Applause -- Stomp, February 21-26, 2023

APPLAUSE

HUGE SELECTION OF BRANDS LIKE MICHAEL AMINI, BERNHARDT, CENTURY AND SO MUCH MORE!

Non metallic Pantone 4515 + Black (C-40%, M-50%, Y-50%, K-100%)

White + Black (C-40%, M-50%, Y-50%, K-100%)

SIGHTLINE

BY JOHN EKEBERG

DDear Broadway friends,

What an exciting time to be a fan of live theatre! New Broadway shows continue to come into New York as dozens of touring shows make their way around the country to play before appreciative audiences such as yourselves. There are so many upcoming productions on our season that I am eagerly anticipating – many coming to Denver for the first time as well as a selection of returning favorites. You’ll find more information on all our upcoming productions in the pages of this magazine.

In other Broadway news, I recently had the good fortune of taking on a leadership role with the Independent Presenters Network (IPN) as its president. IPN is a consortium of 40 preeminent Broadway presenters, theaters, and performing arts centers. A leader in the industry, IPN is monumental in influencing the shows that make it to Broadway and national tour. Its members bring Broadway productions to more than 110 cities in North America, the United Kingdom, Japan, and China. Recent productions the IPN has invested in include Hadestown, Company, and this season’s Some Like It Hot We at the DCPA are proud to be members of this organization that plays such a significant role in shaping our industry.

Most of my IPN colleagues are Tony Awards voters, as am I, and this year the Tony Awards will be presented at the United Palace Theatre in New York on June 11. Tony nominations will be announced later this spring, and this year’s shows will in part inform touring Broadway for the 2024/25 season. You’re invited to tune in.

Even after 30 years (!) with the DCPA, I still find every season full of joy and expectation, and I hope that you will join us in the year ahead as we bring the magic of Broadway to Denver. We can’t do it without you!

See you at the theatre,

John Ekeberg, Executive Director of DCPA Broadway & Cabaret

HONORING OUR ELDERS

The Denver Center for the Performing Arts honors and acknowledges that it resides on the traditional and unceded territories of the Ute, Cheyenne, and Arapaho Peoples. We also recognize the 48 contemporary Indigenous Tribes and Nations who have historically called Colorado home.

VOLUME XXXIII • NUMBER 5 • FEB - APR 2023

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER THIS ISSUE: Brenda Elliott

CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler

CONTRIBUTING WRITERS:

Genevieve Miller Holt, Emma Hunt, John Moore

Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Applause magazine is funded in part by

Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com

Denver Center for the Performing Arts is a non-profit organization that engages and inspires through the transformative power of live theatre.

BOARD OF TRUSTEES

Hassan Salem, Chair

Martin Semple, Immediate Past Chair

Ruth Krebs, Vice Chair

Robert C. Newman, Secretary/Treasurer

Dr. Patricia Baca

Brisa Carleton

Fred Churbuck

Navin Dimond

David Jacques Farahi

Kevin Kilstrom

Susan Fox Pinkowitz

Manny Rodriguez

Alan Salazar

Richard M. Sapkin

William Dean Singleton

Robert Slosky

June Travis

Ken Tuchman

Tina Walls

Dr. Reginald L. Washington

Judi Wolf

Sylvia Young

HONORARY TRUSTEES

Margot Gilbert Frank

Jeannie Fuller

Daniel L. Ritchie

Cleo Parker Robinson

HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES

William Dean Singleton, President

Martin Semple Vice President

Dr. Reginald Washington, Secretary/Treasurer

Ruth Krebs

David Miller

Robert C. Newman

Hassan Salem

Robert Slosky

June Travis

Judi Wolf

EXECUTIVE MANAGEMENT

Janice Sinden, President & CEO

Jamie Clements, Vice President, Development

Chris Coleman, Artistic Director, Theatre Company

John Ekeberg, Executive Director, Broadway & Cabaret

Lydia Garcia, Executive Director, Equity & Organization Culture

Gretchen Hollrah, Chief Operating Officer

Laura Maresca, Vice President, Human Resources

Charlie Miller, Executive Director & Curator, Off-Center

Lisa Roebuck, Vice President, Information Technology

Charles Varin, Managing Director, Theatre Company

Allison Watrous, Executive Director, Education & Community Engagement

Jane Williams, Chief Financial Officer

PELLÉAS

Claudio Monteverdi World Premiere Orchestration by Nico Muhly

Tosca Illustration by Benedetto Cristofani

BE A G.E.M.

GIVE EVERY MONTH

THE IDEA IS SIMPLE THE IMPACT IS EXPONENTIAL

Make a monthly donation (in any amount) to the DCPA to join our Sustainer Society! Your consistent contributions will lay the foundation for even more ambitious shows and experiences in the future. Customize your donation amount at any time and support the DCPA on your terms.

THE SUSTAINER SOCIETY PROVIDES:

• AFFORDABILITY: Spread your contribution throughout the year.

• FLEXIBILITY: Opt in or out on your terms.

• CONVENIENCE: Automated payments make giving easy.

LEARN MORE

HATTITUDE LUNCHEON

Join us for one of our signature fundraising events and support women in theatre! Our Hattitude luncheon, held in May to benefit the DCPA’s Women’s Voices Fund, combines the sophistication of a garden party with the exuberant atmosphere of brunch with friends.

LEARN MORE

MAY 4, 2023

Photo by Amanda Tipton

ASPIRING PLAYWRIGHTS

A TAKE THE STAGE

BY EMMA HUNT

As a part of its mission to connect with students in the Colorado community, DCPA Education initiated the Middle School & High School Playwriting Workshops in 2013. This season, 120 of these workshops were taught across 22 counties, serving over 2,600 students. This program is free to all educators and is offered both in-person and virtually, making the workshop accessible to all communities across Colorado.

Born from these workshops is the Middle School & High School Playwriting Competition. Students can submit a one-act play (high school) or 10-minute play (middle school) for professional review. Students don’t need to participate in a workshop to be eligible for the competition, but the workshops set them up for success.

This year, 179 submissions were received for the competition. A panel of artistic, literary, and theatre education professionals evaluated the submissions and selected ten high school finalists. Three winners in each age group were then determined.

The top three plays by each age group are included in the annual Playwriting Anthology and the three winning high school plays receive a public staged reading as part of the Colorado New Play Summit. Additionally, each winner receives a $250 prize and each of the playwrights’ teachers receives $250 toward the purchase of books or tools for their classrooms.

The three plays staged at the 2023 Colorado New Play Summit were A Curious Couple by Elliet Johnson, From the Beginning to the Edge by Hayden Ferrandino, and Players, Staged by Penelope Letter.

Prior to their staged readings, the young playwrights received guidance from the DCPA Education team to hone their craft with individual mentorship. Plus, they worked with directors to see their plays come to life. For many of these students, it’s a once-in-alifetime opportunity to witness and participate in the professional development of their work.

The Playwriting Competition is a vital resource for aspiring playwrights and the community. For these student playwrights, seeing their work performed onstage in front of an audience for the first time can be truly life changing.

•

START HERE...

Whether you’re looking to brush up on a topic with a one-day workshop, upskill yourself with a 16-credit certi cate, or change careers and earn a full master’s degree, the Daniels College of Business at the University of Denver has an o ering to t your needs. We have in-person and online courses for those who have recently graduated all the way up to C-suite executives.

BARTLETT SHER ON DIRECTING THE BROADWAY REVIVAL OF FIDDLER IN 2015

What are the differences between directing this show and other past projects?

Bartlett Sher: Talking about Fiddler on the Roof is actually a pretty great challenge when it comes to being a director, because the show is deeply beloved, and it has a very strong and rich history. It has been revived several times, and it lives within a tradition of literature that is much beloved with very strong opinions about it. It’s a challenge in the sense that you want to summon the experience it evokes, and particularly now in history it’s a particularly interesting story to be coming back to. Fiddler takes on a series of these Tevye tales, and it follows the family through it. Our concentration is evoking the spirit of two things: One, of the pogroms and the intense world of where they grew up, and at the same time, the color and light and beauty and humor that’s in the actual spirit of the telling. So, it’s trying to marry those two things into making something fresh.

