank), Must Be the Music (Ars Nova), Pieces (Gene Frankel Theatre), Chaser (NYC Fringe Festival), Aimless (Theatre Row), A Streetcar Named Desire (New York University). Education: NYU (B.F.A.), Lincoln Center Directors Lab. YASMINE LEE (Associate Movement Director). Tender Napalm, Once (A.R.T., NYTW, Broadway, West End); Rent (Broadway); Momix; Brown Butterfly; The Dunham Technique; Across the Universe; Malcolm X; Renato Zero Fonopoly; Canale 5 AMICI Di Maria De Fellipi; opening Guggenheim Bilbao; opening ceremonies 2014 winter Olympic Games. JASON DeBORD (Resident Music Supervisor). Broadway: Shrek, Rock of Ages, Legally Blonde, Lestat, All Shook Up and Rent. Off-Broadway:

Bare, Fat Camp, Bat Boy The Musical. National tours: A Chorus Line, Rent, Urinetown The Musical. Film: Every Little Step. More at jasondebord.com. FRANK McCULLOUGH (Associate Scenic Designer) has contributed to the designs for more than 25 Broadway shows including Once, War Horse, The Book of Mormon, The Addams Family, The Coast of Utopia and others. Frank is originally from Evansville, Ind. and trained at Webster University in St. Louis. PETER HOERBURGER (Associate Lighting Designer). Recent Broadway ALD Credits: Betrayal (Barrymore Theater); Once (Broadway and West End); Scandalous (Neil Simon Theater); Bring It On (St. James Theatre); The Mountaintop (Jacob’s Theater); GhettoKlown (Lyceum Theatre); Elf (Al Hirschfeld Theatre); faculty at Purchase College.

DANIEL S. ROSOKOFF (Production Stage Manager). Broadway: Dirty Rotten Scoundrels, By Jeeves, Swinging on a Star, Dr. Seuss’ How The Grinch Stole Christmas. Tours: Sister Act, The Addams Family, 9 to 5: The Musical, Legally Blonde, Dirty Rotten Scoundrels, The Full Monty, Dr. Seuss’ How the Grinch Stole Christmas, Barry Manilow’s Copacabana, Jolson: The Musical, Joseph and the Amazing Technicolor Dreamcoat. Regional: many. E. CAMERON HOLSINGER (Stage Manager). Tours: The Addams Family, 9 to 5, Wicked, …Spelling Bee, The Grinch. New York: Fuerza Bruta. Regional: Wicked (Chicago), The Grinch (L.A.), The Addams Family (Buenos Aires), The Alliance Theatre, Goodman Theatre, Chicago Shakespeare Theater. A graduate of Wright State University.

ALEX HAWTHORN (Associate Sound Designer). Brooklyn-based sound designer and engineer for theater and live music. Broadway, Associate: Aladdin, A Christmas Story, Chaplin, Newsies, Memphis, A View From the Bridge, Hair. Alex has designed and engineered concerts, live events and theater both nationally and internationally.

AARON ELGART (Assistant Stage Manager). Broadway: Newsies; Shatner’s World: We Just Live In It; Wit; Bonnie and Clyde; Wonderland; La Cage Aux Folles (2010). Off-Broadway: The New York Idea. National Tours: Sister Act; The Addams Family; 9 to 5 The Musical. Regional: Cutman (Goodspeed Musicals). A graduate of University of Colorado Boulder.

AURORA PRODUCTIONS (Production Management). Current projects: The Book of Mormon (Broadway, national tour and Chicago), Once (Broadway), Anything Goes (national tour), Matilda, Soul Doctor, Bad Jews, The Winslow Boy, Big Fish, Betrayal, No Man’s Land, Waiting for Godot and Machinal. Aurora has been providing technical supervision and production management to the entertainment industry since 1989. auroraprod.com.

ALLIED LIVE (Marketing and Press) is a full-service marketing and advertising agency representing Broadway shows, national tours, performing arts institutions and experiential entertainment entities. Current clients include: Blue Man Group, The Book of Mormon, A Christmas Story, Rodgers + Hammerstein’s Cinderella, Elf, Ghost, Kinky Boots, Mamma Mia!, Motown, Once, Peter and the Starcatcher, Stomp, We Will Rock

