Applause - Quixote Nuevo - May 13-June 12, 2022 by The Publishing House

APPLAUSE

Illustration by Kyle Malone

VOLUME XXXII NUMBER 5 MAY – JUN 2022

QUIXOTE NUEVO

STEP BACK IN TIME IN OUR NEWEST EXHIBITION

The exhibition has been produced as a joint venture between Lokschuppen Rosenheim, the University of Aberdeen Museums, the Roemer- und -Pelizaeus Museums Hildesheim and MuseumsPartner Austria, and is presented in Denver by Chevron.

Summer 2022 June 5 - August 7

The Two Gentlemen of Verona All’s Well That Ends Well The Book of Will

By Lauren Gunderson

Coriolanus The Alchemist

By Ben Jonson (1572-1637)

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SIGHTLINE

BY JANICE SINDEN

VO LU M E X X X I I • N U M B E R 5 • M AY - J U N 2 0 2 2

EDITOR: Suzanne Yoe DESIGN DIRECTOR: Kyle Malone DESIGNER THIS ISSUE: Brenda Elliott CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler CONTRIBUTING WRITERS: Misha Berson, Linnea Covington, Sylvie Drake, Emma Hunt Applause is published five 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.

Whether you are here for the joyous end to our DCPA Theatre Company season with Quixote Nuevo, the eagerly anticipated Broadway spectacular Moulin Rouge! The Musical, or the muchloved return engagements of Cats and Dear Evan Hansen…we are glad you are here. We are equally glad and excited to share with you the announcement of our upcoming DCPA Theatre Company season. Audiences may remember playwrights Lloyd Suh (Great Wall Story, 2012) and Yussef El Guindi (Colorado New Play Summit, 2019) whose works will appear next season: Suh’s The Chinese Lady is inspired by the true story of the ﬁrst Chinese woman to step foot in America and Guindi’s Hotter Than Egypt explores the ever-changing realities of staying committed to one’s partner. The Pulitzer Prize-winning novel-turned-musical The Color Purple will inspire audiences with its story of hope and celebration of life, while the world premiere of Laughs in Spanish and the classic Shakespearean comedy Much Ado About Nothing will leave audiences uplifted. Plus, the extraordinarily popular The 39 Steps which played an extended, sold-out run in 2010 returns to regale audiences with its madcap-whodunit-mayhem while A Christmas Carol ushers the warmth of the holiday season. Your presence at each performance ﬁlls our theatres with joy. Your ongoing support instills strength. And your continued patronage gives us purpose. You are the reason we do what we do. As always, thank you. Warm regards,

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

IN THIS ISSUE Moulin Rouge! The Musical ......pg 6 Cats .................................................... pg 8 Quixote Nuevo..............................pg 12 Dear Evan Hansen...................... pg 14

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& LORE

OF THE

MOULIN ROUGE,

FROM BELLE EPOQUE PARIS TO BROADWAY

In 1889 two remarkable institutions that became synonymous with The City of Light opened. One was the Eiffel Tower, a sky-scraping thousand-foot tall, wrought-iron structure erected for the Paris World’s Fair. It remains one of the most visited tourist attractions in the world. The other? A scarlet-colored night spot with a distinctive windmill perched on its roof. Set in the Jardin du Paris, at the foot of the bohemian Montmartre district (where there were once many farms with windmills), the legendary Moulin Rouge (Red Mill) was created as a unique pleasure palace. There the champagne flowed, the ornate décor beguiled, aristocrats and bohemian writers and artists mingled, and staged shows were opulent, risqué and, at times, scandalous. A temple of decadence and dazzle, portrayed in the famed artworks of Toulouse-Lautrec, silent films and talkies, and most recently in a smash hit Broadway musical, the Moulin Rouge has persisted despite fires, wars, boom, bust, and two global pandemics.

Conor Ryan as Christian and Courtney Reed as Satine in the North American Tour of Moulin Rouge! The Musical, Musical, Photo by Matthew Murphy for MurphyMade.

THE LIFE

BY MISHA BERSON

Broadway’s Moulin Rouge! The Musical, the recipient of ten 2021 Tony Awards (including Best Musical) is currently spreading its nostalgic brand of extravaganza and oohla-la to Denver and other major U.S. cities. (The show is also still running on Broadway, in Australia and in London’s West End.) The production is the latest chapter in the epochspanning fascination with the fabled Paris showplace. Adapted from Baz Luhrmann’s inventive 2001 ﬁlm, Moulin Rouge! The Musical in style and spectacle lives up to movie critic Roger Ebert’s description of the movie as “all color and music, sound and motion, kinetic energy, broad strokes, operatic excess.” But what sets the stage, if you will, for the musical’s romantic and pop-song mashup about a young poet’s love aﬀair with a beautiful Moulin Rouge cabaret star? Let’s rewind back to those heady times in the Belle Epoch era, when Paris was giddy with relaxed morals and waning class rigidity, and a host of new show palaces became all the rage.

APPLAUSE • MAY – JUN 2022 • 303.893.4100 • DENVERCENTER.ORG

MOULIN ROUGE! THE MUSICAL JUN 9 - 26, 2022 • BUELL THEATRE

ASL Interpreted, Audio Described and Open Captioned performance: June 19 at 2pm

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PRETTY WOMAN: THE MUSICAL THE DCPA WELCOMES A BIG NEW MUSICAL. BIG. HUGE. Are you ready to fall in love all over again? Pretty Woman: The Musical will hit the Buell Theatre stage in August. Based on the beloved Hollywood classic, this Cinderella story brings everyone’s favorite movie moments to the stage along with new music, new jokes, and even some new character arcs. The Chicago Tribune says, “Pretty Woman has found a smart sweet spot somewhere between nostalgic retro romanticism...and the current necessity for heroines to take charge of their fumbling Prince Charmings and selfactualize their tickets to happiness.” Brought to the stage by lead producer Paula Wagner, and featuring an original score by Grammy® winner Bryan Adams and Jim Vallance (“Summer of ’69”, “Heaven”), and a book by the movie’s legendary director Garry Marshall and screenwriter J. F. Lawton, Pretty Woman: The Musical is led by a powerhouse creative team including two-time Tony Award®-winning director and choreographer Jerry Mitchell (Hairspray, Kinky Boots, Legally Blonde). Starring Tony Award®-nominee Adam Pascal as Edward Lewis and Olivia Valli as the charming Vivian Ward, watch as two people from diﬀerent worlds overcome all obstacles for true love. See the Broadway tour of Pretty Woman: The Musical at the Buell Theatre on August 2-14, 2022.