Your family has a close connection to the people depicted in the musical.

My father was born in a shtetl in Lithuania, and when he was three years old my grandmother put him on a train and came up through Canada and all the way across to Southern California. My grandfather came through Ellis Island. So, I’ve always had a sort of connection to the tale, but it’s only an imaginary one. I don’t actually know what that was like. My grandparents spoke Yiddish, but I don’t have much of a memory of what that meant to me. In a way, I think that’s similar to a lot of people who read these

tales. They think they should understand them better than they sometimes do. The stories are very powerful, but you can’t really explain why. It’s more in the spirit of them—the spirit of going forward, the spirit of enduring, the spirit of holding on, the spirit of living by your faith, the spirit of living by your family. This piece allows audiences to—in the same way as it did in South Pacific—discover their own past all over again, in the same way as I’m using the show to discover my past. There is a lot of joy in the journey, even though the journey is marked by suffering.

What do you hope modern audiences will take away?

Audiences will come to Fiddler and experience a full orchestra and the world and the village of Anatevka coming to life. In that exploration, they get to enjoy the thing that musical theatre does best, which is creating vivid, bold life within the community and lives of the family. I want to honor as deeply and magnify the work of Bock, Harnick, Stein, and Robbins. I think they’re greatgrandfathers of my work, and I would like to create a production that lets people see how good their work is.

Ali Arian Molaei (Villager), Scott Willits (Villager), Brayden Singley (Villager), James Jude Johnson (Villager) and Max Derderian (Villager) in the North American Tour of Fiddler On The Roof .

Photo by Joan Marcus.

MUSIC MAYHEM

The 2022/23 DCPA Theatre Company season culminates with a pair of treasured works by Alice Walker and Alfred Hitchcock.

THE COLOR PURPLE

“A glory to behold!”

The New York Times

SPOTLIGHT SPONSORS:

Singleton Family Foundation

Sustainer Society

Mar 31 – May 7

Wolf Theatre

THE 39 ST EPS

GET TICKETS

— The Denver Post

PREMIERE SPONSORS:

Robert & Judi Newman

June Travis

SPOTLIGHT SPONSORS: Martin & Jo Semple

Sustainer Society

SHOW SPONSOR:

Acoya Cherry Creek

Apr 14 – Jun 18

Singleton Theatre

GET TICKETS

Illustrations by Kyle Malone

“A silly yet delightfully faithful spoof of Alfred Hitchcock’s 1935 spy thriller.”

1776: REDEFINING A MOMENT IN HISTORY

BY JOHN MOORE

AAcclaimed director Diane Paulus’ personal mantra as an artist is to always expand the boundaries of theater – or why even bother?

She did that when she reimagined the classic Broadway musicals Hair, Porgy & Bess and Pippin; the films Finding Neverland and Waitress, and even Alanis Morissette’s platinum-selling album Jagged Little Pill. And she’s done it again with a revolutionary new version of the Revolutionary War musical 1776

Instead of telling the story of the founding fathers with a cast of mostly white men, as first conceived in 1969, Paulus and co-director Jeffrey L. Page’s more representative modern ensemble is made up entirely of multi-racial actors who are female, nonbinary and trans.

None of whom would have been allowed to audition for the show’s Broadway premiere 54 years ago. More meaningfully, none of whom were given the slightest consideration by the crafters of the Declaration of Independence 247 years ago.

Furthermore, what Paulus and Page did not know before taking on 1776 is that in an early draft of the Declaration, Thomas Jefferson condemned slavery as “one of the many evils foisted upon the colonies by the British crown.” He called it “piratical warfare” and an “assemblage of horrors.” (Yes, the same Jefferson who owned more than 600 enslaved people in his lifetime.)

As the fledgling republic teetered on the brink of collapse, the Declaration’s authors caved to the Southern states on slavery, and Jefferson’s passage was cut for political expediency.

Discovering Peter Stone and Sherman Edwards’ timecapsule musical was an opportunity for Paulus to reflect on her own journey with learning American history.

“Certainly we all studied the Declaration of Independence in high school, but the slavery aspect is one piece of the history I was not familiar with before I sat down and read 1776,” she said. “When I read that in the play, I thought, ‘Wait, did this really happen?’”

Paulus now looks at the Declaration as a deeply aspirational divorce decree and its authors as heroic radicals who were attempting to found a country on a noble idea.

And yet …

“Part of the study for me was not only to understand the stakes for these historical figures, but also to understand how we reckon with the compromises that were made, and who was left out,” said Paulus.

She believes today’s 1776 audiences will see a production that reflects the change that we seem to be collectively aspiring to, both in America and inside the American theater. “You will be looking at a cast of humans who would have had no voice in the history-making that this musical depicts,” said Paulus. And yet, in its three-month run in New York last year, 1776 was responsible for nearly 30 Broadway debuts between its actors, musicians and backstage crew. “We’re making change,” Paulus said, “one production at a time.”

But 1776 does not make change simply by taking its many nontraditional actors and placing them in the roles of their white revolutionary forebears.

(from L) Sushma Saha, Sara Porkalob, Mehry Eslaminia, Gisela Adisa, Crystal Lucas-Perry, Elizabeth A. Davis, Becca Ayers, Brooke Simpson, and Oneika Phillips in 1776 Credit: Evan Zimmerman for MurphyMade.

“Jeffrey and I were really clear that we were not interested in presenting an illusion that we’re simply going back in a time warp and watching a re-enactment of history through a glass,” she said. “Yes, you are looking at a historical enactment…but make no mistake: It is an enactment. It’s theater.

“We’re really inviting the audience to hold two realities at the same time as they watch the show. There is the reality of these underrepresented performers today, in their modern dress, and there is the theatrical reality of when those same actors step into the shoes of the Founding Fathers and speak the very words that depict this historical moment of the founding of America.”

At no point is the audience asked to forget who these performers are in their own skin. Instead, “the individual actors are always visible in their authentic identities,” she said. “They never become head-totoe transformed in their costumes or characters. They still wear the earrings they want to wear and their hairstyle how they want it to be. And, yes, they do enact the play. So for the audience, you’re actually having to think about both realities. I think it makes you hear the language in a fresh, new way.”

COMING UP FROM THEATRE COMPANY

THE COLOR PURPLE

The Color Purple is a stirring family chronicle following a young woman on her journey to independence and selflove. Celie Harris — abused by her family, torn from her children, and faced with the loss of her beloved sister — must learn to rebuild her life from scratch. Through joy and despair, anguish and hope, Celie discovers the power of love and life.

Based on the Pulitzer Prize-winning novel by Alice Walker, the musical boasts a Grammy Award-winning score of jazz, blues, and gospel. DCPA Theatre Company Artistic Director Chris Coleman says, “There’s a great spirit of celebration, uplifting community, and a simple authenticity to The Color Purple.” The DCPA Theatre Company is proud to share in the joy of live theatre and share diverse, genuine stories onstage. Few stories have had the cultural significance and lasting power of The Color Purple. It is a triumphant, uplifting piece of art that reaffirms some fundamental truths: that Black is beautiful, that women are powerful, and that love is love.

Page, the first African American to be named the Marcus Institute Fellow for Opera Directing at The Juilliard School, believes this new 1776 opens up a conversation around who has the right to this dream we call America.

“It’s interesting because I never really knew what 1776 was, and in the community that I come from, that is not all that far-fetched,” he said. “It might seem alien that an American would have no relationship to what the founding of America means at its very essence. But in many ways, I have felt like the America that people often speak about doesn’t involve me. And so I think this show is interested in commenting very specifically on who gets to have a piece of this American dream – and who does not.”

Paulus is a great believer that theater is an art form that is alive and present, and so she wanted very much to make our present moment of America part of the experience of this production. Theater at its best not only entertains us, Page added, “it awakens us, it shakes us, it disorients us, so that we have the ability to think in ways that are new and bright.

