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Contact Us... 10075 Commons Street, Lone Tree, CO 80124 Box Office: 720.509.1000 www.LoneTreeArtsCenter.org
SEASON SPONSORS
The Lone Tree Arts Center is owned and operated by the City of Lone Tree.
Scott Leonhart & Maggie Eichenlaub Michael R. Harris & Charlotte Min-Harris
Lone Tree City Council Mayor Jim Gunning Mayor Pro Tem Jacqueline Millet Councilmember Harold Anderson
FAMILY & EDUCATION PROGRAMS SPONSORS
Councilmember Kim Monson Councilmember Susan Squyer
Lone Tree City Management City Manager Seth Hoffman Deputy City Manager Steve Hebert
Please Note:
The Tappan Foundation SEASON MEDIA SPONSOR
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LONE TREE ARTS CENTER
Late seating is at the discretion of the House Manager and may not be available at all performances. Children are welcome in our theater, but bringing infants to a performance is highly discouraged, as they can become a distraction to performers and other audience members. Each individual must be ticketed to enter the theater.
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LONE TREE STAFF LISTING Lisa Rigsby Peterson, Executive Director, helped open the Lone Tree Arts Center in 2011 as its first Executive Director. Over her 28-year career in performing arts management, she has been a part of many of Colorado’s leading cultural organizations–including The Denver Center for the Performing Arts, Curious Theatre Company, and PHAMALY—served on multiple arts and cultural boards and committees, and also worked abroad. A Colorado resident since 1975, Lisa is a graduate of the University of Colorado and the Yale School of Drama. Paul Ackerman, Technical Director, is a native of Long Island, NY. Paul received his degree in Technical Theatre and Design from the University of Virginia. He has worked in Atlanta with The Atlanta Ballet, the Georgia Institute of Technology and at the Fabulous Fox Theatre. Paul joined the team at LTAC prior to its opening in 2011 after serving as the Senior General Manager of Production for Blue Man Productions. Courtney Ozaki Moch, Operations and Business Manager, returns to her home state of Colorado after residing in New York City where she received her MFA degree in Performing Arts Management from Brooklyn College. As a producer and arts manager in NYC she has worked with cultural and interdisciplinary institutions including the inaugural PROTOTYPE festival, Brooklyn Academy of Music, Brooklyn Center for the Performing Arts, and The Joyce Theater. Her prior experience includes work with the Aspen Music Festival as well as the Boulder Chamber Orchestra.
Elaine Caras, Events Manager Allissa Dailey, Events Manager Kathy Denzer, Administrative Assistant Chris Husted, Rental Events Technician Jen Kiser, Assistant Technical Director Katie Konishi, Marketing Assistant David Laird, Assistant Box Office Manager Don Post, Lead Stage Technician Robin Scurto, Development & Marketing Associate Ashley Vander Weg, Box Office Manager Technical Staff: James Bryant, Mallory Hart, Elizabeth Porter, Brett Ranieri, Randy St. Pierre, Rick Thompson Front of House Staff: Melissa Blair, Jean Chavez, Ken Fisher, Bonnie Kobzoff, Jim Murphy, Thaddeus Valdez Bar Staff: Richard Davis, Elena de Prado, Michelle Hendershott, Andy Frier, Charine Lung, Tianna Saez, Roberta Seifert
Five Things You Didn’t Know About… Our Events Team 1. LTAC is the producer for all City of Lone Tree events. That means this team plans Independence Day, KidsFest, and all other City-wide events. 2. Allissa just moved to Denver from Summit County. Her dog Daisy (a Bernese Mountain Dog) will miss the snow! 3. Elaine worked for The Hyatt for over 20 years, so if you have a question about how many people can fit around a certain size table, she knows the answer. 4. Our bar staff is fit! Four of them met playing tennis together. 5. You can rent any of the spaces at LTAC for private or public events and this team can tell you how.
Call 720-509-1010 for more information about LTAC events. 6
LONE TREE ARTS CENTER
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Helping Lone Tree hit a high note.
Schwab proudly supports the Lone Tree Arts Center.
Music can inspire, motivate, and build strong communities—which is why we’re so passionate about supporting it in the places where we
Brian Folkerts Branch Manager Lone Tree 9899 Schwab Way Suite 100 Lone Tree, CO 80124 (720) 895-3416 www.schwab.com/lonetree
do business. For virtuoso-level financial guidance and support, visit Schwab.com or call (720) 895-3416.
Brokerage Products: Not FDIC-Insured • No Bank Guarantee • May Lose Value the Lone Tree Arts Center is not affiliated with Schwab or any of its subsidiaries or affiliates. ©2015 The Charles Schwab Corporation. All rights reserved. CS19752-13 (0414-2423) ADP79340-00 (08/15)
For every stage in life. Come discover what life at Holly Creek is all about by stopping in during one of our weekly Open House events. Holly Creek Open House Every Wednesday 10 am – 2 pm Snacks and Refreshments
Colorful Colorado Living. Call today for a private tour. 720.266.5611 5500 E. Peakview Ave., Centennial, CO 80121 HollyCreekRetirementCommunity.com
Proud supporter of the Lone Tree Arts Center’s 2015–16 season of dance, theater, music and performance
a reason To VIsIT eaCH season AT denver boTAnic gArdens cHATFieLd FArMs Laura Murray PHoTograPHy
Chatfield features 750 acres, a historical homestead and schoolhouse, working farm, nature trails, wedding sites, summer concerts and annual events. For more information about what’s going on at Denver Botanic Gardens Chatfield Farms visit www.botanicgardens.org
C-470 & Wadsworth Blvd. www.botanicgardens.org
The Perfect Holiday Gift In the hustle and bustle of the holiday season, it’s easy to get swept up with the latest gadget or toy that only lasts a short while. Give a gift for the long-term that will translate into programs that delight and surprise audiences of all ages.
• • • •
Monthly Recurring Gift Annual Gift Tribute Gift Seat Plaque
Give to LTAC this holiday season!