You, West Side Story and Irving Berlin’s White Christmas. CHRIS DANNER (Company Manager). When not on the road, Chris calls Puerto Vallarta home. He has enjoyed touring around the world for the past 14 years as company manager for The Addams Family, 9 to 5, Legally Blonde, The Color Purple, My Fair Lady, Blue Man Group, The Light in the Piazza, Annie, Oliver!, Cover Girls, Blue’s Clues Live!, The Magic of David Copperfield. “My love to Gabriel and Maddox.” AARON QUINTANA (Associate Company Manager). Broadway: Next to Normal, The Addams Family. National Tours: Disney’s The Lion King. Aaron also served as the operations associate for Denver Center Attractions. Thanks to his family and friends for the continuous support. LISA M. POYER (General Manager). Broadway includes: Once, Orphans, That Championship Season, A Steady Rain, A Raisin in the Sun, Cat on a Hot Tin Roof, The Crucible, One Flew Over the Cuckoo’s Nest, Moon for the Misbegotten, The Price, Death of a Salesman, Freak, An Ideal Husband, Having Our Say, Angels in America: Millennium Approaches and Perestroika, A Streetcar Named Desire, Lend Me a Tenor, Fences. Graduate: Harvard College and Law School, admitted to practice law in N.Y. BARBARA BROCCOLI (Producer) has been part of the James Bond world all of her life. The daughter of Albert R. “Cubby” Broccoli, who turned 007 into the longest-running series in movie history, Barbara began working on the Bond films at the age of 17. With Michael G. Wilson, she produced the past seven Bond films, including the most recent, Skyfall, directed by Sam Mendes and star-

ring Daniel Craig. Theater includes Chitty Chitty Bang Bang (London, Broadway), A Steady Rain starring Daniel Craig and Hugh Jackman. JOHN N. HART JR. (Producer). Mr. Hart has produced more than 15 Broadway shows, including the current revival of The Glass Menagerie, Once, Seminar, Chicago, Annie Get Your Gun, How to Succeed in Business Without Really Trying, Hamlet, The Who’s Tommy and the Nathan Lane revival of Guys and Dolls. Mr. Hart’s productions have garnered him four Tony Awards. His feature films include Boys Don’t Cry, You Can Count on Me, Home at the End of the World, Proof and Revolutionary Road. PATRICK MILLING SMITH (Producer) co-founded, with Brian Carmody, the bicoastal and international production house Smuggler Inc., an industry leader in music videos, film and commercials. In 2011 Smuggler was awarded the Cannes Lions Palme d’Or along with Clio and British Arrows awards for Production Company of the Year. Patrick served on the Board of Trustees of the NY Theatre Workshop and was among this year’s six honorees of the Made in NY Awards presented by Mayor Bloomberg. Patrick most recently produced the film Greetings from Tim Buckley and the Broadway production of Seminar featuring Alan Rickman. FREDERICK ZOLLO (Producer). New York productions include Orphans; Lucky Guy; A Steady Rain; That Championship Season; The Farnsworth Invention; Ma Rainey’s Black Bottom; ’night, Mother; King Hedley II; On Golden Pond; The Basic Training of Pavlo Hummel; Death and the Maiden; Hurlyburly; Angels in America: Millennium Approaches and Perestroika; Private

Lives; Caroline, or Change; Frozen; The Goat; Our Country’s Good; Butley; The Hairy Ape; Buried Child; Talk Radio; Marvin’s Room; Oleanna; Goose and Tomtom; Sex, Drugs, Rock & Roll; Aven’U Boys. London productions include Les Liaisons Dangereuses, Glengarry Glen Ross, Chitty Chitty Bang Bang, Breaking the Silence, Camille, The Cryptogram. Films include Mississippi Burning, Quiz Show, The Paper, Ghosts of Mississippi, Naked in New York, The Music of Chance, Resurrecting the Champ, In the Gloaming, Lansky and the just-completed Sweet Lorraine and Greetings From Tim Buckley. Mr. Zollo and Robert Cole are producing partners in Grey Matter Theatre Productions. BRIAN CARMODY (Producer). An Irish native from Skibbereen, County Cork, Brian co-founded, with Patrick Milling Smith, the bicoastal and international production house Smuggler Inc., an industry leader in film, theater and commercials. In 2011 Smuggler was awarded the Cannes Lions Palme d’Or along with Clio and British Arrows awards for Production Company of the Year. Also in 2011, Brian served as the chairman of AICP’s 20th annual awards show. He served on the jury of the Cannes Lions Festival and was among that year’s six honorees of the Made in NY Awards presented by Mayor Bloomberg. He’s presently producing the upcoming film Flat Lake directed by Kevin Allen, which is set in Ireland. Passions: his wife’s cooking, Liverpool football club, golf and being home in Ireland as often as possible. MICHAEL G. WILSON (Producer) began his producing career in 1976 working with Cubby Broccoli on The Spy Who Loved Me, and they co-produced the next six Bond films, five of which he cowrote. He then went on to produce