“I think that’s what 1776 does. I’m very proud that this show provokes a kind of discussion that galvanizes an entire community.”

Don’t miss this beloved musical at the Wolf Theatre in the Bonfils Theatre Complex from March 31 through May 7, 2023.

I think this show is interested in commenting very specifically on who gets to have a piece of this American dream — and who does not.

— JEFFREY PAGE, CO-DIRECTOR

Illustration by Kyle Malone

THEATER NAME

BANG! Theatricals

Harriet Newman Leve James D. Stern Morton Wolkowitz Schuster/Maxwell Gallin/Sandler Markley/Manocherian

present

Created and Directed by Luke

Cresswell and Steve McNicholas

Jordan Brooks, Micah Cowher, Simi Egbejumi-David, Jose Filgueira, Declan Hayden, Madeline Jafari, Zahna Johnson, Jasmine Joyner, Riley Korrell, Max Meyer, Sean Perham, Cade Slattery

Lighting by Steve McNicholas and Neil Tiplady

US Rehearsal Director

Fiona Wilkes

General Manager

Roberta Roberts

Production Manager

Ricardo De Arruda Camargo

Associate Producer

Fred Bracken

Executive Producers

Richard Frankel Productions / Marc Routh / Alan Schuster / Aldo Scrofani

STOMP IS PERFORMED WITHOUT INTERMISSION.

THE USE OF ANY CAMERA, RECORDING DEVICES OR LASER POINTERS IS STRICTLY PROHIBITED.

STOMP WEBSITE: http://www.stomponline.com

STOMP, a unique combination of percussion, movement and visual comedy, was created in Brighton, UK, in the summer of 1991. It was the result of a ten-year collaboration between its creators, Luke Cresswell and Steve McNicholas.

They first worked together in 1981, as members of the street band Pookiesnackenburger and the theatre group Cliff Hanger. Together, these groups presented a series of street comedy musicals at the Edinburgh Festival throughout the early ‘80s. After two albums, a UK TV series and extensive touring throughout Europe, Pookiesnackenburger also produced the highly acclaimed “Bins” commercial for Heineken lager.

The piece was originally written and choreographed by Luke as part of the band’s stage show; it proved to be the starting point for STOMP ’s climactic dustbin dance.

In 1986, Luke and Steve created an eight-minute ‘percussive movie’ for Bette Midler’s HBO special Mondo Beyondo. Between 1987 and 1990, Luke staged, as Artistic and Musical Director, four large-scale outdoor events, including “Beat the Clyde”, which involved floating a drum orchestra on a pontoon in the centre of Glasgow; the largest of these events, “The Heineken Hove Lagoon Show”, involved a 120-piece drum orchestra featuring the Brighton Festival Chorus and a full orchestral string section.

In 1991, Steve and Luke first created STOMP, previewing at London’s Bloomsbury Theatre and premiering at the Assembly Rooms in Edinburgh, where it became The Guardian’s “Critics’ Choice” and won The Daily Express “Best of the Fringe Award”.

Between 1991 and 1994, the original cast of STOMP played to capacity audiences around the world: from Hong Kong to Barcelona, from Dublin to Sydney. The touring culminated in a sell-out season at London’s Sadler’s Wells Theatre in January 1994, where STOMP received an Olivier nomination for Best Entertainment and won Best Choreography in a West End Show.

An expanded version of STOMP, involving up to 30 cast members, was originally created for the Brighton Festival, UK, and was subsequently presented in Melbourne, Australia. It was most recently seen in September

1995, open-air, at the Acropolis in Athens and at the Royal Festival Hall, London. This production broke all box office records, which had been established by Frank Sinatra in 1972.

STOMP began its run at the Orpheum Theatre in New York in February 1994 and quickly went on to win both an Obie and a Drama Desk Award for Most Unique Theatre Experience. By the summer of 1994, the first American cast was in place at the Orpheum, freeing the original cast for sell-out tours of North America and Japan.

In the summer of 1995, two more American productions were created for the sole purpose of US touring, which continues to this day. US casts have also debuted STOMP in Chile, Brazil and Korea. Meanwhile, a fifth STOMP company, also touring from the UK, was formed in 1997 and has consistently toured the world ever since. This company presented STOMP for the first time in Scandinavia and South Africa, and has been a regular visitor to Germany, Holland and France. Another STOMP production opened in San Francisco in May 2000, running for two and a half years.

The original cast of STOMP have recorded music for the Tank Girl movie soundtrack and appeared on the Quincy Jones album, Q’s Jook Joint. A soundtrack recorded by Steve and Luke for the Showtime movie Riot was released in the spring of 1997. STOMP has also featured in a number of commercials, including Coca-Cola’s “Ice Pick” and numerous spots for both Target stores in the US and Toyota in Japan.

STOMP also created the Mr Frears’ Ears series of short films created for Nickelodeon, whilst Brooms, a 15-minute short based around the opening routine, was nominated for an Academy Award. “Brooms” was also selected for screening at Robert Redford’s Sundance Festival and for competition at the Cannes Film Festival.

STOMP made a special appearance at the Academy Awards in March 1996, with an original piece involving the live synchronization of classic film clips and onstage action, featuring 20 performers from all five productions.

In the summer of 1997, Steve and Luke created and directed STOMP OUT LOUD, a 45-minute television special

for HBO, which combined stage material with new pieces created for TV. It was premiered in the USA in December 1997 and subsequently received four Emmy nominations, for direction, sound mixing, multi-camera editing and art direction. 1998 saw the release of the STOMP OUT LOUD video and DVD around the world. Another unique blend of live action and film footage was created for the Emmy Awards, in which STOMP effectively performed with Spike Jones!

STOMP performed after midnight on the steps of the Lincoln Memorial at US President Clinton’s millennium celebrations. During 2000, a Sesame Street special, “Let’s Make Music”, a collaboration between STOMP and the Muppets, was released on TV and video in North America.

Luke and Steve began production of their IMAX movie Pulse: A STOMP Odyssey in Brazil during Carnival 2000 and completed it in the summer of 2002. Pulse takes the IMAX audience on a spectacular global journey, featuring performances from Kodo, Timbalada and Eva Yerbabuena. It was released to critical acclaim in New York in the autumn of 2002, and went on to win two major awards at the International Festival of La Géode in Paris.

In September 2002, STOMP finally entered London’s West End at the Vaudeville Theatre, and later that year STOMP performed as part of The Royal Variety Show for the second time.

2003 saw a new STOMP production open at the Stuart Street Theatre in Boston and a unique Dolby Digital trailer featuring STOMP performances debuted in cinemas across the globe.

In 2004, New York celebrated 10 years of continuous performances of STOMP at the Orpheum Theatre by renaming 2nd Avenue at 8th Street Stomp Avenue.

In addition to the European tour, in 2005 STOMP returned to Tokyo for three weeks and also toured to Hong Kong, Singapore and Kuala Lumpur.

In 2006, STOMP ’s New York production passed its 5,000th performance mark. In the same year, Luke and Steve directed a public service announcement for television called “Stomp Out Litter”, which

featured the cast ‘sweeping up’ at iconic locations in the five boroughs.

In addition, they were commissioned to create and produce The Lost and Found Orchestra, which takes the ideas behind STOMP to a symphonic level, in celebration of 40 years of the Brighton Festival. The LFO subsequently performed at the Sydney Opera House as part of the Sydney Festival early in 2007, was seen at the Royal Festival Hall in London at Christmas 2008 and the Theater Carré in February 2009.

In 2007, STOMP OUT LOUD opened in Las Vegas at Planet Hollywood Resort and Casino with an expanded cast and performed inside a new $28 million theatre, specifically created for the production. The West End entered its 6th consecutive year with a move from the Vaudeville to the Ambassadors Theatre.

