Applause Magazine, May 23-25, 2014

T H E

VOLUME XXV

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NUMBER 7

APRIL – MAY 2014

Andrew Humann and the company of AMERICAN IDIOT. Photo by Jeremy Daniel.

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

AMERICAN IDIOT

ALSO PLAYING… ANIMAL CRACKERS n ROCK OF AGES n ONCE

PHOTO BY TERRY SHAPIRO

PRODUCING ARTISTIC DIRECTOR’S LETTER INDEX

Kent Thompson

As you’ve heard by now, we’re launching our 36th Denver Center Theatre Company season with a major revision of the beloved musical, The Unsinkable Molly Brown, featuring a new book by Dick Scanlan (based on Molly Brown’s real life), several songs replaced by others from the Meredith Willson catalog, and a top creative team, led by three-time Tony® Award-winning director/choreographer Kathleen Marshall.

And that’s just the thrilling start of an exciting year. Below (and on pages 16-17) I am outlining the rest of our 2014/15 season.

William Golding’s Lord of the Flies, a title many of us read in school, tells the harrowing story of a group of schoolchildren dropped on an island after a plane crash during World War II. Left to their own devices, they sink into power struggles, even savagery, as bullying wins over cooperation; a scary, but touching play. Next up, Christopher Durang’s Vanya and Sonia and Masha and Spike (winner of the 2013 Tony for Best New Play) delivers a very funny, sometimes wistful reflection about middle-age ennui, loosely based on Uncle Vanya with hilarious Chekhovian references, and the addition of a muscular “boy toy” and a prophetic, Producing Artistic Director sassy housekeeper.

Denver Center Theatre Company

10

ANIMAL CRACKERS

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

by Doug Langworthy

22

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

4

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

40

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:

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Denver Center Attractions 2013/14 Season Sponsors

T

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.

C

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

T

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.

“T

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

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

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

A P P L A US E

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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

• Four-play subscription on selected Thursday evenings • Before the show: members-only cocktail parties with open bar and hors d’oeuvres • After the show: meet the cast at Larimer Square hot spots • Personalized ticketing and exchange services $500 per person ($227 is tax deductible) Marquee Club sponsored in part by:

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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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The Aurora Fox

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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

Tickets: $22- 28

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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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Henry Purcell’s Dido and Aeneas

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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

#

# 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

d e n ver center. or g

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

T

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

24

APPLAUSE

d e n ver center. or g

Denver Center Attractions

and

The Broadway division of The Denver Center for the Performing Arts

Work Light Productions Stephen Gabriel, President Presents

Music by

Lyrics by

Green Day

Billie Joe Armstrong Book by

Billie Joe Armstrong and Michael Mayer Jared Nepute Dan Tracy Casey O’Farrell Olivia Puckett Taylor Jones Mariah MacFarlane and

Carson Higgins with

Alex Boniello Liam Fennecken Sean Garner Francesca Granell Antwaun Holley Andrew Humann Alison Morooney Michael Pilato Eric Presnall Turner Rouse, Jr. Josephine Spada Chelsea Turbin Scenic Design

Costume Design

Christine Jones

Andrea Lauer

Casting

Jim Carnahan, C.S.A. Jillian Cimini Producer

Nancy Gabriel

Lighting Design

Kevin Adams

Company Manager

Production Stage Manager

Stacy Myers

General Management

Work Light Productions

Music Supervisor

Jared Stein

Sound Design

Acme Sound Partners

Video/Projection Design

Darrel Maloney

Technical Supervisor

Cory Boulieris

Technical Theater Solutions, LLC Rhys Williams

Press & Marketing

Booking & Engagement Management

Type A Marketing

Associate Choreographer

Lorin Latarro

AWA Partners

Associate Director

Johanna McKeon

Arrangements and Orchestrations

Tom Kitt

Choreographer

Steven Hoggett Director

Michael Mayer Originally Produced by

Tom Hulce & Ira Pittelman Vivek J. Tiwary Latitude Link Scott M. Delman Allan S. Gordon MagicSpace Entertainment Berkeley Repertory Theatre In Association with

Abbie M. Strassler John Domo Lorenzo Thione & Jay Kuo Pat Magnarella Tracy Straus & Barney Straus John Pinckard Christopher Maring World Premiere produced by Berkeley Repertory Theatre, September 2009 Tony Taccone, Artistic Director Susan Medak, Managing Director

AMERICAN IDIOT

and Season Sponsors

AMERICAN IDIOT

CAST

(in order of appearance)

Johnny...................................................................................................................JARED NEPUTE Will................................................................................................................ CASEY O’FARRELL Tunny......................................................................................................................... DAN TRACY Heather....................................................................................................MARIAH MacFARLANE Whatsername.................................................................................................... OLIVIA PUCKETT St. Jimmy........................................................................................................ CARSON HIGGINS The Extraordinary Girl..........................................................................................TAYLOR JONES Ensemble....................................... ALEX BONIELLO, LIAM FENNECKEN, SEAN GARNER, ANTWAUN HOLLEY, ANDREW HUMANN, ALISON MOROONEY, MICHAEL PILATO, TURNER ROUSE, JR., JOSEPHINE SPADA, CHELSEA TURBIN

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

For Johnny: ALEX BONIELLO, SEAN GARNER; for Will: LIAM FENNECKEN, TURNER ROUSE, JR.; for Tunny: MICHAEL PILATO, ERIC PRESNALL; for Heather: ALISON MOROONEY, CHELSEA TURBIN; for Whatsername: FRANCESCA GRANELL, ALISON MOROONEY; for St. Jimmy: ANDREW HUMANN, ALEX BONIELLO; for The Extraordinary Girl: FRANCESCA GRANELL, ALISON MOROONEY. SWINGS FRANCESCA GRANELL, ERIC PRESNALL DANCE CAPTAIN ALISON MOROONEY BAND Music Director, Keyboard: EVAN JAY NEWMAN; Guitar 1: DAVID ABRAMS; Guitar 2: DIEGO ROJAS; Bass: JOSH SEBO; Drums: BEN MARINO. TIME: The Recent Past PLACE: Jingletown, USA Developed by Berkeley Repertory Theatre, November-December 2008, and New York Stage and Film and the Powerhouse Theater at Vassar, July 2009.