ONCE

WHO’S WHO in the CAST

ONCE

the hugely successful Golden Eye with his sister Barbara Broccoli, followed by the next five 007 releases. Together they produced the 23rd Bond adventure, Skyfall, directed by Sam Mendes and starring Daniel Craig. Michael was awarded the OBE in Her Majesty the Queen’s New Year’s Honours list in 2008. Theater includes Chitty Chitty Bang Bang (London, Broadway), A Steady Rain starring Daniel Craig and Hugh Jackman. ORIN WOLF PRODUCTIONS (Producer). Broadway: That Championship Season and A View From the Bridge, both directed by Gregory Mosher. Off-Broadway: Groundswell directed by Scott Elliott, Robert Wuhl’s Assume the Position (Ars Nova), History of the Word (Vineyard). Producing partner Styles Four (John Styles and Dave Clemmons) credits on Broadway: Driving Miss Daisy, The Pee-wee Herman Show, Talk Radio, Spring Awakening (Tony Award). Orin is the recipient of the T-Fellowship for Creative Producing at Columbia University in conjunction with Hal Prince. Orin, with partners John Styles and David Schwartz, produced Judy Gold’s 25 Questions for a Jewish Mother and run OBB/Off Broadway Booking (obbbnyc.com). ROBERT COLE (Executive Producer) made his Broadway producing debut in 1984 with August Wilson’s Ma Rainey’s Black Bottom. He is the recipient of four Tony Awards. Other credits include That Championship Season (2011); A Steady Rain (Daniel Craig and Hugh Jackman); The Crucible (Liam Neeson and Laura Linney); Death of a Salesman (Brian Dennehy); Angels in America; Horton Foote’s The Young Man from Atlanta; Redwood Curtain (Lanford Wilson); Elaine Stritch: At Liberty; Sex, Drugs, Rock & Roll (Eric Bogosian); One Flew Over the Cuckoo’s Nest (Gary Sinise); Freak (John Leguizamo); and

Emily Mann’s Having Our Say. Mr. Cole produced the film Tape (Uma Thurman and Ethan Hawke).

The Equity emblem is our mark of excellence. actorsequity.org .

NYTW (Producer) is an OffBroadway theater dedicated to supporting theater artists at all stages of their careers. The Workshop is represented on Broadway this season with Once and Peter and the Starcatcher and is renowned for a long list of acclaimed work, including Jonathan Larson’s Rent, Tony Kushner’s Homebody/ Kabul, Caryl Churchill’s Far Away and A Number, Doug Wright’s Quills, Claudia Shear’s Dirty Blonde, Will Power’s The Seven and Jessica Blank and Erik Jensen’s Aftermath. NYTW’s productions have received a Pulitzer Prize, four Tony Awards and assorted Obie, Drama Desk and Lucille Lortel awards.

PRODUCTION STAFF FOR ONCE

A.R.T. (Workshop Producer) at Harvard University in Cambridge, Mass., is one of the country’s most celebrated regional theaters and winner of numerous awards, including the Tony and the Pulitzer Prize. It was founded by Robert Brustein in 1980. Diane Paulus became artistic director in 2008 and continues A.R.T.’s mission to expand the boundaries of theater with innovative work such as Sleep No More, Prometheus Bound and the recent production of The Gershwins’ Porgy and Bess, winner of the 2012 Tony Award for Best Revival of a Musical. ACTORS’ EQUITY ASSOCIATION (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theater as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions.

GENERAL MANAGEMENT ROBERT COLE PRODUCTIONS Lisa M. Poyer Steven Rowe Hallie Bowen COMPANY MANAGEMENT Company Manager.......................... Chris Danner Associate Company Manager........ Aaron Quintana PRODUCTION MANAGEMENT AURORA PRODUCTIONS Gene O’Donovan Ben Heller Chris Minnick, Anita Shah, Anthony Jusino, Jarid Sumner, Liza Luxenberg, Rachel London, David Cook, Bridget Van Dyke, Melissa Mazdra, & Cat Nelson EXCLUSIVE TOUR DIRECTION THE ROAD COMPANY Stephen Lindsay Brett Sirota Magaly Barone Shawn Willet Jenny Kirlin Justine Spingler Garrett Holtz Allie Beik theroadcompany.com TOUR PRESS & MARKETING REPRESENTATIVE ALLIED LIVE Laura Matalon Marya Peters Jennifer Gallagher Jacqueline Smith Doug Blemker, Mary Alyce Blum, Sarah Dahlberg, Andrew Damer, John Gilmour, Anne Dailey Meyer, Meghan McDonald

CASTING Jim Carnahan, CSA Stephen Kopel Carrie Garnder, Jillian Cimini, Lain Lunin, Logan Reid, Heather Washburn Production Stage Manager....... Daniel S. Rosokoff Stage Manager.................. E. Cameron Holsinger Assistant Stage Manager.................. Aaron Elgart Stage Mgmnt. Production Assistant.Amy Ramsdell Associate Director...........................Shaun Peknic Associate Movement Director............ Yasmine Lee Resident Music Supervisor.............. Jason DeBord Associate Music Supervisor for Mounting the U.S. Tour.............. Jim Henson Associate Scenic Designer........ Frank McCullough Associate Lighting Designer....... Peter Hoerburger Associate Sound Designer............. Alex Hawthorn Moving Light Programmer.................. Sean Beach Production Carpenter.............. Jonathan Wildesen Production Electrician..................... Michael Pitzer Assistant Production Electrician.... Jeremy Wahlers Production Sound................................Phillip Lojo Assistant Production Sound.........Jason Choquette Production Prop Coordinator.......Matthew Hodges NYTW Costume Liason..................Jeffrey Wallach Dialect Coach............................... Stephen Gabis Czech Dialect Consultant................. Pavel Zustiak Vocal Coach......... Vocal Studios, LLC / Liz Caplan Assistant to John N. Hart, Jr...... Maximillian Traber Assistant to Patrick Milling Smith.Catherine Waage TOURING CREW Head Carpenter....................... Jonathan Wildesen Fly Carpenter...............................Christian Young Head Electrician............................Steve LaPlante