(L to R) Adam Pascal and Olivia Valli Credit: Matthew Murphy for MurphyMade

The Moulin Rouge is the best known, and most enduring. It sported crystal chandeliers, mirrored walls and a spacious dance floor for performers as well as patrons. As they sipped champagne, the audience watched exuberant variety revues with musical, comedic and acrobatic acts. But the most famous act by far, and a mainstay today, is “le cancan” — the high kicking dance executed at a furious pace by a chorus line of limber, skirt-swishing young women. The can-can, which grew out of the less racy quadrille partner dance, revealed enough black-stockinged female leg in public to be shocking to prim Parisians. But if the effect was titillating, it was leavened with winking humor. The early Moulin Rouge star La Goulue (“The Gourmand”) would kick the top hats off men’s heads. And when she spotted Britain’s Prince of Wales (the future King Edward VII) in the audience, she cheekily called out, “Hey Wales! The champagne’s on you?” La Goulue is one of the dancers immortalized in portraits and posters by Henri de Toulouse Lautrec, a regular at the Moulin Rouge (and nearby brothels). But the kicking, cartwheeling can-can moves he portrayed could also be injurious to the performers — especially the leaping splits that ritually ended a number. Though the Moulin Rouge had a laissez-faire ambience, some routines ignited outrage. For instance, in 1907 the writer-performer Colette kissed her lover, the Duchess of Mornay, onstage in an Egypt-themed routine. At a time when any public display of homosexuality was illicit, the show was promptly banned. During World War I, the original Moulin Rouge burned down in a 1915 blaze. It was rebuilt in 1921, and soon booked such entertainers as Maurice Chevalier. The owners also installed a cinema, and starting in the 1920s Black American acts were booked, including Lew Leslie’s Black Birds and performers from Harlem’s Cotton Club. The Moulin Rouge stayed open in World War II but courted controversy. In German-occupied Paris, the club became a favorite “recreational” hub for Hitler’s officers. The rising chanteuse Edith Piaf faced criticism for singing there, while also helping Jewish friends escape the Nazis. In the 1950s, French and American stars like Lena Horne and Frank Sinatra performed at the Moulin Rouge. And the club’s centenary in 1989 was marked with a celebrity gala featuring such headliners as Ray Charles, Ella Fitzgerald and actress Jane Russell. While today Parisians tend to view it as mainly a tourist attraction, the Moulin Rouge continues to draw crowds to its dinner shows. Since the 1920s, French and Hollywood moviemakers have evoked the glittering past of the cabaret in more than a dozen films. The 1952 hit Moulin Rouge directed by John Huston focused on Jose Ferrer as Toulouse-Lautrec. The 1960 feature Can-Can, adapted from the Broadway musical about habitues of a club based on the Moulin Rouge, drew global attention when Russian leader Nikita Kruschev visited the movie set. In 2001, Luhrmann’s Moulin Rouge!, with its eye-popping visuals and ingenious postmodern pastiche of modern pop tunes, made a huge splash. And Luhrmann gave his blessing to the Broadway adaptation, serving as a “guide” and supporter for the musical. Like its namesake, Moulin Rouge! The Musical has had staying power, despite having to cancel some performances due to the COVID-19 pandemic. In fact with its splashy scenic design, mash-up score of tunes by such pop favorites as Lady Gaga, Adele and Beyonce, romantic panache and vibrant theatricality, it can serve as a sparkling diversion in a difficult era — a role that the Moulin Rouge itself has played for more than a century.

Thomas Stearns Eliot is widely regarded as one of England’s greatest writers and was awarded the 1948 Nobel Prize for Literature “for his outstanding, pioneer contribution to present-day poetry.” While Eliot was writing about cats at a time when they served the useful purpose of keeping mice in check, he had a lifelong affection for them, often sending letters and poems about his own cat to his godson, Tom Faber, and making up unusual or outlandish names for cats for friends. Practical Cats was originally going to include poems about consequential dogs as well; however, Eliot ultimately felt that it would be “impolite to wrap cats up with dogs.” The book was eventually titled Old Possum’s Book of Practical Cats, in reference to Eliot’s alias among his friends. Most of the poems were written between 1936 and 1938. Many of the cats were modelled on notable figures: Macavity is styled on Moriarty, the infamous villain who challenged Sherlock Holmes; Skimbleshanks was based on Rudyard Kipling’s The Long Trail, and Gus the theatre cat mentions Henry Irving, a great actor in the Victorian era. Grizabella the glamour cat, however, remained incomplete and unpublished as Eliot felt it was becoming too sad for his intended youthful audience. Old Possum’s Book of Practical Cats was first published in October 1939 just after the outbreak of WWII and sold for 3 shillings and sixpence a copy. Today they are recognized as classics and have been given their second (of nine lives) in Andrew Lloyd Webber’s long-running musical, Cats.

Webber grew up reading Eliot’s poems as a child. In the late 1970s, he set about adapting the poems into a stage musical with collaborators Trevor Nunn (director) and Gillian Lynne (choreographer). Nunn was intrigued by the premise of Cats but felt that some narrative arch was vital to making the piece work. When the unﬁnished poem about Grizabella was sent to Webber, Nunn felt it was the key to the whole piece. With music by Webber and lyrics by Nunn, Grizabella and her memorable song, “Memory,” were used to form a story that the other poems and dance would complement. Cats debuted at the New London Theatre in the West End in 1981 and, as of 2019, remains the fourth-longest-running Broadway shows and the sixth-longest-running West End show in history. This article was compiled from material provided by Cats.

APPLAUSE • MAY – JUN 2022 • 303.893.4100 • DENVERCENTER.ORG

CATS

MAY 24 – 29, 2022 • BUELL THEATRE ASL interpreted, Audio-Described and Open Captioned performance: May 28 at 2pm

Indalecio De Jesús Valentín as Old Deuteronomy and the company of the 2021-2022 national tour of CATS (Photo By Matthew Murphy, Murphymade)

CATS

Zach Bravo as Rum Tum Tugger in the 2021-2022 national tour of CATS. Photo By Matthew Murphy, Murphymade.

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A NUEVO QUIXOTE STILL SEEKING TO RIGHT THE WRONGS OF HIS PAST By jose sebastian alberdi, originally written for Hartford Stage in September 2019

Considered one of the most prominent Latino playwrights in North America, Octavio Solís has been produced from New York to California, including in Denver with the DCPA Theatre Company world premiere of Lydia in 2008. He spoke with jose sebastian alberdi about his play, the characteristic humor of the play, and what keeps him writing.

alberdi: How did you become a writer? Solís: I’ve been interested in literature since childhood and I dreamed of becoming a writer, but when I could find no other living writers in the phone book, I abandoned that dream. Then I was stage-bit in high school and actively pursued training for a career as an actor. I occasionally wrote some poetry and got it published, but nothing ever took hold until I devised some punk one-acts that I wrote and directed to feature my acting talent. My theatre folks all loved the writing, but my acting not so much. So that’s where I made a complete shift to playwriting. alberdi: The title of the play, Quixote Nuevo, suggests a new re-imagining of Cervantes’s novel. How do you see this play in relationship to its 17th century source material? Solís: The title does suggest a rethinking of the Quixote saga, but note that I chose the word “nuevo” as opposed to “new.” I wanted to claim the saga as a Latino story, not as a European one. The play adheres to the spirit of the original in its depiction of a comical hero who doesn’t really cope with the harsh world as it is but as it used to be. My Quixote goes out into the desert of West Texas to right the wrongs of his past; and like Cervantes’ knight, conflates his readings of chivalric exploits with his own sad, pathetic life. So, just as in the classic novel, my Quixote explores a world of the lower-income denizens of La Plancha, Texas for the first time in his life and wreaks havoc on the rules that everyone lives by. alberdi: Your play addresses aging, cultural identity, racism; yet it’s also deeply funny — a strong through line between the original novel and your reimagining of it.

Illustration by Kyle Malone

Solís: To my thinking, Cervantes’ novel represents the first instance of a comic epic in the canon. Back then, he was dismayed at how everyone had immersed themselves in the cheap novellas of the time, stories and poems detailing the adventures of knight errants and dragons and damsels in distress, to the same degree that people are immersed in sword and sorcery books, films and video games today. So he determined to give his readers a story of a pretend-knight in order to have them cope with the harsh realities of 16th century Spain, peopled with merchants, shepherds, milkmaids, convicts and obsequious clerics who live in a bankrupt country ravaged by years of war. The juxtaposition of fantasy with reality can result in either a tragic collision or a comical discordance.

