Applause Magazine, Jan. 26-31, 2016

APPLAUSEVOLUME XXVII | NUMBER 5 | JAN - MAR 2016

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DIRTY DANCING — THE CLASSIC

STORY ON STAGEAlso Playing:

The Wizard of OzAll the Way

A Gentleman’s Guide to Love & Murder FADE

The Nest

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p16

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4 denvercenter.org

IWhere The Wild Thoughts Are

It’s a little too late to say “Happy New Year,” so I’ll just welcome you to the second half of our 2015/16 theatre season. Although the ball has dropped and we’ve all moved on, every new calendar is like a blank slate. What did I learn from the last year? Can I dream a little bigger this year? These are all probably questions we should ask ourselves more than once a year. But who’s counting? Our city has been dreaming bigger lately. Recently, Mayor Hancock asked for a pie-in-the-sky vision of what the Denver Performing Arts Complex could be. (Reminder: the City of Denver manages the physical Complex and we, the Denver Center for the Performing Arts, present and produce the live theatre within it.) The mayor wanted to look past the current and short-term challenges the Complex faces and just dream. Not to dismiss today’s challenges but to reconsider the Complex’s place in our shared history — and in our shared future. So Denver’s Arts & Venues, in partnership with other city agencies and the community, launched a master planning process to generate a vision and plan for the 12-acre campus. Experts in the arts, urban planning and development have been working together ever since to imagine the “Next Stage” for the Complex. See the progress for yourself at artsandvenues.com/nextstage. Imagine a multi-level parking structure beneath the Complex and the current garage replaced with a completely new music hall. Imagine a School for the Arts on campus, where the next generation of artists and professionals can train and perform. Imagine a renewed galleria lined with stores and restaurants to make it feel as dynamic as any downtown street. Imagine a Bike House. To find out what that is, you’ll have to visit the link above. Along with the Mayor and the executive leadership team, I invite you to offer your ideas for the Complex. What’s important to you and your family in a cultural facility? What amenities and/or activities would you enjoy before and after a show? As the theatre organization with a lot riding on the success of the Complex, we have opinions. But you’re the reason we do what we do. So go wild and dream a little bigger about what’s all around you. We’re listening.

Let us know your thoughts at denvercenter.org/sightline.

SCOTT SHILLERPresident and CEO

SIGHTLINEB Y S C O T T S H I L L E R

LETTERS TO THE CEOIn Applause No. 3, DCPA President & CEO Scott Shiller asked where, in this era of dwindling legitimate news, do you seek out arts coverage? He also questioned which means more, the review of a professional critic or a friend? Excerpts from your responses follow. To read all of the comments, please visit denvercenter.org/news-center.

The first problem is figuring out what’s on. Thank you John [Moore, Senior Arts Jour-nalist for the DCPA’s online News Center], for your recent efforts!… News? Once I know what is playing (or coming), what I need to decide is if I want to see it or not. Tell me why I might like it, or not. What did you, the reviewer or journalist, like about it, or not? From your previous writing/publications, I will know to what extent I am in sync with your opinions on different aspects of a theatrical production. A detailed plot summary, no matter how well written, is worthless; I can Google that. — Don F.

I love that you are addressing this topic! I’m a local blogger and Facebooker (Go Go Family) who loves to help promote the theatre to families and adults in the Little-ton/Denver area. I tend to look to my fellow bloggers, colleagues, family and friends for their opinion on shows. I also trust the opin-ions of known theatre lovers...John Moore, Eden Lane, Heidi Bosk and Hope Grandon. — Christen R.

I read critic reviews to assist with my decisions regarding which events to attend. I have a handful of friends whose opinions I respect.…I’m glad to get occasional [Face-book] notices if/when I look at FB. — Cindy

I am a resident of Omaha, Nebraska.... I’m afraid that there is such an emphasis in the news, today, about horrible news items and dragging-on political campaigns, that there is little or no coverage given to the arts. All I can do or say is that I will continue to keep DCPA in my thoughts and hope for the best — and for a resurgence of a quest for music and acting. — Pat J.

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ESUPPORT USWITH A SLICEEven a pizza can help support your local theatre community. From now through July 31, 2016, a portion of your purchase at Grimaldi’s Coal Brick-Oven Pizzeria will be donated to the Denver Center for the Performing Arts (DCPA).

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6 denvercenter.org

BOARD OF TRUSTEESDaniel L. Ritchie,

ChairmanWilliam Dean Singleton,

Sec’y/TreasurerRobert Slosky,

First Vice Chair Margot Gilbert Frank,

Second Vice ChairDr. Patricia Baca Joy S. BurnsIsabelle ClarkNavin DimondL. Roger Hutson Mary Pat Link Robert C. NewmanHassan SalemRichard M. Sapkin Martin SempleTara Smith Jim SteinbergKen TuchmanTina WallsLester L. WardDr. Reginald L. WashingtonJudi WolfSylvia Young

HONORARY MEMBERSJeannie Fuller M. Ann PadillaCleo Parker Robinson

HELEN G. BONFILSFOUNDATION BOARD OF TRUSTEESLester L. Ward,

PresidentMartin Semple,

Vice President/ President-Elect

Judi Wolf, Sec’y/Treasurer

Daniel L. RitchieWilliam Dean SingletonRobert SloskyJim SteinbergDr. Reginald L. Washington

EXECUTIVE MANAGEMENT Scott Shiller,

President & CEOClay Courter,

Vice President, Facilities & Event Services

John Ekeberg, Executive Director, Broadway

Vicky Miles, Chief Financial Officer

Jennifer Nealson, Chief Marketing Officer

Kent Thompson, Producing Artistic Director, Theatre Company

Charles Varin, Managing Director, Theatre Company

David Zupancic, Director of Development

APPLAUSEM A G A Z I N E

VOLUME XXVI I | NUMBER 5 | JAN – MAR 2016

EDITOR: Suzanne YoeCREATIVE DIRECTOR: Rob Silk

ASSOCIATE EDITOR: John MooreSENIOR ART DIRECTOR: Adam Obendorf

ART DIRECTOR: Kyle Malone DESIGNERS: Kim Conner, Brenda Elliott

Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with

The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is

prohibited. Call 303.893.4000 regarding editorial content.

303.893.4000 | denvercenter.org Denver Center for the Performing Arts is a not-for-profit organization dedicated to creating unforgettable shared

experiences through Broadway musicals, world-class plays, educational programs and inspired events.



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THE WIZARD OF OZ • FEB 7 – 13 • BUELL THEATRE

ASL interpreted, Audio described & Open Captioned performance: Feb 13, 2pmTickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4829

TThe Wizard of Oz is one of the most recognizable icons of North American culture. It has been interpreted, reinterpreted, parodied, plagiarized and performed across every medium. Its latest incarnation, Andrew Lloyd Webber’s creation, comes to the Denver Center for the Performing Arts in February, so we thought it appropriate to follow the long and winding road that takes us from L. Frank Baum’s canon to the present. We’re definitely not in Kansas anymore.

THE ROADTO OZ

1900L. Frank Baum

writes an original American fairytale

— The Wonderful Wizard of Oz.

1902The first musical adaptation premieres in Chicago and then moves to Broadway in 1903.

1908Dorothy

makes her first appearance on

the silver screen in The Fairylogue and Radio-Plays,

Baum’s first attempt to create

a cinematic version of his Oz books. He goes

bankrupt.

1910A silent film based partly on the 1902 stage musical and directed by Otis Turner is released.

1925Another silent

film makes its debut and

credits L. Frank Baum Jr. as the

screenwriter.1939The MGM classic starring Judy Garland is released.

1942The 1939 film is adapted into a stage musical.

1974The animated film Journey Back to Oz is released as the official sequel to the 1939 classic.

1975The Tony Award-winning

The Wiz puts Oz in the context of African-

American culture. It is remade as a movie in 1978 starring Michael

Jackson and Diana Ross. A new adaptation is

aired live on national TV in 2015.

1976Oz is an Australian reimagining of the classic film transferred to hard-rocking 1970s Australia.

1985Return to Oz is Disney’s unofficial sequel to the classic; it incorporates many characters from Baum’s sequels.

1986A full anime adaptation of Baum’s books called The Wonderful Wizard of Oz is created featuring 52 episodes.

1987The Wizard

of A.I.D.S. is an adaptation

used as an educational play

about AIDS.

1987-89The 1939 film is

adapted for stage again, this time

for the Royal Shakespeare

Company. It is truer to the screenplay

than the adaptation from the ’40s.

1995The Wizard of Oz in Concert: Dreams Come True is a star-studded benefit concert at New York’s Lincoln Center.

1995Gregory

Maguire’s novel Wicked

reimagines the story of the

Wicked Witch of the West. 2003

Maguire’s novel is adapted into a Tony Award-winning Broadway smash hit musical.

2005The Muppets’ Wizard of Oz premieres at

the Tribeca Film Festival.

2007The Sci Fi Channel

released a mini-series called

The Tin Man — a reimagined science

fiction version of Dorothy’s tale.

2010Scott Stanford’s novel Dorothy: The Darker Side of Oz is a modern retelling of Baum’s original story.

2011Oz — The

Wonderful Wizard is a full-length

ballet by the Staatsballett

Berlin.

2012Andrew Lloyd Webber’s new stage production takes the stage before going on tour.

2013The animated film Dorothy of Oz hits the big screen.

2013Oz: The Great and

Powerful, a film about the Wizard’s

arrival in Oz is released starring

James Franco.