Tutoring Services...............On Location Education Alan Simon, Jodi Green Touring Teacher...............................Leah Osborn Advertising...................... SpotCo / Drew Hodges Website Design............. SpotCo / Sara Fitzpatrick Production Photographer.................. Joan Marcus Legal....... Franklin, Weinrib, Rudell & Vassallo, P.C. Jonathan Lonner Immigration Counsel..... Kramer Levin Naftalis & Frankel, LLP Mark D. Koestler Additional Immigration Counsel..................................Shannon K. Such Accounting..................FK Partners / Robert Fried Comptroller......................... Anne Stewart Fitzroy Insurance...................................DeWitt Stern Inc. Banking...... City National Bank / Anne McSweeney Payroll............................Castellana Services, Inc. Merchandising.The Araca Group / Meghan Rhoads Merchandise Manager....................Claudia Leiner Housing Services...............................Road Rebel Kate Hawn, Kendra Smith Flights. Tzell Travel / Andi Henig & Alan Braunstein Bussing Services...... Road Rebel / Jeremy Decker Trucking........................................Clark Transfer Rental Car Services...Enterprise / Natalie Cordova Physical Therapy...... Neuro Tour Physical Therapy, Inc. Carolyn M. Lawson Theater Displays......................King Displays, Inc. International Booking Inquiries....................... National Artists Mgmnt. Alecia Parker CREDITS AND ACKNOWLEDGEMENTS Scenery and scenic effects built, painted, and electrified by Show Motion, Inc., Milford CT. Lighting equipment from PRG Lighting. Video equipment from PRG Video. Sound equipment by Masque Sound®. Banjo built by Nechville Musical Products. Cellos and violins provided by Samuel Kolstein & Son; Hosiery and undergarments supplied by Bra*Tenders; Cosmetics provided by M•A•C Cosmetics; Emergen-C Health & Energy Drink Mix supplied by Alacer Corp. SPECIAL THANKS Susan Keappock and David Grindrod MUSIC CREDITS “On Raglan Road” by Patrick Kavanagh is performed by kind permission of the Trustees of the Estate of the late Katherine B. Kavanagh, through the Jonathan Williams Literary Agency. “Gold” composed by Fergus O’Farrell, published by Yell Music Ltd. “Abandoned in Bandon” composed by Martin Lowe, Andy Taylor and Enda Walsh. Once on Tour rehearsed at Chelsea Studios, New York, NY Original cast album now available on Sony Masterworks

Souvenir merchandise designed and created by: The Araca Group araca.com or 212-869-0070 C.F. Martin and Company is the Official Guitar of Once on Tour, LLC. Once on Tour equipment is transported on a carbon-neutral basis in partnership with

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

DCPA MARKETING STAFF

oncemusical.com

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.). The Press Agents, Company and House Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers. The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. United Scenic Artists represents the designers and scenic painters for the American Theatre. The musicians employed in this production are members of the American Federation of Musicians.

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

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

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

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

THE BUELL THEATRE

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

CITY & COUNTY OF DENVER Michael Hancock, Mayor

ARTS AND VENUES Kent Rice, Director

For information call: 720.865.4220

ONCE

Assistant Electrician............. Stephanie McFarland Head Propsman........................... Gardner Friscia Head Sound Engineer........... Walter “Wes” Shaffer Assistant Sound Engineer.................Kevin McCoy Instrument Tech..............................Tim Bjorklund Wardrobe Supervisor.................Marcia VanKuiken Child Wrangler.................................Leah Osborn

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Photos by Jeremy Daniel

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Up here, your senses awaken. August 8-18, 2014

Indulge in the delights of all your senses at the Steamboat All Arts Festival, where visual creations burst with color and originality, where the sounds of Verdi arias and Nuevo flamenco guitar fill the mountain air, and where pinots and rosĂŠs delight the taste buds. {www.SteamboatAllArtsFestival.com - 970-879-0880}

ONCE PHOTO BY FRANK OCKENFELS | ORIGINAL BROADWAY CAST

Going from the Big Screen to the Broadway Stage, ONE look, ONE song & ONE dance step at a time…

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of music. Immediately I thought, ‘We’re going to be able to see actors create that music in front of us.’ That’s really exciting. Actors have played instruments onstage for years, but not always in a show about making music.” In reading through John Carney’s screenplay, Walsh discovered there was much he could relate to. “I’m a big fan of the movie Brief Encounter, and I saw similarities,” he says. “There’s a bittersweet pang that really hurts. Very quickly I thought I was a good match for the material. I tend to write characters that are inarticulate and lonesome, and something comes into their life that changes them. From listening to the songs, I thought it might be good for me to do something about Ireland, which was so hurt in the recession. A little love letter to Dublin.

