Applause Magazine, Apr. 25-27, 2014

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VOLUME XXV

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NUMBER 7

APRIL – MAY 2014

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

A R T S

ROCK OF AGES ALSO PLAYING…

ANIMAL CRACKERS ONCE AMERICAN IDIOT

The cast of Rock of Ages.

Photo By Scott Suchman.

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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

10

ANIMAL CRACKERS

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

by Doug Langworthy

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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

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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

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ONCE

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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

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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

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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.

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L L U F E H T Y

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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

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

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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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Media Sponsors

For in that sleep of death what dreams may come…

-William Shakespeare, Hamlet, Act III, scene i

Jeri Zucherman

8

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

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G N I K AC

N N Y U F

Ani

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

LAN

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ILLUSTRATION BY KYLE MALONE

BY DOUGLAS

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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.

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APPLAUSE

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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.

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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

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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

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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.

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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

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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

$1,900 per person (A portion is tax deductible) Directors Society sponsored in part by:

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THE 2014/15 EVENTS The Unsinkable Molly Brown Oct 2 Vanya and Sonia and Masha and Spike Nov 6 Appoggiatura Feb 5 Director’s Choice TBA April 16

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APPLAUSE

d e n ver center. or g

visit www.denvercenter.org/members or contact David Zupancic at 303.446.4811 or davidz@dcpa.org

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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

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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

AND

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 Verdi’s FALSTAFF (Sung in English)

August 15 & 17, 2014 Featuring:

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

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August 10 & 16, 2014

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# esca p e s PRESENTING

Toulouse-Lautrec and La Vie Moderne: Paris 1880-1910

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

OKLAHOMA THE LIAR ONE MAN, TWO GUVNORS Famous Performing Arts Center

This exhibition is organized & circulated by Art Services International, Alexandria, Virginia.

131 W Main Street Trinidad Colorado (in the middle of the Creative District)

Downtown Golden, CO For more information: www.foothillsartcenter.org

www.scrtheatre.com

719.846.4765

Denver comes alive with

The Sound of Music Ellie Caulkins Opera House

August 2 - 10

June 28 - August 10

THE MARRIAGE OF FIGARO | DEAD MAN WALKING THE SOUND OF MUSIC in denver 303.292.6700 | CentralCityOpera.org

You won’t know until you go.

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

SPONSORED BY

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.

ChildrensChorale.org ChildrensChorale.org or or 303.892.5600 303.892.5600 l!

nnua 6th A

Era

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# 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

COLORADOSHAKES.ORG

“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

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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.

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APPLAUSE

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D

”

’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

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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

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

“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-

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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

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ART PARTNERS

WELLS FARGO ADVISORS Proudly working together for a better Colorado

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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

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APPLAUSE

d e n ver center. or g

Denver Center Attractions

and

The Broadway division of The Denver Center for the Performing Arts

phoenix entertainMent - BourBon rooM rocKS, llc Stephen B. Kane & Michael McFadden present

book by

chriS d’arienzo set design

costume design

lighting design

sound design

BeowulF Boritt

GreGory Gale

JaSon lyonS

craiG caSSidy

projection design

hair/wig design

makeup design

zaK BoroVay

toM watSon

anGelina aVallone

casting

original arrangements

MarK MinnicK

daVid GiBBS

music director

darren ledBetter director of operations

production supervisor

liSa Mattia

Shawn penninGton

company manager

arthur J.M. callahan

technical director

addiSon GriSt

tour marketing consultants

production stage manager

anita dloniaK & aSSociateS, inc.

hope VillanueVa

music supervision, arrangements and orchestrations by

ethan popp

choreography recreated by

MarcoS Santana choreographed by

Kelly deVine direction recreated by

adaM John hunter directed by

KriStin hanGGi ROCK OF AGES opened on Broadway at The Brooks Atkinson Theatre on April 7, 2009 and subsequently transferred to The Helen Hayes Theatre where it continues to rock on. Originally produced on Broadway by MATTHEW WEAVER, CARL LEVIN, JEFF DAVIS, BARRY HABIB, SCOTT PRISAND, MICHAEL COHL, REAGAN SILBER, S2BN ENTERTAINMENT, RELATIVITY MEDIA In Assocation With JANET BILLIG, RICH HILLARY, WEAVER CORNER STORE FUND, RYAN KAVANAUGH, TONI HABIB, PAULA DAVIS, SIMON AND STEFANY BERGSON/JENNIFER MALONEY, CHARLES ROLECEK, SUSANNE BROOK, CRAIG COZZA, ISRAEL WOLFSON, SARA MERCER, JAYSON RAITT, MAX GOTTLIEB, MICHAEL MINARIK, DAVID KAUFMAN/JAY FRANKS, MICHAEL WITTLIN, PROSPECT PICTURES, LAURA SMITH/BILL BODNAR, WIN SHERIDAN, HAPPY WALTERS, MICHELE CARO, NEIL CANELL/JAY CANELL, MARIANO TOLENTINO, MARC BELL and THE ARACA GROUP.

EXCLUSIVE TOUR DIRECTION by THE ROAD COMPANY

165 West 46th Street, Suite 1101, New York, NY 10036 • (212) 302-5200 www.theroadcompany.com www.rockofagesontour.com

www.phoenix-ent.com

rock of ages

and Season Sponsors

rock of ages

Cast

(in order of appearance) Lonny............................................................................................................ANDREW SKLAR Justice...............................................................................................................KADEJAH ONÉ Dennis.............................................................................................BRIAN ASHTON MILLER Drew........................................................................................................DOMINIQUE SCOTT Sherrie..................................................................................................... SHANNON MULLEN Father..............................................................................................................JOSHUA HOBBS Mother..............................................................................................................KADEJAH ONÉ Regina............................................................................................................. JESSICA PUCEK Mayor...................................................................................................................CHRIS SAMS Hertz...........................................................................................................PHILIP PETERSON Franz........................................................................................................... TANNER HUSSAR Stacee Jaxx.....................................................................................................JOSHUA HOBBS Waitress #1..............................................................................................ASHLEY McMANUS Constance..................................................................................................... GELSEY LAURIE Ja’Keith Gill.........................................................................................................CHRIS SAMS Young Groupie.........................................................................................MADISON TURNER Sleazy Producer...............................................................................................SAM DOWLING Joey Primo.......................................................................................................SAM DOWLING Candi............................................................................................................... JESSICA PUCEK THE ENSEMBLE SAM DOWLING, CODY RYAN, CHRIS SAMS, TIM SHEA, LEAH ZAHNER UNDERSTUDIES Understudies never substitute for listed players unless a specific announcement is made at the time of the performance. for Drew / Stacee Jaxx – SAM DOWLING for Lonny / Dennis / Hertz – TIM SHEA for Franz / Joey Primo / Mayor / Stacee Jaxx – CODY RYAN for Sherrie — JESSICA PUCEK for Regina / Waitress #1 / Young Groupie / Constance – LEAH ZAHNER for Justice / Mother — ASHLEY McMANUS Please be advised that a strobe light is used in this production.