APPLAUSE • MAY – JUN 2022

The play adheres to the spirit of the original in its depiction of a comical hero who doesn’t really cope with the harsh world as it is but as it used to be. — OCTAVIO SOLÍS

alberdi: “The Wall” immediately conjures the physical border between Mexico and the United States. But the number of walls in this play seems endless: walls between regret and acceptance, youth and old age, memory and myth. Solís: There are as many varied and disparate attitudes toward [the border wall] as there are people in this country, but in the final analysis, it is only as real as we wish it to be. In this play, it’s the barrier between reality and fantasy; Quixote rides along one side and Sancho along the other, each seeing the world that is exclusively familiar to them, denying the other’s assertions…until one of them (Sancho, usually) dares to peek over the wall into the other’s way of seeing, or until reality smashes them both over the head. But it’s also a metaphor for the invisible wall that the Rio Grande already represents, a line on a map that defines otherness and creates a schism in Quixote’s mind, which is riven in two by his love and his fear, thereby erecting yet another wall inside him, each brick forged in denial. Then there is the wall between life and death, the last barricade of our existence, one which Quixote must bravely confront in order to complete his mission, if he is to feel like he’s atoned for all the mistakes of his life. Walls are everywhere in this work, but none of them are insurmountable. alberdi: Anyone familiar with your work would know that it is oftentimes set in the Texas Borderlands. Apart from being from El Paso, what is it about this landscape that captures your imagination? Solís: For me, this part of the country is a story mill. There are so many struggles and tensions that are wrought in this desert town of El Paso, and almost all of them come as a result of the friction between the two worlds at once separated and united by the Rio Grande border. The hopes and dreams of people swirl in the eddies of this river, and in the hard-scrabble earth baked by the unrelenting sun, lives are lived and lost with casual aplomb. Every time I go home, I can almost hear the ghosts whispering their stories to me through the soles of my feet. What alternative do I have except to write them down? This article was reprinted by permission of Hartford Stage.

QUIXOTE NUEVO

MAY 13 - JUN 12, 2022 • WOLF THEATRE ASL Interpreted and Audio Described performance: June 5 at 2pm

HONORING OUR ELDERS We invite our audiences to join the DCPA as we honor our Elders for the care of the land on which we perform with an official land acknowledgement. These words are shared at company meetings, first rehearsals, public forums and in the pages of Applause to recognize and respect Indigenous Peoples, their traditional territories and the care they have shown to all who reside here. 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. We pay our respects to Elders past, present, and future, and to all those who have stewarded the land and water for generations. May this acknowledgment express the DCPA’s commitment to grow and deepen its relationships with the vibrant Indigenous communities who continue to thrive and uphold their sacred relation to this land.

Learn more about land acknowledgements.

Stephen Christopher Anthony as ‘Evan Hansen’ and the North American touring company of DEAR EVAN HANSEN. Photo by Matthew Murphy, 2019

BECOMING DE AR EVAN HANSEN

BY JOHN MOORE

In making the groundbreaking musical Dear Evan Hansen, its creators found an unlikely protagonist. Or rather, Evan Hansen found them. And in this identifiable and universal lost soul, they discovered an uplifting way to connect disconnected families. Dear Evan Hansen, which went on to win six Tony Awards including Best Musical and launched its first national tour in Denver, is a different kind of musical. One that has become a potent reminder of the power of live theatre to change lives.

I think there is some kind of cure in knowing that we’re not alone in [our] loneliness. — JUSTIN PAUL, CO-COMPOSER

“It’s really unbelievable what we are hearing from kids and from parents and from families in crisis,” said Director Michael Greif. “They are telling us that they are seen. They are telling us that things they didn’t feel they could talk about — yes, they can talk about them. They are telling us that the redemption and the forgiveness in Dear Evan Hansen is helping them to get through whatever they are going through, and to accept themselves.” Dear Evan Hansen, as its title implies, is about a letter. It’s also about a lie that snowballs out of control and earns one invisible teenager popularity and internet fame. Perhaps most provocatively: It’s about what happens when a lie 14

actually makes everyone’s lives better. At least for a time. The musical is the invention of co-composers Justin Paul and Benj Pasek who wrote the Oscar-winning music for La La Land and The Greatest Showman. The themes they set out to explore were grief, loneliness and the growing power of social media. Their premise is based loosely on an incident from Pasek’s high school days, when a fellow student willfully faked a connection to a dead classmate to make himself sound more interesting in his college application essays. That musical might have turned out in a dark vein. But that’s not Dear Evan Hansen. The writers instead chose the more diﬃcult, interesting and, they believe, hopeful path. “You want to feel that you are loved and heard and seen and valued when you don’t feel that way behind closed doors,” said Pasek. “That’s very much how I felt at 17 — waiting to like myself and wondering if other people would ever think I was worth liking.” In Evan, and in a mysterious boy in their story named Connor, the writers found the ultimate mantra of their musical: “No one deserves to disappear.” “I don’t think Dear Evan Hansen oﬀers a cure for loneliness,” Paul said, “but I think there is some kind of cure in knowing that we’re not alone in that loneliness. We want kids to know that the sense of isolation is a temporary thing and that whatever pain you feel, you can use it to make something that can help save yourself.”

APPLAUSE • MAY – JUN 2022 • 303.893.4100 • DENVERCENTER.ORG

DEAR EVAN HANSEN MAY 31 - JUN 5, 2022 BUELL THEATRE

ASL Interpreted, Audio Described and Open Captioned performance: June 4 at 2pm

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QUIXOTE NUEVO BY

OCTAVIO SOLÍS

With Raúl Cardona, Sol Castillo, Laura Crotte, Ernie González, Jr., Maya Malan-Gonzalez, Marlene Montes, Krystal Ortiz, Christopher M. Ramirez, Alexis B. Santiago, Herbert Siguenza, Lakin Valdez Stage Managers: Michael G. Morales, Rick Mireles SCENIC DESIGN BY Efren Delgadillo, Jr.

ADDITIONAL SONG COMPOSITIONS BY Eduardo Robledo VOCAL AND DIALECT COACHING BY Cynthia Santos-DeCure

COSTUME AND PUPPET DESIGN BY Helen Q. Huang

MUSIC DIRECTION BY Jesse Sanchez

LIGHTING DESIGN BY Pablo Santiago

CHOREOGRAPHY BY Marissa Herrera

INTIMACY CHOREOGRAPHY BY Samantha Egle

CASTING BY Grady Soapes, CSA

ORIGINAL MUSIC AND SOUND DESIGN BY David R. Molina

FIGHT DIRECTION BY Geoffrey Kent

PUPPETRY MOVEMENT CONSULTING BY Melissa Cashion

DRAMATURGY BY Bernardo Mazón Daher

PRODUCTION MANAGEMENT BY Matthew Campbell

DIRECTED BY Lisa Portes The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

THE WOLF THEATRE • MAY 13 – JUNE 12, 2022 QUIXOTE NUEVO is produced by special arrangement with Mark Orsini, BRET ADAMS, LTD., 448 West 44th Street, New York, NY 10036. www.bretadamsltd.net The World Premiere of QUIXOTE NUEVO was produced by California Shakespeare Theater (Eric Ting, Artistic Director; Susie Falk, Managing Director) “Quixote Nuevo” was subsequently co-produced by Hartford Stage, Huntington Theatre Company and Alley Theatre A first adaption of DON QUIXOTE was commissioned by and received its world premiere in 2009 at Oregon Shakespeare Festival (Bill Rauch, Artistic Director; Paul Nicholson, Executive Director)

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SEASON SPONSORS

QUIXOTE NUEVO

Chris Coleman, Artistic Director Charles Varin, Managing Director

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CAST

In Order of Appearance

Quijano / Quixote.................................................................................................................................................. Herbert Siguenza Papa Calaca / Cardenio / Trucker / Vivado / Captain Viedma...............................................................Raúl Cardona Antonia / Inez....................................................................................................................................................................Krystal Ortiz Magdalena / Perla............................................................................................................................................................Laura Crotte Padre Perez / Big Man with Belt / Border Patrolman.......................................................................................Sol Castillo Papa Perez / Big Man with Belt / Border Patrolman (June 9)...........................................Christopher M. Ramirez Dr. Campos / Dulcinea............................................................................................................................... Maya Malan-Gonzalez Bruno / Young Quijano / Terrified Boy / Yard Sale Guy...............................................................................Lakin Valdez Rosario / Juana..................................................................................................................................................... Alexis B. Santiago Manny / Sancho....................................................................................................................................................Ernie González, Jr. UNDERSTUDIES Understudies never substitute for listed actors unless a specific announcement is made at the time of the performance.