‘‘Each person is riffing off a love that’s been lost, that got away. That was the key: for the audience to feel part of the experience, and look at the people on the stage and go, ‘ They’re us.’ ’’

~ Enda Walsh, book writer

“That was my way in. You start by bringing two people together and getting them to talk to one another. The tone shows itself quickly, so you step out of the way and allow it to write itself. “I knew all along that there were markers. I just had to unlock a stage language that was right. As soon as the Girl started talking, I thought, ‘That’s the swagger of it.’ She became the style of it and the force of the piece—and the central storyteller.” The 12 adult members of the cast play at least one instrument and are onstage virtually throughout the show. “I didn’t want anyone on stage we didn’t get to know intimately,” says Tiffany. By individualizing each character, adds Walsh, “we built a community, and that became the heart of the piece. “They’re an ensemble of misshapen people who sing and tell the story. Watching them play the music and sing and find their voice is very beautiful and very strong. But in addition, we wanted the show to be hugely communal. So how do we do that? We allow the audience on stage.” Prior to the start of the show, the audience

is welcome to come up on stage, buy a drink at the bar, mingle with the cast. There’s a bit of a jam session going on. This bonding ritual obliterates the fourth wall. “We wanted the audience to own the experience,” says Walsh. As the show unfolds, the focus, of course, is on the relationship between Guy and Girl, but the audience also catches glimpses of the lives of the other characters. e needed to be sure that there are all these other love stories in the air. Each person is riffing off a love that’s been lost, that got away. That was the key: for the audience to feel part of the experience, and look at the people on the stage and go, ‘They’re us.’ ” Casting the show wasn’t easy. “We needed actors who could act brilliantly, move and play instruments,” said Tiffany. They found them, “but it took ages,” he adds. “Casting the first production was easiest, because we arranged the music around the instruments the actors could play. We got used to having the bank manager play the cello, for instance, and a character named Baruska has to play the accordion because it fits who she is.” Because there are only a dozen performers on stage in once, they can’t hide. If they can’t play the piano, the guitar or the violin, they’re out. In addition, Walsh’s text is difficult to do and demands really good actors. Finally, Steven Hogget’s choreography may look easy, but it requires a great deal of skill. In the end, the material proved to be as powerful on stage as it is on film. “What’s very moving about the piece is how sometimes we meet people who we don’t necessarily stay with forever, but they give us the resources to move on to the next part of our life,” says Tiffany. “There’s something very truthful in that. People have said to me, ‘When I was sitting in the theatre watching once, I felt like I was watching it with everyone I’ve ever loved, whether or not they’re still in my life.’ ” n

ONCE

In 2007, the seductive, off-beat Irish film once opened to glowing reviews and quickly developed a fervent following. This lyrical musical tells the story of two down-on-theirluck musicians: an angst-ridden Dublin street singer/songwriter who works as a vacuum cleaner repairman, and a Czech immigrant who sells flowers to support herself and her family. Girl (as she is known) initiates a friendship with Guy (as he is known), and in the course of a week they make music together, fall in love and part, but not before changing each other’s lives. The movie’s stars—Glen Hansard and Marketa Irglova—also wrote much of the score and received an Oscar for their beautiful ballad, “Falling Slowly.” once is both graceful and gritty. It has a naturalism and intimacy that are generally best achieved in film, which explains why the Irish playwright Enda Walsh was less than enthusiastic when he was asked if he would write the book for a Broadway-style musical based on the movie. “I guffawed when my agent called and asked me to speak to the producers,” says Walsh. “I said, ‘What a stupid idea.’ It’s a two-hander with very little plot. It’s delicate. I called the producers and told them it wasn’t for me. There’s no tradition of musical theatre in Ireland. Then they told me John Tiffany was attached to it as director.” Walsh and Tiffany are longtime friends, and although Tiffany also had doubts at first as to the viability of the material as a musical, he convinced Walsh not to reject the idea outright. Says Walsh, “John said, ‘Let’s just take two days, and we can read the screenplay and listen to the songs and talk about it.’ I said, ‘Okay, we’ll do two days—and that’s all we’ll do.’ ” Well, not quite. “Those two days convinced us that we wanted to do this show,” says Tiffany. he musical became such a critical and commercial success that it spawned a London production, a Broadway show and a U.S. national tour—a journey that saw this modest undertaking win no fewer than eight 2012 Tony® Awards, including Best Musical, Best Book (Walsh), and Best Direction of a Musical (Tiffany). “I never think about adapting films for the stage. That’s not the way I work,” insists Tiffany. “When I was approached about once, I hadn’t even seen the film. But one of my best friends said, ‘You will love the music.’ So I downloaded the soundtrack—and I absolutely loved it. I’d never heard music like that. [It’s] the reason I wanted to do the show. Not just the music itself, but the fact that it’s a story about creating music, the healing power

“W

Portions of this text were provided by the show’s production company.