ROCK OF AGES BAND Conductor/Piano – MARSHALL KEATING Guitar 1 – PAUL WILEY Guitar 2 – MADDOX Drums – BONES ELIAS Bass – RIGO FLORES

THE VIDEOTAPING OR OTHER RECORDING OF THIS PRODUCTION IS A VIOLATION OF THE COPYRIGHT LAW AND AN ACTIONABLE FEDERAL OFFENSE.

DOMINIQUE SCOTT (Drew) is searching for the craziest audiences across the country. Is this you? To participate, please clap loudly, scream and throw your panties at us onstage. No, seriously. And follow me on Twitter (@domscottrocks) and Facebook (/domscottrocks) RIGHT NOW for live backstage updates, free music and other fun things. Oh, and grab my album from the merch booth on your way out! Forever grateful to Phoenix, ROA cast and crew, KMA and the Staz family. For more info, visit domscott.com.

SHANNON MULLEN (Sherrie) couldn’t think of a better way to spend her nights than rocking out with this cast, crew, band and YOU! National tours: Legally Blonde (Brooke Wyndham/Dance Captain), Hairspray (Tammy!) BFA SUNY Buffalo ’09. Love and Thanks to Phoenix Entertainment and her family, friends and teachers who are constant reminders to never stop believin’. www.theshannonmullen.com ANDREW SKLAR (Lonny Barnett) is ecstatic to be on the road as Lonny Barnett. This is a dream come true. When not touring, Sklar fronts the heavy metal band, Exit Existence. Thank you to my friends, Mom and Dad for letting me pursue endlessly, Ronnie James for teaching me what it is to rock, and to Noel for helping me to find my way. “Ain’t it wonderful to be alive when the rock ‘ n’ roll plays!”

JOSHUA HOBBS (Stacee Jaxx) Originally from Anderson, Indiana, Josh is excited to be rejoining this amazing cast of Rock of Ages. It is truly a dream to be on stage rocking out to the 80’s every night with you all. National/International tours: Burn the Floor (Male Singer), Rock of Ages (Drew, Swing). Regional: Rocky Horror (Rocky), Royal Caribbean (Guest Entertainer). Josh would like to thank God, his family, Mariah, Phoenix Entertainment and this totally RAD cast and crew of Rock of Ages for supporting his dream! GO COLTS! Twitter: @joshobbs TANNER HUSSAR (Franz) is thrilled to be making Rock of Ages his first national tour! Proud recent Ithaca College theatre graduate, Go Bombers! Favorite credits include Chicago and The Rocky Horror Picture Show (Hangar Theatre). Thanks to Phoenix Entertainment and everyone at ATB Talent for everything! Love to my incredible family, especially my parents

- this show is dedicated to ZOLL. Don’t stop believin’! @jtannerthanyou BRIAN ASHTON MILLER (Dennis) is freakin’ pumped to extend his pointer and pinky fingers at the same time as much as needed! After both national tours of Rent (Roger) and Grease! (Roger), he is very excited to finally have a new name on stage. Although he’s been in a few movies like Across the Universe and The Good Shepherd, he prefers to talk about his love of Bourbon, which seems to be appropriate. As a born and bred West Virginian who now calls Charlotte, NC his home with his beautiful wife, Brianna, many thanks to all who have supported me on this journey. A proud graduate of Marshall University...GO HERD! And as always, this one’s for you Mommy.

KADEJAH ONÉ (Justice) A native of New Orleans and graduate of Bowie State University, Kadejah is a singer/songwriter/actress and the CEO of KOSH, LLC. She’s also the winner of the 2002 Helen Hayes Award for Supporting Actress, Residential musical. Kadejah performed in the 2010-2012 National tour of The Color Purple (Church Soloist u/s Sophia, Church Lady Doris), Dreamgirls (Effie White) and Ain’t Misbehavin’. She recently starred in the documentary It Has Begun directed by Billy Badd of New Image Films. She attributes her success to God, her angel (son) David Jr. and thanks her mom Dr. Betty Brown and her close friends and family. www.youtube.com/ anointed1one PHILIP PETERSON (Hertz) is happy to be part of the national tour of Rock of Ages. Philip performed throughout the country and Canada with National Tours of Cats (Old Deut) and Evita (Peron) and spent this past summer at West Virginia Public Theatre as Billy Flynn (Chicago), Fagin (Oliver), and Old Deuteronomy (Cats). Regional credits include title roles in Jekyll & Hyde, Man of La Mancha, The King and I, Petrucchio / Fred Graham in Kiss Me Kate, Julian Marsh in 42nd Street, and Henry Higgins in My Fair Lady in Phoenix, Arizona.

JESSICA PUCEK (Regina/Candi) is so excited to be making her national tour debut with Rock of Ages! She earned a B.A. in Theatre Performance and a B.S. in Anthropology from Wagner College.

Some of her favorite roles include: Little

Women (Meg), Tommy (Hawker), West Side Story (Maria), Into the Woods (Cinderella). Film/TV credits include: “Skins” (Club Girl), The Grasslands (Dancer).

She’d like to thank her family and friends for all their love and support, and Danny, for making everything shiny!

SAM DOWLING (Joey Primo/Ensemble) is thrilled to be rocking out in the Bourbon Room again after playing Drew in Rock of Ages on Norwegian Cruiseline’s Breakaway! Oklahoma City University graduate (Bachelor of Music in Musical Theatre 2012). Regional: Jesus Christ Superstar (Jesus), Chess (Freddie), The Light in the Piazza (Fabrizio) and The Wedding Singer (Glen). Follow him on instagram: @Samdowling12! Love and thanks to everyone who has helped in the journey of his pursuit of the dream, but a very special thank you to the woman who has backed his every failure and success, love you mom! “If you feel your dream is dying, hold tight, you’ve got the music in you, don’t let go.” - New Radicals.

GELSEY LAURIE (Constance/Ensemble), originally from Southern California, moved to NYC to perfect her shimmy ball change. She has danced for Disney and Celebrity Cruises, and can also be found as an aerialist in cabarets and circus shows. Gelsey is more than ecstatic for Rock of Ages to be her first national tour!

Much love and thanks to all friends and family who always believed in her!

ASHLEY McMANUS (Waitress #1/Ensemble) is extremely excited to join the rocking cast of ROA! Born and raised in the Nation’s Capital, Washington, DC! National tour: Dreamgirls ‘13 (Dance Captain, Swing, Lorrell U/S). Favorite credits include: Hairspray and Dreamgirls at the Arts Center of Coastal Carolina. She sends lots of hugs and kisses to her family, friends, and supporters. “You’ve always said I Rock, Now let’s Rock!”