In 2008, STOMP returned to its roots for a new DVD shoot at the Brighton Dome, bringing together a cast from all over the STOMP world. For the

first time, the entire show has been captured in high-definition sound and video. 2008 also saw Steve and Luke expand into new areas with the release of their IMAX 3D nature documentary Wild Ocean, with a symphonic mix of percussion and traditional orchestra in the soundtrack. In September of the same year, Wild Ocean won two awards at the Giant Screen Cinema Association for Best Sound and Best Original Score at their annual conference held in New York.

The Lost and Found Orchestra reunited in 2010 for a new show, PANDEMONIUM, which appeared in several US cities throughout the autumn.

In 2011 the New York production of STOMP entered its eighteenth year, trouncing the Orpheum house record set by Little Shop of Horrors. It also entered its tenth year in the West End at the Ambassadors Theatre, whilst at the same time Steve and Luke continued with their 3D film work. 2012 has seen the release of The Last Reef 3D, a film about the beauty and the

WHO’S WHO

plight of reefs worldwide. As with Wild Ocean, Luke and Steve composed the film’s orchestral soundtrack, recording it at The Old Market Theatre in their hometown of Brighton & Hove in the UK. They have also celebrated the one year anniversary of The Old Market Theatre, which, having renovated it back in 2011, they now run as a full time venue, bringing music, theatre, dance, comedy and visual arts to the UK’s south coast.

Most recently, in August 2012, the largest ever assembly of STOMP performers (40 performers from 12 different countries) were brought together for a specifically choreographed appearance in the closing ceremony of the London 2012 Olympic Games.

STOMP was created with the original U.K. cast: Luke Cresswell, Nick Dwyer, Sarah Eddy, Theseus Gerard, Fraser Morrison, David Olrod, Carl Smith and Fiona Wilkes.

JORDAN BROOKS (Performer) was born and raised in Dallas, TX. Jordan fell in love with music at an early age. He toured the U.S. with the Santa Clara Vanguard and Blue Knights Drum and Bugle Corps where he refined his rudimental drumming while studying classical, jazz, contemporary, and world music genres at Berklee College of Music. He went on to earn his masters at NYU which propelled him to work with notable artists and productions as a performer, producer, and studio musician. He would like to thank his loving family and many teachers for their unwavering support of his dreams. Find him @jbrooksmusic.

MICAH COWER (Performer) is a New York native with a passion for all things rhythm. Growing up playing drums, Micah went on to major in music education at NYU-Steinhardt before studying musical theatre and dance at AMDA. Since then, he’s been fortunate enough to tour the world acting and drumming in various musicals and rock bands. Favorite theatre credits include Rock of Ages, Shrek the Musical, Monty Python’s Spamalot, Footloose,

and Bayside the Musical. Current band/producing projects include @nightwithoutcars, @theduderanch, and @thealicevalentine. When not performing, Micah teaches percussion and tap dance at Dance Molinari while also managing his entertainment company, Imperial Entertainment NYC. @micah.cowher

SIMI EGBEJUMI-DAVID (Performer) In 2013, Simi trained at East 15 Acting School graduating studying Physical Theatre and received a scholarship for Academic Excellence. Theatre credits include: Curtis in War of the Worlds (Stage), Mercutio in Romeo and Juliet (Stage), and Captain Speedy in Around the World in 80 Days (UK Tour).

JOSE FILGUEIRA (Performer) is a Spanish musician and actor. He’s been doing street music and performing in comedy shows throughout his adolescence and professional career. He worked for 10 years at Al Tran Tran Impro, an improvisation musical theater company and then formed Swingdigentes, a music, dance, and comedy company that has performed in 30 countries around the world. Since

then, he’s performed with Cirque du Soleil and other circus shows. He’s super happy to be part of STOMP, a company he has loved since childhood. If you want to know more you can find him on social networks under Jose Filgueira.

DECLAN HAYDEN  (Performer) is a musician from Cincinnati, OH who holds a BM in Percussion Performance and Music Education from UC-CCM. He has had past engagements with groups such as the Kentucky and Springfield Symphony Orchestras, and at events like PASIC and SICPP. Performing with STOMP is a dream achieved, and he is incredibly grateful to his family, friends, and teachers for their unwavering support. Find him at www.declanhayden.com.

MADELINE JAFARI (Performer) is a contemporary dancer based in New York City. She was raised in Austin, TX and found her love of rhythm and movement at Tapestry Dance Co. As a freelance dance artist, her work has included dancing for Netta Yerushalmy, Steeledance, Shannon Gillen, and Giada Matteini. She holds a BFA in Dance

from NYU’s Tisch School of the Arts. This is for you, Grandma.

ZAHNA JOHNSON (Performer) is a dance artist and performer based in Dallas, TX. She earned her BFA in Dance at Sam Houston State University in 2021 and is so excited to embark on her journey as a professional. A New Jersey native, her training spans across the country and across styles. Tap has always been her favorite; she can’t keep her feet still! Zahna feels blessed that God gave her a passion for the arts and has her friends and family to thank for supporting her every step of the way.

JASMINE JOYNER (Performer) is a performer from Queens, NY who has studied dance all of her life. She started out in her hometown family dance studio called Jenn’s Studio 1. She received her Bachelor’s in Dance from SUNY Fredonia. As a professional dancer, she has performed in many dance ensembles, theater production of Cabaret, and Debbie Allen’s Dance Academy summer intensives. She is grateful STOMP has given her opportunities to fulfill her hopes and dreams. Special thanks to her family and friends for being her biggest supporters.

RILEY KORRELL (Performer) is a dancer, performer, singer, and actor from Frederick, Maryland who has been dancing for over 17 years in many different disciplines, primarily tap. He represented the United States at the IDO world tap championship in Riesa, Germany from 2015-2018 as part of the American Tap Company as a Male Soloist, Duo, Trio, Small Groups, and Formation. Having seen STOMP when he was a child, Riley has always dreamed of being able to perform the very show he saw all those years ago. He would like to thank his family and friends for all of their continued love and support.

MAX MEYER (Performer) was raised in Chester, New Jersey, where he fell in love with music at an early age. He moved to NYC to attend New York University, where he received his bachelor’s in Percussion Performance in 2021. While at NYU, Max traveled to Ghana to study West African percussion and dance, and to perform with the National Symphony Orchestra of Ghana. He is also a preschool music and movement teacher with Music Together, a world-renowned company. Max would like to thank his family, who

never batted an eye when he said he wanted to become a musician.

SEAN PERHAM (Performer) is a comedian, drummer, and actor from New York. He attended the College for Music Education at Fredonia State University and received his Bachelors in Music Education, continuing on to get his Masters of Music Performance at New York University. During that time, he traveled the world playing music and was fortunate enough to play the stages of Lincoln Center, Carnegie Hall and others. After graduating, Sean was a full-time music teacher while also pursuing his acting/ comedy career. It’s a dream come true to be a cast member of STOMP @Seanperhamisme.

CADE SLATTERY ( Performer ) Originally from San Diego, Cade joined a percussion motivational performance group called Jr. Crew in 2006 run by Chris Rubio, formerly of STOMP, which sparked his love for the show. He is extremely grateful to be part of the STOMP family. He thanks Sophie, Mom and Dad, Chris, his best friends Alex and Suco, and Uncle Paul. Outside of STOMP, Cade creates electronic music. Find out more at https://soundcloud. com/cade-slattery.

LUKE CRESSWELL (Director) is a selftaught percussionist from Brighton. His session work as a drummer and rhythm programmer includes Beats International, Bette Midler, Elvis Costello, and Bryan Ferry. After working for several years as a street musician and performer, he first created STOMP in 1991. He has directed, with Steve McNicholas, several award-winning commercials and short films. He received an Oscar® nomination for the film “Brooms”, an Emmy® nomination for STOMP OUT LOUD, and co-directed the award-winning IMAX movie, Pulse: A STOMP Odyssey. He has also received a special achievement award from the Chicago Human Rhythm Project. More recently, Luke co-created the Lost and Found Orchestra and the Vegas production of STOMP OUT LOUD and also co-directed the 3D IMAX movie Wild Ocean. Luke occasionally performs with STOMP, and is currently conductor of the LFO.