For Quijano/Quixote and Manny/Sancho: Sol Castillo, For Antonia/Inez, Magdalena/Perla, and Rosario/Juana: Marlene Montes. For Papa Calaca/Cardenio/Trucker/Vivado/Captain Viedma and Bruno/Young Quijano/Terrified Boy/Yard Sale Guy: Christopher M. Ramirez, For Dr. Campos/Dulcinea: Alexis B. Santiago

Assistant Director................................................................................................................................... Paige A. Flores-Medrano Additional Dramaturgical Support....................................................................................................................Naysan Mojgani Stage Manager.....................................................................................................................................................Michael G. Morales Assistant Stage Manager............................................................................................................................................... Rick Mireles Stage Management Apprentice.................................................................................................................................Katy Gentry The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States.

SETTING La Plancha, TX QUIXOTE NUEVO will be performed with one 15-minute intermission

ACTING COMPANY RAÚL CARDONA (Papa Calaca/ Cardenio/Trucker/ Vivado/Captain Viedma). (He/Him/ El). Theatre credits include: Quixote Nuevo (Round House Theatre); Zoot Suit as El Pachuco (Center Theatre Group, San Diego Repertory Theatre and El Teatro Campesino’s National Tour); Cancion Del Inmigrante A Folk Opera (One Grain of Sand Puppet Theatre); Brown Buffalo (Company of Angels); Corridos Remix, Mummified Deer, and Bandido the American Melodrama of Tiburcio Vasquez (San Diego Repertory Theatre). National tours: Veteranos: A Legacy of Valor and Selena Forever. TV/Film: “The Mayans MC,” “Enlightened,” “Outlaw,” Quentin Tarantino’s Once Upon a Time in Hollywood and Shadow Kingdom with the legendary Bob Dylan. SOL CASTILLO (Padre Perez/Big Man with Belt/Border Patrolman). (He/Him/ His). At the DCPA: Sunsets and Margaritas and the 2016 Colorado New Play Summit. Other credits include: American Mariachi, A Christmas Carol, The Night Fairy, The Hollow Lands, La Posada Mágica (South Coast Repertory); American Mariachi (Arizona Theatre Company). Quixote Nuevo (California Shakespeare Theater); Of Mice and Men (Pasadena Playhouse); Zoot Suit (San Diego Repertory Theatre). National Tour: Veteranos: A Legacy of Valor. He dedicates his performance to his loving family and to his friend, maestro and Chicano gallant knight, Emilio Delgado. LAURA CROTTE (Magdalena/Perla). DCPA 2020 New Play Summit. Chicago credits include: La Ruta (Steppenwolf Theatre); Pedro Páramo, The Sins of Sor Juana, Mariela in the Desert, Electricidad, Yasmina´s Necklace, Esperanza Rising, and her own adaptation of Blood Wedding (Goodman Theatre); Blind Mouth

Singing, Another Part of the House MARLENE MONTES (Teatrovista); and Into the Beautiful (Understudy). (She/ North (16th Street Theater). Other Her/Hers). DCPA Midwest credits include: On the Wings debut! Originally from of Mariposa (First Stage). She has Tucson, AZ, Marlene is been seen in over 15 plays throughout an actor/singer/ Mexico, Cuba, Canada, Peru and dancer with over 25 Argentina. Film: Startled Faction, years of experience Maydays, Out of Love, Alquimia, La Cita performing de Bardini. Training: IAE, UNAM in professionally in the arts, living, and México. lauracrotte.org working on both coasts and many cities in between. Some of her favorite credits ERNIE GONZÁLEZ, include: American Mariachi (Arizona JR. (Manny/Sancho). Theatre Company, South Coast (He/Him/His). Repertory) and In the Heights Theatre credits (Moonlight Stage Productions). She has include: La MaMa multiple credits at theaters such as La (Off-Broadway), Jolla Playhouse, Utah Shakespeare Creative Place Festival, San Diego Repertory Theatre, Theatre (OffCenter Theatre Group, Performance Broadway), Round Riverside, Moonlight Stage Productions, House Theatre, The Milwaukee Cygnet Theatre, Theatre Lab FAU, and Repertory Theatre, The Second City Derby Dinner Playhouse, among others. Chicago (BrownCo.), The Victory BFA-Musical Theatre, University of Gardens Theatre, Odyssey Theatre, Arizona. marlenemontes.com and Porthouse Theatre. Ohio Shakespeare Festival (Company KRYSTAL ORTIZ Member since 2007): Bottom in A (Antonia/Inez). (She/ Midsummer Night’s Dream, Touchstone Her/They). Chicago in As You Like It, both Dromios in The credits include: La Comedy of Errors, Costard in Love’s Havana Madrid Labour’s Lost, and Lavatch in All’s Well (Teatro Vista/ That Ends Well. TV: “Euphoria,” Goodman Theatre); “Indebted,” “Carol’s Second Act,” “One Lettie (Victory Day at A Time,” “Grace and Frankie,” Gardens Theater); The “Alone Together,” “No Tomorrow,” Fly Honey Show (The Inconvenience); “Training Day,” and national Verböten (The House Theatre); X commercials for Sonic, Rite Aid, Lowes, (Sideshow Theatre Company); For and Nopalina. When in doubt, visit Services Rendered (Griffin Theatre Co); AllAboutErnie.com. Please, Continue [Hamlet] (Chicago Humanities Festival/MCA Stage). TV/ MAYA Film: “4400,” “Chicago PD,” “The MALAN-GONZALEZ Exorcist.” Special Awards: Chicago (Dr. Campos/ Tribune’s Hot New Faces of Chicago Dulcinea). (She/Her/ Theater (2019), 3Arts Award Hers). Stage credits nomination (2021), Joseph Jefferson include: Persuasion Award nomination for Best Performer in (San Jose Stage a Supporting Role (2019). Training: The Company); Wolf at Theatre School at DePaul University, the Door and Lydia New World School of the Arts. (Milagro); The Times and LunaUnlaced Affiliations/Representation: Sideshow (Studio Luna); Deferred Action and Theatre Company, Stewart Talent De Troya (Cara Mia Theatre); Zoot Chicago. http://www.krystalortiz.com Suit (San Diego Rep); Bless Me Ultima (Teatro Vision). Maya’s story “Down CHRISTOPHER the Side of the Mountain” is in the M. RAMIREZ Audible Original audiobook, “Talking (Understudy). (He/ While Female and Other Dangerous Him/His). OffActs.” Maya received her B.F.A from Broadway: Icon (The The Theatre School at DePaul Duke). Regional: Hair, University. Thinking Shakespeare Visit www.mayamalangonzalez.com LOVE!, The Heart of to learn more. Rock & Roll (The Old Globe); Disney’s Freaky Friday (La Jolla

QUIXOTE NUEVO

WHO’S WHO

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Playhouse, Cleveland Play House, Alley Theatre); Lookingglass Alice (Baltimore Center Stage); Man of La Mancha (Barrington Stage Company); The Count of Monte Cristo (Pioneer Theatre Company); In the Heights and Fun Home (SpeakEasy Stage Company); Violet (Clarence Brown Theatre Company). TV: “Instinct” (CBS), “FBI” (CBS). Education: B.F.A. The Boston Conservatory, M.F.A. Old Globe/USD Shiley Graduate Theater Program. Love to my family, Storm, and HCKR. Pase lo que pase. @c_ rambrothaman on Instagram. ALEXIS B. SANTIAGO (Rosario/ Juana). (She/Her/ Hers) Theatre credits include: Dear Jack, Dear Louise, The 39 Steps (A.D. Players at The George); Just Like Us (Latino Theater Company); Fefu and Her Friends (Odyssey Ensemble Theatre); and The Tragic Ecstasy of Girlhood (Third Culture Theatre). Other Los Angeles workshop credits include: King Lear (Raze the Space); Still Life (Echo Theatre Company); and El Mauerkrankheit (Skylight Theatre). TV/ Film credits include: “Far Cry: Inside Eden’s Gate,” The Bellkeeper, All the World is Sleeping, The Convergence, The Other Mind, Bridesman, Her Unlikely Kin. Special Awards/Training: BFA, Baylor University. Representation: Mavrick Artist Agency, 23 Management Group. alexisbsantiago.com