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When playwright Robert Schenkkan accepted the Best Play award for All the Way at the 2014 Tonys®, he reminded the American Theatre Wing that it had taken its time coming across with a Tony for his work. It was 1994 when his six-hour The Kentucky Cycle won the 1992 Pulitzer Prize for Drama — a first time in Pulitzer history that a play not first presented in New York City was selected. Cycle, which takes aim at the unvarnished brutality in two centuries of American mythology, was nominated for Best Play when it hit Broadway. Didn’t win. Twenty years later, Schenkkan dipped into history again with All the Way, a semi-fictional construct of Lyndon Johnson’s chaotic first year in office following the Kennedy assassination. He’s facing the growing Vietnam War, maneuvering for passage of the civil rights bill, while working to win election to his first full term in office. Commissioned by, and first produced at the Oregon Shakespeare Festival (OSF), the play hit Broadway. That this political drama won the Tony for Best Play was surprising. That it recouped its initial investment, breaking records for selling more dollars-worth of tickets than any other straight play in Broadway history, is astonishing. Applause talked with Schenkkan during the HBO filming of his adaptation of All the Way coming in May.

Applause: American politics and history attract you. Why? Robert Schenkkan: I grew up in the South, where history and the past are very present, with politically active parents who were interested in the life of the mind and who read extensively. So I did as well. I’ve always found history provocative and deeply pleasurable. It continues to resonate, to affect us. It has been consciously politicized in this country so it’s about who gets to tell the story. Look at the Civil War. There are textbooks out there — textbooks — that mention slavery almost in passing, and many people resent the notion that the Civil War was about slavery.

Not from their family’s point of view. That simply isn’t true. When I wrote Kentucky Cycle, one of the things I touched on, in terms of western expansion, was that the past didn’t matter. You could leave it behind. Re-invent yourself. Part of the point of themes I was working on was how liberating and energizing that concept is — and how damaging.

Still true? Yes. But opportunities for that are less true. There’s less upward mobility. At the turn of the 20th century, wealth was amassed by a very small group. We are again seeing a consolidation of wealth and power in such a small number of people that the middle class stagnates. We need to turn our ship around. The optimistic view is we’re in that process. Hard to tell sometimes.

What made you pick LBJ and civil rights? I grew up in Austin — Johnson’s turf. My father knew Johnson in a limited but critical way. He was a pioneer in public television and radio, hired by the University of Texas to create and manage the first public TV and radio station in the Southwest. Job One was to go to then-Senator Johnson and get his donation, because said station would compete directly with Johnson’s media empire. Johnson went on to sign the bill that created the Corporation for Public Broadcasting. So he was on my radar.

How much time did you spend on actual events to get the story right, and how much setting them aside, to write a real play? I worked on All the Way, commissioned by Oregon — and the other LBJ play, The Great Society, commissioned by Seattle Rep — on and off for seven years. I would meet people who introduced me to other people.… There was so much material that it became about “What’s the story? What can I really use? How do I tell this…?”

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POLITICAL BRINKMANSHIPLYNDON BAINES JOHNSON MEETS ROBERT SCHENKKAN AND SPARKS FLYB Y S Y LV I E D R A K E

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What about actors who are not lookalikes playing familiar politicians? I’ve always resisted this notion of, oh, everybody has to look exactly like the character they’re playing. It’s a trap. It treats the experience like docudrama. It’s not; it’s a play — a carefully selected and translated theatrical vision of history that I’ve taken over. Not everything on stage happens exactly the way it happened in life.

But doesn’t that then demand an extra suspension of disbelief? Yes. I’ve been emphatic that actors not go to YouTube to try to capture that actual image. This was especially true for LBJ, because he was a terrible public speaker. Boring. But not in life. Everyone who knew him described him as incredibly charismatic and wildly entertaining. At a party he was funny and profane. The public speaking thing was due to his sense of inadequacy. He didn’t go to Harvard like Jack Kennedy so, when he became president, he developed a speaking style he thought was presidential. It drove his family crazy. I told the actors that’s not the LBJ we want. We gave them accents, dressed [them] in period clothes, as we remember them.

These were improvements to help the audience with regional differences. No one was going to imitate anyone. Political plays have other pitfalls. How did you avoid them? Politics is based in human struggle. I focus on [that] story. I’m interested — especially in All the Way — in what it takes to make progress, get something done, even something [that’s] arguably a good thing. It comes at a price. People who intend to do good must often question their means.

And motives? Johnson’s motives, particularly when it came to civil rights, were genuine. This was not necessarily the right liberal thing to do in 1964. It could have gone very badly. The means employed were not pleasant. As the play progresses, the focus increasingly becomes the election, and the audience [sees] Johnson using tactics he used to pass civil rights — for which we mostly cheer him — simply to get elected. He’s playing on the cutting edge of the moral quandary. I find that fascinating.

For the full interview, visit denvercenter.org/news-center.

Sylvie Drake was Director of Media Relations and Publications for the Denver Center for the Performing Arts, 1994 – 2014. She is a former theatre critic and columnist for the Los Angeles Times and a regular contributor to culturalweekly.com.

ALL THE WAYJAN 29 – FEB 28 • STAGE THEATRE ASL interpreted & Audio described performance: Feb 21, 1:30pmTickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4820

When history looks back on male politicians, their fashion sense is usually overlooked. But for many women in politics, their clothes played a large role in earning respect and conveying their ideas. In Power Dressing: First Ladies, Women Politicians & Fashion, fashion writer Robb Young explores the choices behind the world’s female leaders:• Queen Hatshepsut, Egypt’s first female pharaoh in 1479 B.C., proved she was entitled

to rule as a pharaoh by dressing like one. She sat on her throne bare-chested and wore a man’s kilt, false metal beard and a headdress adorned with cobras.

• Queen Elizabeth’s opulent dresses and jewelry illustrated her kingdom’s wealth. The style made her look imposing and invincible to those who wished to oust her.

• Once American women were allowed to vote and serve in office, their outfits were considered distracting. When Rep. Katherine Langley (KY) wore a blue and red dress in 1920, a reporter commented, “She offends the squeamish by her unstinted display of gypsy colors on the floor.”

• Former Prime Minister of India Indira Gandhi used her sari to communicate nationalism and seriousness. Gandhi’s saris were made out of khadi, a fabric woven by Indians to oppose British rule and display their economic empowerment.

• British Prime Minister Margaret Thatcher would intimidate naysayers by slamming her Ferragamo handbag onto the table to show she meant business.

Explore the fashion sense of LBJ and his contemporaries in All the Way, playing The Stage Theatre January 29 – February 28.

COSTUME COLUMN

Lady Bird JohnsonPhoto composite for All The Way

Compiled By David Kay Mickelsen

“ There was so much material that it became about ‘What’s the story? What can I really use? How do I tell this…?’”

— ROBERT SCHENKKAN, PLAYWRIGHT

While her fashion did not scream “power house,” Lady Bird Johnson had a classic, chic fashion sense that often paired tailored styles with trendy accessories.

12 denvercenter.org

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What do a polar bear, a tax and student achievement have in common? The Scientific & Cultural Facilities District (SCFD), a voter-approved one penny on $10 sales tax. Each year nearly $52 million is collected in the seven-county metro area to ensure access to nearly 300 arts, science and cultural organizations. Often called the “Polar Bear Tax,” this national model for public arts funding not only supports standard programming, it also provides funds for educational opportunities. In fact, more than 4.25 million students are served each year by programs made possible by citizen support of the SCFD. Here at the DCPA, SCFD support helped us reach more than 83,000 students last year through classes, fieldtrips, residencies and audience opportunities. Examples include:• Student Matinees –

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1. SATURDAY NIGHT ALIVE attracted a new participant — RK Foundation contributed $10,000 to the March 5 fundraiser, which benefits DCPA Education and our Student Matinee program.

2. DCPA THEATRE COMPANY welcomed Mayor Michael Hancock who helped Tiny Tim trim the tree at a press conference to kick off Visit Denver’s Mile High Holidays.

3 & 4. DCPA EDUCATION and The Denver Actors Fund were beneficiaries of our Holiday Cabaret, a one-night-only fundraiser featuring cast members from Disney’s The Lion King, A Christmas Carol, Murder for Two and The SantaLand Diaries. Local director Christy Montour-Larson (center) enjoyed the evening with A Christmas Carol cast members Courtney Capek and Jake Williamson.

5. DCPA BROADWAY asked Kevin Massey (A Gentleman’s Guide to Love & Murder) to sing the national anthem at the Broncos-Patriots game.

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IN THE SPOTLIGHT

Denver Center for the Performing Arts’

biggest stars step into the spotlight — actors, designers, students and you.

UPCOMING SHOWSMurder for Two Now – Feb 21

The Nest Now – Feb 21

Dirty Dancing — The Classic Story On Stage Jan 26 – 31

All the Way Jan 29 – Feb 28

FADE Feb 5 – Mar 13

The Wizard of Oz Feb 7 – 13

Cult Following: Secrets & Confessions Feb 12 & 13

A Gentleman’s Guide to Love & Murder Feb 16 – 28

Riverdance — The 20th Anniversary World Tour Mar 8 – 13

How I Got Over: Journeys in Verse Mar 18, 19, 25 & 26

Disney’s Newsies Mar 23 – Apr 9

Dixie’s Never Wear a Tube Top While Riding a Mechanical Bull... Mar 30 – Apr 24

Sweeney Todd Apr 8 – May 15

Cult Following: Decide Your Destiny Apr 29 & Jun 4

Cult Following: Karaoke Broadway Musical Apr 30 & Jun 3

The Realish Housewives of Cherry Creek: A Parody May 3 – 22

once May 24 – 29

NETworks presents Disney’s Beauty and the Beast Jun 7 – 12

The Sound of Music Jun 21 – 26

Beautiful — The Carole King Musical Jul 19 – 31

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TToday’s Quiz: What’s A Gentleman’s Guide to Love & Murder?