CODY RYAN (Ensemble) It’s his first national tour, and Cody couldn’t be more stoked that it’s Rock of Ages! With a BFA from The Hartt School of Music ‘10, he’s rocked out in The Who’s Tommy (Tommy), shook it in Footloose (Ren) and played the fool in Monty Python’s Spamalot. To Phoenix, the cast, family, boys, the scarecrow and the cow - Smooches.

rock of ages

Who’s Who in the Cast

rock of ages

Who’s Who in the Cast

CHRIS SAMS (Mayor, Ja’Keith/Ensemble), native Houstonian, is living to bring energy and 80’s life across North America in Rock of Ages. Off-Broadway premier: Mother Devine (Arnold). Favorite national touring credits include: 50 Shades: The Musical Parody (Taylor), The Color Purple (Buster) The Will Rogers Follies (Wrangler) and Smokey Joe’s Café (Ken). Endless thanks and gratitude to the Lowery-Hart family for the lessons and the love. To Mr. Mr., always my best.

Your patience is my honor...just a little while longer yet!

TIM SHEA (Ensemble) is honored to be a part of this production having recently played the role of Lonny in Rock of Ages on the Norwegian Breakaway.

Previous appearances include Best Little Whorehouse… (Melvin P. Thorpe) at Triarts Sharon Playhouse, Sweet Smell of Success (Sidney) and Fantasy Football: The Musical (Stoner) at NYU, The Joe Iconis Christmas Spectacular (Ars Nova), Sondheim Unplugged and NYMF 2010’s If It Only Runs A Minute 4. He also has performed at Ogunquit Playhouse, Prescott Park Arts Festival and Seacoast Rep. Special thanks to his family for their unwavering support and love. www.timshea.me Go Sox! MADISON TURNER (Young Groupie/ Ensemble) is thrilled to again be a part of Rock of Ages! She just finished having a good time at the Bourbon Room on Norwegian Cruise Line’s Rock of Ages as Constance Sack. Past credits include Hairspray (Westchester Broadway Theatre) Jesse in Barney Live! (national tour), A Chorus Line, Seussical (Forestburgh Playhouse). Madison received her BFA in Musical Theatre at Sam Houston State University. She sends much love and gratitude to Panda, family and friends. For Johnny.

LEAH ZAHNER (Ensemble, Dance Captain), originally from Pittsburgh, PA, is pumped to rock out with this awesome cast every night! BA Mercyhurst University. Regional: Legally Blonde (Brooke Wyndham), Cats (Demeter/Dance Capt.), Chicago (Annie/Dance Capt.), Beauty and the Beast (Belle). Many thanks to Phoenix Entertainment and the ROA crew, the world’s best family and friends, and God – Don’t Stop Believin’! leahzahner.com

CHRIS D’ARIENZO (Book) adapted and directed the motion picture Barry Munday starring Patrick Wilson, Judy Greer, Chloë Sevigny, Jean Smart, Malcolm McDowell, Cybill Shepherd and Billy Dee Williams (www.barrymundayfilm.com). Chris also recently completed the adaptation of Rock of Ages for New Line Cinema and his band, Saint America, is releasing their self-titled debut album this fall. Chris would like to thank his family for supporting his love of theatre... and also thank those three stoners in high school who threw his Trapper Keeper in the urinal for introducing him to Guns N’ Roses. Peace!

KRISTIN HANGGI (Director) was nominated for a 2009 Tony for Best Direction of a musical for Rock of Ages.

She helmed the Toronto, Off-Broadway, Australia, First National Tour, and West End productions. She directed the LA and NY productions of the hit musical Bare (Ovation, L.A. Weekly Award); Pussycat Dolls Live At The Roxy with Gwen Stefani, Christina Aguilera and Charlize Theron. Partial credits include: And the Curtain Rises (Signature Theater), Catch the Fish (NY Fringe Best Play), Twelfth Premise (LA Times Critics Choice), Crane, Mississippi (LA Times Critic’s Choice, Backstage West Critic’s Pick) LA Premiere of Corpus Christi (Ticketholder Award). As a film director, Hanggi is preparing Dear Dumb Diary for Zucker Productions, Naomi + Ely’s No Kiss List with Hayden Panettiere, and Shopping For Boys for Paramount. MA from USC and BA from UCLA. Kristin is proud to be the creator of www.thecreativegym.com.

She won’t stop believin’…

KELLY DEVINE (Choreographer) is an internationally recognized choreographer whose work includes film, television and live performance. Broadway: Rock of Ages; Rock of Ages 1st National Tour, London, Australia (Helpman/Green Room Award), Toronto (Dora Award nom.), Las Vegas; Jersey Boys (Assoc.

Choreographer); Memphis (Assoc.

Choreographer); Rocky (Germany).

Opera: Faust (Metropolitan Opera House/ London Coliseum). Off-Broadway: Rock of Ages; Fat Camp (American Theater of Actors); Frankenstein; Anne Wrecksick. La Jolla Playhouse: Peter and the Starcatcher; Zhivago (Australia; Helpman Nomination); Private Fittings.

Stratford Shakespeare Festival: Cabaret; Romeo & Juliet. Regional: Getting the Band Back Together (George Street Playhouse); Toxic Avenger (The Alley Theater); A Christmas Story (Kansas City Rep./5th Avenue Theatre); Bloody Bloody Andrew Jackson (Kirk Douglas Theatre); Sneaux (L.A. Weekly Theater Award for Best Choreography); Wozzeck (San Diego Opera); The Wiz (Assoc. Choreographer).

Film/Television: Dear Dumb Diary; Happy Texas; Zombie Prom; So Little Time. Commercials: Cingular Wireless; American Idol Promo; Oldsmobile.

Upcoming: Director/Choreographer Bliss, Toxic Avenger, and on Broadway: Rocky; Zhivago.

ADAM JOHN HUNTER (Re-created Direction) has been the Associate Director on six previous stagings of Rock of Ages and is glad to make this the seventh.

He staged both tours of John Doyle’s production of Sweeney Todd. Broadway: A Catered Affair, Sweeney Todd, Company, Little Shop of Horrors, Dinner at Eight, 42nd Street, Swing!. Off Broadway: Road Show, Encores!, Gypsy with Patti LuPone.

MATTHEW DiCARLO (Assistant Director) has been on the Rock of Ages team since its Off-Broadway premiere in 2008 and is currently the Production Stage Manager for the Broadway company.

He has also stage managed numerous productions at Paper Mill Playhouse including The Sound of Music and the world premiere of Honeymoon in Vegas.

As a director, Matt has helmed lots of musicals. Favorites include Little Women, Forever Plaid and Oliver at Bucks County Playhouse and The Wizard of Oz at Downtown Performing Arts Center. Don’t stop believin’.

MARCOS SANTANA (Re-created Choreography) has worked with distinguished choreographers and directors such as Diane Paulus, Franco Dragone, Sergio Trujillo, Andy Blankenbuehler, Des McAnuf, Hal Prince, among others.