LAKIN VALDEZ (Bruno/Young Quijano/Terrified Boy/Yard Sale Guy) (He/Him/His) is thrilled to return to DCPA for Quixote Nuevo. Some theatre credits include: Valley of the Heart (Mark Taper Forum); Mojada (Oregon Shakespeare Festival); Mother Road (Goodman Theatre/New Stages); Between Riverside and Crazy (American Conservatory Theatre); El Henry (La Jolla Playhouse/San Diego Rep); plus, many more. Bosch: Legacy (Amazon/Freevee), Kimi (HBO Max/ Warner Bros.), Licorice Pizza (MGM/ Universal), and Slice (A24). PLAYWRIGHT

OCTAVIO SOLÍS A playwright and director whose works Quixote Nuevo, Mother Road, Hole in the Sky, Alicia’s Miracle, Se Llama Cristina, John Steinbeck’s The Pastures of Heaven, Ghosts of the River, Quixote, Lydia, June in a Box, Gibraltar, The Ballad of Pancho and Lucy, The Seven Visions of Encarnación, Dreamlandia, El Otro, Prospect, El Paso Blue, Santos & Santos, La Posada Mágica, Prospect and Man of the Flesh have been mounted across the country at companies such as the Oregon Shakespeare Festival, the Magic Theatre SF, the Center Theatre Group, the Theatre @ Boston Court, California Shakespeare Theatre, the Yale Repertory Theatre, INTAR, the Denver Center for the Performing Arts, HERBERT SIGUENZA the Dallas Theater Center, South Coast Repertory Theatre, the San Diego (Quijano/Quixote) performed the role of Repertory Theatre, the Marin Theatre Company, Cornerstone Theatre, Quijano/Quixote in Kitchen Dog Theatre, Shakespeare 2021 at the Round Dallas, Mixed Blood Theatre Company, House Theatre in Circle X Theatre Company, El Teatro Bethesda, Maryland. Herbert is a founding Campesino, Teatro Vista, Teatro Dallas, Teatro Visión, Thick Description and member of the Campo Santo at Intersection for the performance group Culture Clash. He Arts. His collaborative works include is currently the Playwright in Residency at the San Diego Repertory Cloudlands, a musical co-written with Theatre through an Andrew W. Mellon Adam Gown and Shiner, co-written with Erik Ehn. Solis has received the grant. His written plays are El Henry, 2019 Distinguished Achievement In Manifest Destinitis, Steal Heaven and The American Theatre award from the Bad Hombres, Good Wives. Herbert was last seen at DCPA in 2013 with his William Inge Center for the Arts, the 2018 Imagen Award for his consultancy one person show, A Weekend with on Disney- Pixar’s Coco, the 2015 Pablo Picasso. Film credits include: Distinguished Achievement Award Pixar’s Coco. He dedicates this performance of Quijano/Quixote to the from the Texas State University Black and Latino Playwrights Conference, heroic people of Ukraine. the 2014 Pen Center Literary Award for Drama, the United States Artists Fellowship for 2012, the 2003 National Latino Playwriting Award, the

2000-2001 National Theatre Artists Residency from TCG and the Pew Charitable Trust, the 1998 TCG/NEA Theatre Artists in Residence Grant, the 1998 McKnight Fellowship grant from the Playwrights Center in Minneapolis, the 1995-97 Playwriting Fellowship from the National Endowment for the Arts, the 1994 Will Glickman Playwright Award. Solis is a Thornton Wilder Fellow for the MacDowell Colony, New Dramatists alum and member of the Dramatists Guild. His new book, Retablos: Stories From A Life Lived Along The Border, published by City Lights Publishers, has just received the 2018 Silver Indies Award for Book of the Year and has been chosen by the National Reading Group Month’s Committee for the Great Group Reads 2019 Selections. DIRECTOR LISA PORTES is an award-winning director of new and contemporary American plays and musicals. She is thrilled to return to the DCPA, where she most recently directed Native Gardens. Her work has been seen regionally at Cal Shakes, Cincinnati Playhouse, Guthrie Theatre, Olney Theatre and South Coast Repertory Theatre; in Chicago at Goodman Theatre, Northlight, Steppenwolf Theatre, and Victory Gardens Theatre; and in New York she has developed and/or directed new work for Soho Rep, Playwrights Horizons, the Public, New York Theatre Workshop and the Flea. She is a co-founder of the Latinx Theatre Commons, a member of the Drama League Directors Circle, and serves on the boards of the Theatre Communications Group (TCG) and the Society of Stage Directors and Choreographers (SDC). In 2016 she was honored with the Zelda Fichandler Award for Directors. She heads the MFA Directing program at The Theatre School at DePaul University and lives in Chicago with her husband, playwright Carlos Murillo, and their two teenagers, Eva Rose and Carlos Alejandro. CREATIVE TEAM MATTHEW CAMPBELL (Production Manager). (He/Him/His). Matthew is incredibly grateful to be back at work supporting our outstanding production team and guest artists creating extraordinary theatre after so many difficult months away. He started at the DCPA in 2010 as a stage manager and in 2016 joined the production management team. Previously a stage manager at several local theatres

MELISSA CASHION (Puppetry Movement Consultant) (She/Her/Hers) is a multi-disciplinary theatre maker and administrator. As a puppeteer, Melissa trained with the Master Puppeteers of Kathy Burks’ Theater of Puppetry Arts in Dallas, Texas — performing eight of their productions in conjunction with Dallas Children’s Theater and Six Flags Over Texas. At DCPA, she was puppetry movement consultant for the character “Pizza Rat” in DragOn for Off-Center. She is an Artistic Producer for DCPA Theatre Company and Off-Center and contributes as a Production Manager. Melissa will serve in both roles in OffCenter’s upcoming Theater of the Mind.

of Acting at Yale School of Drama. EFREN DELGADILLO, JR. (Scenic Designer). New York: The Three Musketeers (The Acting Company); Mycenaean (BAM,Brooklyn Academy of Music). Notable regional theatre productions include: American Mariachi (South Coast Rep and Arizona Theatre Company); Romeo and Juliet (Oregon Shakespeare Company); BLKS (Woolly Mammoth); Bordertown Now (Pasadena Playhouse); Smart People and Indecent (DCPA Theatre Company); Othello (Hartford Stage); Mojada: A Medea in Los Angeles (The Getty Villa/Boston Court); Prometheus Bound (The Getty Villa/Center for New Performance). MFA: California Institute of the Arts. BFA in Studio Arts from University of California, Irvine. Efren is an Assistant Professor of Scenic Design at UC Irvine. http://www.efrendelgadillojr.com/

an award-winning costume designer whose credits include Arena Stage, Ford’s Theatre, Oregon Shakespeare Festival, Guthrie, Children’s Theatre Company, Classic Stage Company, Disney Entertainment, and The Washington Ballet. International credits include set and costume design for the National Opera House of China and the Central Television of China. Awards: Helen Hayes Award and Ivey Award. Helen is a professor of Costume Design at the University of Maryland, College Park. www.helenqhuang.com