(a) A directive on how to avoid commitment(b) An unserious evening of silly theatre(c) A multiple 2014 Tony Award-winner, including

Best Musical(d) A veiled tribute to Gilbert and Sullivan(e) A lesson in “offing” inconvenient heirs(f) An inspired rip-off of Agatha Christie meets the Marx

Brothers, with a whiff of Noel Coward. Set to music.

Take your pick. You’ll be right every time. But talk to the creative team that put this show together, and you’ll find the outcome wasn’t always so inclusive. It took 10 years to get this farcical thriller in shape and the man who helped most joined the venture at halftime. “Robert Freedman, who wrote the book for Gentleman’s Guide, saw my production of The Women at The Old Globe in San Diego,” volunteered Darko Tresnjak, Artistic Director of Hartford Stage and the directorial mastermind who scored his own Tony® Award for coming up with some of Gentleman’s Guide’s choicest silliness. “Something about The Women convinced Robert I was the guy for the job. Then I met Steve Lutvak who wrote the music and was co-lyricist, and we hit it off. It was four years leading to the production we mounted in Hartford — and a fifth year to get the show to Broadway.” Of course, there was more. Freedman and Lutvak, newbies to Broadway, avoided watching Kind Hearts and Coronets, the 1949 hit movie in which Alec Guinness played all eight heirs to an English fortune, each of whom meets an untimely death at the hands of the ninth, just for being, you know…in the way.

The film was based on the same 1907 Roy Horniman novel, Israel Rank: The Autobiography of a Criminal, and while the premise held plenty of promise, Freedman and Lutvak lacked rights to the movie and mined the novel instead. Tresnjak, who’d seen the movie in high school, also declined to watch it again, relying instead on his own sly sense of humor and instinct for the right casting. “I champion great comic actors,” he said. “They’re under-estimated. Grad schools don’t teach the craft. I was lucky. I directed Paxton Whitehead. I directed Dana Ivy. It’s like a science experiment to watch Paxton get the laugh and next night figure out how to subdivide the laugh and get three laughs out of the audience without pushing… “The older I get, the more it seems like comedy is the perfect response to the absurdity of the world. I wish there were Joe Ortons for our time. Satire is the perfect tool to deal with stupid politics. “One of the really appealing things about Gentleman’s Guide is its structure, the fact that you have to have a spectacular actor in the revolving-door roles, playing all eight of the aristocratic d’Ysquiths. Every murder’s a gift, because you know that actor’s got to come back in another role. I thought it was really naughty because, like, wow. Monty d’Ysquith kills his whole family and the show ends in a three-way [love affair]. I was like, cool! Sign me on. It’s a hand-in-the-cookie-jar kind of show.” Tresnjak, who’s staged a good deal of opera, fell in love with Lutvak’s offbeat score. “It’s not ‘American Idol.’ It’s hard to sing,” he said. “The two women’s roles are precise. There’s no back phrasing. You need crystalline soprano voices. That was a big part of it for me. “The moment when I knew it was going to work was the ending. It hadn’t been written when I came on board and

A GENTLEMAN’S GUIDE TO… WHAT? LOGIC? NOT FOR DIRECTORDARKO TRESNJAK. JUST GIVEHIM THEATRICAL LOGIC.B Y S Y LV I E D R A K E

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there was a logistical problem. What happens when you kill the star? When the last victim bites the dust? Umm. You find…a ninth relative! Robert and Steven were, What…? “I don’t want to give it away, but there’s a janitor who works in the jail. They let me add that. At that point I knew the show was going to be playful. The best thing was we took huge liberties. Some ideas came from the book, but the more we made up our own, the better it got.

“The best moment came when we had to redo one of the murders. [We tried] a car going over the cliff, then a plunge off a Ferris wheel. Didn’t work. I was listening. It was like…the famous skating waltz. I said, ‘start skating…’ ” That time it worked. “Over lunch that day, Robert and Steven were passing napkins to each other, rewriting lyrics. Kept the tune, changed the words. Then they showed me: As I’m cutting, I am contemplating / And the truth is it’s a tad exhilarating, / With the rhythm of a violinist / I’ll be sawing where I think the ice is thinnest. “Now that is talent,” said Tresnjak, “and it’s buried. But it’s the most sophisticated lyric in the entire show. Steve and Robert write lyrics together. Not one fake rhyme. No cheating. They’re completely rigorous. “You have to believe in a musical,” he summarized, “because nothing takes as much [effort]. I didn’t work on the show all of the time. I directed 20 productions during those five years. But this was really fun.” John Rapson plays the eight victims to Kevin Massey’s Monty. Both men were in the Broadway company. “After directing 25 Shakespeare plays I also can say Shakespeare’s plays are not good. Great, but not good. Who cares? It’s theatrical logic. In Merchant of Venice months seem to be passing in Venice, but in Belmont, it’s the next day. So what? “It’s theatrical logic.” So, you’re about to discover, is Gentleman’s Guide.

For the full interview, visit denvercenter.org/news-center.

Sylvie Drake served as Director of Media Relations and Publications for the Denver Center for the Performing Arts, 1994 – 2014. She is a former theatre critic and columnist for the Los Angeles Times and a regular contributor to culturalweekly.com.

A GENTLEMAN’S GUIDE TO LOVE & MURDERFEB 16 – 28 • BUELL THEATREASL interpreted, Audio described & Open Captioned performance: Feb 28, 2pmTickets: 303.893.4100 denvercenter.org Groups: 303.446.4820

17

COMING UP FROM BROADWAY:DISNEY’S NEWSIESLong before it was fictionalized for stage and film, the newsboys’ strike of 1899 was a very real struggle for America’s young working class. Here’s the true story of what it was like to be a newsboy at the turn of the century: • Newsies were not employees of the

newspapers, but instead purchased the papers from the publishers and sold them independently, earning around 30 cents a day.

• The newsboys’ strike of 1899 was incited by news coverage of the Spanish-American War. As consumers relied on their papers to stay up to date, publishers increased the price of newspaper bundles by 10 cents. While most publishers lowered the prices after the war, The Evening World (owned by Joseph Pulitzer) and the New York Evening Journal (owned by William Ran-dolph Hearst) were notable exceptions.

• In July of 1899, thousands of newsies refused to distribute Pulitzer and Hearst’s papers. They blocked the Brooklyn Bridge with demonstrations and asked the public to boycott the publications.

• Competing newspapers used the strike as an opportunity to lambast the larger papers and covered the strikes by high-lighting the colorful characters like Kid Blink, Little Mickey and Crutch Morris.

• The strike ended with a compromise. The two publishers offered the boys 100% return rights on the papers they didn’t sell, but didn’t lower the prices of the bundles. While the Newsboy Union’s Strike Committee did not agree to the compromise, the newsboys themselves jumped on the opportunity and went back to work.

Get your paper and get your ticket to Disney’s Newsies, playing The Buell Theatre March 23 – April 9.

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Right: National Touring Company. Adrienne Eller as Phoebe D’Ysquith and Kevin Massey as Monty Navarro. Photo credit: Joan Marcus.

“ The moment when I knew it was going to work was the ending. It hadn’t been written when I came on board and there was a logistical problem. What happens when you kill the star? When the last victim bites the dust? Umm…” — DARKO TRESNJAK, DIRECTOR

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IIn August 1987, every teenage girl in America had a crush on the same actor — Patrick Swayze. His portrayal of Johnny Castle in the hit film Dirty Dancing catapulted him to superstardom. Johnny was from the wrong side of the tracks, but he had a heart of gold (and, let’s face it, he could move). Enter Frances “Baby” Houseman, on vacation with her overprotective parents and annoying older sister at Kellerman’s, a lavish vacation resort. “That was the summer of 1963. When everybody called me ‘Baby’ and it didn’t occur to me to mind. That was before President Kennedy got shot, before the Beatles came, when I couldn’t wait to join the Peace Corps and I thought I’d never find a guy as great as my dad. That was the summer we went to Kellerman’s,” says Baby at the opening of the movie-turned-stage musical. Introduce one idealistic, sheltered teenager to an older, experienced dance instructor and you’ve got the sizzle of fireworks that tests loyalty, questions worthiness and sparks passion in audiences across the nation. There’s just something about the story that doesn’t quite go away. In fact, ABC announced on December 8 that it will film a three-hour adaptation of the movie for network broadcast starring Abigail Breslin. Perhaps it’s the “diamond in the rough” story of Johnny or the “coming-of-age” plot of Baby. Or it may be that soundtrack. Winner

of a Golden Globe, Academy Award and Grammy, the soundtrack has sold more than 44 million copies and, in addition to number one hits from the 1960’s, includes such songs as “(I’ve Had) The Time of My Life,” “Hungry Eyes” and “She’s Like the Wind.” In fact the music served as the backbone of the original script development. Scriptwriter Eleanor Bergstein selected the songs she wanted to use and then wrote the story against them. She wanted the music to function as the soundtrack of the story and of the characters’ hearts. It may be nearly 30 years later, but we’re all sure to await that singular moment at the end of the musical when Baby flies atop Johnny’s arms, asserting her love, her loyalty and her independence. We’re all sure to have the time of our life.