Credits: Rock of Ages (West End), Fortress Of Solitude (Assoc. Choreographer), Guys & Dolls (Peter Flynn), White Noise (Assoc. Choeographer) Oklahomo: The Adventures of Dave and Gary (NYMF), My Fair Lady (JWET), The Capeman (The Public Theater), Guys and Dolls (2008 Revival), The Wiz (La Jolla Playhouse), Carmen The Musical, Tarzan (Europe). Other credits: Broadway After

Dark, Broadway Underground, Ballet Hispanico, Danza Jazz P.R. Performance credits: Tony Award Winning show In The Heights, Guys & Dolls, Mambo Kings, Evita, West Side Story, The Wiz, Contact.

He has performed with artists such as Missy Elliot, Paulina Rubio, Anastacia, Mary J Blige, Chayanne, and Jon Secada, among others.

MELANIE L. GASKINS (Dance Supervisor) graduated with a BFA in dance from Temple University, was the dance captain for the National Tour of Rock of Ages and performed as a member of the NJ Nets NBA dance team and Danco II. National Tours: The Color Purple (dance captain) and Joseph...

Dreamcoat (Mrs. Potiphar). Regional: Legally Blonde (Pilar), All Shook Up (Lorraine), A Chorus Line (Sheila), The Wedding Singer (Crystal/Tina Turner), Showchoir! The Musical - 2007 NY Fringe Festival (Sabrina Turner), and Black Nativity (Mary). Melanie thanks Tucker for pushing her to work harder and dance harder everyday.

BEOWULF BORITT (Set Design) Broadway: Rock of Ages, Sondheim on Sondheim, The 25th Annual Putnam County Spelling Bee, LoveMusik, The Two and Only. Off-Broadway: More than 50 shows, including The Scottsboro Boys, The Last Five Years, The Toxic Avenger, Hank Williams: Lost Highway, Miss Julie, Roundabout Theatre, Public Theatre, MTC, 2nd Stage, MCC, New Group.

Other designs: Paradise Found in London, Reel To Real in Beijing, and two editions of The Ringling Bros. Circus.

GREGORY GALE (Costume Design) Broadway: Rock of Ages, Tony and Henry Hewes Design award nominations; Cyrano de Bergerac with Kevin Kline and Jennifer Garner, Tony and Henry Hewes Design Award nominations; The Wedding Singer, Drama Desk nomination; Urinetown, Lucille Lortel nomination; Band In Berlin. Off-Broadway: The Voysey Inheritance, Lucille Lortel Award (Atlantic); The Milliner, Lucille Lortel nomination (CSC); The Third Story, Henry Hewes Design Award nomination; The Country Club, Drama Desk nomination; The Torch-Bearers; Uncle Tom’s Cabin; As Thousands Cheer (Drama Dept.); The Third Story (MCC); Pig Farm and The Dazzle (Roundabout); Rope (Zipper); Mary Stuart, The Infernal Machine, Night

of the Tribades and The Prince of Homburg (Jean Cocteau). U.S. tours: Urinetown (and Toronto); Oh, Figaro! (National Theater of the Deaf). Regional: Rich and Famous (ACT); The Man Who Came to Dinner (Alley Theater, Houston); A Flea In Her Ear (Williamstown); High Button Shoes, Seven Brides for Seven Brothers and The Pajama Game (Goodspeed).

Irene Sharaff Young Master Award. www.gregorygale.com JASON LYONS (Lighting Design) Broadway: Rock of Ages, The Threepenny Opera, Barefoot in the Park, Good Vibrations. Recent: Golden Age (Kennedy Center), A Christmas Story, The Musical (KC Rep), Broke-ology (LCT), White Noise, A Flea In Her Ear (KC Rep), Inked Baby (Playwrights), Uncle Vanya (CSC), Clay (LCT), Mindgame, Fault Lines (Naked Angels), Body Awareness, Scarcity (Atlantic), Sive (Irish Rep), The Piano Teacher (South Coast Rep), Vigils (Goodman), Evil Dead The Musical (NYC and Toronto), The Field (Irish Rep), Once Around The Sun, Kiki & Herb: Coup de Theatre.

At The New Group: The Starry Messenger, Groundswell, Mourning Becomes Electra, Rafta Rafta, Two Thousand Years, The Prime of Miss Jean Brodie, A Spalding Gray Matter, Abigail’s Party, Hurlyburly, ROAR, Aunt Dan and Lemon, Comedians, The Women of Lockerbie.

CRAIG CASSIDY (Sound Design) has been providing sound reinforcement for the theater for 25 years designing sound for productions in the USA and around the world. Recent productions include A Chorus Line, Spamalot, The Color Purple, Cirque Dreams Jungle Fantasy, Ring Of Fire, Gypsy, Man of La Mancha, Grease, The Will Rogers Follies, Smokey Joe’s Cafe, Fame and Phantom. When he is not behind a sound console you can find him sailing the Long Island Sound with his wife Dina & daughter Kealy.

ZAK BOROVAY (Projection Design) is thrilled to continue rocking America and the rest of the world with Chris, Kristin, Kelly and the rest of the ROA gang! Recent: Lombardi (Broadway), Rock of Ages (Broadway, Toronto, off-Broadway), Let Me Down Easy (off-Broadway, national tour), To Be or Not To Be (Broadway), A Catered Affair (Broadway, Drama Desk nomination), Xanadu (Broadway, Japan, national tour), The Radio City Music Hall Christmas Spectacular, Nickelodeon’s

Storytime Live! (national tour), Voyage De La Vie (Sentosa, Singapore), Peepshow (Planet Hollywood Resort Casino, Las Vegas) and The Creature From The Black Lagoon (Universal Studios Hollywood).

Zak was the first projection designer to join United Scenic Artists Local 829.

TOM WATSON (Hair & Wig Designer) is head of the wig and makeup department at the Metropolitan Opera. He has designed wigs for more than 45 Broadway productions. Current and recent Broadway designs include The Addams Family; Promises, Promises; Million Dollar Quartet; Wicked; South Pacific; Sondheim on Sondheim; A View from the Bridge; and Sunday in the Park with George.

ANGELINA AVALLONE (Makeup Designer) Broadway credits include A Little Night Music, The Addams Family, A Behanding in Spokane, The Royal Family, The Little Mermaid, Guys and Dolls, West Side Story, 33 Variations, Young Frankenstein, Gypsy, Curtains, The Color Purple, Sunday in the Park With George, Sweeney Todd, Company, Grey Gardens, Dr. Seuss’ How the Grinch Stole Christmas, Chitty Chitty Bang Bang, The Light in the Piazza and the pre-Broadway production of Minsky’s (Ahmanson Theatre, L.A.).