STEVE McNICHOLAS (Director), from Yorkshire, has worked as an actor/ singer/musician/writer with various theatrical and musical groups, starting out with the Bradford Theatre Group in 1973. Through the ’80s he worked with

Cliff Hanger, Covent Garden Community Theatre, and Pookiesnackenburger. Despite also being an original member of the a cappella group the Flying Pickets, and a final appearance in Mr. Bean, Steve no longer performs. He shares directorial credits with Luke Cresswell on STOMP-based films and commercials, and their new show, the Lost and Found Orchestra. With Luke, he composed the soundtrack to the Showtime movie, Riot, and shares the Oscar® and Emmy® nominations for his work on Brooms and STOMP OUT LOUD, and co-directed the awardwinning IMAX movie, Pulse: A STOMP Odyssey. Steve also co-created the LFO and co-directed the 3D IMAX movie Wild Ocean, released worldwide in 2008.

FGTM / Roberta Roberts (General Management). Richard Frankel and Roberta Roberts have been working together for the past 8 years in New York and on tour in the U.S. Shows general managed by Richard Frankel Productions and FGTM include STOMP, Smokey Joe’s Café, The Sound of Music, The Weir, Swing!, The Producers, Hairspray, Little Shop of Horrors, Sweeney Todd, Company, Young Frankenstein, Gypsy, The Norman Conquests, Finian’s Rainbow, Burn the Floor, A Little Night Music, The Rocky Horror Show, Forever Tango, Standing on Ceremony: The Gay Marriage Plays, Necessary Targets, Old Jews Telling Jokes, Murder Ballad, Los Monólogos de la Vagina, Lennon: Through a Glass Onion and Flashdance.  Richard and his partners Tom Viertel and Steve Baruch own and operate Feinstein’s/54 Below, Broadway’s supper club.

BANG! THEATRICALS (Producer) is a company whose principals are Richard Frankel, Gary McAvay, Alan Schuster and Aldo Scrofani who have been the producers, managers and touring executives of STOMP since they premiered the show in North America in 1994. Their collective professional experience in the theatre totals 187 years.

HARRIET NEWMAN LEVE Broadway: four-time Tony award winning producer: Anastasia; Beautiful: The Carole King Musical; An American in Paris; Hedwig and the Angry Inch; Of Mice and Men; Ann; One Man Two Guvnors; War Horse; Norman Conquests; Mountaintop; La Cage Aux Folles; A Little Night Music; 39 Steps; Diary of Anne Frank; Crucible; Hedda Gabler; Lieutenant of Inishmore; Ma

Rainey’s Black Bottom. Off Broadway: Beebo Brinker Chronicles; Family Secrets; Shockheaded Peter; Necessary Targets; Communicating Doors. She is a member of The Broadway League and was on the Board of Directors of New York Stage and Film for four years.

JAMES D. STERN CEO of Endgame

Entertainment. Has produced or directed over 50 shows or movies including Broadway: A Little Night Music, Hairspray, The Producers, Legally Blonde, and STOMP.  Film: An Education, Every Little Step, It’s the Rage, Pulse: A STOMP Odyssey, Michael Jordan to the Max, Proof, Harold and Kumar Go to White Castle, I’m Not There.

MORTON WOLKOWITZ Theatrical Producing Credits: Donnybrook, music and lyrics by Johnny Burke; The Enemy Is Dead starring Linda Lavin; My Astonishing Self, starring Donal Donally; The Unexpected Man, by Yasmina Reza starring Alan Bates and Eileen Atkins; From Door to Door by James Sherman; One Shot One Kill by Richard Vetere; Tryst by Karoline Leach, directed by Joe Brancato; STOMP OUT LOUD in Las Vegas. He is managing part of “Suitz LLC” with Richard Sudock and Michael Wolkowitz. He has enjoyed success in the industrial and financial worlds and is former Chairman and current Director of Key Energy Services, Inc. He is married to the actress Anita Keal.

MITCHELL MAXWELL has produced

six Broadway shows, twenty-one OffBroadway shows, four national tours, three West End shows, and five feature films. His shows have won the Tony, Drama Desk, Outer Critics Circle, and Obie Awards and his long-running OffBroadway hit, Dinner With Friends by Donald Margulies, was the recipient of the 2000 Pulitzer Prize for Drama.

SUSAN QUINT GALLIN / SUKI

SANDLER Productions include Desperately Seeking Susan (London, opening November 2007); Spamalot; STOMP (NY & tour); Woman Before A Glass; The Retreat From Moscow; Man Of La Mancha (2002 Revival); The Shape Of Things; Hedda Gabler (2001 Broadway); Fully Committed; Cowgirls; Angels In America; From The Mississippi Delta; The Rothschilds (Revival); Other People’s Money; Burn This; The Cryptogram (London).

DAN MARKLEY Producing credits include Irving Berlin’s White Christmas,  High Fidelity, Family

Secrets (rev.),  Vagina Monologues, Lifegame, Damn Yankees, On The Waterfront, Oleanna, and Jeffrey (film), with Alison Sheehy, Sarah, Hayden and Sander.

JENNIFER MANOCHERIAN Broadway credits include Spring Awakening; The Little Dog Laughed; Caroline, or Change; Ma Rainey’s Black Bottom; Thoroughly Modern Millie; The Crucible; Jane Eyre, the musical; and The Kentucky Cycle Off Broadway: Berkshire Village Idiot; STOMP; Hello Muddah, Hello Fadduh; Showing Off; Palace of Amateurs. Film: Family Blues, which she also co-wrote.

FRED BRACKEN (Associate Producer) first saw STOMP in Australia and resolved to see it performed in New York. Mr. Bracken works for CNN.

RICHARD FRANKEL PRODUCTIONS / MARC ROUTH (Executive Producers) Richard Frankel and Marc Routh have been producing and general managing shows together since 1985. Some of their productions include Young Frankenstein, Hairspray, Gypsy, and STOMP in New York, and STOMP OUT LOUD in Las Vegas, Sweeney Todd on tour, Little Shop of Horrors in London as well as a UK tour of The Producers and The King and I and SpongeBob SquarePants Live in Asia. With their partners Tom Viertel and Steve Baruch they have produced some 60 additional musicals and plays in New York, London, and in Asia, including Company, Sweeney Todd, Little Shop of Horrors, Swing, A Funny Thing Happened on the Way to the Forum, Penn and Teller, Driving Miss Daisy, Love Letters, Smokey Joe’s Cafe, and Angels in America

ALAN J. SCHUSTER (Executive Producer) has operated the Orpheum, Minetta Lane, Union Square, 2nd Avenue and The Cherry Lane Theatres in New York and The Royal George Complex in Chicago. He built 37 Arts the home to the Baryshnikov Arts Center and the Orchestra of St. Luke’s. He has produced over 25 productions including STOMP OUT LOUD, Key Exchange, Mamet’s Oleanna, Marvin’s Room, Jeffrey, Vita and Virginia and Shockheaded Peter

ALDO SCROFANI (Executive Producer) is Currently the Chief Operating Officer of the Apollo Theater Foundation which includes the iconic Apollo Theater. Founding producer of STOMP. President and CEO of Theatre Management Associates, Inc. COO of

Columbia Artists Theatricals (18 years). Executive VP of Jujamcyn Theatres (13 years). Over 100 productions including: Gone With The Wind, Dirty Rotten Scoundrels, Chita Rivera: The Dancer’s Life, Lovemusik, Elaine Stritch At Liberty, Noise/Funk, Tap Dogs, Sunset Boulevard, Carousel, Cat On A Hot Tin Roof, City of Angels, Grand Hotel, M. Butterfly, Jelly’s Last Jam, Into The Woods, Gypsy, Big River, My One and Only, and Dracula.