DIRTY DANCING — THE CLASSIC STORY ON STAGEJAN 26 – 31 • BUELL THEATRE

ASL interpreted, Audio described & Open Captioned performance: Jan 30, 2pmTickets: 303.893.4100denvercenter.orgGroups: 303.446.4829

DIRTY DANCING THE TIME OF YOUR LIFE

On April 20, 1994, dancers Jean Butler and Michael Flatley performed with their troupe at the Eurovision Song Contest, introducing millions of viewers to their fresh take on traditional Irish dancing. Less than a year later, Riverdance was adapted into a full stage show. Now in its 20th year, Riverdance has…• Played 11,000 performances• Been seen live by more than 25 million people in over

467 venues worldwide, throughout 46 countries across 6 continents

• Travelled 700,000 miles

• Played to a global television audience of 3 billion people

• Sold more than 3 million copies of the Grammy Award-winning CD

• Sold 10 million Riverdance videos & DVDs

• Won a Grammy for Best Musical Show Album

See the energy, sensuality and spectacle of Riverdance — The 20th Anniversary World Tour returning to The Buell Theatre March 8 – 13.

COMING UP FROM BROADWAY: RIVERDANCE

Christopher Tierney (Johnny), Jenny Winton (Penny) and the company of the North American tour of Dirty Dancing – The Classic Story On Stage. Photo by Matthew Murphy.

A scene from Riverdance

© Riverdance. Photo by Jack-Hartin.

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20 denvercenter.org

Featuring an evening withKELLI O’HARA & BRIAN D’ARCY JAMES

Two of Broadway’s brightest stars, Kelli O’Hara and Brian d’Arcy James, will delight Saturday Night Alive guests in the intimate Stage Theatre with an evening of their favorite songs. Kelli is a five-time Tony Award nominee who won the 2015 Tony Award as Best Actress in a Leading Role for The King and I and Brian is a three-time Tony Award nominee and current star of Something Rotten on Broadway.

DENVERCENTER.ORG/SNA 303.446.4812

March 5, 2016 • Seawell Grand BallroomPatron tickets start at $1,000 • Tables of ten start at $6,000

Cocktails • Silent Auction • Dinner • Dancing

BENEFITTING ARTS EDUCATION AT THE DENVER CENTER FOR THE PERFORMING ARTS

Major Sponsors: Murray BMW of Denver, United Airlines, Colorado Oil & Gas Industry, The Westin Denver Downtown, Alpine Bank, Always Best Care Senior Services, Colorado State Bank and Trust,

Epicurean Group, Keith & Kathie Finger, Polsinelli, Triptyk Studios, Tuchman Family Foundation

Help us light tomorrow’s stars at

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AMBER JACOBSEN, NETWORKS PRESENTATIONS LLC, GROVE ENTERTAINMENT, COL JOYEIN ASSOCIATION WITH LIONSGATE AND MAGIC HOUR PRODUCTIONS

JOHN ANTONY RACHEL MARIE BELL DANIELLE DINIZ JON DRAKE JOSH DRAKERASHAAN JAMES II JOSHUA KEITH KEVIN MYLREA KATELYN PROMINSKI AMY QUANBECK

ALANA RANDALL SEAN ROZANSKI ADRIENNE WALKER DEVAN WATRING

General ManagersGENTRY & ASSOCIATES

GREGORY VANDER PLOEG

Executive ProducerSETH WENIG

Production ManagersJASON JUENKER

LAURA DIELI

present

By

ELEANOR BERGSTEIN

Set DesignerSTEPHEN BRIMSON LEWIS

Lighting DesignerTIM MITCHELL

Costume DesignerJENNIFER IRWIN

Sound DesignerBOBBY AITKEN

Director

JAMES POWELL

CHRISTOPHER TIERNEY GILLIAN ABBOTT

with

DOUG CARPENTER JEROME HARMANN-HARDEMAN RYAN JESSE GARY LYNCH SCOTT McCREARY HERMAN PETRAS ALEX SCOLARI MARGOT WHITE MARK ELLIOT WILSON JENNY WINTON

Original Chroreography by

KATE CHAMPION

Choreography by

MICHELE LYNCH

Originally Produced by Jacobsen Entertainment, 18 November 2004, Theatre Royal, Sydney, Australia

Special Thanks to JIMMY IENNER

Video & Projection DesignerJON DRISCOLL

Hair DesignerBERNIE ARDIA

Ballroom & Latin ChoreographerCRAIG WILSON

Associate DirectorKASEY RT GRAHAM

Associate ChoreographerDAVID SCOTCHFORD

Associate Set DesignerCHRISTINE PETERS

Associate Lighting DesignerVIVIEN LEONE

Associate Costume DesignerDANA BURKART

Associate Sound DesignerSIMON KING

Associate Video DesignerEMILY HARDING

Production Stage ManagerJACK McLEOD

Tour BookingTHE ROAD COMPANY

Company ManagerJAMEY JENNINGS

Marketing DirectionANNE RIPPEY

CastingLAURA STANCZYK

CASTING

Music Supervisor and Orchestrations

CONRAD HELFRICH

Music CoordinatorJOHN MILLER

Music DirectorALAN J. PLADO

AND SEASON SPONSORS

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Frances “Baby” Houseman .................................................................................................GILLIAN ABBOTTElizabeth / Singer ............................................................................................................ADRIENNE WALKERDr. Jake Houseman.....................................................................................................MARK ELLIOT WILSONMarjorie Houseman..................................................................................................................MARGOT WHITELisa Houseman. ............................................................................................................................ALEX SCOLARIBilly Kostecki / Singer ......................................................................................................DOUG CARPENTERMax Kellerman .................................................................................................................................GARY LYNCHNeil Kellerman ...................................................................................................................................RYAN JESSEPenny Johnson. ......................................................................................................................... JENNY WINTONJohnny Castle ............................................................................................................ CHRISTOPHER TIERNEYMr. Schumacher ..................................................................................................................... HERMAN PETRASRobbie Gould ........................................................................................................................SCOTT McCREARYTito Suarez ................................................................................................JEROME HARMANN-HARDEMANVivian Pressman .............................................................................................................RACHEL MARIE BELLMoe Pressman ............................................................................................................................. JOHN ANTONY Ensemble ................................................... JOHN ANTONY, RACHEL MARIE BELL, DANIELLE DINIZ,

RASHAAN JAMES II, JOSHUA KEITH, KEVIN MYLREA, KATELYN PROMINSKI, SEAN ROZANSKI, ADRIENNE WALKER, DEVAN WATRING

SPECIALTIESThis Magic Moment Soloist ...........................................................................................ADRIENNE WALKERDo You Love Me? Soloist ......................................................................................................... JOHN ANTONYWe Shall Overcome Vocalists ....................................................KEVIN MYLREA, ADRIENNE WALKERSheldrake Emcee ........................................................................................................................ JOHN ANTONYDe Todo Un Poco Soloist ..........................................................................................................JOSHUA KEITH

SWINGSJON DRAKE, JOSH DRAKE, AMY QUANBECK, ALANA RANDALL

UNDERSTUDIESUnderstudies never substitute for the listed players unless

a specific posting or announcement is made at the time of the performance.

For Frances “Baby” Houseman: DANIELLE DINIZ, DEVAN WATRING; for Johnny Castle: JOSH DRAKE, KEVIN MYLREA; for Penny Johnson: KATELYN PROMINSKI, AMY QUANBECK; for Dr. Jake Houseman: JOHN ANTONY, GARY LYNCH; for Marjorie Houseman: RACHEL MARIE BELL, AMY QUANBECK; for Lisa Houseman: DANIELLE DINIZ, DEVAN WATRING; for Billy Kostecki/Singer: RYAN JESSE, SCOTT McCREARY; for Max Kellerman: JOHN ANTONY, HERMAN PETRAS; for Neil Kellerman: JOSH DRAKE, SCOTT McCREARY; for Tito Suarez: RASHAAN JAMES II, JOSHUA KEITH; for Mr. Schumacher: JOHN ANTONY; for Elizabeth/Singer: DANIELLE DINIZ, ALANA RANDALL; for Vivian Pressman: KATELYN PROMINSKI, AMY QUANBECK; for Robbie Gould: JOSH DRAKE, KEVIN MYLREA, SEAN ROZANSKI; for Moe Pressman: JOSH DRAKE; for “This Magic Moment” Soloist: DANIELLE DINIZ, ALANA RANDALL; for “Do You Love Me?” Soloist: JOSH DRAKE; for “We Shall Overcome” Vocalists: JOSH DRAKE, RASHAAN JAMES II, JOSHUA

KEITH, ALANA RANDALL; for Sheldrake Emcee: JOSH DRAKE; for “De Todo Un Poco” Soloist: JOSH DRAKE.

Dance Captain: AMY QUANBECKAssistant Dance Captain/Fight Captain: JOSH DRAKE

THERE WILL BE ONE 20-MINUTE INTERMISSION

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches. The use of cell phones in the theatre is prohibited.