GEOFFREY KENT (Fight Director). Previous DCPA credits (20 seasons) include Vietgone, Richard III, Superior Donuts, Dracula, Tommy, Romeo & Juliet and more. Other work includes the Colorado Shakespeare Festival (14 seasons) including Three Musketeers, BERNARDO MAZÓN DAHER Henry 4 part 1, Julius Caesar and more; (Dramaturg) (He/Him/His) is a borderUtah Shakespeare Festival’s Henry brat bred in the San Diego South 6 part 1, Treasure Island; Orlando SAMANTHA EGLE (Intimacy Bay. He has been making theatre Shakespeare Theatre’s Cymbeline, Choreographer). (She/Her/Hers). Her around the country in both premier, Romeo & Juliet; American Shakespeare work has been seen on the stages of prestigious productions alongside Center’s Julius Caesar, Antony & grassroots, community-based projects. the Denver Center for the Performing Cleopatra; Opera Colorado’s Carmen, Bernardo has also organized for public Arts, Opera Colorado, Colorado Springs Porgy & Bess; Aspen Sante Fe Ballet’s Fine Arts Center, Theatreworks, Arvada health causes and voting campaigns Romeo & Juliet. Geoffrey is one of only Center, Denver Children’s Theatre, in Hispanic communities throughout twenty Fight Masters with the Society Athena Project Festival, University of California. His work dovetails activism of American Fight Directors. and art in pursuit of social progress. He Denver, University of Northern Colorado, www.geoffreykent.com has been a fellow amongst arts leaders and numerous educational institutions DAVID R. MOLINA (Music and Sound in Colorado. She served as a Resident around the Americas and founded a Designer). Regional: El Borracho nonprofit for Latinx theatre back home. Artist as an Intimacy Director at Arena (The Old Globe); King Lear (STL Stage. She was an apprentice with Bernardo is an all-around storyteller Shakespeare Festival); Quixote Nuevo Intimacy Directors International and driven for advocacy, creating spaces (Hartford Stage, Huntington Theater, is pending certification with Intimacy where different peoples intersect The Alley, Round House), Mojada (Rep Directors and Coordinators. She is to listen, learn, labor, love, and play of St. Louis, CTG, OSF); Two Trains also a Certified Teacher and the Rocky together. Mountain Regional Representative with Running (Seattle Rep, Arena Stage); CYNTHIA SANTOS-DECURE the Society of American Fight Directors. Macbeth (Next Chapter Podcasts, Play (Voice and Dialect Coach). Voice On! Shakes). Resident Artist: Brava MARISSA HERRERA (Choreographer). and dialect coach certified in both Theater, NAKA Dance Theater, Human (She/Her/Hers) is a third generaKnight-Thompson Speechwork® and Shakes. Awards: LA Ovation, Creative tion Chicana and Los Angeles native. Fitzmaurice Voicework®. Some credits Capital Grant, InterMusic SF MGP, San Feature credits include: In the Heights include: Today is My Birthday and El Francisco Arts Commission. Multimedia: (La Mirada Theater for the Performing Huracan (Yale Rep); Quixote Nuevo SFMOMA, The Broad, Oakland Museum Arts and Lewis Family Playhouse — (Round House); I Come from Arizona of California, McLoughlin Gallery. Music Co-Director/Choreographer); The (Children’s Theatre of Minneapolis); collaborations: Tau (Berlin), Emanative Composer Is Dead with the L.A. Phil In the Heights (Phoenix Theatre (UK), El Paso (Peru), The Pyramids. (The Walt Disney Concert Hall — Company and Chance Theater); Bands: Impuritan, Ghosts and Strings, Director); Selena Forever (National Shelter (Center for New Performance/ Transient. www.drmsound.com Tour); Zoot Suit (35th Anniversary CalArts); The Long Road Today and EDUARDO ROBLEDO (Additional National Tour - Lupe Reyna); Viva La Diálogos (South Coast Repertory). TV: Song Composer) started his musical Raza (Theatricum Botanicum); Riot/ “Orange is the New Black” (Netflix), career at El Teatro Campesino in 1969 Rebellion (Watts Village Theater “The Affair” (Showtime). Recently, where he still composes and performs. Co.). Film/TV credits include: You she co-adapted a bilingual version of From 1975 to 1986, he was an actor/ Got Served (Principle Dancer), Lorca’s Blood Wedding. She co-edited composer for The San Francisco Mime the book Scenes for Latinx Actors, and Bones (Anna), Two Feet In (Creator/ Troupe where he composed music for Executive Producer). Marissa is also has taught in Puerto Rico, Barcelona many shows including Hotel Universe, the Co-Founder and Executive Artistic and Shanghai and conferences in Squash, Crossing Borders, Secrets in Director of 4C LAB (501c3). London, and Montreal on empowering the Sand, Steeltown, and Last Tango underrepresented voices. Cynthia is a HELEN Q. HUANG (Costume and in Huahuatenango, winning three Bay member of VASTA, ATHE, SAG/AFTRA Puppet Designer) (She/Her/Hers) is Area Theatre Critics Circle Awards and AEA. She is an Assistant Professor

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and an Assistant Professor of Theater at Brooklyn College. Training: MFA, University of Iowa.

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for composing. In 2017 Mr. Robledo composed the music and the lyrics to a new Pastorela by former Mime Trouper Joan Holden. He is very happy to have been part of this wonderful and important play! JESSE J. SANCHEZ (Music Director). (He/Him/His). Off-Broadway credits include: Little Girl Blue (New World Stages). National Tour credits include: Kinky Boots, Hamilton. Regional credits include: Desert In (Boston Lyric Opera), Quixote Nuevo (also Hartford Stage, Huntington Theatre, Alley Theatre, Round House); In the Heights (Oregon Cabaret Theatre); Peter and the Starcatcher (Oregon Shakespeare Festival); Rearview (Long Wharf Theatre); Cabaret (Arizona Theatre Company); Yerma (A.C.T. San Francisco, Huntington Theatre); Prince of Egypt (TheatreWorks Silicon Valley). Oregon Shakespeare Festival Resident Music Supervisor and a professional playwright and composer for theater, opera, tv and film. Special Awards: NAMT Frank Young Grant (Sueños). PABLO SANTIAGO (Lighting Designer) is a Mexican-American Lighting Designer for liveperformance, digital content, TV and film, and the winner of the Richard Sherwood Award and Stage Raw Award and multiple Ovation Award nominee. Pablo has designed for companies such as Santa Fe Opera, Oregon Shakespeare Festival, Los Angeles Opera, San Francisco Symphony, Los Angeles Philharmonic, Boston Lyric Opera, Los Angeles Chamber Orchestra, Opera Omaha, Center Theater Group. The online series MTV Push. Venues include: Teatro Municipal Sao Paulo, The Goodman Theater, Disney Hall, Davies Hall, Mark Taper Forum, Kennedy Center, Arena Stage, La MaMa, Skirball Center, Paramount, Huntington, The Majestic, and BAM. GRADY SOAPES (Casting) (He/Him/ His) is the Director of Casting and Artistic Producer with the Denver Center for the Performing Arts. Selected casting credits include Rattlesnake Kate, Goodnight Moon, Indecent, A Doll’s House and A Doll’s House, Part 2 in repertory, Oklahoma!, Last Night and the Night Before, The Who’s Tommy, The Wild Party, A Christmas Carol, This Is Modern Art. Grady also works as a Casting Director for Sylvia Gregory Casting where he has cast commercials for Subaru, Fruit of the Loom and has been an associate on several