May 6 – 18 • Buell Theatre Sponsored by HealthONE and Comcast ASL interpreted, Audio Described & Open Captioned • May 18, 2pm

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The Unsinkable Molly Brown Lyrics and Music by Meredith Willson Additional Lyrics and Book by Dick Scanlan Based on the Original Book by Richard Morris Directed and Choreographed by Kathleen Marshall

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The Unsinkable Molly Brown Lyrics and Music by Meredith Willson Additional Lyrics and Book by Dick Scanlan Based on the Original Book by Richard Morris Directed and Choreographed by Kathleen Marshall

SEP 19, 2014 “

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AMERICAN IDIOT

THE

American Idiot is yet

another example of a strong collection of songs lending themselves to transformation into a powerful stage show. B Y R O B W E I N E RT- K E N D T

“The amount of freedom I had to dream and imagine was unprecedented. For whatever reason, something alchemical happened when I spent time with these characters.” — Director Michael Mayer

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Once upon a time, composers and playwrights conceived musicals together, with some degree of simultaneity and shared understanding about the story they were striving to tell. From Daponte and Mozart to Rodgers & Hammerstein, teams teamed, toiling to marry music and theatre into a harmonious whole. That’s so last millennium, dude. Today’s rock and pop musicals might start instead with a catalogue of well-known songs, artfully woven into an evening of theatre (Mamma Mia!, Jersey Boys) or with a club-seasoned troubadour whose story/cabaret songs seem to want to grow into something play-like (Passing Strange, Hedwig and the Angry Inch). Then there’s the concept-album-turned-Broadway-rock-opera, a unique hybrid form that began in 1969 with a pair of messianic double-LP extravaganzas, Jesus Christ Superstar and Tommy. Neither was written for the stage, though both were eventually theatricalized and filmed: Superstar on Broadway in 1971 and on film two years later, and The Who’s pinball allegory, first as a film in 1975 and then on Broadway in 1993. While the Superstar album looks in retrospect like an audition demo for its writers, Andrew Lloyd Webber and Tim Rice, The Who had no such ambitions, let alone theatrical know-how. Apart from its outré film adaptation by the late Ken Russell, Tommy seemed destined to be performed as a sort of rock oratorio—until the La Jolla Playhouse’s Des McAnuff came along in the early 1990s. With the help of Pete Townshend, The Who’s lead songwriter, McAnuff rethought Tommy for the stage, turning it into the song-and-dance entertainment it didn’t know it was meant to be. irector Michael Mayer played a similar role with American Idiot, the chart-busting 2004 album by the punk-pop band Green Day, which he helped shape into a Broadway show in 2010. But Mayer’s job proved a good deal more involved and interpretive than McAnuff’s had been—not least because, while Green Day front man and main songwriter Billie Joe Armstrong proved open and cooperative, the narrative threads holding together the American Idiot album were more tenuous. “It’s not easy to follow,” Mayer admits of the record. “The story is deliberately ambiguous. It’s almost more an emotional narrative than it is a literal narrative.”

THE COMPANY OF AMERICAN IDIOT. (PHOTO BY JEREMY DANIEL)

of the show, Mayer did invent characters and situations. “Jesus of Suburbia,” a.k.a. Johnny, now has two friends: Will, who stays home to molder in the small town, and Tunny, who escapes with Johnny but grows disaffected, enlists in the army and ends up wounded in Iraq. “I had great anxiety with the liberties we were taking, dramatically as well as emotionally, and I kept thinking we would cross a line that would be intolerable,” Mayer confesses of the writing process. “But Billie Joe kept encouraging me to go further. The amount of freedom I had to dream and imagine was unprecedented. For whatever reason, something alchemical happened when I spent time with these characters.” Such was the simpatico nature of this odd collaboration, Mayer says, that he recalls “the very cool feeling of hearing Billie Joe talk about characters I’d made up in a way that demonstrated his understanding of them—which he should, given that he’d written what they say.” So American Idiot may have enough narrative content to fill an evening. But it wouldn’t be a musical at all if the songs themselves hadn’t cried out for the stage. he music has such buoyancy and authenticity,” Mayer effuses. “That’s what got my heart racing when I thought of putting it on stage and creating stories that would fulfill the promise of this rock opera they’d written. They play against the tragedy of the story. If the songs were all slow, mournful, dirge-like, minor-key hymns to destruction, you wouldn’t want to watch it at all.”