AMERICAN IDIOT

CAST CAST

Jared Nepute

Carson Higgins

Dan Tracy

Casey O’Farrell

Olivia Puckett

Taylor Jones

Mariah MacFarlane

Alex Boniello

Antwaun Holley

Eric Presnall

Liam Fennecken

Andrew Humann

Turner Rouse, Jr.

Sean Garner

Francesca Granell

Alison Morooney

Michael Pilato

Josephine Spada

Chelsea Turbin

AMERICAN IDIOT

SONG LIST 1. “American Idiot”...................................................................................................................................Company 2. “Jesus of Suburbia” a. “Jesus of Suburbia”................................................................................Jared Nepute and Casey O’Farrell b. “City of the Damned”.........................................Dan Tracy, Jared Nepute, Casey O’Farrell and Company c. “I Don’t Care”....................................................Jared Nepute, Casey O’Farrell, Dan Tracy and Company d. “Dearly Beloved”.......................................................................................... Mariah MacFarlane and Men e. “Tales of Another Broken Home”...............................................................Jared Nepute, Casey O’Farrell, Dan Tracy, Mariah MacFarlane and Company 3. “Holiday”................................................................. Jared Nepute, Dan Tracy, Andrew Humann and Company 4. “Boulevard of Broken Dreams”............................................Jared Nepute, Olivia Puckett, Dan Tracy and Men 5. “Favorite Son”...........................................................................................................Michael Pilato and Women 6. “Are We the Waiting”.......................................................................... Dan Tracy, Michael Pilato and Company 7. “St. Jimmy”...................................................................................Jared Nepute, Carson Higgins and Company 8. “Give Me Novacaine”.......................................................................Casey O’Farrell, Dan Tracy and Company 9. “Last of the American Girls” / “She’s a Rebel”..................................................Jared Nepute, Casey O’Farrell, Carson Higgins, Liam Fennecken, Turner Rouse, Jr. and Company 10. “Last Night on Earth”............................. Carson Higgins, Olivia Puckett, Mariah MacFarlane and Company 11. “Too Much Too Soon”............ Andrew Humann, Josephine Spada, Casey O’Farrell and Mariah MacFarlane 12. “Before the Lobotomy”................................... Dan Tracy, Antwaun Holley, Michael Pilato, Turner Rouse, Jr. 13. “Extraordinary Girl”............................................................................Taylor Jones, Dan Tracy and Company 14. “Before the Lobotomy” (reprise)..........................................................................Dan Tracy, Antwaun Holley, Michael Pilato, Turner Rouse, Jr. and Company 15. “When It’s Time”.......................................................................................................................... Jared Nepute 16. “Know Your Enemy”....................................... Carson Higgins, Casey O’Farrell, Jared Nepute and Company 17. “21 Guns”............................................................................Olivia Puckett, Taylor Jones, Mariah MacFarlane, Dan Tracy, Jared Nepute, Casey O’Farrell and Company 18. “Letterbomb”.......................................................................................................... Olivia Puckett and Women 19. “Wake Me Up When September Ends”...................Jared Nepute, Casey O’Farrell, Dan Tracy and Company 20. “Homecoming” a. “The Death of St. Jimmy”...................................................................... Carson Higgins and Jared Nepute b. “East 12th Street”.................................. Jared Nepute, Andrew Humann, Turner Rouse, Jr. and Company c. “Nobody Likes You” †................................................................................. Casey O’Farrell and Company d. “Rock and Roll Girlfriend” *............ Alex Boniello, Mariah MacFarlane, Casey O’Farrell and Company e. “We’re Coming Home Again”............................Jared Nepute, Dan Tracy, Casey O’Farrell and Company 21. “Whatsername”......................................................................................................Jared Nepute and Company †Lyrics by Mike Dirnt * Lyrics by Tré Cool AMERICAN IDIOT WILL BE PERFORMED WITHOUT AN INTERMISSION.

JARED NEPUTE (Johnny).

Originally from St. Louis, Missouri, Jared is thrilled to be a part of this wonderful family! Off-Broadway: Orlando in As You Like It (Roy Arias Studios). Regional: Gabe in Next to Normal (Theatre Squared), Matthew in Altar Boyz (TriArts Sharon Playhouse), Anthony in Sweeny Todd (Fredrick Lowe Theatre.)

Proud graduate of NYU Steinhardt. www.jarednepute.com

MARIAH MacFARLANE (Heather) is beyond excited to be a part of her first national tour! She recently graduated with a BFA in musical theatre from Emerson College where her credits include Anne Bogart’s production of Cafe Variations and Sydney in the premiere production of Standardized Testing the Musical! Many thanks and love to Carnahan casting, her endlessly supportive family, and her wolf pack MT’s of 2013.