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Frances “Baby” Houseman .................................................................................................GILLIAN ABBOTTElizabeth / Singer ............................................................................................................ADRIENNE WALKERDr. Jake Houseman.....................................................................................................MARK ELLIOT WILSONMarjorie Houseman..................................................................................................................MARGOT WHITELisa Houseman. ............................................................................................................................ALEX SCOLARIBilly Kostecki / Singer ......................................................................................................DOUG CARPENTERMax Kellerman .................................................................................................................................GARY LYNCHNeil Kellerman ...................................................................................................................................RYAN JESSEPenny Johnson. ......................................................................................................................... JENNY WINTONJohnny Castle ............................................................................................................ CHRISTOPHER TIERNEYMr. Schumacher ..................................................................................................................... HERMAN PETRASRobbie Gould ........................................................................................................................SCOTT McCREARYTito Suarez ................................................................................................JEROME HARMANN-HARDEMANVivian Pressman .............................................................................................................RACHEL MARIE BELLMoe Pressman ............................................................................................................................. JOHN ANTONY Ensemble ................................................... JOHN ANTONY, RACHEL MARIE BELL, DANIELLE DINIZ,

RASHAAN JAMES II, JOSHUA KEITH, KEVIN MYLREA, KATELYN PROMINSKI, SEAN ROZANSKI, ADRIENNE WALKER, DEVAN WATRING

SPECIALTIESThis Magic Moment Soloist ...........................................................................................ADRIENNE WALKERDo You Love Me? Soloist ......................................................................................................... JOHN ANTONYWe Shall Overcome Vocalists ....................................................KEVIN MYLREA, ADRIENNE WALKERSheldrake Emcee ........................................................................................................................ JOHN ANTONYDe Todo Un Poco Soloist ..........................................................................................................JOSHUA KEITH

SWINGSJON DRAKE, JOSH DRAKE, AMY QUANBECK, ALANA RANDALL

UNDERSTUDIESUnderstudies never substitute for the listed players unless

a specific posting or announcement is made at the time of the performance.

For Frances “Baby” Houseman: DANIELLE DINIZ, DEVAN WATRING; for Johnny Castle: JOSH DRAKE, KEVIN MYLREA; for Penny Johnson: KATELYN PROMINSKI, AMY QUANBECK; for Dr. Jake Houseman: JOHN ANTONY, GARY LYNCH; for Marjorie Houseman: RACHEL MARIE BELL, AMY QUANBECK; for Lisa Houseman: DANIELLE DINIZ, DEVAN WATRING; for Billy Kostecki/Singer: RYAN JESSE, SCOTT McCREARY; for Max Kellerman: JOHN ANTONY, HERMAN PETRAS; for Neil Kellerman: JOSH DRAKE, SCOTT McCREARY; for Tito Suarez: RASHAAN JAMES II, JOSHUA KEITH; for Mr. Schumacher: JOHN ANTONY; for Elizabeth/Singer: DANIELLE DINIZ, ALANA RANDALL; for Vivian Pressman: KATELYN PROMINSKI, AMY QUANBECK; for Robbie Gould: JOSH DRAKE, KEVIN MYLREA, SEAN ROZANSKI; for Moe Pressman: JOSH DRAKE; for “This Magic Moment” Soloist: DANIELLE DINIZ, ALANA RANDALL; for “Do You Love Me?” Soloist: JOSH DRAKE; for “We Shall Overcome” Vocalists: JOSH DRAKE, RASHAAN JAMES II, JOSHUA

KEITH, ALANA RANDALL; for Sheldrake Emcee: JOSH DRAKE; for “De Todo Un Poco” Soloist: JOSH DRAKE.

Dance Captain: AMY QUANBECKAssistant Dance Captain/Fight Captain: JOSH DRAKE

THERE WILL BE ONE 20-MINUTE INTERMISSION

CAST

Christopher Tierney Gillian Abbott

Jerome Harmann-Hardeman

Doug Carpenter

Joshua KeithRashaan James II

Josh DrakeDanielle DinizRachel Marie Bell

Ryan Jesse

Katelyn Prominski

John Antony

Devan Watring

Gary Lynch

Herman Petras Alex Scolari

Scott McCreary

Margot White Jenny WintonMark Elliot Wilson

Jon Drake

Amy Quanbeck

Sean RozanskiAlana Randall

Kevin Mylrea

Adrienne Walker

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches. The use of cell phones in the theatre is prohibited.

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ACT TWO

Dawn Interlude

Besame Mucho

Save The Last Dance For Me

If You Were The Only Girl

Magic Hour Serenade

Duke of Earl

Love Is Strange

You Don’t Own Me

Nunca

Lisa’s Hula

Yes!

In The Still Of The Night (I’ll Remember)

Summertime (Incidental)

Nocturnado (Fragment)

Someone Like You

She’s Like The Wind

Kellerman’s Anthem

(I’ve Had) The Time of My Life

A number of songs Eleanor Bergstein tried very hard and unsuccessfully to obtain for the movie we have been

able to obtain for our production and put in the places originally intended, included “Save The Last Dance For Me” (The Drifters) and “Stubborn

Kind of Fellow” (Marvin Gaye).

ACT ONE

Opening / This Magic Moment

Merengue

Time Of My Life (Incidental)

You Do Something To Me

You’re The Cream In My Coffee

There Will Never Be Another You

Johnny’s Mambo

Do You Love Me?

Love Man

Honey Love

Infectious Cha Cha

An Original Waltz / Penny’s Waltz

Viva La Quince Brigada

This Land Is Your Land / We Shall Overcome

Stubborn Kind Of Fellow

De Todo Un Poco / Wipeout

Hungry Eyes

Overload

Hey! Baby!

Time Of My Life (Incidental) / Johnny’s Tango

To The Sheldrake

De Todo Un Poco

Maybe

The Way Life Goes

These Arms of Mine

Cry To Me

DIRTY DANCING ORCHESTRA

Conductor/Keyboard: Alan J. PladoAssociate Conductor/Keyboard: Julie Homi

Guitar: Matt BrownSaxophone: Brian Krock

Drums: Rick DonatoPercussion: Miles Lassi

Bass: Brad LovelaceTrumpet: Andy Tichenor

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CHRISTOPHER TIERNEY (Johnny Castle) has danced with Hubbard Street Dance Chicago, Les Ballet Jazz du Montreal and Houston Ballet. First national tour of Movin’ Out and the North American premiere of Dirty Dancing. Original cast on Broadway in Spiderman: Turn Off The Dark. Off Broadway credits include I Am The Wind (The One) and Downward Facing Debbie (Tate). Featured actor in Across The Universe with Julie Taymor. All my heart to mom, dad, Patrick and Natalie for their love and support.

GILLIAN ABBOTT (Frances “Baby” Houseman) humbly makes her national tour debut as “Baby”. Recently made her television debut on HBO’s “Boardwalk Empire,” performed in choreographer Stacey Tookey’s Moments Defined and The Metropolitan Opera’s Prince Igor. Proudly graduated from The Juilliard School after beginning her professional career in Cirque du Soleil’s Beatles LOVE show. Blessed to begin her jour-ney in Calgary, Alberta among family, friends and mentors. Thanks be to God! www.GillianAbbott.com

DOUG CARPENTER (Billy Kostecki / Singer) BM in Voice from UNLV, MM in Voice from UCLA. Regional: South Pacific (Cable, Papermill Playhouse), Most Happy Fella (Joey, Goodspeed), Camelot (Lancelot, Pasadena Playhouse/Carnegie/Lyceum), Oklahoma (Curly, Penn Shakes), Cloak and Dagger (Signature), and Miss Saigon (Chris, Moonlight Amphitheater). Doug is the only singer to win both the American Traditions Competition and the Lotte Lenya Competition.

JEROME HARMANN-HARDEMAN (Tito Suarez) Previous credits include: Broadway, Off-Broadway, national tours, International: SWING the musical, Kiss of The Spiderwoman with Chita Rivera, The Full Monty with Elaine Stritch, Dreamgirls (Curtis), The Fantasticks (Bellomy), Ragtime (Coalhouse), Cats, Joseph and the Amazing Technicolor Dreamcoat (Simeon), Once On This Island (Agwe), Smokey Joe’s Café (Adrian), Kiss Me Kate (Paul). www.JHarmann-Hardeman.com

RYAN JESSE (Neil Kellerman; u/s Billy) Broadway: Jersey Boys (Bob Gaudio); 1st National Tour: Jersey Boys (Bob Gaudio); Int’l Tour: Cinderella starring

Lea Salonga (Prince u/s); Regional: Grey Gardens (Joe Kennedy, Jr./Jerry) at Portland Center Stage; New York Musical Theater Festival: The Last Starfighter (Blake/Zur), Coming of Age (Young Man). An Arizona native, Ryan holds a B.A. in Musical Theater from University of Northern Colorado. Proud AEA member. Thanks to Laura Stanczyk casting and Avalon Artists. www.ryanjesse.com

GARY LYNCH (Max Kellerman; u/s Jake) Broadway: Les Misérables (Jean Provaire/Javert), Mamma Mia! Original Cast, North American & US Premieres/1st National (Sam Carmichael); 2 time National Broadway Award nominee, Dirty Dancing Original Cast - US Premiere/1st National (Moe Pressman). Numerous Credits include: Off-Broadway, Regional, International, Stock, TV and Film. Gary serves on the board of directors and teaching staff at the New Jersey School of Dramatic Arts. Proud member AEA SAG / AFTRA. www.gGaryLynchActor.com

SCOTT McCREARY (Robbie; u/s Billy, Neil) is thrilled to make his theatrical debut with Dirty Dancing! TV: NBC’s “The Sing-Off.” Opera: The Marriage of Figaro (Count Almaviva); Giasone (Hercules). Cellist: Cabaret (Broadway), New Haven Symphony, MM Rice University. Former Yale Whiffenpoof. Ironically for Robbie, an Eagle Scout. Thanks to Catherine, Mom, Dad, Helen, and everyone at Laura Stanczyk!