Give a gift in any amount in someone’s honor or memory. Contact our Development Department at 720-509-1009 or visit LoneTreeArtsCenter.org/give
Gifts are tax deductible to the extent permitted by law.
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LONE TREE ARTS CENTER
IT TAKES SKILL AND STRATEGY TO BRING EVERYTHING INTO
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John Denver Holiday Concert, 2012
A Tribute to John "We wanted to do a show like John would have done." It’s a bit unnerving at first to talk to Dan Wheetman about John Denver. Such a monumental and iconic figure, just called “John.” Dan has been writing and performing music for decades; his career spans from a teenage rebellion rock and roll band to a current day concert tour through Portugal, but his ten years in the John Denver band were a transformative experience. Largely made up of members of The Wrecking Crew (the anonymous studio band heard on nearly all the top hits of the 1960s), Dan was at first intimidated and awestruck by his bandmates. “My musical education was working with those guys,” he says of their first tour together.
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But it wasn’t all work for this group of talent—no, Dan tells stories of the time Top Gun came out and John rented an entire theater for the band to go see it together. Or of taking turns getting rides from John in the bi-plane during breaks in the tour. It’s easy to tell this group cared for each other and John was the central point of that ad hoc family. “He was a really, really great guy. Smart and funny.” Another creative who has had a profound impact on Dan’s life is playwright and director Randal Myler. After meeting in Denver and working together as director and musical director, the pair found a creative rhythm that has led to writing eight different musicals, one of which (Ain’t Nothin’ But the Blues) earned them each a Tony nomination.
John Denver Holiday Concert, 2012
While he’s humble about his musical skills, it’s easy to see how he ended up playing and collaborating with John Denver. The pair met through mutual friends in Aspen in the early 1970s. They shared a similar music aesthetic and became friends over the years. In 1975, Dan’s band went on tour with John Denver as the opening act and was soon signed as the first band on John Denver’s label. Then in 1977, Dan stepped into the Denver band itself, playing mostly mandolin and fiddle. Over the next ten years, Dan worked on all of John Denver’s tours and studio albums, even penning the song that Kermit the Frog and John sang together for a TV special. They enjoyed a friendship and collaboration along with the other musicians. John would come into the studio with a new song, simply the lyrics and guitar charts, and the band would play it through a number of times, testing out different arrangements and pitching ideas for beefing up the music in one section or smoothing it out in another.
After working on a very “Broadway-like” version of a John Denver show, Randal had the idea to do a stripped-down holiday performance of John’s songs that was reminiscent of John’s Christmas specials. As Dan had performed in a couple of those TV specials, the pair found magic in their collaboration. Both men will tell you they wanted to “focus on what John was” and have the show be “anchored in family and the season.” Weaving personal stories and memories in amongst John’s most popular tunes, they created a true tribute to the man Dan called friend. There is truly something special that comes from a personal bond to the music and the singer, and this holiday season we hope you’ll come see Dan, who plays six instruments in the performance, along with all the other exceptional musicians harken back to those classic TV specials in John Denver Holiday Concert.
See the John Denver Holiday Concert at LTAC December 15-20.
Big River, 2014
John Denver is known for his simple and honest music, songs that convey a feeling as well as words. Dan tells us that the goal of the band was always to ensure that “if you take the words away, the music should still have the same emotional content.”
www.LoneTreeArtsCenter.org
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Volunteers Make It Happen By Brenda Vitaska, LTAC Volunteer
Why do our ushers give hours/days/weeks of their time each year? To get the answer, we asked usher Brenda Vitaska: I LOVE the cultural arts! It’s part of my DNA. Yes, I could see something every day: plays, ballet, symphonies, string quartets, films, jazz, book talks, singers, comedy, rhythm, and wit. Our fifth season opened with new sparkly, sassy scarves for all LTAC women volunteers while the men received sparkly ties! This new color added energy and eagerness about the programming and the entertainment available for 2015-2016. Being part of an organization larger than myself is enjoyable and important in my third act—retirement. My husband and I have been supporters of the LTAC from the beginning, and since joining the volunteer corps in the summer of 2013, I have truly found my niche. It is gratifying to donate my time in this lovely state-of-the-art theater. Choir, concert band, and marching band began for me in fifth grade. It was my music teacher who introduced me to the French horn. The perfect instrument for me; it’s a classic! However, it was a music appreciation class my freshman year in college that was the game-changer. Studying classical music and their composers provided me with the history and background knowledge that serves me indefinitely. This background has made LTAC the perfect volunteer experience for me, combining my joy of serving with my love of the arts. As a huge fan and supporter of our regional cultural arts center, I am thrilled that we continue to grow and offer unique attractions. Excitement and enjoyment ran through my mind when National Geographic Live was scheduled for the new season. Continuing education and lifelong learning happens here; it’s a big brain booster! Additionally, our outreach serves various demographics from toddlers to adults. In particular, I am proud of our Sensory Friendly program which is collaborating and sharing on a national level. Visual arts have added a pleasant and powerful presence to the lobby. A diversity in medium and size attracts a wide variety of artists and observers. It’s amazing how seamlessly an exhibit comes down and a new one goes up. The volunteers help to make it work! The seat row numbers and letters in the theater are always the same. However, all performances are unique, sometimes unpredictable, and always professional! As the volunteers gather an hour before our guests arrive, verve and vigor soars. I often wonder what surprise awaits us. Our core value is customer service so everyone comes together as if you are a beloved guest in our home. Altruism and collegiality are additional benefits of partnering with other volunteers at the Arts Center. Making a difference is important, fun, and special. Helping others makes me happy!