DAN TRACY (Tunny) makes his touring debut in American Idiot having just graduated from the University of Michigan. University credits: Little Women (John Brooke), Bat Boy (Bud/ Pan), Our Country’s Good (Arscott).

Regional: Xanadu (Thalia), Enemy of the People (Ejlif). Many thanks to Jillian at Carnahan, my family, Paige, and the BRS Family. Follow @dan_tracy

CARSON HIGGINS (St. Jimmy) is thrilled to be a part of this cast of IDIOT! He is a native Californian and graduate of the American Academy of Dramatic Arts in LA. Carson was seen on season 10 of American Idol, Raising Hope and can be seen this year in the film Without Ward. He thanks his parents and his hometown of Malibu for their love and support. @carsonshiggins

CASEY O’FARRELL (Will) is super psyched to join the Idiot family!

Casey has been seen rockin’ it from the stage in Rent (Roger), Footloose (Ren), Chicago (Fogarty) and more, to the Sunset Strip with Side/Winders!

So much love to my family, Halie and sidewindersmusic.com! Follow @caseybrough, RAGE and LOVE!

ALEX BONIELLO (Ensemble; u/s Johnny, St. Jimmy). Tour Debut! Alex is a recent graduate from Wagner College. Past credits include Rent (Mark), Spring Awakening (Moritz), Avenue Q (Princeton). TV/Film: Contest, Detachment, Alien Dawn.

Thanks to the cast, the team, and Dave at SGM. Love to my family, friends and Apes. www.alexboniello.com

OLIVIA PUCKETT (Whatsername) is stoked to be a part of this killer production! She is a recent graduate of Wagner College with a BA in Theatre Performance. Recent credits include Rent (Mimi), All Shook Up (Lorraine) and Avenue Q (Gary Coleman). Much love to her incredibly supportive family and friends. Papa <3 TAYLOR JONES (Extraordinary Girl). Taylor is undeniably happy to join this cast for her first national tour.

Straight out of the California Bay Area, her favorite credits include: The Wiz (Dorothy), Rent (Mimi), Spring Awakening (Wendla). Big love and hugs to her family and friends for all their love and hugs!!

LIAM FENNECKEN (Ensemble; u/s Will) is pumped to rock out with the American Idiot family! Proud graduate of the BA Theatre program at Penn State. Favorite roles: Spelling Bee (Barfee), Loves Labour’s Lost (Costard). He’d like to thank his family and friends, Carnahan Casting, Avalon Artists Group and everyone at PSU. We Are! SEAN GARNER (Ensemble; u/s Johnny) is thrilled to make his national tour debut! He is a graduate of UC Irvine’s BFA program and his favorite roles include: The Wild Party (Oscar), Our Town (George Gibbs), All Shook Up (Ensemble). Special thanks to Clear Talent Group and Worklight Productions, and the whole Idiot team!

Thanks to family and friends for the support. @seanvgarner FRANCESCA GRANELL (Swing; u/s Extraordinary Girl, Whatsername) is stoked to be joining the cast of American Idiot! National Tour: Shrek the Musical (Baby Bear, u/s Fiona).

Tampa, FL native with a BA in English Literature, FSU. Love and gratitude to the incredible Granell clan, friends, and the Idiot team for their unfaltering support.

ANTWAUN HOLLEY (Ensemble) is ardently impassioned about his touring debut in American Idiot. Favorite credits: Youth in Passing Strange, Seaweed in Hairspray and Angel/ Benny in Rent. Training: BaldwinWallace Conservatory of Music. S/o to Carnahan Casting, my girls at CESD and my amazing father, family and friends! www.antwaunholley. com #dreamscometrue ANDREW HUMANN (Ensemble; u/s St. Jimmy) is beyond humbled to be making his national tour debut!

An East Bay Area native, Andrew’s worked with such companies as Shotgun Players, Center repertory Company and Boxcar theatre.

Eternal thanks and love to Mom, Dad, Grandma, Uncle Billie and Aunt Adrienne who’ve brought my dreams to life.

ALISON MOROONEY (Ensemble, Dance Captain; u/s Extraordinary Girl, Heather, Whatsername) is thrilled to make her post-PSU debut on the American Idiot tour! She graduated in 2012 from Penn State. Some favorite roles include Mimi in Rent and Wendy in Peter Pan. Thanks to everyone on the tour, to her family and friends for all of their love.

MICHAEL PILATO (Ensemble; u/s Tunny) from South Florida, is ecstatic to join The Idiots on tour! Regional credits: Joseph and the Amazing Technicolor Dreamcoat (Reuben) at The Fulton Theatre. Favorite roles include Rent (Roger), The Last Five

AMERICAN IDIOT

WHO’S WHO IN THE CAST

AMERICAN IDIOT

WHO’S WHO in the CAST

Years (Jamie), Altar Boyz (Juan). Love and gratitude to his family, Penn State faculty, Ed and Squad 13!

ERIC PRESNALL (Swing; u/s Tunny) is absolutely stoked to be a part of this tour and thanks the Carnahan crew for making this opportunity possible. He is a Northern California native and would like to personally thank his family and friends for their unconditional love and support…For Brando.

TURNER ROUSE, JR. (Ensemble; u/s Will) is thrilled to be returning to AI for the second year. Graduate of BFA Music Theatre Class of 2012 from Elon University. Elon: Children of Eden (Abel), It’s Only Life (w/ John Bucchino). Turner is also a photographer (Turner Rouse Photography) and songwriter/producer under the alias Logical Confusion. Love to my family and the WHOLE Idiot family for the support! @turnerrousejr JOSEPHINE SPADA (Ensemble) is ecstatic to be joining the cast! She is a recent graduate of NYU: Tisch where she studied musical theatre at CAP21.