HERMAN PETRAS (Mr. Schumacher; u/s Max) has performed in Camelot (Merlyn; Pellinore U/S), She Loves Me (Mr. Maraczek), Beauty and the Beast (Maurice), and has toured Europe and Southeast Asia with West Side Story (Doc), logging in nearly 200 perfor-mances. National tours include the dual role in Kiss Me, Kate (Harry/Baptista), Fame: The Musical (Mr. Scheinkopf) and Hello, Dolly (Horace Vandergelder) opposite Carol Channing. He is a proud member of Actors’ Equity.

ALEX SCOLARI (Lisa Houseman) is thrilled to make her national tour debut with Dirty Dancing! Regional: Jason Robert Brown’s 13 (Mark Taper Forum), Los Angeles Premiere of Big: The Musical. Training: BFA from University of Michigan, RADA. Huge thank you to everyone on the creative team and at Laura Stanczyk.

So much love to Mom, Fred, BBR, and the rest of my family and friends!

MARGOT WHITE (Marjorie Houseman) Touring Debut; Broadway/Off-Broadway: Constellations (MTC); Aaron Sorkin’s The Farnsworth Invention; Rosmersholm (The Pearl, opp. Austin Pendleton); The Traveling Lady (E.S.T., Dir. Horton Foote); Pericles (Red Bull); Love Goes to Press! (Mint Theatre); Unspeakable (Harlem’s Apollo); TACT (company member). Regional: Marshall Mason’s revival of Talley’s Folly at The McCarter with Richard Schiff; A.C.T., Studio Theatre (DC), CATF. TV/Film: “Unforgettable,” “Law & Order,” “Law & Order: Criminal Intent,” “Blue Bloods,” “Black Box,” “Ugly Betty,” “Four Single Fathers.” Many thanks to casting, family & friends!

MARK ELLIOT WILSON (Dr. Jake Houseman) Film: Experimenter, Sam & Amira, The Girl in the Book, We Need to Talk About Kevin, Pistol Whipped, World Trade Center, Noise, The Theory of Love, Personal Vendetta. Television: “Elementary,” “White Collar,” “Damages,” “Fringe,” “The Bronx is Burning,” “Law & Order (CI, SVU),” “Dream On,” “Flying Blind,” “Love Street,” “All My Children.” Theatre: Salomé (with Al Pacino), Ghosts, Unidentified Human Remains, Love Talker, Rebecca, and Summer Shorts.

JENNY WINTON (Penny Johnson) was born in San Francisco, CA. She trained at the San Francisco Ballet School under Lola de Avila, Pascale Leroy, Gloria Govrin, and Shannon Breshnahan. She danced for Pennsylvania Ballet II in 2008 and in 2009 joined the Joffrey Ballet under the artistic leadership of Ashley Wheater. Upon finishing her fifth season with Joffrey, she was invited to the 2014 USA IBC where she competed as a Senior Soloist.

JOHN ANTONY (Moe Pressman, Ensemble; u/s Jake, Max, Mr. Schumacher) most recently appeared in Stephen Sondheim’s Passion directed by John Doyle at the Classic Stage Company, New York. Broadway & Broadway tours: White Christmas, 42nd St., Titanic, Sunset Blvd, Annie Get Your Gun, Passion. Off-Broadway & Regional: Aida, The King & I, Legally Blonde, Chicago, Footloose, Dangerous Beauty.

RACHEL MARIE BELL (Vivian Pressman, Ensemble; u/s Marjorie) is thrilled to

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E make her national tour debut with Dirty Dancing! Favorite credits include The Merry Widow (Dodo/Clo-Clo Swing) at The Metropolitan Opera, A Chorus Line (Kristine) at The John W. Engeman Theater. TV: “Flesh and Bone”, “America’s Got Talent.” BFA Dance Performance from UC Irvine. Immeasurable love and thanks to Doug, my parents, and everyone at Laura Stanczyk! www.RachelMarieBell.com

DANIELLE DINIZ (Ensemble; u/s Baby, Lisa, Elizabeth) is thrilled to be making her national tour debut with Dirty Dancing! Past credits: My Fair Lady, Spamalot, National Pastime, The Addams Family, Young Frankenstein and The Music Man. One Life to Live and commercials. B.A. from Cornell University. Huge thanks to everyone from Dirty Dancing, CESD, Laura Stanczyk Casting and her family!

JON DRAKE (Swing) starts his sec-ond national tour with Dirty Dancing. Musical theater debut: West Side Story national tour followed by Footloose (KC Starlight). Local performances include Insanity of Mary Girard, Murders of Lidicea and Frumpled Fairy Tales. Other acting credits: “The Americans,” WebTV series “Crew” and “World Amazing Stories.”

JOSH DRAKE (Swing, Assistant Dance Captain, Fight Captain; u/s Johnny, Neil, Robbie, Moe) Touring debut! Top theatre credits include: Dreamgirls, Chicago The Musical, A Chorus Line, Les Misérables. Huge thanks to everyone involved with this timeless project! Let’s have the time of our lives! This is for mom and “Boo Boo.” Training: The American Musical and Dramatic Academy (NYC).

RASHAAN JAMES II (Ensemble; u/s Tito) attended the University at Buffalo for a BFA in Musical Theatre. Favorite credits: Joseph…Dreamcoat at DTC (Naphtali), Dreamgirls with Jennifer Holliday (Tru-Tone/5 Tuxes), West Side Story International Tour, South Pacific 1st National Tour (Swing/Henry u/s) and the 42nd Street National Tour. Thanks to HC, MG and Mom for your love and support! Facebook.com/RashaanJames2

JOSHUA KEITH (Ensemble; u/s Tito) is thrilled to be joining the Dirty Dancing Family! A Christmas Carol (NSMT), In The Heights (Walnut Street Theatre), All Shook Up (NSMT), A Chorus Line (MSMT), Cutman (Goodspeed Musicals), Debbie Allen’s Oman! Oman! (Kennedy Center). Joshua 1:8.

KEVIN MYLREA (Ensemble; u/s Johnny, Robbie) is a native to Saskatchewan and has performed internationally as a principle soloist in Rasta Thomas’ company, Bad Boys of Dance. Mylrea also spent two years as a contemporary soloist and primary pas de deux dancer for Cirque Du Soleil’s LOVE (Las Vegas). Among his extensive film and television credits are Disney’s Descendants and upcoming The Jungle Book films. He has most recently appeared as a featured dancer in Rob Ashford’s production of Carousel in Chicago.

KATELYN PROMINSKI (Ensemble; u/s Penny, Vivian) Washington, DC native! Tour: First National: Flashdance the Musical (Ballet Dancer). Regional: The Kennedy Center: Little Dancer (Étoile), Reagle Music Theatre: Singin’ in the Rain (Girl in the Green Dress). Danced with Boston Ballet, Pennsylvania Ballet, & Suzanne Farrell Ballet. Training: Washington Ballet & San Francisco Ballet. Love & thanks to Mom & fam-ily, MBaud, Marianne Wells, & CTG! @KEP1228

AMY QUANBECK (Swing, Dance Captain; u/s Penny, Marjorie, Vivian) grew up in Plymouth, MN and graduated from University of California, Irvine with her BFA in Dance Performance. She’s excited to join Dirty Dancing! NYC: Then She Fell. National Tours: Wicked, Radio City’s Christmas Spectacular (Clara). Regional: West Side Story. Thanks to family, Jono, DDO and Laura Stanczyk! www.AmyQuanbeck.com

ALANA RANDALL (Swing; u/s Elizabeth) Toronto, Ontario native and ecstatic to be a part of this iconic show! Select credits include Off-Broadway: The Vagina Monologues; National Tour: The Wizard Of Oz; Regional: West Side Story (Consuela), Footloose (Rusty), Ain’t Misbehavin’ (Charlayne Woodard), High School Musical (Taylor McKessie), The Wizard Of Oz; Mirvish Ent: Hairspray, Hair; TV: Series regular on “Hellcats” (CW Network). RAPA and NYFA grad. Much gratitude to parents, agents at TH and Laura Stanczyk Casting!

SEAN ROZANSKI (Ensemble, u/s Robbie) has danced national and international with America’s original jazz company: Giordano Dance Chicago. He is grateful to make his musical theatre debut in Dirty Dancing! This would not be pos-sible without the love and support from his parents, brother, friends and casting!

ADRIENNE WALKER (Elizabeth / Singer, Ensemble) is originally from Jonesboro, GA and is thrilled to be making her national tour debut with this talented group of folks! Chicago credits: Porgy & Bess, Iphigenia in Aulis, Agamemnon (Court Theatre), The Color Purple (Mercury Theatre), Dreamgirls (Marriott Theatre), Sondheim on Sondheim (Porchlight Theatre), Brooklyn the Musical (Towle Theatre), Hair, Rent (Paramount Theatre). Atlanta and International credits: Porgy & Bess (Opera Comique; Paris, France). Adrienne plays the voice of Peanut on the YouTube animated series “McTucky Fried High.” Special thanks to my loving family, my Austin, and Dawn & Chris at Gray Talent Group. Philippians 4:13.