ETHAN POPP (Music Supervisor/Orchestrations/Arrangements). 2013 “Best Orchestrations” Tony Award Nomination for Motown The Musical and 2014 Grammy Nomination as producer of the Original Cast Recording of Motown The Musical. Television: “Smash” (music supervisor, music producer, arranger, orchestrator,) “A Capitol Fourth” (PBS), “The 2013 Tony Awards” (CBS), “The 64th Primetime Emmy Awards” (FOX), “The Tonight Show With Jay Leno” (NBC), “The 2009 Tony Awards” (CBS), “Late Night With Conan O’Brien” (NBC). Broadway/ theatre: Upcoming: Hedwig and the Angry Inch starring Neil Patrick Harris, Rock of Ages (Broadway, U.S. Tour, Toronto, Australia, and London productions as music supervisor, arranger, and orchestrator), Disney’s Tarzan (Broadway), Glory Days (Broadway), We Will Rock You (German premiere), Disney’s Aida (German Premiere/European Tour), Mamma Mia! (German premiere), Disney’s The Lion King (German premiere), Forever Plaid (U.S. Tour), The Radio City Christmas Spectacular (Mexico City), Fame! (U.S. Tour), amongst countless others. He has

rock of ages

Who’s Who in the Cast

rock of ages

Who’s Who in the Cast

also orchestrated for the National Symphony Orchestra. Much love to his wife Vanessa and his entire family for their endless support.

DAVID GIBBS (Original Orchestrations) served as the co-music director and arranger for the original Los Angeles run of Rock of Ages. He has written music for film and TV, including Josie and The Pussycats, That Thing You Do, Dumb and Dumber and many others. He co-wrote the movie Freeloaders, produced by Broken Lizard (Super Troopers), and is a member of Street Sweeper Social Club.

DARREN LEDBETTER (Music Director) Broadway: Motown: The Musical (Production Music Associate). As Musical Supervisor/Director/Arranger: Countless productions including Rock of Ages (North American Tour), Grease (North American Tour with Frankie Avalon & Istanbul, Turkey), Dreamgirls (30th Anniversary with Jennifer Holliday at The MUNY, Theatre of the Stars, Gateway Playhouse), Chicago (Sacramento Music Circus), Almost Heaven: The Songs of John Denver (Barter Theatre), The Last 5 Years, Pippin, Footloose. Numerous concerts throughout the US involving Carly Jibson, Natalie Weiss, Miranda Sings!, and 80’s pop sensation Tiffany, among countless others.

Scott Orlesky (Technical Supervisor) Technical Supervision on International tours of Spamalot, The Color Purple, Fame, Grease, Peter Pan, The National Ballet of the Ukraine’s Nutcracker, A Ballet Fantasy, What’s Done In the Dark, Unforgettable: The Nat King Cole Story and Big Comfy Couch, to name a few. His work has garnered him a Dora Mavor Moore award for theatrical design, an IALD award for architectural lighting, and an ISES award for large scale special events.

MARK MINNICK (Casting) has cast exceptional talent in more than 25 touring productions including The Color Purple, Gypsy, The Pajama Game, Monty Python’s Spamalot and The Addams Family. International : Fame (2009/10 China tour), and Grease (Asian tour, Macau, China and Istanbul, Turkey).

MARSHALL KEATING (Conductor/ Keyboards) couldn’t be happier joining the team of ROA. Originally from a small town in MN he’s spent the past eight

years music directing, teaching and playing piano in NYC. Aside from cabarets at 54below, his favorite MD credits are: Thoroughly Modern Millie, Hello Again, Merrily We Roll Along, A Little Night Music and Andrew Lippa’s The Wild Party.

Along with the folks behind and associated with the ROA tour, Marshall would like to thank his friends, family and especially Vernon.

PAUL WILEY (Guitar 1) started his musical career in Chicago playing clubs as early as thirteen years of age. By his early 20s he was headlining shows in Chicago in such bands as Egostatic, Jupiter Blue, and Royal. Throughout his career he has toured as support for such bands as Disturbed, and Plain White Tees. At the same time he was a highly recommended session guitarist on numerous recordings.

He currently resides in Los Angeles where he composes music for film and lends his guitar skills to pop diva, Dirty Little Billy.

MADDOX (Guitar 2) is proud to continue his Rock of Ages journey with the 2nd national touring production. Maddox has worked with bands such as Kill Hannah, Smashing Pumpkins, Jet and Papa Roach, in addition to producing his own solo music. Maddox would like to thank his family for their support over the years.

BONES ELIAS (Drums) has been described as one of the best rock drummers in his time! Bones has performed on Letterman, Kimmel, MTV. He has worked with Linkin Park’s Chester Bennington, Dead By Sunrise, Julien-K, DJ Ashba & Nikki Sixx (Sixx A.M.), Phil Anselmo (Pantera), John 5, Max Cavalera, Robbie Merrill, Steve Stevens. Bones is also a child abuse advocate for Children Without A Voice, USA. Bones sends love to Cenci, Jake, Beau and all his fam/friends. www.facebook.com/oneseliasofficialpage RIGO FLORES (Bass) has been a prominent figure in the Las Vegas music scene for many years as both bassist and Musical Director, with first call status in varied production and award shows including the annual Latin Grammys. He has performed with top musicians ranging from members of the Stevie Wonder and Santana bands to those of Flotsam and Jetsam and Armored Saint. Rigo is active in the tribute band market, including the thrilling AC/DC tribute act High Voltage.

HOPE VILLANUEVA (Production Stage Manager) is thrilled to be joining Rock of Ages, having been a part of several national tours, including My Fair Lady, Young Frankenstein and Ringling Bros and Barnum & Bailey’s Bellobration. Previously, she spent two years as the resident and touring stage manager for Honolulu Theatre for Youth and has stage managed at The Studio Theatre and Imagination Stage in Washington, DC, The Theatre @ Boston Court, The Zephyr Theatre, and The Fountain Theatre in Los Angeles, among others. Some of her favorite projects have included The Big Meal, Theory of Mind, Courting Vampires, Into the Woods and SHOUT the Mod Musical. For Keldon for his never ending support and love.

ARTHUR J. M. CALLAHAN (Company Manager) is excited to join the Rock of Ages tour and rock the country city by city.

He has toured extensively throughout the US, Canada, Europe, and Asia as an Actor and Company Manger. Most recently he was Company Manager for The Color Purple tour with Phoenix Entertainment.

He thanks his Family and Friends for enduring the never ending question “Where in the world is Arthur?”

STEPHEN B. KANE (Executive Producer) enjoys an open ended run in the theatrical touring industry that has now spanned some 35 years. He has produced and managed over 100 touring Broadway musicals on four continents. Current collaborations include Rock of Ages, Peter and the Starcatcher, The Addams Family, Grease and Camelot. He is CEO for Baker Park Associates, a theatrical management and consulting firm, and cofounder of both Phoenix Productions in North America and Phoenix Asia Group.

For real adventure he happily shares postproduction time with partner Joe in sunny south Florida raising their 9-year old sons, Aidan and Andrew.