She has recently been seen in NYMF’s Next Broadway Sensation. She would like to thank her incredible family and friends for their constant love and support! www.josephinespada.com CHELSEA TURBIN (Ensemble; u/s Heather) is psyched to make her national tour debut with American Idiot! Recently seen at The MUNY in Thoroughly Modern Millie (Ethel Peas). She received a BFA from The Boston Conservatory where credits included 42nd Street and Strike up the Band (Anne). Thanks and love to family, friends and this AWESOME cast!

EVAN JAY NEWMAN (Music Director). BFA in Musical Theater from NYU (CAP21.) Music Director: Lovers, Runway 69, Alien! The Musical!; Assistant Music Director: Battlecry (Music: Paul Bogaev, Dir: Gabriel Barre), Nero (Duncan Sheik, Steven Sater),The King and I and Hairspray (Weston Playhouse);

Copyist/Intern: Legally Blonde, High Fidelity, A Tale of Two Cities; Assistant: Andrew Lippa, Brian Lowdermilk. Info on Evan’s writing at www.evanjaynewman.com DAVID ABRAMS (Associate Music Director/Guitar 1) is a graduate of the University of North Texas. He now resides in Los Angeles, CA where he has been touring with the blues legend, Guitar Shorty.

DIEGO ROJAS (Guitar 2) is a guitarist based out of Stamford, CT, where he teaches and performs with his band PANA! (www.panamusik.com).

JOSH SEBO (Bass) is a Cleveland, OH native.This marketing major is excited to be pursuing his lifelong passion, music! Unending thanks to Jared Stein, family and friends.

BEN MARINO (Drums). Summa Cum-Laude graduate of Berklee College of Music. He has performed and recorded with many worldrenowned artists and producers. Info at www. BenMarinoMusic.com GREEN DAY (Music & Lyrics) – vocalist/guitarist BILLIE JOE ARMSTRONG (Book & Lyrics), bassist Mike Dirnt, and drummer Tré Cool – were kids from working-class backgrounds who came of age in the underground punk scene in Berkeley.

Even though they had released two records prior (1039 / Smoothed Out Slappy Hours and Kerplunk), they announced their arrival with 1994’s Dookie, a dynamic blast of exuberant punk-pop that sold 15 million copies and earned the band its first Grammy® Award for Best Alternative Music Performance. Over the years, Green Day continued to top the charts with their subsequent studio albums Insomniac, Nimrod and Warning, while entertaining millions of fans with their frenetic live shows. But it was their landmark 2004 album American Idiot that launched Green Day into the stratosphere. American Idiot debuted at No. 1 on the Billboard chart, spawned five hit singles, earned

seven Grammy® nominations (winning two, including Best Rock Album), and raised the bar for modern rock and roll. In 2009, Green Day released 21st Century Breakdown, which won a 2010 Grammy® Award for Best Rock Album. It spawned two hit singles: the gold “Know Your Enemy,” which was the first song ever to top Billboard’s Rock, Alternative, and Mainstream Rock charts simultaneously, and the double-platinum “21 Guns,” which earned them three 2009 MTV Video Music Awards including Best Rock Video. Green Day also took home an American Music Award for Favorite Alternative Rock Music Artist. Later that year, Green Day collaborated with Tony Award winning director of Spring Awakening, Michael Mayer, for the stage musical of American Idiot. The play bowed at the Berkeley Repertory Theatre in September 2009 and set attendance records during its limited engagement.

The play went on to Broadway and ran for a year at the St. James Theatre and won two Tony Awards. Their highly anticipated albums ¡Uno!, ¡Dos! and ¡Tré! released in 2012, and they are currently on tour promoting the trilogy. For more about the band, visit www.greenday.com.

MICHAEL MAYER (Director, Book) is currently represented on Broadway with Hedwig And the Angry Inch, starring Neil Patrick Harris.

He received the 2007 Tony Award, as well as Drama Desk and Outer Critics Circle Awards for his production of Spring Awakening, which also played in London, Vienna, Tokyo, and Seoul. His other Broadway credits include: On A Clear Day You Can See Forever; Everyday Rapture; American Idiot (for which he won the Drama Desk Award for Direction); Side Man (Tony Award/Best Play); Thoroughly Modern Millie (Tony Award/Best Musical); A View from the Bridge (Tony Award/Best Revival); Uncle Vanya; ‘night, Mother; After the Fall; You’re a Good Man, Charlie Brown; and Triumph of Love. National Tours: Angels in America; Thoroughly

Modern Millie; Spring Awakening; Charlie Brown; and American Idiot.

Feature films: A Home at the End of the World and Flicka. Television credits include: “Smash” (Pilot) and “Alpha House” for Amazon Prime. He made his Metropolitan Opera debut with a celebrated new production of Rigoletto.

STEVEN HOGGETT (Choreographer). Steven was founder and co-artistic director of Frantic Assembly Theatre Company. Recent theatre credits include Let The Right One In (West End & Royal Court), Rocky (Broadway & Hamburg, Tony Nomination), What’s It All About (New York Theatre Workshop), The Glass Menagerie (Broadway & American Repertory Theatre) Once (Broadway & West End. Obie Award, Lortel Award, Calloway Award), Rigoletto (Met. Opera), Peter and the Starcatcher (Broadway & NYTW. Lortel Award), The Curious Incident of the Dog in the Night-Time (West End & National Theatre), Black Watch (Olivier Award, best choreography), The Wolves in the Walls, The Bacchae, Hunter and 365 (National Theatre of Scotland), Dr Dee (Manchester International Festival / ENO), Dido Queen of Carthage, The Hothouse and Market Boy (National Theatre).