DEVAN WATRING (Ensemble; u/s Baby, Lisa) is ecstatic to make her national tour debut with Dirty Dancing! A native of Kansas City, MO, she studied at Oklahoma City University, and is a protégé of Robert L. Reed. TV: NBC’s “America’s Got Talent,” ABC’s “Dancing with the Stars.” Other Credits: Disney, Herschend Family Entertainment. A special thanks to Laura Stanczyk Casting. Endless love and gratitude to my Mom, Dad, Madi, Cory, Shari, Tom, and Phil for your unbelievable support. I’m having the time of my life!

ELEANOR BERGSTEIN (Writer) is a novelist, screenwriter, producer and director. Her stories have been pub-lished in national magazines, ranging from Transatlantic Review to Redbook and Cosmopolitan. Her first novel, Advancing Paul Newman, about women and politics in the 1960s, was published by the Viking Press, and her first movie script was It’s My Turn, starring Jill Clayburgh and Michael Douglas. Her second novel, Ex-Lover, about sexual obsession, was published by Random House. She has worked on a variety of film projects, including the final script revision of Sister Act. She then wrote and directed Let It Be Me, which starred Campbell Scott, Jennifer Beals, Leslie Caron and Patrick Stewart. Her most famous project was one of the most successful independent films of all time, Dirty Dancing. It was the unique continuing response to the story over the years that made her decide to rei-magine Dirty Dancing as a stage event. The multiple viewings by audiences all over the world made her suspect that what the audiences really wanted was to be more physically involved in the story. This would mean that its ultimate form should be one that combined dance and story and music onstage

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Ein a new way. It was also her chance to add new scenes not in the movie, as well as songs she had wanted for the movie and been unable to obtain. Ms. Bergstein, through her company Magic Hour Productions, is at work on a new stage musical set in London in the late 1960s, a new work of fiction, and preparing a film to be shot in Rome as well as film to be shot in Slovenia.

JAMES POWELL (Director) most recently directed the hugely popular re-imagined Cameron Macintosh pro-duction of Les Misérables, which began in the UK and then a US tour, Spain, Canada, Japan, Korea, Australia, and Broadway. As an Associate Director, James has mounted 1st class pro-ductions of Cameron Macintosh and Disney’s Mary Poppins throughout the world. He is delighted to be back at the helm of Dirty Dancing, after direct-ing this version in London, Toronto, Holland, Germany, and now the USA.

KATE CHAMPION (Original Choreographer) is the Artistic Director and founder of the Sydney based dance-theatre company Force Majeure. She has also worked variously as a director/choreographer/performer for Sydney Theatre Company, DV8 Physical Theatre, Australian Dance Theatre, Opera Australia, Belvoir, Legs on the Wall, NIDA and The English National Opera. In 1996, Kate was awarded the Robert Helpmann Scholarship for Choreographic Excellence enabling her to create her first solo work Face Value which was awarded a Green Room and a MO Award. In 1997 she directed Under the Influence for Legs on the Wall, which premiered in Sydney and toured to the Edinburgh Fringe and Riverside Studios, London. In 2001 she created a new solo show - About Face and in 2002 directed Same, Same But Different for Force Majeure. Both these productions won Helpmann Awards. Kate choreographed the world premiere of the stage version of Dirty Dancing, which opened in Sydney November 2004 and has subsequently toured to Europe, UK and USA. Since 2005 Kate has directed Already Elsewhere, Tenebrae 1 and 11, The Age I’m In, Not In A Million Years, Never Did Me Any Harm, a co-production with Sydney Theatre Company) and Food, a co-production with Belvoir) for Force Majeure. In 2010 Kate choreographed the premier production of Opera Australia’s Bliss which subsequently toured to the Edinburgh Festival and

Spring Awakening for Sydney Theatre Company. Kate was Associate Director of Opera Australia’s 2013 production of Wagner’s Ring Cycle.

MICHELE LYNCH (Choreographer) is thrilled to be a part of Dirty Dancing. Broadway: Everyday Rapture, The Coast of Utopia, Hairspray (assoc. choreo), The Full Monty (asst. choreo), Urinetown (asst. choreo). Off-Broadway: Little Miss Sunshine, Everyday Rapture, We The People. Opera: Showboat at the Kennedy Center, Chicago Lyric Opera, Houston Grand Opera, and San Francisco Opera. National Tours: Little House on the Prairie, Happy Days. Film: Camp, Joyful Noise, The Last Five Years (coming to theaters Feb 14th, 2015). World Tour: Dolly Parton 2011.

STEPHEN BRIMSON LEWIS (Set Designer) has designed Dirty Dancing internationally, including shows in the West End, Europe and USA. Broadway Credits include Waiting For Godot, No Man’s Land and Indiscretions, for which he received Tony and Drama Desk nominations. National Theatre credits include A Little Night Music and Les Parents Terribles, for which he won an Olivier Award. He is an associate artist for the Royal Shakespeare Company.

TIM MITCHELL (Lighting Designer) lit the original West End produc-tion and subsequent international productions of Dirty Dancing. Other West End credits include: Singin’ In The Rain, Yes, Prime Minister, A Chorus of Disapproval, Crazy For You, Rosencrantz and Guildenstern Are Dead, Noises Off and The Play What I Wrote. Tim is an associate artist at the RSC and Chichester and has lit numerous theatre, dance and opera productions internationally and in the UK.

JENNIFER IRWIN (Costume Designer)Jennifer’s career spans 35 years design-ing for drama, opera, film & in particular dance & ballet. Jennifer designs regu-larly for all the major Australian com-panies including The Sydney Theatre Company, The Australian Ballet, Belvoir Theatre Company, Bangarra Dance Theatre, Sydney Dance Company & Opera Australia. Jennifer has designed the largest scale spectacular produc-tions ever staged in Australia: Sydney 2000 Olympic Opening and Closing Ceremonies, The Official Commemorative Ceremony marking the Centenary of Australian Federation, The Olympic

Arts ‘Festival of the Dreaming’ Opening. Jennifer designed the costumes for the Original Production of Dirty Dancing 2004.

BOBBY AITKEN (Sound Designer) Ghost, Dirty Dancing, Mamma Mia!, We Will Rock You, Grease, Lennon, Blast!, Return To the Forbidden Planet, Five Guys Named Moe. Bobby was the Sound Designer for the ceremonies of the London 2012 Olympic Games. Bobby works to create techniques to deliver credible sound reinforcement for large scale, in-the-round opera productions.

JON DRISCOLL (Video & Projection Designer) Earthquakes in London (Evening Standard Award for Best Design), Nation, The Power of Yes, All’s Well That Ends Well, The Observer, Gethsemane, Her Naked Skin, Fram, A Matter of Life and Death and The Reporter (National Theatre); Ghost the Musical (Piccadilly); The Wizard of Oz (Palladium); Birdsong (Comedy); Love Never Dies (Adelphi); Richard III, Complicit and The Prisoner of Second Avenue (Old Vic); Enron for Headlong (West End and Broadway) – Olivier Award nomination for Best Design; Separate Tables and The Last Cigarette (Chichester); Frost/Nixon (Donmar Warehouse, West End and Broadway); Brief Encounter for Kneehigh (West End and Broadway). OBIE, Evening Standard Award and Critics’ Circle Award for Best Design, Olivier Award nomination for Best Design.

BERNIE ARDIA (Hair Designer) has enjoyed a 30-year career, starting in television. Mr. Ardia has designed over 75 productions including the cur-rently running Canadian Company of Cameron Mackintosh’s Les Misérables. Other credits: NETworks’ tour of Billy Elliot; Ragtime, The Kennedy Center; Kiss of the Spider Woman with Chita Rivera; Starlight Express, The Las Vegas Hilton; Cinderella with Eartha Kitt and Debbie Gibson. Has worked with Jeanne Cooper, Ramin Karimloo, Anita Gilette, Mary Wilson, Makenzie Phillips, Melody Thomas Scott and even Judge Judy! Author of Barbra Streisand in New York City. He is excited to be a part of NETworks’ new production of Dirty Dancing.

CONRAD HELFRICH (Music Supervisor and Orchestrations) Music Director for Dirty Dancing (2004) Music Supervisor and Orchestrator (since 2006) for Hamburg, London, Toronto, Utrecht, U.S. Tour, Berlin, Oberhausen,

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E Stockholm, German Tour. Others: The Full Monty (Australia), Singin’ In the Rain (Australia and Southeast Asia), The Man From Snowy River (Australia) Jolson (Australia), Me And My Girl (Australia and New Zealand), The New Rocky Horror Show (Australia and Southeast Asia), Blues In The Night (Australia), Nine (Australia), Me and My Girl (Australia). Co-produced cast albums for Dirty Dancing productions in Australia, Germany, United Kingdom and North America. ARIA Awards for Nine (Australia 1989) and The Man From Snowy River (Australia 2003).

ALAN J. PLADO (Music Director) is ecstatic to be working on Dirty Dancing! Broadway national tours: Legally Blonde, Elf The Musical, Memphis, Disney’s Beauty and the Beast. Off-Broadway: We’re Still Hot, Just a Matter of Time. Alan serves as the Music Supervisor for Menopause The Musical, and inter-nationally, was the music director and arranger for the show on the West End (Shaw Theater) and in Dublin, Ireland (Tivoli Theater). Thanks to Conrad, John, and NETworks.