MICHAEL McFADDEN (Artistic Producer) is the co-founder and Artistic Director of Phoenix Entertainment. He has guided more than 100 major productions as Producer and/or Director on both the national and international stage. Productions include Rock of Ages, Peter and the Starcatcher, The Addams Family, Monty Python’s Spamalot, The Color Purple, Camelot, Godspell, The Will Rogers Follies, Grease, Man of La Mancha, Gypsy,

and The 25th Annual Putnam County Spelling Bee. Directing credits include Smokey Joe’s Café, The Pajama Game (U.S. National tours), Fame (Korea and China tours), Grease (China tour, Republic of Singapore, Malaysia, Macau and Istanbul, Turkey) and Sing Along Santa (Korea and U.S. tours). Mr. McFadden is a partner in Baker Park Associates, Inc. and founding member of both Phoenix Productions and Phoenix Asia Group. When not traveling, he shares his quiet time with his wife, LeAnne, and their sons, Sam and Liam.

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

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

PHOENIX ENTERTAINMENT (Producer) is an independent theatrical producing and management enterprise founded and helmed by long time colleagues Stephen Kane and Michael McFadden. Its primary mission is to develop, produce, manage and present the very finest in touring Broadway musicals and family entertainment worldwide. Over the past three decades the Phoenix team has produced and/or supervised over 100 live productions on four continents. Current and recent touring projects include Rock of Ages, Peter and the Starcatcher, The Addams Family, Monty Python’s Spamalot, The Color Purple, Camelot and the long-running Korean language production of Grease. Its overseas affiliate, Phoenix Asia Group, brings international booking, producing, presenting, classical artist representation and theatrical investment to the collective production and management capabilities of Phoenix Entertainment. www.phoenix-ent.com.

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

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 David Lenk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Videographer Jennifer Lopez. . . Assoc. Director of Ticket Services/Operations Kyle Malone. . . . . . . . . . . . . . . . . . . . Senior Graphic Designer Jane McDonald. . . . . . . . . . . . . Marketing Coordinator, DCTC John Moore. . . . . . . . . . . . Assoc. Director of Content Strategy Mark Onderdonk. . . . . . . . . . . . . . . . . . . . . . Business Manager Kirk Petersen. . . . Assoc. Director of Ticket Services/Patron Relations Tina Risch. . . . . . . . . . . . . . . . . . Community Services Manager Anthoney Sandoval. . . . . . . . . . . . . . . . . . . Box Office Manager Joe Schurwonn. . . . . . . . . . . . . . . Marketing Financial Analyst Jill Schwager. . . . . Student Matinee and Group Tours Associate David Smith . . . . . . . Assoc. Director of Subscription Services Emily Zeck. . . . . . . . . . . . . . . . . . . . . . . Subscription Manager

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

Development Department 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

may 23 – 25

buell theatre with

and

303.893.4100 • denvercenter.org • GROUPS: 303.446.4829

• TTY: 303.893.9582

rock of ages

Who’s Who in the Cast

rock of ages

MUSIC CREDITS

Graham and Eric Martin. © EMI April Music, Inc., obo itself, Dog Turner Music and Eric Martin Songa Anyway You Want It written by Steve Perry and (ASCAP). Too Much Time On My Hands written Neal Schon. © Published by Lacey Boulevard Music

by Tommy Shaw. © Stygian Songs/ASCAP. Waiting and Weed High Nightmare Music. Beaver Hunt For A Girl Like You written by Michael Leslie Jones written by David Gibbs and Chris Hardwick. © and Louis Gramattico. © Published by Somerset MANAGING PRODUCER...........STEPHEN B. KANE Published by Feed the Pony Songs and Fish Ladder, Songs Publishing, Inc. Wanted Dead Or Alive Inc. (BMI).

Can’t Fight This Feeling written by ARTISTIC PRODUCER..........MICHAEL McFADDEN written by Jon Bon Jovi and Richard S. Sambora.

Kevin Cronin. © Published by Fate Music (ASCAP). © All rights owned or administered by UniversalASSOCIATE PRODUCER...............MARK MINNICK Cum On Feel The Noise written by Neville Holder Polygram Int. Publ. Inc. on behalf of itself and and James Lea. © Barn Publishing (Slade), Ltd. Bon Jovi Publishing/ASCAP. Used by permission.

Don’t Stop Believin’ written by Jonathan Cain, We Built This City written by Dennis Lambert, STAFF FOR ROCK OF AGES Stephen Ray Perry, Neal J. Schon. © Published by Martin George Page, Bernie Taupin and Peter Wolf.

Weed High Nightmare Music and Lacey Boulevard COMPANY MANAGER.....ARTHUR J.M. CALLAHAN © All rights owned or administered by UniversalMusic. Every Rose Has Its Thorn written by Bobby Polygram Int. Publ. Inc. on behalf of Little Mole PRODUCTION Dall, Bruce Anthony Johanesson, Bret Michaels, Music/ASCAP. Used by permission. We’re Not STAGE MANAGER..............HOPE VILLANUEVA Rikki Rocket. © All rights owned or administered by Gonna Take It written by Daniel Dee Snyder. © All DIRECTOR OF OPERATIONS.............LISA MATTIA Universal Music-Z Songs on behalf of Cyanide Publ./ rights owned or administered by Universal Music-Z BMI. Used by permission. The Final Countdown CASTING DIRECTOR....................MARK MINNICK Melodies on behalf of SnidestMusic/SESAC. Used written by Joey Tempest. © Screen Gems-EMI TECHNICAL SUPERVISOR.........SCOTT ORLESKY by permission. www.phoenix-ent.com Music, Inc. Harden My Heart written by Marvin PRODUCTION Webster Ross. © 1980 WB Music Corp (ASCAP), ACCOUNTANT................. DEBORAH HARMON Guitars Supplied by Narrow Dude Music (ASCAP) and Bonnie Bee Good ASSOCIATE GENERAL MANAGER.......RICH HIXON Music. All rights administered by WB Music Corp. All rights reserved. Used by permission. Heat Of The ASSOCIATE PRODUCER/CASTING...............................................................MARK MINNICK Moment written by Geoffrey Downes and John K. TOUR MARKETING CONSULTANTS DIRECTORWetton.

OF OPERATIONS............................................................................LISA MATTIA © 1982 WB Music Corp (ASCAP), Almond Drums provided by ANITA DLONIAK AND ASSOCIATES, INC. Corp (ASCAP)....................................................MELODEE and Pallan Music. All DIRECTORLegg OFMusic ACCOUNTING SNOKE-BULLOCK Mapex Drums / Joe Hibbs, artist relations behalf of itself and Almond Legg Music Anita Dloniak, Diane Rodes, Melissa A. Hazek DIRECTORrights OF on PRODUCTION ....................................................................SCOTT ORLESKY Corp administered by WB Music Corp. All rights Cymbals provided by GENERALreserved.