For Frantic Assembly, credits include Little Dogs (with National Theatre Wales), Lovesong, Beautiful Burnout, Othello, Stockholm, Pool (No Water) and Dirty Wonderland.

TOM KITT (Arrangements / Orchestrations) is the composer and co-orchestrator of Next to Normal, for which he received the Pulitzer Prize for Drama and two Tony Awards for Best Score (with Brian Yorkey) and Best Orchestrations (with Michael Starobin). Tom is also the composer of If/Then (Tony Nom.), High Fidelity, Bring It On: The Musical (with LinManuel Miranda), All’s Well That Ends Well and The Winter’s Tale (NYSF), Orphans (Broadway) and From Up Here (MTC). As a musical director, conductor, arranger and orchestrator,

credits include Pitch Perfect (Feature Film), 13, Debbie Does Dallas, Everyday Rapture, Hair, Laugh Whore and Urban Cowboy. Tom provided additional arrangements for Green Day’s Grammy-winning album 21st Century Breakdown and their most recent album, ¡Uno! ¡Dos! ¡Tré!

CHRISTINE JONES (Scenic Designer) won the 2010 Tony Award for her work on American Idiot. She earned a Tony nomination for Spring Awakening, directed by Michael Mayer. Also with Mayer she designed On A Clear Day, and Everyday Rapture. Her Off-Broadway credits include Coraline, music by Stephin Merritt, and The Book of Longing, by Leonard Cohen with music by Philip Glass. Jones teaches at NYU and is the artistic director of Theatre for One, a space designed for one performer and one audience member, which can be seen at theatreforone.com.

ANDREA LAUER (Costume Design). Select credits: Broadway: Bring It On, American Idiot. Off Broadway: Title and Deed (Signature Theatre), Midsummer Night’s Dream, Unnatural Acts (Classic Stage), RX (Primary Stages). Regional Theatre: Guthrie, Alliance, Berkeley Rep, MUNY, Bay Street, The Alley Theatre. Opera: Out Cold/Zippo Songs (BAM), West Side Story (El Paso Opera). Dance: Parsons Dance, Sean Currin Company and pieces with Trey McIntyre Project. As stylist for fashion and musicians, credits include: American Vogue, Grammy Awards and Rolling Stone. MFA- NYU (Baryshnikov Fellow), 2011 NYSCA Grant as a STREB innovative collaborator.

KEVIN ADAMS (Lighting Design).

Broadway: American Idiot (Tony Award), Spring Awakening (Tony Award), Next to Normal (Tony nom.), Passing Strange, Hair (Tony nom.), The 39 Steps (Tony and Drama Desk Awards), Take Me Out and John Leguizamo›s Sexaholix. Other credits: original production of Hedwig and the Angry Inch, Magnetic Fields’ 69 Love

Songs, Mildred Pierce (HBO), music videos for Janet Jackson, Meatloaf and Dokken. www.ambermylar.com ACME SOUND PARTNERS (Sound Design). More than thirty Broadway shows since 2000 including: The Gershwins’ Porgy and Bess (Tony Nomination), Bengal Tiger at the Baghdad Zoo (Tony Nomination), The Merchant of Venice, Fences (Tony Nomination), The Addams Family, Ragtime, Hair (Tony Nomination), In The Heights (Tony Nomination), Legally Blonde, Monty Python’s Spamalot, Avenue Q and La Bohème.

Acme is Tom Clark, Mark Menard and Sten Severson.

DARREL MALONEY (Projection & Video Design) has designed for broadcast, commercials, concerts, film and theatre. His projection and video designs for Broadway include Green Day’s American Idiot (St. James Theatre) and Everyday Rapture (Roundabout). Other projection designs include Karen O’s Stop the Virgens (St. Ann’s Warehouse), The Submission (MCC), One Night With Janis Joplin (Portland Center Stage), SCKBSTD (Virginia Stage), The Elephant Man (Minnesota Opera), as well as lighting & projections for Peer Gynt (La Jolla Playhouse & Kansas City Rep.) www.darrelmaloney.com JIM CARNAHAN, C.S.A. (Casting).

Roundabout’s Director of Artistic Development. Roundabout: Big Knife, If There Is…, Harvey, Road to Mecca, Anything Goes, Importance of Being Earnest, Sondheim on Sondheim, Birdie, Sunday in the Park…,110 in the Shade, Pajama Game, 12 Angry Men, Assassins, Nine, Big River, Cabaret. Other Broadway: Matilda, Once, Peter and the Starcatcher, Mountaintop, Jerusalem, Arcadia, Scottsboro Boys, La Bête, American Idiot, Spring Awakening, BoeingBoeing, Pillowman, Fiddler, Millie.

Film: Home At The End Of The World, Flicka. TV: “Glee.”

AMERICAN IDIOT

WHO’S WHO in the CAST

AMERICAN IDIOT

WHO’S WHO in the CAST

JILLIAN CIMINI (Casting) serves as the casting associate for Roundabout Theatre Company. Roundabout: Bad Jews, Sons of the Prophet, Dream of the Burning Boy, Tigers be Still, Ordinary Days, Language of Trees.