TV, film and video games projects. Choreography credits include Goodnight Moon, Anna Karenina, As You Like It, Drag Machine, Lord of the Butterflies, DragON (Denver Center); Comedy of Errors (Colorado Shakespeare Festival); The Liar (Arvada Center); The Music Man (Perry-Mansfield) as well as Artist in Residence at Colorado State University in 2010. Grady is the producer of the Colorado New Play Summit and former producer of the Colorado New Play Festival. STAGE MANAGEMENT RICK MIRELES (Assistant Stage Manager) (He/Him/His) hails from south Texas where he earned his BA and MA in theatre from the University of Texas Pan-American. He also holds an MFA in stage management from the University of Illinois Urbana / Champaign. Regional credits include: Montana Shakespeare in the Parks, The Catamounts, Creede Rep., Breckenridge Backstage Theatre, BETC, and Eugene O’Neill Theatre Center. At the DCPA (selected): The Wild Party, Vietgone, Remote Denver, Goodnight Moon, Between Us, and DragOn. Rick has also worked with Meow Wolf-Denver, Black Ink Prod. (LA), and AEG (Denver). MICHAEL G. MORALES (Stage Manager) (He/Him/His). Michael is the Production Stage Manager for the DCPA Theatre Company. National Tours: Hamilton, The Lion King, Phantom of the Opera, Mary Poppins, Rock of Ages (first national tour), Jesus Christ Superstar, Chicago and Movin’ Out. Pre-Broadway: Wonderland and Miss Abigail’s Guide. At the DCPA: Wild Fire, You Lost Me, Indecent, Sweat, The Constant Wife, The Who’s Tommy, A Christmas Carol. Other Regional: My Fair Lady (The Asolo); West Side Story (The Fulton). THEATRE COMPANY LEADERSHIP TEAM CHRIS COLEMAN (Artistic Director) is passionate about the connection between stories and community. He joined the DCPA Theatre Company as Artistic Director in November of 2017 and has directed Rattlesnake Kate, Shakespeare’s Twelfth Night, A Doll’s House, Anna Karenina, and Oklahoma!. Previously, Chris served as Artistic Director for Portland Center Stage in Oregon for 18 years. Under his leadership, PCS renovated the city’s historic Armory into a new home, saw annual attendance nearly

double, workshopped 52 new plays that went on to productions at over 100 theaters around the US and UK, and became a national leader in how theaters engage with their community. In 1988, Chris founded Actor’s Express in Atlanta (in the basement of an old church), a company that continues to be a cultural force in the Southeast today. He has directed at major theaters across the country, including Oregon Shakespeare Festival, the Alliance Theater, Dallas Theater Center, Baltimore Center Stage, Actors Theatre of Louisville, ACT/Seattle, the Asolo, Pittsburgh Public, 59E59, and New York Theater Workshop. He and his husband, actor/ writer Rodney Hicks, live in Reunion with their 100 lb. English blockhead yellow lab and their 18 lb. terrier mix. Since moving to Colorado, he has hiked Dominguez Canyon, wandered at the Cliff Dwellings of Mesa Verde, explored a working mine in Creede, and rafted down the Arkansas River. CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial, and business operations for Theatre Company and Off-Center productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the artistic vision of the organization and facilitating the production of shows such as Sweet & Lucky, The Unsinkable Molly Brown, Sense & Sensibility the Musical, The 12, Sweeney Todd with DeVotchKa and many more. Charles is passionate about artistic innovation and firmly believes in DCPA’s longstanding commitment to new plays and new voices. In addition to DCPA staff, the following crew worked on this production: Jason Bushey, Stephanie Cooper, Charles Dallas, Shirleen Difonzo, Heidi Echtenkamp, Killian Eck, Lisa Ehrle, Christopher Foehese, Sherry Hern, Amoreena Knabb, Katarina Kosmopoulos, David LaBeaux, Henry Makman, Nikki Mayer, Lela Radostis, Jessica Rayburn, Connor Robertson, Kelley Russell, Nicole Watts, Destin Woods, Lori Worthman, Jayanna Young

The Director is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union. The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.) The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

We welcome you to take photos in the theatre before and after the performance and during intermission. If you post photos on social media, please credit and tag the DCPA and the design team: @denvercenter #QuixoteNuevo #TheatreCompany Playwright: Octavio Solís Director: Lisa Portes Scenic Designer: Efren Delgadillo, Jr. @efren.delgadillo.jr

¡Comunidad, Cultura y Fiesta! Thursday, June 9, 2022 • 4:30-7pm Denver Performing Arts Complex, Galleria

Costume and Puppet Designer: Helen Q. Huang Lighting Designer: Pablo Santiago @pablosdesign Original Music and Sound Designer: David R. Molina @david_r_molina Music Director: Jesse Sanchez @jessejsanchezmusic Choreography: Marissa Herrera @marissacreates Photos and the video and/or audio recording during any part of the performance by any means whatsoever are strictly prohibited.

PLEASE BE ADVISED •

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

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CHILDREN 4+ are welcome in our theatres and must be ticketed.

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

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BRAILLE PROGRAMS are available with 2 weeks’ notice to kpetersen@dcpa.org or 303.893.4585.

The Denver Center for the Performing Arts (DCPA) is one of the largest non-proﬁt theatre organizations in the nation, presenting Broadway tours and producing theatre, cabaret, musicals, and innovative immersive plays. In its 2019/20 season, the DCPA engaged with more than 672,000 visitors, generating a $131 million economic impact in ticket sales alone.

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Theatre Company is a division of the Denver Center for the Performing Arts, a non-profit organization serving the public through the performing arts. The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. The Theatre Company is constituent of Theatre Communications Group (TCG), the national organization for not-for-profit resident theatre companies. The costumes, wigs, lighting, props, furniture, scenic construction, scenic painting, sound and special effects used in connection with this production were constructed and coordinated by the Theatre Company’s Production Staff.

A COMMUNITY CELEBRATION OF HISPANIC AND LATIN AMERICAN CULTURE, ART AND HERITAGE! The Denver Center for the Performing Arts, in partnership with the Colorado Symphony and Arts and Venues, invite you to a joyful and vibrant summer ﬁesta. Experience theatre, music, art, food and fun under the glass roof of the Denver Performing Arts Complex to celebrate our diverse and rich cultural communities full of tradiciones, color y alegría! • Dance performances brought to you by ArtistiCO • Live music by Miguel Soldevila • 3D Interactive Sculpture by Artist and Designer, Norberto Mojardin • Travel exhibit by Museo de las Americas. Alebrije art display by the Mexican Cultural Center. Talent curated by our collaborative partner, Colectiva. • Local food vendors • … and more! Admission is free. Local food and drinks available to purchase. Come and celebrate with friends, family and colleagues at this community fiesta! Additionally, on Friday, June 10, 2022 at 7pm the Colorado Symphony will host the “México en el Corazón” concert for the community at the Boettcher Concert Hall in collaboration with Alliance Sports Association and the Mexican Cultural Center. Visit coloradosymphony.org for details.

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TAKING PHOTOS AT THE THEATRE

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FRONTERA GLOSSARY: BORDER GLOSARIO Material generously provided by Hartford Stage. Quixote Nuevo is a play that welcomes both English and Spanish speakers into its audience. There are phrases in Spanish; however, most are usually translated into English phrases immediately following or before the phrase is spoken in Spanish.

“It was important for me to douse the language of Quixote Nuevo with the idioma of my borderland. The characters glide easily from English to Spanish to colloquial Spanglish because that is how we speak in my house. Additionally, this is how I was interested in wresting Cervantes’ novel from the vise of Spain and making it New World, making it Nuevo. Therefore, the characters express themselves through high-flown lyricism like the original novel, but also in language that’s profane and kooky, codeswitching from English to Spanish and vice versa at will and inventing their own neologisms. But it’s also an expression of how languages can so easily defy borders and nationalities, in art and in life.” —Octavio Solis, playwright

Below are a few words your ear might encounter as you follow Don Quixote on his journey throughout La Plancha, Texas: CALACA colloquial Mexican Spanish word for skeleton CABALLERO a knight, or horseman, lately a term meaning “gentleman” MUERTE death GÜEY the Mexican slang equivalent of dude; or sometimes idiot MITOTE commotion, uproar, ruckus INFANTA a Spanish or Portuguese royal princess PALETAS ice lollies, sometimes sold by a paletero YONQUE junk LOCURA madness, craziness DALE GAS go for it (literally “give it gas!”) CHANTE home (corruption of “shanty”) COLLIGE VIRGO ROSAS Latin term generally meaning “gather ye rosebuds while ye may” MOLE a slang term for blood (also a type of dark Mexican sauce) CUCUY boogeyman ATORMENTAS torture CENIZAS ashes (also a small town in the state of Querétaro Arteaga, Mexico) CHUCO filthy MIGRA border patrol OLIVIDADO forgotten

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THEATER OF THE MIND Created by Talking Heads frontman DAVID BYRNE and writer MALA GAONKAR AUG 31 - DEC 18 | YORK STREET YARDS TICKETS ON SALE MAY 20 It’s all in your head. But is any of it real? Witness the wonders of your mind for yourself as you follow The Guide through a spectacular 15,000-square-foot installation with 16 fellow audience members. As you explore intriguing environments, participate in a narrative, and try a series of sensory experiments, your Guide will question how beliefs, memories, and even our identities are less ﬁxed than we think. Caution: the brain may wander. Side eﬀects may include a distrust of your own senses, a disorientation of self, and a mild to severely good time. You may not be who you think you are. But we’re all in it together.