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Classical Holiday Featuring Handel’s Messiah With the Boulder Philharmonic Orchestra and the Boulder Bach Festival Chorus
December 22 at 7:30pm
Gary Lewis, Principal Guest Conductor Jennifer Bird-Arvidsson, Soprano Abigail Nims, Alto Michael Hoffman, Tenor Ashraf Sewailam, Bass Boulder Bach Festival Chorus Zachary Carrettin, Music Director
Sponsored by:
Scott Leonhart and Maggie Eichenlaub
Tonight’s Performance Hector Berlioz........................................................................ Overture to L’enfance du Christ (1803-1869) Traditional (arr. Chip Davis)...................................................................................Stille Nacht (b. 1947) Bring a Torch, Jeanette Isabella Francesco Manfredini.............................................. Concerto grosso in C major, op 3, No. 12 (1684-1762) “Pastorale per il Santissimo Natale” - Intermission George Frideric Handel................................................ Messiah (HWV 56, ed. Watkins Shaw) (1685 – 1759) Sinfonia (Overture) Comfort ye my people (tenor) Ev’ry valley shall be exalted (tenor) And the glory of the Lord (chorus) Thus saith the Lord of hosts (bass) But who may abide the day of His coming (alto) And he shall purify the sons of Levi (chorus) Behold, a virgin shall conceive (alto) O thou that tellest good tidings to Zion (alto, chorus) For behold, darkness shall cover the earth (bass) The people that walked in darkness have seen a great light (bass) For unto us a child is born (chorus)
Pifa, “Pastoral Symphony” There were shepherds abiding in the fields (soprano) And lo, the angel of the Lord (soprano) And the angel said unto them (soprano) And suddenly there was with the angel (soprano) Glory to God in the highest (chorus) Rejoice greatly, O daughter of Zion (soprano) Then shall the eyes of the blind be opened (soprano) He shall feed his flock like a shepherd (alto, soprano) His yoke is easy (chorus)
Part II
Hallelujah (chorus) – Stand if you wish.
Program and artists subject to change. Use of electronic devices prohibited.
Boulder Philharmonic Orchestra Violin 1 Chas Wetherbee Annamaria Karacson Debra Holland Yenlik Weiss Veronica Pigeon Chris Jusell Violin 2 Sharon Park Christine Short Renee Patten Natalie Koob Nathan Southwick Therese Bakker
Viola Aniel Caban Claire Figel Megan Edrington Nancy McNeill Cello Greta Parks Yoriko Morita Sara Fierer Anne Brennand
Bass David Crowe Brian Knott
Oboe/English Horn Max Soto Euridice Alvarez
Piano Arthur Olsen
Bassoon Wendy La Touche
Timpani Douglas Walter
Trumpet Ken Aikin Roberta Goodall
Flute/Piccolo Cobus du Toit Alaunde CopleyWoods
Boulder Bach Festival Chorus Soprano Penny Anderson Risa Booze Margot Brauchli Janet Brewer Marianne de Alwis Vici DeHaan Toni Marinkovich Forman Kathy Frebel Baiba Sube Lennard Cathy Look Paul Gibb Greg Ginocchio
David Greene David Nesbitt Chuck Smythe Paul Stuber Alto Lisa Boyum Trude Burnett Cindy Carey Melody English Marcie Ginley Linda Haertling Jacqueline Hooper Mary Lou Kizer
Gary Lewis, conductor, is the Director of Orchestras and Professor of Music in the College of Music at the University of Colorado at Boulder. He is also the Music Director and Conductor of the MidlandOdessa (TX) Symphony Orchestra. At CU, Mr. Lewis conducts the University Symphony Orchestra and oversees the entire orchestra program. He also leads the graduate program in orchestral conducting, including both the masters and doctoral level. Mr. Lewis is equally at home with professional, university, and youth ensembles. In addition to his regular posts with the Midland-Odessa Symphony Orchestra, the University of Colorado, and the Greater Boulder Youth Orchestras, this season he serves as Principal Guest Conductor with the Boulder Philharmonic Orchestra, and he regularly conducts
Diane LaTourette Emily Long Diana Loucks Kamilla Macar Jennifer Murphey Tambre Rasmussen Luisa Rodriguez Shelley Sampson Courtney Williams Tenor Noah Barkan Ria Barrows Nina Meyers
Sara Neustadtl Kerry Resseguie Cathy Sparkman Linda Wolpert Bass Rick Collins David Damouth Pete Dawson Joe de Raismes Greg Dieter Andris Levensteins Al Lundell Paul Munsch Philip Straffin
productions for Ballet Lubbock. He has also appeared with the Colorado Symphony Orchestra, the Colorado Music Festival Orchestra, the Lubbock Symphony Orchestra, the Quad Cities Symphony Orchestra, the New Symphony Orchestra (Sofia, Bulgaria), and the Western Plains Opera Theater. Mr. Lewis served as the Resident Conductor of the Pine Mountain Music Festival (opera and symphonic) for seven years and was the founding conductor of the Caprock Pro Musica. The Boulder Philharmonic Orchestra is one of Colorado’s premier ensembles and is creating a new model for American orchestras through dynamic performances that reflect our community’s own values, creativity, and sense of place. Voted
“Best of Boulder” for the past three years in a row, today’s Boulder Phil is bucking national trends with growing, enthusiastic audiences under the vision and leadership of Music Director Michael Butterman. The Boulder Phil’s main concert series—broadcast statewide on Colorado Public Radio—is presented at Macky Auditorium, a historic jewel on the University of Colorado campus. From multi-genre productions featuring dance, choral and visual elements to concerts with a unique hometown flavor, the Phil’s imaginative programming has resulted in increasing numbers of sold-out concerts and nationwide notice in Symphony Magazine. In recent seasons the Phil has collaborated with an impressive 45 local organizations, encompassing arts, science, nature, youth, social services, and more. By going beyond simply performing great music, we strive to connect ever more people to the inspiring power of orchestral music. Recognized as “Boulder’s premier orchestra” (Boulder Weekly) and “Boulder’s superb local professional orchestra” (Daily Camera), the Boulder Phil comprises the top freelance musicians from Colorado’s Front Range and beyond. Founded in 1958, the Boulder Phil became a fully professional ensemble under the leadership of Theodore Kuchar, whose tenure as music director began in 1996. Today the Boulder Phil reaches audiences of over 20,000, with performances from Arvada to Highlands Ranch as well as regular invitations to perform at