Other credits include: Matilda, Peter and the Starcatcher, Book of Mormon, American Idiot, Spring Awakening, Jerusalem.

JARED STEIN (Music Supervisor).

Broadway: Hair (Associate Conductor), American Idiot (Associate Conductor/Conductor).

National Tours: American Idiot 1st National (Music Director/Conductor), Hair (Associate Conductor), Spring Awakening 1st National (Music Director/Conductor), RENT (Music Director/Conductor). Other: Born Blue (Music Supervisor/ Orchestrations). Recordings: David Reiser’s Storyteller’s Ball and Declan Bennett’s An Innocent Evening of Drinking and Record: Breakup.

Currently living in LA opening a vegan lifestyle center, The Springs (www.thespringsla.com).

LORIN LATARRO (Associate Choreographer) Broadway’s Scandalous, Encores! Fanny - City Center, Cy Coleman’s Best Yet to Come (Drama Desk), Hansel and Gretel (PBS’s “Live From Lincoln Center”), Lysistrata (Avery Fisher), Broadway by the Year (Town Hall), Grand Night For Singing-Bucks County, Love of Three Oranges, Magic Flute (Juilliard Opera), works for Momix, Williamstown, NYMF, NAMT, Dancebreak and NBC’s Grease (assoc). As a performer, Lorin danced in 14 Broadway shows. BFAJuilliard. Latarro.com JOHANNA McKEON (Associate Director). Associate Director: Hedwig and the Angry Inch, American Idiot, Grey Gardens (Broadway). Asst.

Director: Rent (National Tour).

Directing credits include Tokio Confidential (Atlantic Stage 2), I Have Loved Strangers (Clubbed Thumb), Comedy of Errors, Schmoozy Togetherness (Williamstown Theatre

Festival), Semi-Permanent (NY Fringe Festival Award, Outstanding Solo Show), Sam Forman’s The Rise and Fall of Annie Hall (Vineyard Playhouse) & The Moscows of Nantucket (Theater Workshop of Nantucket), Functional Drunk (Ontological-Hysteric Theater), Hatful of Rain (ITS Festival, Warsaw).

Recent Musical Development Workshops: Golden Motors (music

by Derek Bermel), Rosie! (music by Larry Gatlin) and Biederman’s Match (book by Beau Willimon). Guest Faculty: Bard College, Strasberg Institute. Fellowships: Drama League, Boris Sagal and Fulbright. MFA, UT Austin.

STACY MYERS (Company Manager). Int’l Tour: American Idiot. National Tours: Shrek, Young Frankenstein, Jersey Boys (San Francisco), Sweet Charity 1st National, Rent, Chicago. Regional: West Virginia Public Theatre, New York Stage & Film, La Jolla Playhouse.

Education: BA in Theatre / English from Washburn University. Love sent to the Sunflower State!

CORY BOULIERIS (Production Stage Manager). Tours: American Idiot 2nd National/UK/Asia (ASM), South Pacific (ASM/ACM).

International: The Telephone and Il Signor Bruschino at CCM Spoleto Opera Festival (PSM). Regional: South Pacific at Ogunquit Playhouse (ASM), Altar Boyz, Zanna Don’t!, Bent at Uptown Players (PSM).

BFA, from University of Cincinnati College-Conservatory of Music. rage and love... but mostly love.

JANE DAVIS (Assistant Stage Manager). From Springfield, IL. National Tour: The Rainbow Fish (ArtsPower). The Little Theatre on the Square: Grease, Seven Brides for Seven Brothers, Pirates of Penzance, The Music Man, 9 to 5. BFA, Millikin University. Thanks to Mom, Dad, and Minnie.

TECHNICAL THEATER SOLUTIONS, LLC (TTS), based in Charleston, SC provides production supervision for a variety of clients including Spoleto Festival USA, Mabou Mines, Disney Cruise Line, Inc., and Work Light Productions.

Tours currently running in addition to American Idiot include Mamma Mia! and In The Heights. Rhys Williams (Production Supervisor) is President of TTS and Mike East (Associate Production Supervisor) serves as Vice President of Operations. Please visit www.technicaltheatersolutions.com for more information.

TYPE A MARKETING (Marketing and Press) is an independent, fullservice marketing company specializing in Broadway and national tours.

Founded in 2008 by Anne Rippey, who continues to provide strategic supervision, Type A is led by Elyce Henkin and John McCoy, who manage the campaigns for the current/upcoming roster, including Broadway’s Les Misérables, Kinky Boots, The Phantom of the Opera and Tuck Everlasting and the touring productions of The Addams Family, American Idiot, Anything Goes, I Love Lucy: Live on Stage, Flashdance the Musical, Million Dollar Quartet and The Gershwins’ Porgy and Bess. www.typeamktg.com WORK LIGHT PRODUCTIONS (Producer). Dedicated to creating and producing live entertainment. In addition to American Idiot, upcoming productions include the 2013/14 tour of Mamma Mia! and the 2014/15 tour of Nice Work If You Can Get It. Past Productions include the North American tours of Tony Award winners In The Heights, Avenue Q and A Year With Frog and Toad.

Produced Julie Andrews - The Gift of Music with performances at The Hollywood Bowl and London’s O2 Arena. Creators of four new musicals for young audiences including The Musical Adventures of Flat Stanley and James and the Giant Peach.

WLP is led by founding partner and President, Stephen Gabriel and Vice

President, Nancy Gabriel. General Management, Scott Seay and Aniele Fortin. Production Management, Rhys Williams and Mike East. www.worklightproductions.com TOM HULCE (Original Producer).