“T

This dramatic flair for contrast may be no coincidence; Armstrong had been a rosycheeked child performer before he became a spike-haired Berkeley punk rocker. “As far as I’m concerned, Billie Joe is a direct descendant of Al Jolson,” Mayer says. “Having seen him sing ‘Rockabye Your Baby With a Dixie Melody’ at the Bowery Ballroom, I can say it’s in his DNA. He’s a real entertainer, and that comes through.” ltimately, what comes through American Idiot—and the thing that made this ad hoc adaptation process work at all—is not only Green Day’s knack for show-stopping rock, but a sort of overarching coherence of attitude and tone. This quality, in turn, may be traced to some of this concept musical’s antecedents. “He was thinking of Tommy and Rocky Horror Show,” Mayer says of Armstrong’s Idiot templates. “He also thought about West Side Story, and I think he thought a little bit about Sgt. Pepper’s Lonely Hearts Club Band.” That Green Day had a template in mind may have helped Mayer feel his way to a story. But don’t ask him to pin down the punk lightning he’s caught in this musicaltheatre bottle. “I’ve been trying very hard not to define it for anyone, because it is unusual and it is its own thing,” Mayer says. “Is it a musical? Is it an opera? Is it a rock opera? Is it a punkrock opera? Is Green Day even punk?” (A seemingly simple question that can start a long debate, if you’re up for it.) Mayer throws up his hands and says, “I’m just committed to calling it a show.”

AMERICAN IDIOT

ts rough outline follows a sad sack described in the song suite as “Jesus of Suburbia” as he travels into the depths of a city nightlife, where he meets “punk-rock freedom fighter” St. Jimmy as well as an “Extraordinary Girl” later called simply “Whatshername.” “St. Jimmy is powerful and sexy and dangerous and possibly destructive,” Mayer explains, “and this girl, who’s a rebel, is someone with whom he has some real connection.” There’s not a lot else in terms of concrete story points, Mayer concedes. “What you glean from listening to the album a lot, and reading it in a particular way, is that Jesus returns home having experienced the suicide of St. Jimmy and the destruction of his relationship with the girl. It’s kind of a mock-heroic return. Billie Joe describes it as one step forward, two steps back.” That wouldn’t be enough to sustain an evening of theatre, in other words. Besides, Armstrong, though open to the idea of a stage version, wasn’t a playwright. That left Mayer—who had a background in shepherding both bracing new works and unlikely adaptations to the stage, from The Triumph of Love to Thoroughly Modern Millie to Spring Awakening—to embark on his first professional writing gig (he shares book-writing credit with Armstrong). “It was the conceit of the project that I would take the record and basically write a story onto it and from inside it,” Mayer says. “All the songs are intact and in order” (and there are a few bonus tracks, courtesy of Green Day’s follow-up album, 21st Century Breakdown). Though Armstrong’s lyrics are virtually the only text

Rob Weinert-Kendt is a senior editor at American Theatre and has written about theatre and the arts for The New York Times, The Los Angeles Times, Variety, The Guardian and The San Francisco Chronicle.

May 23 – 25 • Buell Theatre ASL interpreted, Audio Described & Open Captioned • May 24, 2pm

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

303.893.4100

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ART PARTNERS

BRUSHSTROKES STUDIO-GALLERY “Street Musicians (Prague)” by Anita Mosher

Brushstrokes artists welcome visitors to their relaxed gallerystudio setting.

“Traditional Girls” by John K. Harrell

ationally noted as an exemplary artist-owned gallery, Denver’s Brushstrokes is the creative home of acclaimed painters John Harrell, Kit Hevron Mahoney, Anita Mosher and Kelly Berger. These artists can be found painting most days in the gallery’s gorgeous turn-of-the-century space where visitors are welcome to drop in and watch them work. The gallery’s owner/artists have garnered awards and media coverage and are well-represented in private and corporate collections worldwide. They have been longtime supporters of The Denver Center’s Arts in Education programs by contributing to Saturday Night Alive’s silent auction. They welcome commissions, corporate art consultation, giclée reproductions, pet portraits, original paintings and affordable miniatures—while continually displaying freshly created art on the gallery walls. Find them at 1487 S. Broadway, at Florida Ave., 303.871-.0800, Tue-Sat, 11am-5pm (or happily by appointment) www.brushstrokesstudio.com. n

LUFTHANSA and the Arts A proud sponsor of VIP Evenings

ne of the world’s most prestigious and innovative airlines, Lufthansa has served the Denver market for more than 12 years. Through its extensive global network, it provides the city access to more than 250 destinations in 103 countries. In the spirit of connecting people, countries and cultures, Lufthansa is a strong supporter of outstanding cultural events and institutions everywhere. The airline has sponsored The Denver Center for the Performing Arts (DCPA) for many years. It also supports the German Forum in New York City, another of the carrier’s important U.S. gateway cities. Among its cultural initiatives in Germany, Lufthansa was the first Global Partner of the Gürzenich Orchestra in the airline’s hometown of Cologne. It has presented Berlin’s annual Lufthansa New Year’s Concert for 17 years and this year will present London’s 30th Lufthansa Festival of Baroque Music. Lufthansa’s dedication to social responsibility also extends to humanitarian efforts. Social and philanthropic endeavors are centered around Lufthansa’s Help Alliance employee-founded charity and other humanitarian efforts around the world. n For reservations or additional information, visit lufthansa.com.

AP P L A U S E

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The University of Northern Coloradoâ&#x20AC;&#x2122;s

Little Theatre of the Rockies

80th Professional Summer Stock Theatre Season

Altar Boyz June 12 - July 27 (in Repertory)

The Marvelous Wonderettes June 19 - 22

Sylvia

June 26-July 25 (in Repertory)

Megan Van De Hay in

God of Carnage July 3-July 19 (in Repertory)

Where great theatre leaps off the page!