the prestigious Vilar Performing Arts Center in Beaver Creek. The Boulder Phil strives to inspire the next generation of music-lovers through Discovery Concerts that have reached thousands of 4th and 5th grade students in 28 schools across three counties. For decades the Phil has also fostered new talent with the annual Young Artist Concerto Competition, and Boulder Phil musicians provide mentorship through side-by-side concerts with the Greater Boulder Youth Orchestras and Front Range Youth Orchestras. In all these ways, the Boulder Phil strives to be at the center of our community’s cultural fabric. The Boulder Bach Chorus has been a major contributor both to the success of the Boulder Bach Festival and to the vital cultural scene of the DenverBoulder region for 35 years. The chorus comprises volunteer singers from all walks of life who share a love for the works of J. S. Bach and the desire to perform them meaningfully, with a variety of stylistic approaches and collaborating with both baroque period and modern instrument orchestras. Jennifer Bird enjoys a busy and varied singing career in the US and Europe, having built a reputation as
a charismatic, intelligent, and versatile performer of more than 50 roles in opera, operetta, and musical theater, as well as much of the standard oratorio and concert literature. As the recipient of a Rotary International Ambassadorial Scholarship, Jennifer studied in Germany in the Opernklasse of the Hamburg Musikhochschule, where she joined the vocal studio of renowned soprano Judith Beckmann. Engagements followed at the Landestheater Coburg, Bremer Theater, Vienna Volksoper, Nationaltheater Mannheim, and Theater Bonn, among others. Highlights have included the title roles in Lulu and Lucia di Lammermoor, Violetta in La Traviata, and Konstanze in Die Entführung aus dem Serail. Jennifer has been the soprano soloist with the Berlin Symphony Orchestra, the US Army Band at Carnegie Hall, the Stuttgart Philharmonic, and with the Orchestra of the Warsaw Teatr Wielki. In 2010, she made her Alice Tully Hall debut in Orff’s Carmina Burana with the Riverside Choral Society. In 2012, Jennifer was the soprano soloist in the world premiere performances of Ticheli’s Songs of Love and Life, which have been recorded and released on the Klavier label. The 2015-2016 season will include Messiah with the Boulder Philharmonic, Mozart’s Requiem with the Midland Odessa Symphony and Chorus, and a return to Lincoln Center for Poulenc’s Gloria. Jennifer has been a prizewinner in several international competitions, including First Prizes in the Sylvia Geszty Competition and the Robert Stolz Competition. She is a member of the voice faculty at the University of Colorado - Boulder. Abigail Nims has quickly established herself as a musician of integrity and versatility through her performances of repertoire spanning from Bach, Handel, and Mozart to Crumb, Ligeti, and contemporary premieres. Ms. Nims’ engagements during the 2014-15 season included Beethoven’s Mass in C and Choral Fantasy with the San Francisco Symphony, Beethoven’s Symphony No. 9 with the Indianapolis Symphony Orchestra, and the Messiah with the Portland Baroque Orchestra and the Colorado Bach Ensemble. Engagements during the 2015-16 season include Mozart’s Requiem with the Midland-Odessa Symphony and the Messiah and Bach’s St. Matthew Passion with the Boulder Philharmonic Orchestra. Nims is particularly praised for her expressive interpretations and tonal beauty in the concert repertoire. Recent performances include Bach’s Mass in B-minor with the San Francisco Symphony, de Falla’s Three Cornered Hat at the Colorado Music Festival, Bach’s St. John Passion with the Orquesta Sinfónica Nacional de Mexico, Stravinky’s Pulcinella, Haydn’s Harmoniemesse and Crumb’s Night of the
Four Moons with the Saint Paul Chamber Orchestra; Mahler’s Rückert Lieder at the Colorado MahlerFest, and Handel’s Messiah with the Virginia Symphony Orchestra, the Baltimore Symphony, the Masterwork Chorus at Carnegie Hall, and the ProMusica Chamber Orchestra. Michael Hoffman, a native of Minnesota, is currently in his second year in the Master of Music in Vocal Performance program at the University of Colorado - Boulder following the completion of his Bachelor of Music Degree in Vocal Performance at the University of Minnesota. Since moving to Colorado, Mr. Hoffman has appeared in numerous performances including Ferrando in CU’s 2015 production of Mozart’s Cosi fan tutte, Spoletta in the Colorado Symphony’s production of Puccini’s Tosca, and Jacey Squires in the Colorado Symphony’s production of Wilson’s The Music Man. In Spring 2016, he will perform the role of Martin in Copland’s The Tender Land with CU- Boulder’s Eklund Opera Program. Ashraf Sewailam’s debut at Lincoln Center’s Avery Fisher Hall was hailed by the New York Times as a “stand out performance” and Opera News described his voice as “purring and velvety….with a majestic tone,” and his stage presence as “strong, mysterious and with mesmerizing intensity.” This season, Mr. Sewailam plays the King in Aïda (Opera Colorado, where he made his US debut in 2004 as Leporello in Don Giovanni), Mustafa in L’italiana in Algeri (Portland Opera), Capulet in Roméo et Juliette (Opera Carolina, Virginia Opera, Toledo Opera, Opera Grand Rapids, Lyric Opera Baltimore), and Alidoro in La Cenerentola with San Diego Opera. Recent performances include Alidoro in La Cenerentola with Queensland Opera and New Zealand Opera, Sparafucile in Rigoletto with New Zealand Opera, and Leporello in Don Giovanni with Seattle and San Diego Operas. Hector Berlioz: “Overture” to L’enfance du Christ. The first notable composer to raise the practice of orchestration to an art – not just a novel tool, but also the center of musical conception – was Hector Berlioz. From one work to the next, Berlioz used this art as one of the basic elements of music. Such a complete mastery of orchestral color was especially useful for Berlioz’s operas. It is also a key component in his oratorio L’enfance du Christ (The Childhood of Christ), which is a setting of the composer’s own libretto outlining the Holy Family’s flight into Egypt as told in Matthew 2:13. The “Overture” is a triple-meter fugue that depicts the star in the east and the desert journey of Mary and Joseph to Bethlehem.