STAFF FOR STOMP

GENERAL MANAGEMENT FGTM

Richard Frankel Roberta Roberts

COMPANY MANAGER

Carla Marie Rugg

GENERAL PRESS REPRESENTATIVE BONEAU/BRYAN-BROWN

Chris Boneau Jackie Green

TOUR PRESS REPRESENTATIVE C MAJOR MARKETING & PUBLICITY

Catherine Major

Production Manager Ricardo De Arruda Camargo

COVID Compliance Officer ................ Sydney Alexander

Assistant Company Manager George Finley-Pyle

Production Carpenter George Coppenbarger

Lighting Director .................................................. Tim Mack

Production Props Austin Huehn

Production Electrician Alexander Smith

Production Sound ................................. Steve J. Reynolds

Management Associate Aidan McDermott

Controller Galbraith & Co./Amanda Hayek

Assistant to Mr. Frankel Heidi Libby

Information Technology Manager Ben Bigby

Set Dresser Stacey-Jo Marine

Photographers Marc Bryan-Brown, Steve McNicholas, Lois Greenfield, Jun-Ichi Takahashi, Harry Pocius

Legal Counsel S. Jean Ward, Esq.

Insurance DeWitt Stern Group

Risk Management Underwriters, Inc.

Accounting Ira Schall, Schall & Ashenfarb CPA’s

Travel & Housing Road Rebel Entertainment Touring

Payroll Services PEOPLE HRO/Rebecca Swartz

Payroll Data Processing, LLC

Merchandising Marquee Merchandise, Inc./Matt Murphy

Physical Therapy NEURO TOUR Physical Therapy, Inc

Physical Therapist Kira Jarrar, PT, DPT, ATC

Medical Director Charles Garten, MD

ACKNOWLEDGMENTS

Original production presented by Yes/No People in association with Glynis Henderson and Loretta Sacco. STOMP ’s exclusive agent and general inquiries: Loretta Sacco, c/o Yes/No Productions, N1 Offices, The Old Market, 11A Upper Market Street, Hove BN3 1AS Tel: 011.44.127.371.1151, Fax: 011.44.127.373.7538

Credits

Designed by Yes/No Productions, Ltd.; Trucking by Janco; Scenery built by Light & Sound Design; Zippo lighters courtesy of Zippo Manufacturing Corp.; “Super Big Gulp” cups courtesy of Southland Corp.; Ski boots by Rossignol Ski Co.

DENVER CENTER FOR THE PERFORMING ARTS

More

Fenmore; Brad Bauner; Paul J. Botchis; David W. Caldwell; Sarah Eddy; E. Maria

Theseus Gerard; Fraser Morrison; Niclas Nagler; Jason Pelusio; Carl Smith; Fiona Wilkes; Derek Worley

GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2023/24 BROADWAY SEASON

PLEASE BE ADVISED

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

• CHILDREN 6+ are welcome in our theatres and must be ticketed.

• DRINKS are allowed in provided containers.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to amcmullen@dcpa.org or 303.446.4836

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719

Linda Ackerschott

Robin Appleton

Julie Bassignani

Carrie Breidenbach

Vonnie Clough

Craig Cory

Cyndie Cory

Laura Cotugno

Steve Davies

Anne Davis

Amber Donner

Carolyn Dore

Deborah Guess

AnnSue Gunter

Judy Holabird

Amoreena Knabb

Mark Anthony

Perry Elliot

Leslie Lambert

Taylor Malott

Anthony Mattivi

Sharon Millikan-Hale

Callie Morrow

Tim Nelson

Lisa Parson

Laura Payne

Yolanda Pollock

Dave Poole

Alen Richardson

Liz Spadi

Amy Tepel

Marybeth Tscherpel

Eliza Vlasova

Barb Wilson

DPAC House Crew

Albert Sainz, Sr

Derek Tovar

James R. Gralian

Allen Olmstead

David A. Wilson

ACTING IS INVIGORATING

Designed for beginners and experienced actors alike, DCPA Education’s teen classes will help you (or your teenager) develop the skills required to take on the theatre world with confidence and poise. Our professional instructors can help with college audition prep, voice coaching, dance fundamentals, and much more.

Spring/Summer Child & Teen classes now enrolling.

ENROLL TODAY

MARCH 14 – 19

BUELL THEATRE

DCPA Education Summer Camp 2022.

Photo by McLeod9Creative.

”ENTIRELY FRESH. A REASON FOR CELEBRATION!”

–NEW YORK MAGAZINE

TO BUSINESS AS USUAL

Your Brand. Your Partnership. Your Support.

PROGRAM, SEASON, AND SHOW SPONSORSHIPS

Theatre is storytelling. We can help you tell yours. Being a corporate supporter of the DCPA intertwines your story with ours and elevates your brand.  Whether your goal is brand awareness, philanthropy, or employee and client engagement, partner with the DCPA to find the best opportunities for your business. Sponsor a Broadway, Off-Center or Theatre Company show or support one of our education programs — the options are endless!

CORPORATE MEMBERSHIPS

Entertain prospects, clients, co-workers, and executives with a full season of live theatre! Join us with a corporate membership and put more show in your business.

Your Corporate Membership includes premium seats to eight amazing productions, along with these benefits:

• Pre-show networking events featuring heavy hors d’oeuvres and an open bar

• Access to the VIP Corporate Member Lounge at intermission with open bar

• Brand recognition for your company

• Additional tickets for added attractions

CORPORATE MATCHING GIFTS

Leverage your organization’s financial resources to support one of the region’s most important cultural hubs. Ask your HR department about donation matching programs the next time you contribute to the DCPA.

GET IN TOUCH!

Erin Walker (EWalker@dcpa.org), Senior Director of Development

Daniel Escobar (DEescobar@dcpa.org), Corporate Partnerships Manager

Dana Green, and Desiré e Mee Jung in Much Ado About Nothing

Photo by Michael Martin Photography.

Photos by Amanda Tipton

SPECTACULAR EVENTS. SIMPLIFIED.

DCPA Event Services

The Denver Center’s Event Services team is here to partner with you for every aspect of your next big event. We can create an experience for the record books with immaculate catering, dramatic lighting design, our theatre-quality A/V system, professional staffing — the works!

We’ll meet with you for a behind-the-scenes tour of our rental spaces, contribute to the creative process (if desired), and, on the day of the event, help you hit every cue with flawless precision. All you need to do is dream up your perfect event and let our theatrically trained staff make it a reality.

photo credit: Denver International Airport

The only limit is your imagination. Get in touch with us today!

STOMP IS BAAAAAAACK!

HOOOOOOOLD ON TO YOUR HUBCAPS!

BY GENEVIEVE MILLER HOLT

IIt’s been a while since you heard those clomping, clanging racket makers — racketeers? — right here in your own back yard. Yes, STOMP is back in Denver in all its explosive, syncopated glory with those incredible percussionists who treasure the old adage about one man’s trash…

The troupe still doesn’t look at everyday objects the way the rest of the world does. In their hands, brooms, garbage cans, Zippo lighters (we’re not sure about Grouchos and Harpos) and the general detritus of the 21st century takes on a life of its own. STOMP, created and directed by Luke Cresswell and Steve McNicholas, is an exploration of the outer limits of rhythmic invention. It’s a Pipe (read drain pipe) and Drum (read anything) Corps for our age.

And speaking of age, it has not withered STOMP ’s clatter — or fun. STOMP, that concatenation of sound and skill, is back with its rhythms and drumbeats intact.

The same goes for its nonstop movement of bodies, objects, sound — even abstract ideas. There’s no dialogue, speech or plot. But music? Absolutely. Uncommon music, created in nontraditional ways — with everyday objects ranging from matchbooks to every household item you can imagine. “It’s a piece of theatre that’s been created by musicians,” said Steve McNicholas, co-founder of STOMP

“It doesn’t have narrative and it doesn’t have dialogue and it doesn’t have melody particularly, but it is totally rhythmically based.” You’re bombarded by a caterwauling noise that under any other circumstances you would choose to shut out.

But not here.