Broadway: American Idiot, On A Clear Day You Can See Forever, Spring Awakening (Tony Award, Best Musical). Off-Broadway: Alan Bennett’s Talking Heads (Obie Award, Drama Desk, New York Drama Critics Award, Best Play), Film: A Home at the End of the World directed by Michael Mayer. Directing: Peter Parnell’s adaptation of John Irving’s The Cider House Rules. Acting: Thirty-seven plays including Equus and A Few Good Men (Broadway), The Normal Heart (London); films include Amadeus, Dominick and Eugene, Parenthood, Animal House, Disney’s The Hunchback of Notre Dame I and II. IRA PITTELMAN (Original Producer). In 2010, Ira was the lead producer, (along with Tom Hulce), of Green Day’s American Idiot on Broadway. In 2007 they produced Spring Awakening, which won 8 Tony Awards including Best Musical. In 2002, he won his first Tony Award for Private Lives starring Alan Rickman and Lindsay Duncan and in that same year co-produced Topdog/Underdog, which went on to win the Pulitzer Prize for Drama. His other Broadway credits include the acclaimed revival of The Iceman Cometh starring Kevin Spacey, Baz Luhrman’s production of La Bohème, Stones in His Pockets, Neil Simon’s The Dinner Party starring Henry Winkler and John Ritter, the hit revival of The Odd Couple starring Nathan Lane and Matthew Broderick and, On A Clear Day You Can See Forever starring Harry Connick Jr..

Also, during his 30 year career in the music industry he’s worked with artists as diverse as Placido Domingo, John Denver, Loretta Lynn, Johnny Mathis, Smokey Robinson and Ringo Starr.

VIVEK J. TIWARY (Original Producer). Credits include Broadway: Green Day’s American Idiot, The Addams Family, A Little Night Music, The Producers, A Raisin in the Sun. Forthcoming films: The Fifth Beatle about Beatles’ manager Brian Epstein, Down & Dirty Pictures.

Television: “How to Look Good Naked,” “How Do I Look?”

LATITUDE LINK (Original Producer). Led by Gail & Ralph Bryan, Latitude Link is a twotime Tony and Olivier award winning producer with 9 productions on stages worldwide. Broadway: Jesus Christ Superstar, Memphis (2009 Tony) and Jersey Boys (2006 Tony).

National: Jersey Boys National Tour & Las Vegas, Memphis National Tour.

International: Dr. Zhivago, Jersey Boys London (2009 Olivier) & Australia. www.latitudelink.com SCOTT M. DELMAN (Original Producer) is proud to have partnered with Ira and Tom on American Idiot, and thanks the cast, Michael and Green Day for helping his children see him as something less than utterly ancient. Scott previously co-produced The Book of Mormon and myriad other plays and musicals.

ALLAN S. GORDON (Original Producer) received Tony Awards for Best Musical for RENT, Hairspray and Spamalot. Mr. Gordon was also represented on Broadway by Death of a Salesman, for which he received the Tony Award for Best Revival of a Play.

Mr. Gordon also produced American Idiot on Broadway.

MAGICSPACE (Original Producer) has been producing and presenting tours, Broadway shows and events worldwide for over 30 years.

Consistently ranked a Top 10 promoter in North America, MagicSpace produces and presents more than 250 events in 75 cities per year. www.magicspace.net

BERKELEY REPERTORY THEATRE (Original Producer) has grown from a storefront stage to a national leader in innovative theatre.

Known for its core values of imagination and excellence, as well as its educated and adventurous audience, the nonprofit has provided a welcoming home for emerging artists since 1968. With two stages, a school and a Tony Award for Outstanding Regional Theatre, Berkeley Rep is proud to premiere exhilarating news plays like American Idiot and Passing Strange.

ABBIE M. STRASSLER (Original Producer) began her career with Sam L’Hommedieu at the Warner Theatre.

She has General Managed for over 10 years most recently Green Day’s American Idiot, Spring Awakening (2007 Best Musical), Movin’ Out, The Iceman Cometh, Neil Simon’s The Dinner Party and The Odd Couple; Stones In His Pockets, Contact National Tour and Side Show.

JOHN DOMO (Original Producer).

Currently producing for 2012 release: Family Style, a comedy series made for TV; The Delivery Man, a feature film based on the book by Joe McGuiness Jr. betrueproductions.com LORENZO THIONE AND JAY KUO (Original Producer). Sing Out, Louise! Productions. Broadway: West Side Story, Slava’s, Addams Family, Catch Me…. Upcoming: Allegiance starring Lea Salonga and George Takei, Broadway 2012/13, www.allegiancemusical.com PAT MAGNARELLA (Original Producer) is one of the entertainment industry’s top-tier managers, with an impressive track record for spotting talent and nurturing successful careers. He has represented Green Day since 1996, guiding them through the release of both American Idiot and 21st Century Breakdown.