Chip Davis, arranger: Stille Nacht and Bring a Torch, Jeanette Isabella. One of the most enduring elements of Christmas music is the resilience of a relatively small number of classic carols. No matter how they are dressed up, these timeless tunes still have appeal, and sometimes gain a wider following because of it. Chip Davis of the musical group Mannheim Steamroller has been decorating Christmas music for the past thirty years. [He also worked under a pseudonym, C.W. McCall, in 1975 and had a hit song entitled Convoy.] Stille Nacht (Silent Night) dates from 1818, but remains one of the most popular and beautiful of Christmas songs, especially in this meditative arrangement. Bring a Torch, Jeanette Isabella is a Provencal carol from the early sixteenth century, but Davis adapts it in his inimitable style. Francesco Manfredini: Concerto Grosso in C Major, Opus 3, No. 12 (Pastorale per il Santissimo Natale). Born in Pistoia, just west of Florence, Francesco Manfredini (1684-1752) was a student of the eminent Italian Baroque composer, Giuseppe Torelli. The Christmas Concerto is the last of his twelve concerti grossi, Op. 3, published in Bologna in 1718. Opening with the customary pastoral, found in all Christmas Concerti (see notes for Corelli’s Christmas Concerto, also on this program), this three-movement work does not reach an allegro tempo until the third movement. The first two movements are reflective largos. Suffused with clarity of texture, Manfredini’s concerto showcases the lyrical side of the two violin soloists. However, there is always a careful division between soloist and orchestra. Conversely, Manfredini, like Corelli, blurs the distinction of the staid concerto da chiesa and dance-inspired concerto da camera in his jaunty final movement. GEORGE FRIDERIC HANDEL: Messiah. The oratorios of George Frideric Handel (16851759), a contemporary of J.S. Bach and one of the most famous Baroque composers, differed from the previous Italian oratorios in that he gave the chorus much more prominence. Charles Jennens wrote the scriptural English text in this oratorio which is a long reflection of Jesus Christ as the Messiah. The complete work contains three parts. The Christmas portion of the work consists of pieces from Part I in which the Old Testament prophets predict the coming of the Messiah. The concert ends with the well known Hallelujah Chorus which is full of celebration and perfectly captures the Christmas spirit!
One Man Star Wars December 29 at 7:30pm December 30 at 7:30pm
Written and Performed by Charles Ross Directed by TJ Dawe Stage Manager Lauren Kairalla Lighting Design Mike Schaldemose Press Representative/General Management IN STRIDE ENTERTAINMENT
Sponsored by:
One Man Star Wars Trilogy performed with permission of Lucasfilm Ltd. All ‘Star Wars’ elements property of Lucasfilm Ltd. All rights reserved.
Charles Ross may have the best job in the world: professional geek. As writer and performer of One Man Star Wars and One Man Lord of the Rings, he has toured the globe for the last 11 years, delighting audiences with his unique and frenetic solo shows. Born in a northern British Columbian town (closely resembling the Shire), Charlie spent his early years longing for galaxies far, far away. It was the discovery of a passion for acting (and a move to more southerly climes) that brought this geek-at-heart back to earth. At university, Ross formed a friendship and collaborating partnership with actor/writer/director TJ Dawe. TJ has directed four of Ross’s solo shows- the first being the wildly successful One Man Star Wars. After sold-out tours of North America’s Fringe theatre festivals, One Man Star Wars and One Man LOTR have taken on a life of their own. Licensed by George Lucas and Saul Zaentz and carrying the official banner of Star Wars and Lord of the Rings, it’s fair to say that Charlie now dwells in geek heaven. With thousands of performances in hundreds of cities and across four continents, from offBroadway NYC to the Sydney Opera House, or the West End of London to the sands of Dubai, chances are these shows have been there. The worldwide love affair with these Trilogies is phenomenal and it’s been a dream come true for Charlie Ross to celebrate that love with the generations of fans around the world. You can find out more about Charlie, TJ, One Man Lord of the Rings, and Star Wars through Facebook and Twitter. Or visit www.beamsandstruts.com www.onemanstarwars.com and www.onemanlotr.
Christine Ebersole: Big Noise from Winnetka January 21 at 7:30pm Selections for tonight’s performance will be announced from stage. Sponsored by:
Christine Ebersole has captivated audiences throughout her performing career, from the Broadway stage to television series and specials, films, concert appearances, and recordings. Ms. Ebersole received virtually every Off-Broadway award and her second Tony Award for Leading Actress in a Musical for her “dual role of a lifetime” as Edith Beale and Little Edie Beale in Grey Gardens. Other memorable New York stage performances include her Tony Award-winning performance as Dorothy Brock in the smash hit revival 42nd Street, Steel Magnolias, On the Twentieth Century, Camelot, Oklahoma, Dinner at Eight (Tony and Outer Critics Circle nominations), The Best Man, and Blithe Spirit. Ms. Ebersole has appeared in many hit movies, including Amadeus, Tootsie, Richie Rich, Black Sheep, Dead Again, Folks!, Ghost Dad, True Crime, My Girl 2, Mac and Me, Confessions of a Shopaholic, The Big Wedding (which also featured an original composition that she wrote for the end credits), and The Wolf of Wall Street. Ms. Ebersole has an extensive list of television credits as well, including Sullivan and Son, Royal Pains, Madame Secretary, American Horror Story: Coven, Retired at 35, Ugly Betty, Law and Order SVU, Boston Legal, Samantha Who, Will and Grace and was a series regular on the 1981-82 season of Saturday Night Live. In concert, Ms. Ebersole has appeared in numerous halls throughout the country including The Kennedy Center, Symphony Hall Boston, The Walt Disney Concert Hall, and Carnegie Hall. A recording artist as well, Ms. Ebersole has released such albums as: Christine Ebersole: Live at the Cinegrill, In Your Dreams, Sunday in New York, Christine Ebersole Sings Noel Coward and Strings Attached. For more information, please visit her website at: www.christineebersole.com.