Here all is syncopated and choreographed with the precision of an army bugle corps (minus the bugles) and by the fertile imagination of buskers or street performers from the streets of Brighton — the spot where STOMP ’s creators hail from and where they dream up versions of this utterly inventive, unexpected, whacked-out show. “Most ideas come from everyday life,” said McNicholas, “but when we put a routine together, we are thinking not just in terms of the rhythmic qualities, the sound qualities of the instruments, but also visual impact.”

And impact it will have. So sit back, relax, tap your feet, clap your hands. There’s only fun to be had here — from the ringing of hollow pipes to clashing metal weaving its spell, and industrial strength dance routines involving a lot of supremely well-coordinated bodies.

STOMP

FEB 21 – 26

BUELL THEATRE

Audio Described performance: Feb 26 at 2pm

STOMP Created by Luke Cresswell and Steve McNicholas © Steve McNicholas

When we put a routine together, we are thinking not just in terms of the rhythmic qualities, the sound qualities of the instruments, but also visual impact.

— STEVE MCNICHOLAS, CO-FOUNDER OF STOMP

Deeply rooted in Colorado communities since 1962.

Beyond our love for Colorado is a passion for its spirit, its people, and its potential. Slifer Smith & Frampton is proud to be Colorado’s #1 independent global real estate and relocation network.

>>>

“At CBS Colorado, our journalists bring you news about what’s happening at the Denver Center for the Performing Arts, in our arts and cultural communities, as well as impactful neighborhood stories. Those stories are important because your community is our community, too. We report on the most pressing topics, but we strive to focus more on what is working than what is not, while reporting on creative solutions we Coloradans are famous for. CBS Colorado is in your communities, and we care about continuing to make Colorado a great place to live. Enjoy the show and tune in to CBS Colorado or visit www.cbscolorado.com for regular updates.”

— CBS COLORADO GENERAL MANAGER TIM WIELAND

Meet Your Neighborhood Journalists

Colorado First.

CBS Colorado is committed to covering arts and culture and is a proud partner of the Denver Center for the Performing Arts.

PROUD SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

PROUD SPONSOR OF THEATRE FOR YOUNG AUDIENCES AND SATURDAY NIGHT ALIVE

DAVITA: COMMUNITY FIRST

AAs a leading provider of kidney care services in the United States, DaVita is committed to making a lasting impact, starting with the care it provides in dialysis centers and extending to the broader communities it serves.

Since first calling the Mile High City home in 2010, the company has remained dedicated to supporting causes that uplift the Denver community while fostering a culture that encourages teammates to get involved. As a company, DaVita invests in opportunities that advance leadership, sustain cultural institutions, and respond to the community’s most pressing needs.

DaVita is proud to support the Denver Center for Performing Arts, a vibrant organization committed to increasing access to the performing arts for all individuals. DCPA’s mission to serve, engage and inspire its community aligns with DaVita’s efforts to support healthy communities around the world, as well as in its own backyard of Colorado. DaVita is proud to play a role in DCPA’s Theatre for Young Audiences program, engaging more than 15,000 pre-K through 3rd grade students and educators from 128 schools across metro Denver.

Following are examples of other local community collaborations DaVita is proud to support:

Funding 10 Denver Scholarship Foundation recipients as they pursue a pathway to healthcare related careers.

Preparing Florence Crittenton Services teen moms for future livable wage opportunities through a summer exposure program that matches paid internships. The program provides them with flexibility of job choice over the summer while helping to ensure they are ready for medical internships and gain necessary professional skills.

DaVita is a proud premier supporter of Urban Peak’s annual fundraiser, Urban Nights. The nonprofit is the only organization in Denver that provides wrap-around support services for youth experiencing homelessness.

2023 Festival

JUNE 24 - AUGUST 6

ROMEO & JULIET

KISS ME, KATE OTHELLO

TICKETS ON SALE NOW

centralcityopera.org

ILLUSTRATION BY PIERRE MORNET

PPDC Energy is proud to support the Denver Center for the Performing Arts’ Best of Broadway Society for the 2022/23 season. The PDC team and its families have enjoyed shows at the Buell for years and are looking forward to another successful season filled with fun and entertainment. The DCPA is one of the best places in the world to see the brightest stars from Broadway shine!

For years, the DCPA has transported Coloradoans into the world of live theatre. With a rich history of inspiring the next generation of young artists, PDC knows the impact of seeing the performing arts live and up close. The DCPA’s theatre and educational programs extend opportunities to the next generation of stage performers that will shape their future by building confidence, encouraging creative interaction, and offering glimpses into new and exciting worlds. PDC is proud to support the DCPA as it continues its impactful work as a foundational organization within the Denver community.

PDC Energy is a Colorado-based oil and natural gas company that is proud to produce the energy needed to power America’s stages. Driven to produce the cleanest molecule of oil and natural gas in the world, the company is taking measurable steps to reduce its impact on the environment and setting ambitious goals that continue to fight climate change. While sustainability efforts remain a key part of PDC’s strategic focus for the future, the company also understands the importance of giving back and investing in non-profit organizations that enhance our shared communities. Social investment remains a cornerstone of the culture at PDC, and its team is proud to generously support worthy organizations such as the DCPA that enrich the Denver metro area.

PROUD SPONSOR OF BEST OF BROADWAY SOCIETY

Social investment remains a cornerstone of the culture at PDC, and its team is proud to generously support worthy organizations such as the DCPA that enrich the Denver metro area.

Employees and their families experience Hadestown at the Buell Theatre.

PDC Energy employees enjoying their holiday season at the theatre.

DCPA

Janice Sinden President & CEO

Gretchen Hollrah COO

Lydia Garcia Executive Director, Equity & Organization Culture

Seán Kroll Coordinator, Equity & Organization Culture

Donna Hendricks President & CEO Executive Assistant

Julie Schumaker Manager, Board Relations & COO Executive Assistant

BROADWAY & CABARET

John Ekeberg Executive Director

Administration

Ashley Brown Business Manager

Alicia Bruce General Manager

Lisa Prater Operations Manager

Garner Galleria Theatre

Abel Becerra Technical Director

Jason Begin+,

Anna Hookana+ Core Stagehands

DEVELOPMENT

Jamie Clements Vice President

Connor Carlin Associate Director, Major & Planned Gifts

Kara Erickson-Stiemke Coordinator

Daniel Escobar Manager, Corporate Partnerships

Amanda Gomez Manager, Annual Fund

Kaylie Gro Manager, Grants & Reports

Marc Ravenhill Associate Director, Donor Relations

Megan Stewart Manager, Events

Erin Walker Senior Director

EDUCATION & COMMUNITY ENGAGEMENT

Allison Watrous Executive Director

Stuart Barr Technical Director

Claudia Carson Teaching Artist & Manager, Playwriting & Bobby G

Leslie Channell Director, Business Operations

Emily Doherty Teaching Artist & Manager, Theatre for Young Audiences Programming

Patrick Elkins-Zeglarski Director, Education & Curriculum Management

Emma Kimball Assistant Registrar

Jesús Quintana Martínez Director, Community Engagement

Timothy McCracken Head of Acting

David Saphier Teaching Artist & Manager, In-School Programming

Rachel Ducat Executive Assistant & Business Manager

Rya Dyes Registrar & On Site Class Manager

Charlotte Talbert Librarian

Rachel Taylor Teaching Artist & Manager, Literary Engagement & Resiliency

Justin Walvoord Teaching Artist & Manager, Shakespeare in the Parking Lot

Samuel Wood Teaching Artist & District Liaison

FACILITIES

Glen Lucero Director

Dwight Barela, Mark Dill, John Howard, Zak Merten, John Ramos Engineers

Calum Abeywickrema, Brian Adams,

Jodi Benavides, David Bright, Cody Bryant, Gabe McNally-Nakamura, Isabella Samaniego,