MANAGER.............................................................................STEPHEN KEARNS Used by permission. Heaven written by Sabian / Christian Stankee Asstistant Director....................Matthew’ DiCarlo COMPANYJaniMANAGER ....................................................................ARTHUR JM CALLAHAN Lane, Erik Turner, Jerry Dixon, Steven Sweet Dance Supervisor...................Melanie L. Gaskins and Joey Allen ©.

Here I Go .................................................CHRISTOPHER Again written by PRODUCTION STAGE MANAGER LOCKLEAR Sticks provided by David Coverdale and Bernard Marsden. © 1982 Asst. Lighting Designer.................... Driscoll Otto Vic Firth Drumsticks / Ben Davies CC Songs, Ltd. (PRS) and Seabreeze Music.

Automated Lighting Musical Supervisor..........................Joseph Joubert Ltd. Administered by WB Music Corp.

(ASCAP). Payroll .........................................C2 Portfolio, Programmer......................Timothy F. Rogers All rights reserved.

Used by permission.

High IT Manager .........................................Wells Co Assoc. Choreographer.......Stephanie Guiland-Brown EXCLUSIVE TOUR DIRECTION Production Electrician......................... Todd Drga Enough written by Jack Blades, Ted Nugent and THE ROAD COMPANY Office Manager...............................Stephanie G Assistant to the Choreographer.............Jamal Story Production Wardrobe................ Brendan VanStee Tommy R. Shaw. © Published by Bicycle Music 165 West 46th Street, Suite 1101 Bras Assistant Grist Scenic Company, Designer ................Kacie Hultgren Broadhead Music and Wixen Music. Hit Reception .........................................Ruth Head Carpenter.............................Addison New York, NY 10036 With Your...............Mark Best Shot written bySimpson E. Schwartz. Customs Broker ..................Livingston Internati Assistant LightingMeDesigner (212) 302-5200 • www.theroadcompany.com Asst. Carpenter................................

Noah Smith © Sony/ATV Tunes LLC/ASCAP. I Hate Myself National Advertising/Logo Production ASM............................Suzanne Apicella Creation ..............Spo Head Electrician............................

Avianna Meck For Loving You written by Desmond Child and Asst. Electrician..................................

Dan Votta Souvenir Merchandise designed and created by: Image Fac Assistant Wig/Hair ..............................Leah Loukasby Production Videographer ............The Joan Jett. © All rights owned or administered Universal Polygram..........Jeremy Int. Publ. Inc./ASCAP. Used by ProductionTHE Head Audio............................. Michael Skladel ARACA GROUP Prod. J.Electrician/Programmer Wrable Photography ..................Scott Suchm permission. I Wanna Rock written by Daniel Dee www.araca.com or (212) 869-0070 Asst. Audio......................................

Roth Prod.Emery Wardrobe ............................Debbie Cherutin,by Trucking...............................................Janco, Snyder. © All rights owned or administered Asst. Audio.............................. Shane Bourgeois Megan McGilvery Universal Music-Z Melodies on behalf of Snidest Buses ...................Hemphill Entertainment Serv Head Props..................................... Randy Paun CREDITS Music/SESAC. Used by permission.R.I Bates Want To Website Design Head Carpenter...........................Matthew .................Situation Marketing, Wardrobe Supervisor............... Marianne VanStee Know What Love Is written by Michael Leslie Scenery and Scenic Effects built, painted and Assistant Carpenter..........................Brandon Fuller Merchandising .......................................Dewyn Jones. © Published by Somerset Songs Publishing, electrified by Virginia Scenic. Additional scenery Hair/Wig Supervisor.......................... Olivia Cash Electrician ...........................Anna Birgenheier andSolutions Accommodations Inc. Just Like Paradise written by David Lee Roth Transportation fabrication by Scenic LLC. Lighting.....Road R Insurance......................DeWitt Head Stern Group, Inc. and Brett Tuggle. © Diamond Dave Music c/o RS equipment provided by Christie Lites.Entertainment Audio Assistant Electrician.........................Stephen Atwell Tr Legal........................................ Brooks & Distler Plane Music. Keep On Lovin’ You written by Kevin equipment provided by Masque Sound. Video Head Audio Muehlhausen Accounting/US.............Gordon & Company, LLC.................................Jens Cronin. © Published by Fate Music (ASCAP). Kiss Screens supplied by Pete’sCREDITS Big TV’s. Costumes Me Deadly written by Mick Smiley. ©Freeman Published by Scenery Asst. Audio......................................Craig Accounting/Canada................ Fruitman Kates CA constructedfor

by Jennifer Love Costumes.

The Color Purple Custom was fabricated The Twin Towers Co, and Mike Chapman Publishing Human Resources................... Catherine Gouldin....................................Andrew leatherwearby byVirginia www.rawhides.com.

Fabric Head Props Iverson painted Scenic.

Lighting Enterprises. More Than Words written by Nuno painting and costume crafts by Jeff Fender. provided Payroll.........................................

Bushra Tirmizi Wardrobe Supervisor ........................Terrah Trimble Bettencourt and Gary F. Cherone. © All rights owned Christie Lites Ltd. Custom footwear

by TOSound Dey andequipment Worldtone. provided Financial Services.....................Hair/Wig Bank of America or administered

by Almo Music Corp. Nicolas on behalf of Masque Supervisor .............................Jeri Hosiery andSound. under-garments

by Bra*Tenders.

Costumes based on an orig IT Manager..................................... Wells Condo Color Me Blind Music/ASCAP. Used by permission.

Custom knitting and Tazewell.

Dennis AngelRehearsed Wings by Insurance ..........................DeWitt Stern Group, Inc. design by Paul at Che Nothin’ But A Good Time written by Bobby Seamless Costumes. Props by: Tom Carroll Office Manager...........................Stephanie Giles Legal............................................Brooks & Distler Dall, Bruce Anthony Johanesson, Bret Michaels, Studios, NYC. Special thanks to Jim Au Scenery.

Special thanks to the management and Reception..................................... Ruth Braswell Rikki Rocket. © All rights owned or administered Accounting/US ................Gordon and Company, PA staff at the University of Florida Performing Arts Services Online.com: Austin CO Real Estate Customs Broker................B. Zee Brokerage Ltd.

by Universal Music-Z Songs on behalf of Cyanide Curtis M. Phillips Center, Gainsville, FL. Accounting/Canada....................Fruitman Kates CA Print Creative...........................Steven M. Bishop Publ./BMI. Used by permission. Oh Sherrie written Worth, TX; Andre Johnson, Next Level Enterpriz Human Resources .......................Catherine Gouldin

by Steve Perry, Randy Goodrum, Bill Cuomo, Craig Ft. Worth, TX; Cortez Bailey & Gloria Daniels; E Videography...........................The Image Factory Kampf. © Published by Street Talk Tunes, April Payroll.........................Yolanda Gault, Farhiya Omar Production Photography..............Scott Suchman Patsy Edwards; Shady Grove Baptist Church in T Music Inc. & Random Notes, Pants Down Music and Trucking...........................................Janco, Ltd. Financial ServicesPhosphene .........................Bank of America TX; DeGalane Williams & Family.