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JEN KISER
Look on the stage! Do you see anything? Great! Then you know who Jen Kiser is—the one who makes things visible! A fantastic lighting designer, Jen perfectly marries organization and creativity to unlock breathtaking views. Jen has been involved with theater since the ripe age of four, when she played a lion in the school play. She credits her parents with fostering a love for theater early, taking her to Denver to see shows and watching movie musicals at home in Greeley. Her high school English teacher was also a fundamental force when she first assigned Beckett’s Waiting for Godot to the class as a reading project. Jen was instantly hooked.
and design approach work well within the mentality that “we create what is most appropriate for the moment, not just create something with the coolest toy we have to use.” When Jen begins a new design project, her first step is to read the script and talk with the director about his/her vison for the show. Once she has worked out the basics like location, time of day, and the overall mood of the production, she jumps into what she calls “the fun details:” practicals (like lamps that actually work onstage), windows, and effects. While it’s easy to imagine the lighting designer as a wildly artistic person infusing color and flash whenever they can, the reality is that a good bit of the work is organizational paperwork. Jen has to create a light plot to show where the lights will be hung as well as a magic sheet to show what part of the stage they will be lighting. Add to that a series of spreadsheets, and looking over her shoulder at work, you might think she’s an engineer.
She attended college at Colorado College where she majored in Drama and was granted an apprenticeship at Goodspeed Musicals in Connecticut after graduation. Jen spent 11 years in Connecticut and New York, working at various theaters and even doing a stint on Broadway with By Jeeves. It was during this time that she got to fulfill a childhood dream; she served as Master Electrician for a Jim Henson show, Emmet Otter’s Jug-Band Christmas. To this day, Jen says it’s her favorite show she’s ever worked on (although she laughs as she admits it): “It was a Jim Henson show!”
Once all the prep work is in place, Jen and her crew hang, then focus the lights (a tedious process)—all before one actor or prop gets lit up on-stage. For Jen, lighting design was a natural fit; it allows her to use both her left and right brain as she thrives on creativity, but also organization.
Her love of Colorado, the mountains, and–of course—her family, brought her back to Denver and, ultimately, to LTAC. Jen is not only the Lighting Designer of most LTAC shows, but is also our Assistant Technical Director and the writer of our Theater Trivia page at the back of this (and every) program! Jen says she “feels very lucky” to have landed at a place that retains such a high commitment to quality. Her “old school” aesthetic
See Jen’s design this holiday season in the John Denver Holiday Concert, Dec. 15-20.
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Hank Williams: Lost Highway, 2013
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Big Band Christmas with the CJRO Nov 28, 2015 – 7:30 pm Parker Arts Cultural and Education Center (PACE) parkerarts.org Big Band Christmas with the CJRO Dec 20, 2015 – 2pm Rialto Theater in Loveland, CO rialtotheatercenter.org
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Tribute to Buddy Rich Jan 24, 2016 – 2pm Lone Tree Arts Center - Lone Tree, CO lonetreeartscenter.org Big Band Classics at the PACE Center Apr 16, 2016 – 7:30 pm Parker Arts Cultural and Education Center (PACE) parkerarts.org
Come Sing With Us! Programs for children 3-18! Friendly Auditions fall, spring and summer Membership information:
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Concerts at D. U. Newman Center December 6, May 1 and July 2
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Christine Ebersole Coming to LTAC January 21, 2016
“I moved from Hollywood to Maplewood. What a difference a leaf makes!” Christine Ebersole, a two-time Tony Award winning actress, fled the sandy beaches of California for the appeal of Broadway after her agent told her she was growing too old. Since the move, Christine has procured both of her Tony Awards as well as many other awards. After receiving her second Tony Award in 2007 for her dual role as both Edith Bouvier Beale and “Little Edie” Beale in Grey Gardens she said, “I left Hollywood when they told me I was over the hill and now I’m standing here with this most distinguished award for what I consider to be the role of a lifetime.” Born and raised in Winnetka, Illinois, Ebersole began singing and acting after attending a summer drama class while in high school. She briefly attended MacMurray College before deciding to pursue her love for the performing arts at a different institution, the American Academy of Dramatic Arts. Upon her graduation in 1975, her first job was as an understudy for the Broadway musical On the Twentieth Century, followed by her role as Ado Annie in Oklahoma. After performing very well in her first few roles, the big screen turned its attention towards her. She consented to join the cast of Ryan’s Hope from 1977 until 1980 followed by a one year stint on Saturday Night Live from 1981 to 1982. After nearly 10 years of focus on the big screen, however, Ebersole found that she was having to audition for
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roles that were once offered to her; she knew it was time for a change. The move across the country to Maplewood, New Jersey reenergized her career. Her following stage performances propelled her to new heights earning Christine her first Tony Award in 2001 for her performance in 42nd Street. Hot on the heels of her win, Christine was nominated for another Tony and an Outer Critics Circle award in 2002 for her performance in Dinner at Eight. Then in 2007, she recaptured the Tony Award. She delighted audiences with her performance in the criticallyacclaimed Grey Gardens. Today, Ebersole is just as active as ever. She tours the country performing many cabaret shows and makes guest appearances on TV, holding recurring roles in Royal Pains and Sullivan and Son. She also continues to act in movies, most recently appearing in The Wolf of Wall Street alongside Leonardo DiCaprio in 2013. Her most recent project, Big Noise from Winnetka, has been performed at the famous 54 Below in New York City. The show contains everything from rock and roll and gospel to the songs that helped her win her second Tony Award from Grey Gardens. The show has received wonderful reviews from the New York Times and others. The show will make its way to the Lone Tree Arts Center on January 21, 2016. Ebersole still resides in Maplewood, New Jersey with her husband, three teenage children, two cats, two dogs, and a bird. For more information, visit christineebersole.com.