Theater of the Mind is supported in part by Science Sandbox, an initiative of the Simons Foundation

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THEATRE COMPANY SEASON Theatre is finally back in full swing at the Denver Center! To celebrate a season of rebirth and renewal, we’re pulling out all the stops: timeless classics, laugh-out-loud comedies, and the hottest plays direct from New York City. As always, your Theatre Company subscription comes with a season of perks, including: • The best seats at the best price — save up to 29% • Early access to Broadway touring productions and other added attractions, including Theater of the Mind and A Christmas Carol. • Discounts on additional tickets • Free exchanges and concierge ticketing services (including free exchanges) • Easy auto-renew options to keep your seats, year after year

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Intriguing, powerful, and based on a true story, The Chinese Lady is a play unlike anything you’ve seen before. The year is 1834 and 14-year-old Afong Moy is newly arrived in America…

Hailed as a standout at the 2020 Colorado New Play Summit, Hotter Than Egypt is the captivating tale of an American couple’s own personal revolution.

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The Bard is back at the Denver Center! Cupid-like characters conspire to bring a quartet of lovers together, while darker forces seek to drive them apart.

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T “We are honored to know that our contributions have enhanced DCPA’s ability to positively impact nearly 2 million students through their education program, bringing them one step closer to realizing their ambitions.” — WANDA COLBURN, MANAGING DIRECTOR, CIBC PRIVATE WEALTH AND NATE PALMER, MANAGING DIRECTOR, CIBC COMMERCIAL BANKING

The arts help build rich, vibrant communities. That’s why CIBC is proud celebrate its 18th year as a supporter of the Denver Center for the Performing Arts’ Best of Broadway Society, and their ongoing efforts to enrich the Denver community. During this time, CIBC has seen firsthand the impact that the DCPA has made through arts education. CIBC is passionate about the role arts education plays in building confidence, fostering critical thinking and shaping tomorrow’s leaders. The CIBC team is honored to further this important work and committed to benefiting DCPA theatre and education programs. CIBC also strives to ensure its clients’ successes. The company provides wealth management, private banking and commercial banking financial solutions to the Denver community through a team driven by its passion to be the leader in client relationships. CIBC strives to understand each client’s story, financial needs and goals because the team is committed to helping make their clients’ ambitions a reality. Distinguishing factors of CIBC include: • High touch client experience: Dedicated service and support from an experienced team in both wealth management and commercial banking • Dynamic investment management: Investing proactively to drive out performance in ever-changing markets • Strategic approach to private banking: Banking solutions aligned to client objectives and wealth plans. • Comprehensive approach to commercial banking: Offering commercial lending, treasury management and access to capital markets to address complex business needs. CIBC is proud to serve as a long-time sponsor of the DCPA and to further deepen its engagement with this worthy cause. Learn more at cibc.com/US

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APPLAUSE • MAY – JUN 2022 • 303.893.4100 • DENVERCENTER.ORG

The Crested Butte Arts Festival Celebrating 50 years Adam Freed, Whetstone Waterdance

August 5-7

Enjoy the beauty of Crested Butte at the Premier Arts Event in Colorado featuring 100+ juried fine artists and a weekend full of family friendly activities. Tickets available June 1st @crestedbutteartsfestival.com

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We are so grateful to our partners and to the thousands of donors and event participants over the years who have helped to improve and enrich the lives of those in our community. — THE DENVER POST COMMUNITY FOUNDATION

The Denver Post is proud to support the Denver Center for the Performing Arts, both through sponsorship of its acclaimed theatre productions as well as with grant funding through The Denver Post Community Foundation. Our longstanding partnership with DCPA has given countless individuals of all ages, the opportunity to experience and develop a lifelong appreciation for the arts. The Denver Post Community believes in giving back to the communities in which it serves and proudly supports hundreds of nonprofits’ programs and events. Support is given in many ways: through The Denver Post Community Foundation, employee volunteering, and in-kind advertising. The Denver Post Community Foundation, a recognized 501 (c)(3) nonprofit agency, raises funds through individual and corporate donations, through its unique signature events and programs and through the annual holiday Season To Share campaign. The overall mission is to improve and enrich the lives of those in our community through support of programs that benefit arts and culture; children and youth; education and literacy; and the provision of basic human services. To date, including recent Season To Share grants issued this spring, over $8,377,750.00 has been raised and distributed. • Signature Events and Programs These well-established events and programs have become staples in the community. They offer partners, participants and volunteers something unique each year. They include: Pen & Podium Literary Lecture Series, Passport To The Arts, and the Colorado State Spelling Bee.

The Denver Post Season To Share

• The Denver Post Season To Share The Denver Post Season To Share holiday fundraising campaign is a program of The Denver Post Community Foundation with Denver Active 20-30 Children’s Foundation as the matching partner for the 2021/22 campaign. This spring, $1,700,000 was granted to 51 metro Denver nonproﬁts, thanks to 3,900 kind donors. These grantees focus on program speciﬁc guidelines of homelessness, hunger, children and youth, and health and wellness. Together We Can Make A Difference denverpostcommunity.com

The Denver Post Pen & Podium Series

APPLAUSE • MAY – JUN 2022 • 303.893.4100 • DENVERCENTER.ORG

Photo by McLeod9 Creative

DCPA IN THE COMMUNITY

When Denver Center for the Performing Arts Founder Don Seawell completed his vision for downtown’s Arts Complex, he said it was a gift to the community. But 40+ years later, some individuals still think “that’s not for me.” But we at the DCPA aren’t satisfied with that. We want theatre to be an essential part of Denver life. Whether we are a place for creative fulfillment, meaningful conversation or simply a way to have fun, our aim is to connect with and be in service to our community. In addition to newer programs such as Theatre for Young Audiences and Off-Center — both of which were designed to engage new, untraditional audiences — we are now expanding our community engagement efforts through partnerships and exciting programs including: Shakespeare in the Parking Lot – May 14 Enjoy free adaptations of Shakespeare at area community centers. Visit https://dcpa.today/SITPL for times and locations. City of Westminster Partnership – May 21 in the Westminster Plaza Enjoy three free acting workshops for youth at the Curtain Up Downtown series. Latinx Community Evening – June 9 at Denver Performing Arts Complex In partnership with the Colorado Symphony, we will activate the Arts Complex for a vibrant happy hour with musicians and performers before Quixote Nuevo. Denver PRIDE Parade – June 26 along Colfax Ave The annual Denver Pride Parade is back in person and bigger than ever. Watch for the DCPA’s celebratory float with 100,000 of your closest friends.

SUMME R THEATRE CLASSES 1- and 2-week theatre daycamps for children and teens Adult classes on weeknights All skill levels welcome

ENROLL TODAY

Education & Community Engagement

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Area Festivals We will pop up our tent and celebrate with revelers at some of the area’s best festivals: Five Points Jazz Festival – June 4 in Five Points Dragon Boat Festival – July 23-24 in Sloan’s Lake Park City of Aurora’s Global Fest – August 20 at the Aurora Municipal Center

Applause - Quixote Nuevo - May 13-June 12, 2022

Articles inside

Moulin Rouge! The Musical

Quixote Nuevo