Music. Renegade written by Tommy Buses................Hemphill Entertainment Services Shaw. © All rights owned or administered by Almo Website Design............................... Wood Street Music Corp. on behalf of itself and Stygian Songs/ Backstage and Front of the House Employees are EXCLUSIVE TOUR DIRECTION represented by the International Alliance of ASCAP. Used by permission. The Search Is Over Merchandising................................Araca Group Theatrical Stage Employees (or I.A.T.S.E.).

THE ROAD COMPANY written by Frank Sullivan and Jim Peterik. Published Transportation and

by Ensign Music LLC (BMI). Usedwww.theroadcompany.com by permission. All Accommodations.........................Road Rebel rights reserved. Shadows Of The Night written Entertainment Travel by and D.L. Choreographer Byron. © Zen.Archer/ASCAP. The Director are members of Sister the United Artistsrepresents represents the designers and UNITEDScenic SCENIC ARTISTS the designers written and

by Kelly Keagy. © Published and scenic painters forfor the the American Theatre. Theatre.

Society ofChristian Stage Directors Choreographers, Inc., anby scenic painters American Bicycle Music Co.union.

To Be With You written by David independent national labor

PRODUCERS PHOENIX ENTERTAINMENT www.phoenix-ent.com

PRODUCERS

PHOENIX ENTERTAINMENT

STAFF FOR THE COLOR PURPLE TOUR

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

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{ F I N E

A R T S }

{ M U S I C A L

A R T S }

{ P E R F O R M I N G

A R T S }

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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T

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

I

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

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

A P P L A US E

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SPECIAL EVENTS

PRESENTS

The best seats to the best shows…..

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

T D! JUSUNCE O NN

HHHHH “

Daily News

A

Time Out NY

2013 TONY AWARD

®

WINNER! BEST MUSICAL REVIVAL

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 20, 2014 • $225

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A

key part of Colorado State Bank and Trust’s (CSBT) mission statement is “Long Live Our Community.”

That’s why CSBT is proud to partner with The Denver Center for the Performing Arts (DCPA) as sponsor of the Saturday Night Alive Auction. Saturday Night Alive benefits the DCPA Arts in Education programs, making a difference in the classroom as well as the community.

CSBT’s history of community involvement dates back more than 100 years. Today, as part of BOK Financial, a strong regional financial services company, the bank is fortunate to be in a position to continue that involvement by bringing significant financial and personal resources to local residents. Through the Private Bank and Wealth Management divisions, a variety of financial solutions are available, including sophisticated deposit and credit options, asset management, retirement solutions, and trust and estate planning.

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“We’re proud to contribute our professional resources and personal time to Denver and the Rocky Mountain Region,” said Bill Sullivan, CSBT President and CEO. “It’s gratifying to support residents and valued institutions such as the DCPA. We look forward to continuing our partnership with this vibrant community.” n Find out more about Colorado State Bank and Trust at www.csbt.com

Colorado State Bank and Trust leadership (from left): Andy Aye, SVP, Commercial; Mike Burns, SVP, Private Bank; Aaron Azari, EVP, Wealth Management. Seated: Bill Sullivan, President and CEO.

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DENVER CENTER ATTRACTIONS

SEASON The original Broadway cast of Kinky Boots. © Matthew Murphy

“

HHHHH “

Daily News

Time Out NY

2013 TONY AWARD

®

WINNER! BEST MUSICAL REVIVAL

Sept 6–20, 2014

Nov 15–March 1, 2015

Buell Theatre

Garner Galleria Theatre

Oct 29–Nov 9, 2014 Buell Theatre

Feb 3–15, 2015

April 29–May 10, 2015

Buell Theatre

Buell Theatre

March 31–April 19, 2015 Buell Theatre

Santino Fontana and Laura Osnes from the Rodgers + Hammerstein’s CINDERELLA Original Broadway Company. Photo by Carol Rosegg

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IBE R C S B SU !

TODAFOYR AS LOW AS

ENTS M Y A P 8 38 OF $21.

The original 2013 Cast of PIPPIN. photo © 2013 Joan Marcus

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

ADDED ATTRACTIONS

Sept 19 - Oct 19

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denvercenter.org/bwaysubs

Motown the Musical (l to r) Sydney Morton, Valisia LeKae and Ariana DuBose. Photo © 2013 Joan Marcus

303.893.4100

A P P L A US E

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2014/15 SEASON Generously Sponsored for the 11th Consecutive Season by:

I M PAC T CRE TIVIT Y A

T D! JUSUNCE NO AN

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 “

HHHHH “

Daily News

Time Out NY

2013 TONY AWARD

®

WINNER! BEST MUSICAL REVIVAL

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

OCT 29 OR NOV 7

NOV 18 OR DEC 5

DEC 17

APR 29 OR MAY 1, 2015

JUNE 4 OR 5, 2015

BECOME A PREMIUM DENVER CENTER ATTRACTIONS SUBSCRIBER WITH THIS SPECIALLY CUSTOMIZED SEASON

All with concierge services Membership Benefits Include:

V Front-and-Center orchestra seating on Opening Night or Opening Week Fridays

V Elegant pre-show dining at Kevin Taylor’s at the Opera House

V Opportunity to purchase great seats to any added attractions, such as Jersey Boys

V Personalized ticketing and exchange services by our concierge staff

V Intermission cocktails in the private Wolf Room

V A generous tax deduction Limited ticket availability

Membership is $5,000 per person (a generous portion is tax deductible).

To personally discuss your membership, please contact David Zupancic:

303.446.4811

•

davidz@dcpa.org

($250,000 or more) The James S. and Lynne P. Turley Ernst & Young Fund for Impact Creativity Clear Channel Outdoor* CMT/ABC*

($50,000 or more) AOL*

MAR 31 OR APR 3, 2015

FEB 3 OR 6, 2015

Impact Creativity is an urgent call to action to save theatre education programs in 19 of our largest cities. Impact Creativity brings together theatres, arts education experts and individuals to help over 500,000 children and youth, most of them disadvantaged, succeed through the arts by sustaining the theatre arts education programs threatened by today’s fiscal climate. For more information on how “theatre education changes lives,” please visit: www.impactcreativity.org

($100,000 or more) The Hearst Foundations

Motown® is a registered trademark of UMG Recordings, Inc.

SEP 10 OR 12

CURRENT CONTRIBUTORS List Complete August 2013

•

denvercenter.org/premium

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INTO A

GOOGLE IMAGES

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

O

“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.”

D

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

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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

U

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

N

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

O

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.

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d e n v er center. or g

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 Of�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.

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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

rs of

303.893.4100

A P P L A US E

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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

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APPLAUSE

d e n v er center. or g

M

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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