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Making a Difference Close to Home Each year since 1988, the Scientific and Cultural Facilities District (SCFD) has distributed millions of dollars to over 300 arts organizations. It is staggering to think of the difference this has made in the cultural landscape of the entire metro area, but how has it impacted things close to home? Close to you? If you’re reading this program, you’ve already been impacted. In this year alone, LTAC will receive more than $280,000 in funding from SCFD (which accounts for nearly 10 percent of our annual operating budget). Clearly, LTAC is able to do more of what you love because of SCFD’s presence in our region. LTAC is a Tier II organization, meaning we have a regional impact and an operating budget that exceeds a threshold set each year (this year, $1.556 million). There are 28 Tier II organizations, including groups you may have also attended, like Parker Arts, Colorado Ballet, and the Arvada Center. Organizations that are smaller in budget size or scope of programming fall into Tier III. Funding for these groups is determined on a county-by-county basis as they serve a more limited audience. Many organizations receive funds in multiple counties if, for example, they perform at venues throughout the metro area. This year, Douglas and Arapahoe Counties distributed over $2.16 million through SCFD. You might be familiar with organizations such as Wonderbound, Lone Tree Symphony Orchestra, or the Denver Concert Band that all received funding here in Douglas County. Perhaps the most tangible benefit you feel of the SCFD's impact these last 27 years of funding is in our large regional cultural institutions. If you’ve ever been to the Denver Zoo, Denver Museum of Nature and Science, Denver Art Museum, Denver Botanic Gardens, or the Denver Center for the Performing Arts, you’ve benefited from SCFD. In addition to the free days SCFD allows for these organizations to provide, SCFD shores up critical core support for these touchstones of our community. To paraphrase Lone Tree Mayor Jim Gunning, these Tier I organizations are like Denver International Airport; regional assets which are completely critical to ensuring the whole Denver Metro area thrives. While smaller airports (and arts organizations) provide much more focused services, they cannot alone meet the needs of our vibrant landscape. Last year alone, the five Tier I organizations served over 1.2 million people from Douglas and Arapahoe Counties. It is impossible to quantify the economic and cultural impact these organizations have had on our region and that is all possible thanks to SCFD. We would not be the cultural hub we are today were it not for this revolutionary idea to give critical funding to arts and cultural organizations. The SCFD is a voter-approved one cent on every $10 sales and use tax in the seven-county District. Counties comprising the Scientific and Cultural Facilities District include Adams, Arapahoe, Boulder, Broomfield, Denver, Douglas (except for Castle Rock and Larkspur) and Jefferson. The SCFD will be up for reauthorization in the 2016 election.
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Donor Profiles
The Explorers Club, 2015
Park Meadows Park Meadows, “Colorado’s Only Retail Resort,” applauds the Lone Tree Arts Center’s fifth season of bringing art to south Denver and Lone Tree. Park Meadows shares your interest and love for art and culture as a proud sponsor of the Lone Tree Arts Center. We invite you to view our extensive collection of art on display by Colorado artists. Park Meadows boasts over $1 million in commissioned art located throughout the shopping center and shares the artistic touches in the architecture of the center.
FUNDRAISING LEADERSHIP COUNCIL
Park Meadows is the perfect destination for your fashion needs and committed to providing delectable dining choices in a beautiful resort setting. Enjoy a variety of restaurant options with a comprehensive selection of menus and patio seating with spectacular mountain views from any of our restaurants. Dining choices include Colorado’s only Perry’s Steakhouse, Seasons 52, Lyfe Kitchen, Grimaldi’s Pizzeria and White Chocolate Grill, along with other delectable choices like The Cheesecake Factory, P.F. Changs, Earls, Brio Tuscan Grille, La Sandia, Yard House, Thai Basil, Red Robin, and California Pizza Kitchen.
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As Colorado’s largest enclosed regional shopping center, Park Meadows features a collection of over 185 of the nation’s top retailers in the Rocky Mountain Region. Park Meadows favorites include the largest Nordstrom in a five-state area, Dillard’s, Macy’s, Michael Kors, Coach, Sundance, Francesca’s, Athleta, and Rosey’s by Diane. There is something for everyone with specialty stores such as Lolli & Pops, Godiva, The Colorado Store, and Oil & Vinegar. Park Meadows is conveniently located at I-25 and C-470. Please visit our website at www.parkmeadows.com for store information and upcoming events.
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Donor Profiles Century Communities Founded in 2002, Colorado-based Century Communities is a builder of single-family homes, townhomes and flats in select major metropolitan markets in Colorado, Georgia, Nevada, and Texas. Available homes range in both prices, as well as size. Century Communities neighborhoods offer all styles of living. Some communities offer a calm and quiet environment, while other communities offer a busy, upbeat, urban or suburban atmosphere. Century Communities places a heavy emphasis on building in the most coveted locations with an abundance of nearby amenities including dining and entertainment, golf courses, fitness centers, pools and parks. The company offers a wide variety of product lines and is engaged in all aspects of homebuilding, including the acquisition, entitlement and development of land and the construction, marketing and sale of homes. Century Communities is one of the top 50 homebuilders in the United States and one of the five fastest growing homebuilders by total revenue. To learn more about Century Communities, please visit www.centurycommunities.com.
Martin Fein Interests, Ltd. Martin Fein Interests, Ltd. (MFI) is a real estate investment company established in 1989 whose business is the acquisition and development of income producing real estate, primarily multi-family apartment communities. Acquisition and development activities are executed through various partnerships or joint ventures with institutional partners. The Company concentrates on prime locations in major cities in Texas and other Sunbelt states where local economies have enjoyed consistent strong growth. A thorough in-depth market study of the specific local economy and development location is conducted prior to the initiation of any new investment. The Company’s philosophy is to carefully balance the returns from its development decisions against downside risk.
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PARTNERS & SUPPORTERS This list includes donors to the Lone Tree Arts Center from October 1, 2014 to September 30, 2015. If we have inadvertently omitted your name, please contact us at 720-509-1009 so that we can correct our listings.
Thank you for your support!
$20,000+
• Scientific and Cultural Facilities District
$10,000-$19,999 • Andrews Winslow Foundation • Bellco Credit Union • Century Communities, Inc. • Charles Schwab • Colorado Creative Industries • Lone Tree Arts Center Guild
• Scott Leonhart and Maggie Eichenlaub • Martin Fein Interests, Ltd.