Shayne Thullen Security Specialists

Judy Briggs Front Desk

Quentin Crump Manager, Security & Guest Relations

Merry Davis Financial Manager

Jane Deegan Administrator

Michael Kimbrough Manager, Engineering

Brian McClain Manager, Custodial

Casey Meschievitz Manager, Environmental Health & Safety

Jerad Ayala, Steven Bilbao,

Abraham Cervantes, Lindsey Cervantes, Carmen Molina, Judith Primero Molina, Juan Loya Molina Custodians

EVENT SERVICES

Tom Du n Event Technology Manager

Samantha Egle, Cody Gocio Senior Sales & Event Managers

Stori Heleen-O’Foley Lighting, Team Lead

Shane Hotle Audio Engineer

David Mandlowitz, Benjamin Peitzer Video Engineer

Tara Miller Event Sales & Operations Director

Brook Nichols Event Technical Director

Kate Olsen Event Sales Coordinator

Viktoria Padilla Lighting

Phil Rohrbach, Alex Skaar Event Managers

Brooke Wyatt Event Logistics Manager

MARKETING, SALES & PATRON SERVICES

Marketing

Giorgio Ausenda Media Producer

Heidi Bosk Associate Director, Press & Promotions, Broadway & Cabaret

Erin Bunyard Senior Digital Strategist

Sofia Contreras Graphic Designer

Emmy Cook Coordinator, Broadway & Cabaret

Brenda Elliott, Paul Koob Senior Graphic Designers

TJ Forlenza Copywriter

Michael Garcia Manager, Web Content

Claire Graves Director, Produced Programs

Brittany Gutierrez Manager, Communications

Linda Horan Project Manager

Je Hovorka Director, Sales & Marketing, Broadway & Cabaret

Emma Hunt Coordinator, Communications & PR

Emily Kent Director, Insights & Strategy

Lucas Kreitler Junior Graphic Designer

Michael Ryan Leuthner Director, Digital Marketing

Emily Lozow Assoc. Director, Sales & Marketing, Broadway & Cabaret

Kyle Malone Director, Design

Whitney Testa Executive Assistant, Marketing & Broadway

Kong Vang Social Media Coordinator

Julie Whelan Associate, Produced Programs

Mikayla Woods Coordinator, Produced Programs

Suzanne Yoe Director, Content & Communications

Ticketing & Audience Services

Jennifer Lopez Director

Christina Adamoli*, D.J. Dennis*,

Edmund Gurule*, Chris Leech*,

Elias Lopez*, Hayley Solano*,

Sam Stump* Counter/Show Leads

Kirsten Anderson*, Scott Lix*,

Liz Sieroslawski*,

Greg Swan* Subscription Agents

Quinn Chermak*, Wisline Cledgett*,

Tamika Cox, Mekenzie Dalton, Elliot Davis*, Jen Gray*, Natalie Jaramillo*,

Phi Johnson-Grimes*, Noah Jungferman*,

Alison Orthel*, Lane Randall*,

Holly Stigen*, Andrew Sullivan*,

Robert Warner, Joseph Williams* Ticket Agents

Jon Collins Manager, Subscription

Katie Davis Coordinator, VIP Ticketing

Billy Dutton Associate Director, Operations

Danielle Freeman Manager, Customer Service

Roger Haak Manager, VIP Ticketing

Claire Hayes, Ella Mann Managers, Box O ce

Katie Spanos Associate Director, Subscriber Services

Group Sales

Jessica Bergin Associate Director

Brad Steinmeyer Coordinator

Maddie Young Education & Group Sales Associate

Theatre Services

Evan Gendreau Associate Director

Elliot Shields Manager

Kaylyn Kriaski, Leilani Lynch, Aaron McMullen, Stacy Norwood, Valerie Schaefer Assistant Managers

Nora Caley, Teresa Gould, Robin Lander, Myrisa Martin, Barbara Pooler, Wendy Quintana House Managers

ACCOUNTING & FINANCE

Jane Williams CFO

Sara Brandenburg Director, Accounting Services

Michaele Davidson Treasury Accountant

Jennifer Je rey Director, Financial Planning & Analysis

Valerie Lingbloom General Ledger Accountant

Kristina Monge Accounts Payable Specialist

Jennifer Siemers Director, Accounting

HUMAN RESOURCES

Laura Maresca Vice President

Brian Carter, Lizette Collazos Directors

Kate Faust Coordinator

Paul Johnson Payroll Specialist

Monica Robles Supervisor, Mailroom

Kinsey Scholl Operations Specialist

INFORMATION TECHNOLOGY

Lisa Roebuck Vice President For security purposes, the IT team has been omitted.

OPERATIONS

Vincent Bridgers Senior Analyst

Adam Busch Junior Analyst

Aaron Chavez Lead

Ruben Cruz Engineer

Simone Gordon Associate Director

Kyle Greufe Analyst

Brandon LeMarr Manager

Sarah Martinez Analyst

Jacob Parker Associate Director

Joseph Reecher Senior Engineer

Chris Robisch Analyst

Cordelia Taylor Coordinator

Alice Welker Administrator

OFF-CENTER

Charlie Miller Executive Director & Curator

THEATRE COMPANY

Administration

Charles Varin Managing Director

Madysen Hunter Business Admin/ Assistant Company Manager

Ann Marshall General Manager

Evangeline Read Production COVID Safety Coordinator

Sabina Rivera Company Manager

Artistic

Chris Coleman Artistic Director

Melissa Cashion Artistic Producer

Grady Soapes Artistic Producer & Director of Casting

Leean Kim Torske Director of Literary Programming

Production

Je Gi ord Director

Julie Brou Administrative Assistant/ O ce Manager

Matthew Campbell Production Manager

Peggy Carey Associate Production Manager

Scenic Design

Lisa Orzolek Director

Kevin Nelson, Nicholas Renaud Assistants

Lighting Design

Charles MacLeod Director

Lily Bradford Assistant

Joseph Price+ Production Electrician

Sound Design

Alexander Billman Supervisor

Meagan Holdeman+, Timothy Schoeberl+, Dimitri Soto+ Technicians

Stage Management

Michael Morales Production

Stage Manager

Martinique Barthel, Corin Davidson, Rachel Ducat, Wendy Blackburn Eastland, Anne Jude, Rick Mireles, Nick Nyquist, Malia Stoner, Christine Woods Stage Managers

Nia Pitts, Angie Salazar, Lorna Stephens Stage Management Apprentices

Scene Shop

Eric Moore Technical Director

Albert “Stub” Allison, Robert L. Orzolek, Josh Prues Associate Technical Directors

Jeremy Altho , Tyler D. Clark, Amy Wynn Pastor, Kyle Scoggins Scenic Technicians

Louis Fernandez III Lead Scenic Technician

Brian “Marco” Markiewicz Lead Carpenter

Prop Shop

Meghan Markiewicz Supervisor

Jamie Curl, Georgina Kayes, Ashley Lawler, Nikki Mayer Artisans

Cat V Kerr Associate Props Supervisor

Andrew McGlothen Prop Carpenter

Paint Shop

Jana Mitchell Charge Scenic Artist

Kristin Hamer MacFarlane, Melanie Rentschler Scenic Artists

Costume Shop

Janet Macleod Director/Design Associate

Meghan Anderson Doyle Design Associate Stephanie Cooper, Ingrid Ludeke, Carolyn Plemitscher Draper

Costume Crafts

Kevin Copenhaver Director

Chris Campbell Assistant

Wigs

Diana Ben-Kiki Supervisor

House Crew

Douglas Taylor+ Supervisor

James Berman+, Forest Fowler+, William Loving+, Dave Mazzeno+, Kyle Moore+, Matt Wagner+ Stagehands

Calli Lavarnway+, Kelley “Reznik” Russell+ Assistants

Wardrobe

Heidi Echtenkamp Supervisor Robin Appleton^, Amber Krimbel^, David La Beaux^, Lauren LaCasse^, Lisa Parsons Wagner^, Kami Williams^ Dressers

Jerome Horng^, Marisa Sorce^ Wig Assistants

Aymée Nuviola and the Colorado Mambo Orchestra

Tchaikovsky’s Nutcracker conducted by Andrew Litton