AMERICAN IDIOT

WHO’S WHO in the CAST

AMERICAN IDIOT

STAFF FOR AMERICAN IDIOT GENERAL MANAGEMENT WORK LIGHT PRODUCTIONS Stephen Gabriel Nancy Gabriel Scott Seay

Aniele Fortin

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

DENVER CENTER ATTRACTIONS STAFF

COMPANY MANAGER Stacy Myers

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

TOUR BOOKING AND ENGAGEMENT MANAGEMENT AWA PARTNERS Alison Spiriti L. Glenn Poppleton Sean Mackey Robin Mishik-Jett TOUR PRESS & MARKETING TYPE A MARKETING Elyce Henkin Andrew Cole Melissa Cohen

DCPA MARKETING STAFF

TECHNICAL SUPERVISOR TECHNICAL THEATER SOLUTIONS Rhys Williams Mike East CASTING Jim Carnahan, CSA Jillian Cimini Production Stage Manager.......................................Cory Boulieris Assistant Stage Manager..............................................Jane Davis Ass’t to the Choreographer, Dance Captain..........Alison Morooney Associate Set Designer............................................. Edward Coco Assistant Set Designer.............................................. Brett Banakis Associate Costume / Make-Up Designer............. Amy Jean Wright Assistant Costume Desinger.................................. Locklyn Brooks Associate Lighting Designer.......................................Joel E. Silver Assistant Lighting Designer...........................................Paul Toben Lighting Programmer............................................... Josh Selander Associate Sound Designer.......................................David Thomas Assistant Video/Projection Designer........................ Joe Cantalupo Assistant Video/Projection Designer........................Olivia Sebesky Keyboard Programmer...............................................Randy Cohen Video Training........................................................ Robert Allen, Jr. Video Programmer............................................Benjamin Keightley Music Track Editor............................................................ Derik Lee Technical Supervisor................................................ Rhys Williams Production Carpenter.......................................................Mike East Head Carpenter.......................................................Tom Klonowski Head Electrician................................................... Stephanie Freed Head Props................................................................Jessica Reilly Head Audio.............................................................. Nate Flanagan Head Wardrobe....................................................... Locklyn Brooks Head Hair & Make-Up........................................... Natalie Errthum Second Carpenter..........................................................Eric Jones Video........................................................................... Katie Peters Second Audio...............................................................Marc Fisher Second Electrician............................................... Brittany Deventer Assistant Dance Captain....................................... Antwaun Holley Assistant to Company Manager.................................. Eric Presnall Assistant to Mr. Pittelman......................................... Dorothy Evins Advertising / Interactive Marketing..............The Marketing Division Bob Bucci, Maris Smith, David Spry, Patrick Keohane, Allison Parman Accountant.............................Fried & Kowigos Partners CPA’s LLP Insurance......................Reiff & Associates, LLC / Regina Newsom Legal..................................................Levine, Potkin & Menin LLP / Loren Plotkin, Cris Criswell Lazarus & Harris, LLP / Scott R. Lazarus, Esq., Robert C. Harris, Esq.; Comptroller.................................Galbraith & Co., Inc / Kenny Noth Housing & Ground Transport........................................Road Rebel Payroll.......................................................Checks & Balances, Inc. Banking.......Signature Bank / Thomas Kusulka, Margaret Monigan Merchandising................................................................... Bravado Trucking.................................................................................Janco

www.AmericanIdiotTheMusical.com facebook.com/AmericanIdiotTheMusical

twitter.com/IdiotOnTour

CREDITS AND ACKNOWLEDGEMENTS Scenery by Technical Theater Solutions, LLC; Video Projection System provided by WorldStage Inc.; Lighting by PRG; Sound by Masque; Outfitting by Port City Equipment Rentals; Soft Goods

by I. Weiss and Sons; Undergarments provided by BRA*Tenders; Guitars provided by Gibson; Cymbals provided by Istanbul Agop; Strings by D’Addario & Co.; Opening audio sequence by Ira Pittelman & Wayne Hyde. The Producers wish to thank the University of Nevada, Las Vegas and The Nevada Conservatory Theatre for their help in mounting this tour.

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

The Director & Choreographer are members of the Stage Directors & Choreographers Society, a national theatrical labor union.

The Denver Center for the Performing Arts

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 Dave 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 Michelle Patrick . . . . . . . . . . . . . . . . . . . . . Box Office Manager Kirk Petersen. . . . Assoc. Director of Ticket Services/Patron Relations Tina Risch. . . . . . . . . . . . . . . . . . Community Services Manager Anthoney Sandoval. . . . . . . . . . . . . . . . . . . Box Office Manager Joe Schurwonn. . . . . . . . . . . . . . . Marketing Financial Analyst Jill Schwager. . . . . Student Matinee and Group Tours Associate David Smith . . . . . . . Assoc. Director of Subscription Services Emily Zeck. . . . . . . . . . . . . . . . . . . . . . . Subscription Manager

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

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

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Up here, your senses awaken.

August 8-18, 2014

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

ONCE PHOTO BY FRANK OCKENFELS | ORIGINAL BROADWAY CAST

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

28

APPLAUSE

d e n ver center. or g

I

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

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SPECIAL EVENTS

PRESENTS

The best seats to the best shows…..

Announcing VIP evenings for the coming season!

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

T D! JUSUNCE O NN

HHHHH “

Daily News

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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

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

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Dec 11, 2014 • $225

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Auction Sponsor of Saturday Night Alive

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.

The commercial team provides business owners, nonprofit organizations, government entities, and others with credit and other services essential to the growth and vitality of their operations. Many CSBT employees volunteer to teach kids about financial literacy, serve on boards and assist nonprofit organizations and other worthy local causes.

“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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“

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

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April 29–May 10, 2015

Buell Theatre

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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

Oct 10-12

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Garner Galleria Theatre

Buell Theatre

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Jan 23-24, 2015

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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

•

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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

I

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

COLORADO ENERGY PRODUCERS

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

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

COLORADO ENERGY PRODUCERS

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303.893.4100

A P P L A US E

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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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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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