• Park Meadows Business Improvement District • Sky Ridge Medical Center • Wilks Broadcasting • Betty A. and Don E. Winslow
• = core support • = children support • = programming support • = corporate circle support • = senior support • = sensory friendly support Doktor Kaboom
Big River, 2014
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LONE TREE ARTS CENTER
PARTNERS & SUPPORTERS $5,000-$9,999
• Paul and Susan Squyer • Wells Fargo Foundation
• Berkeley Homes and Harvard Communities • Linda Bjelland • CliftonLarsonAllen LLP • D.A. Davidson Fixed Income Capital Markets • The Denver Foundation - Arts Affinity Group • Developmental Pathways • HEI Civil • Janet and Joel Kaufman • MorningStar Senior Living • Ralph and Trish Nagel • New Town Builders • RidgeGate
• Western States Arts Federation (WESTAF)
$2,500-$4,999
$250-$499
• Douglas County Developmental Disabilities Mill Levy Grant
• Michael R. Harris and Charlotte Min-Harris • Peter and Virginia Loeffler • McGeady Sisneros • Merrick & Company • The Tappan Foundation
$1,000-$2,499 • Carol and Bob Adelstein • Anonymous • FirstBank • Sheryl and Andy Gurrentz • Rod and Marilyn Nielsen • Betsy Schutte
$500-$999 • Banko Family Fund
(A Donor Advised Fund of The Denver Foundation)
• Wes and Terry Colburn
• Seth and Sara Hoffman and Family • Sheila and Paul Shepherd • Charles and Brenda Vitaska • Whole Foods Market • James and Barbara Wightman • Harold and Ada Anderson • Anonymous • Dr. Delfina Ashley-Baisden • Jim and Tabby Briggs • Marilyn and George Dockery • Judy K. Hall • Jim Harvey and Bob Greene • Dennis and Margaret Holman
• Norman C. and Florence R. Miller • Hurley and Claire Mitchell • Leslie and Jeff Modesitt • Lisa Rigsby Peterson • Robin and Chris Scurto • Richard J. and Gayle M. Spelts • Ken Waugh
• M.J. “Mel” and Virginia Semrad
www.LoneTreeArtsCenter.org
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PARTNERS & SUPPORTERS $100-$249 • Barry Blackman • Thomas Butler • Vincent Calarco
• Shirley and Roland Calhoun
• Linda and Fernando Castaneda • Katy Dole • Philip Eves • Theora Favre • Don and Audrey Fisher • Janet Hanna • Don and Susan Hicks • Vic and Lydia Jacobs • Dr. Weston Johnson • Betty W. Kelley • Michelle Konishi • Tom and Doris Larson • Bruce and Mary Lou Laubach • Kim Laudenslager • Mary M. Mathews
• Alicia McCommons and Craig Johnson • Becky Narlinger • Hannelore Rimlinger • Carolyn Samuels • Keith and Victoria Simon • Susan and Bill Smith
• Melvin Stolzenburg and Rosemarie Martinez • Roland and Debra Stubblefield • In Memory of Lee VanRamshorst • Leon and Alla Veremeychik • Rita Walensa • Clarence and Eva Williams 36
LONE TREE ARTS CENTER
303.799.3661 10047 park meadows drive lone tree, co 80124
on park meadows drive across from the university of phoenix
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Theater Trivia
How do stage directions work? a) Right and left are based off of the actors’ perspective b) Right and left are based off of the perspective of the audience
What is a ballyhoo?
c) Right and left vary, depending on where you are working
a) A type of fish
d) Right and left are physical instructions for the actors that are written into the script
c) A rock band
ANSWER: c) The director of a play typically faces
the actors as scenes are being rehearsed, as the audience will. As you might imagine, without a clear understanding of terminology, this could lead to a great deal of confusion regarding physical movements when staging a show. In the US we use the most common terminology: “stage left” and “stage right” refer to the perspective of the performers. If we are talking about audience perspective, we use the terms “house left” and “house right.” However, there are some differences internationally. In the UK, directions are still given from the actors’ perspective, but they are referred to as “prompt” (stage left) and “off-prompt” (stage right). In Germany, the directions are reversed, and are referred to from the perspective of the audience. In film, directions are actually from the point of view of the camera—“camera left” and “camera right.” "Stage directions” can also refer to instructions written into the script itself, as the playwright suggests what physical actions should be happening onstage. One of the more infamous stage directions is Shakespeare’s “Exit, pursued by a bear,” from The Winter’s Tale.
Where in the theater do we find the fly gallery? a) At the ceiling, directly over the stage b) At the ceiling, directly over the audience c) It is another name for the control booth d) Offstage, near the rigging system
ANSWER: d) The fly gallery is an area in the
offstage wings of the stage, and typically at or near the height of the proscenium opening. It is generally accessible by a catwalk, and from here, the stage crew can operate the rigging system.
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At LTAC, we operate our fly system from ground level. However, our fly galleries are used when we need to run cable for the lighting or sound systems from above the stage, or when we are rigging particularly tricky scenery.
LONE TREE ARTS CENTER
b) A movement made by followspot operators d) A loud clamor or outcry
ANSWER: All of the above. But of course in this case we are referring to b). Ballyhoo is the term used for followspot operators moving their spotlight in a figure-eight pattern. Most often, you see this move performed by a pair of followspot operators moving their lights in opposite and overlapping directions. It is a classic move that is often used at the beginning of shows or movies to increase excitement and anticipation.
What is blocking? a) Planning the staging and movements of the cast b) Dividing the script into smaller segments that are easier to rehearse c) Drawing a scaled floor plan of the set d) Building a rough model of the set out of simplified elements
ANSWER: a) The term “blocking” was developed
by Sir W.S. Gilbert (of the famed duo Gilbert and Sullivan), who planned out scenes prior to rehearsal by using tiny blocks to represent each actor. During a blocking rehearsal, the movements of the performers are precisely worked out with the director. Telling the story and conveying the emotions of the scene are obviously primary goals, but other factors must be considered, such as whether or not the audience can see the actors, how the actors will get on and off the stage, where scenery will be located, how the scene needs to be lit, etc. Blocking is a true collaborative effort—it is important that it works for all, and remains consistent for each performance, as so many other elements of the show are designed around it.
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