Swing!

July 31-August 3

Box Ofďż˝ice: 970-351-2200

www.arts.unco.edu/ltr Greeley, Colorado

SATURDAY NIGHT ALIVE

A sold-out crowd of 800 guests raised a record-breaking $842,000 in net proceeds for the DCPA’s Arts in Education programs at the March 1 Saturday Night Alive. The 34th annual black-tie fundraiser supports the educational efforts serving 50,000 students each year. Song and dance man Matthew Morrison (who also stars in the hit TV series “Glee”) headlined the benefit, which was chaired by Susan and Leo Kiely.

9 7 8

APPLAUSE

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IN REVIEW

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1 Whitney Moehle, Event chair Susan Kiely, Matthew Morrison and Julie Erlich 2 Patrons Claudia Miller, Jane Netzorg, Debi Tepper & Cindi Burge enjoyed the evening. 3 DCPA Trustee and Event Chair Leo Kiely welcomes the 800 guests. 4 Kat Wong & Matt Watkins 5 Matthew Morrison performs. 6 Beverlee Hackmeister (center) hosted Dina and Eddie Altman at the JHL Constructors table. 7 Adrienne & Jack Fitzgibbons 8 Peter Swinburn, CEO of event sponsor MolsonCoors with Linda and Mike Rengel. 9 Patrons Al and Terri Fisher 10 Noreen Salah Burpee, OIL & GAS PRODUCERS executive director of the Salah Foundation, with her son Fred Churbuck. The OF COLORADO Salah Foundation granted matching funds for items in the silent auction. 11 Pa-

COLORADO ENERGY PRODUCERS

trons and past Saturday Night Alive chairs Steven and Ryta Sondergard 12 Ron & Chris Yaros with Sandi Hewins and Craig Fleishman 13 State Representative Rhonda Fields with donating artist Juliette Hemingway and her husband Paul Chase 14 Will Amerine & Andrea Ho 15 Patrons Denise & Ray Bellucci 16 Auction chair Susan Stiff, area director of PR for event sponsor Westin Downtown Denver, joined Danny Showers at the baby grand piano the Westin donated in addition to accommodations to the more than 60 Starwood Hotel & Resort Properties around the world. 17 Bill Sullivan, President of Colorado State Bank & Trust with his wife Tricia. CSBT returned as silent auction sponsor for the third year. Photos by Vicki Kerr & John Moore.

And a big thank you to our contributing supporters: The Anschutz

COLORADO ENERGY PRODUCERS

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303.893.4100

A P P L A US E

ART PARTNERS

MICROSOFT Powering joy, fun and intellect through art

“We are proud of the innovation and new ideas made possible through our work with the DCPA. There are dynamic new works and musical collaborations in development that will benefit the community and inspire others to achieve greatness.” —J.P.Westwood, Microsoft General Manager overseeing Denver.

A proud supporter of The Denver Center for the Performing Arts

APPLAUSE

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any know Microsoft as the brand behind their favorite software, services and devices. But they might not know that the company has a heart as big as its brand, committed to giving back in every region it serves. In fact, an official corporate giving program has been in place since the company went public in 1986. Microsoft believes a community is only as strong as its ability to nourish the mind and spirit through excellent, diverse and accessible programming in the visual and performing arts. It is within this vision that the company works with The Denver Center for the Performing Arts (DCPA). Since 1996, Microsoft has given the DCPA more than $2.3 million in software to present exceptional theatre, embrace classics, create new work and be a center for learning and civic engagement. Microsoft technology enables more than 300 DCPA employees to innovate and stay competitive in the industry as they produce plays, present Broadway and cabaret musicals and provide arts education and school matinees for as many as 50,000 students each year. Through Microsoft’s software donation, the DCPA now has the latest desktop and server operating systems to provide operational improvement and the flexibility to meet patron and user needs.

“We are proud of the innovation and new ideas made possible through our work with the DCPA,” said J.P.Westwood, Microsoft General Manager overseeing Denver. “There are dynamic new works and musical collaborations in development that will benefit the community and inspire others to achieve greatness.” A significant portion of the Microsoft funding is directed through ArtsFund, a federated giving program for local corporations, foundations and individuals. In addition to the arts, Microsoft is committed to serving Denver and other local communities in four key areas: empowering youth, empowering nonprofits, empowering employees—and humanitarian and disaster response. With these pillars in mind, Microsoft donated more than $9.5 million to Colorado charities in the company’s most recent fiscal year. State employees also have utilized 2,792 volunteer hours to increase their community impact in a way above and beyond dollars and cents. n Learn more about Microsoft corporate giving at http://www.microsoft.com/about/ corporatecitizenship. Our stores host regular events ranging from free educational workshops to community events with local nonprofit partners. To find your local store visit: content.microsoftstore.com.

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