JOHN MILLER (Musical Coordinator) Broadway (over 100 shows, including): Les Misérables; Rocky; Beautiful: The Carole King Musical; Pippin; Once; Jersey Boys; Newsies; Rock of Ages; Jesus Christ Superstar. Musician (bass): Leonard Cohen, Eric Clapton, Frank Sinatra, Carly Simon, Michael Jackson, Peter Paul & Mary, BB King, Bette Midler, Bob Dylan, Mose Allison. His album Stage Door Johnny – John Miller: Takes on Broadway is available on PS Classics Records. www.JohnMillerBass.com

KASEY RT GRAHAM (Associate Director / Resident Director) Directing credits include Into the Woods, Spelling Bee, Songs for a New World (Pennsylvania Centre Stage), Pump Boys and Dinettes, The Wizard of Oz (Coeur d’Alene Summer Theatre) and Sylvia (The Theatre Barn). Music Direction credits include the national tours of Oklahoma!, The Producers and Spring Awakening. MFA: Penn State. @KaseyRT.

DAVID SCOTCHFORD (Associate Choreographer) Choreographer: Dirty Dancing Stockholm, Sweden 2012; Carousel, Oklahoma University; Oklahoma City Philharmonic; In The Heights, Kean University; Wonderland, Ice Factory Festival NYC. Associate Choreographer / Additional Choreography: Dirty Dancing West End London, Berlin,

Oberhausen. Associate Choreographer: Dirty Dancing, 1st US Tour 2008, Toronto, Utrecht; David is a regular guest teacher at Steps On Broadway and Broadway Dance Center in New York. Originally from Australia, David is now a proud New Yorker. www.DavidScotchford.com

JACK McLEOD (Production Stage Manager) holds an M.F.A. in Theater, seven Broadway productions and eighteen years of international touring including Kinky Boots, Jersey Boys, Hedwig and the Angry Inch, Avenue Q, White Christmas, Chitty Chitty Bang Bang, Boeing-Boeing, Grease, Smokey Joe’ s Café and Cats. Love to Frederick and Oliver. www.Jack-McLeod.com

CAROLINE WALKER (Stage Manager). Tours: We Will Rock You (First National), Shrek The Musical (National & Asia). Regional: Williamstown Theatre Festival, Des Moines Metro Opera. To my incred-ible family and friends, love y’all to the moon and back! All glory to God! Colossians 3:17

KELSEY TIPPINS (Assistant Stage Manager) is thrilled to be hitting the road with this beautiful production! National Tours: Disney’s Beauty and the Beast (PSM), Elf the Musical (PSM), Shrek the Musical (ASM). Regional favorites: Weston Playhouse (You’re a Good Man, Charlie Brown - PSM), Piedmont Opera (H.M.S. Pinafore - ASM). Education: UNCSA – BFA in Stage Management. Thanks and love to her family & NETworks!

JAMEY JENNINGS (Company Manager) is thrilled to be spending an extended summer at Kellerman’s! National Tours: We Will Rock You, Mary Poppins, Les Misérables, La Cage Aux Folles, Young Frankenstein. International Tours: Cinderella starring Lea Salonga, Hairspray. His favorite roles include Mama Rose and Sally Bowles.

THE ROAD COMPANY (Tour Booking) was founded in 1997 by Stephen Lindsay and Brett Sirota. In addition to Dirty Dancing – The Classic Story on Stage, current representation includes Wicked, After Midnight, If/Then, The Sound of Music, Kinky Boots, Once, The Illusionists, Annie, Elf, Camelot, Ragtime and Donny and Marie. The Road Company is made possible by Shawn Willett, Magaly Barone, Jenny Kirlin, Justine Spingler, Didi Perez and Garrett Holtz.

ANNE RIPPEY (Marketing Direction) is the Chief Marketing Officer for Key Brand Entertainment, where she is respon-

sible for the company-wide marketing strategy, working in tandem with both its theatrical and interactive divisions. Prior to this appointment in 2013, Anne concurrently served as President of the two companies she founded, Type A Marketing in 2008 and The Marketing Division in 2009, and she continues to provide strategic supervision for both. She is the recipient of The Broadway League’s 2005 award for Outstanding Achievement in Road Marketing. Anne is a graduate of Harvard College

LAURA STANCZYK CASTING (Casting)Broadway, Off-Broadway and Tours: After Midnight, A Night With Janis Joplin, Follies, Lombardi, Ragtime, Impressionism, Fetch Clay Make Man, Me, Myself & I, The Seafarer, Radio Golf, Coram Boy, Translations, Damn Yankees, The Glorious Ones, Cripple Of Inishmaan, Tryst, Flight, Urinetown. AWARDS: Nominated for six Artios Award for Excellence in Casting, won for Follies.

SETH WENIG (Executive Producer) has been with NETworks since its inception in 1995. He spearheaded the international tours of Fosse star-ring Ben Vereen and Ruthie Henshall. Seth has produced The Lincoln Center Theatre’s Production of Rodgers and Hammerstein’s South Pacific, Disney’s Beauty and The Beast and The National Theatre’s War Horse. Together with Cameron Mackintosh, Seth served as Executive Producer for both the US and UK tours of the National Theatre’s My Fair Lady, The 25th Anniversary US tour of Les Misérables and the new The Phantom of the Opera tour. He is most proud of his greatest productions – Marlo and Camden.

AMBER JACOBSEN (Producer) started working for her father (Col Joye) as the head of touring and executive producer in Australia. She was responsible for touring artists including Barbra Streisand, Bruce Springsteen, Elton John, the Bee Gees, Pearl Jam and Usher as well as executive producing Fame, SHOUT, The Man From Snowy River and Long Way to the Top. Amber was the executive producer for the original production of Dirty Dancing and has produced all productions since 2010.

NETWORKS PRESENTATIONS LLC, (Producer) from its inception nearly 20 years ago has been an industry leading producer and manager of touring musical theatre productions and remains committed to deliver-ing quality entertainment to audi-

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Eences worldwide. Having toured over 60 productions throughout North America, NETworks is now expanding its tours into many international mar-kets including South America, Greece, Italy, Turkey and South East Asia. Current touring productions include Cameron Mackintosh’s The Phantom of the Opera, Disney’s Beauty and the Beast domestic and international productions, Dirty Dancing, Blue Man Group, Elf the Musical, Bullets Over Broadway, Love Letters, Once the Musical and an international tour of Shrek the Musical.

GROVE ENTERTAINMENT (Producer) is a production company dedicated to developing, producing and present-ing new work. Helmed by producer Beth Williams, the Grove partners include producers Mindy and Bob Rich, Jeremiah J. Harris, Darren P. DeVerna and Allan Williams. Current and upcoming productions include Tuck Everlasting, On Your Feet! The Story of Emilio and Gloria Estefan, The Blonde Streak, Bull Durham, the tour of Dirty Dancing and the upcoming tour of The Sound of Music. Grove has also presented Harry Connick, Jr. in Concert at Avery Fisher Hall and cur-rently has three new projects under commission. Prior to founding Grove, Ms. Williams helped launch Key Brand Entertainment in the United States and was the CEO – Theater Division for Broadway Across America.

COL JOYE (Producer) has had No. 1 hits, recorded 15 Top 10 albums and was the first inductee into the Australian Hall of Fame (ARIA). He has numerous platinum and gold albums and hun-dreds of awards and toured extensively throughout Australia. Col was awarded an Order of Australia (AM) for his contribution to music and charity on behalf of Queen Elizabeth II. Col was chosen to run with the Olympic Torch for the Sydney Olympics’ and recently received his own postage stamp. Col has been a producer of every produc-tion of Dirty Dancing worldwide.

LIONSGATE (Producer) is a premier next generation global content leader with a strong and diversified presence in motion picture production and distribution, television programming and syndication, home entertainment, family entertainment, digital distri-bution, new channel platforms and international distribution and sales. The Lionsgate and Summit brands remain

synonymous with original, daring, qual-ity entertainment in markets around the world. www.Lionsgate.com

MAGIC HOUR PRODUCTIONS (Producer) was founded by Eleanor Bergstein in 1994 to develop and produce works by herself and others for print, film, and stage. Magic Hour Productions has been involved in the development and production of the stage musical of Dirty Dancing since its inception, including the first staged workshop in New York in 2001. Currently, Magic Hour Productions is working to bring Dirty Dancing to new territories around the world, including Greece and Japan. In addition to Dirty Dancing, Magic Hour Productions is developing a new musical by Ms. Bergstein set in late 1960s London, a film to be shot in Rome, and a romantic comedy film to be shot in Slovenia. Magic Hour’s team includes Tomoko Minami, who has worked with Ms. Bergstein since 2001, and Robin Nahas. The company is based in New York City.

MUSIC CREDITS

BESAME MUCHO (Velasquez/Skylar). © Peer International Corp. CRY TO ME (Russell) by Solomon Burke;© Sloopy II Music and SonyATV Music Publishing LLC. Licensed by Mana Music Productions Pty Ltd on behalf of Warner Music Australia Pty Ltd. DAWN INTERLUDE (Helfrich/Bergstein). DE TODO UN POCO. Words and Music by Louis A. Lou Perez © UNIVERSAL MUSICA, INC. ON BEHALF OF FANIA SONGS (ASCAP). DO YOU LOVE ME? (Gordy Jr.); © Jobete Music Co. Inc. DUKE OF EARL. Written by Earl Edwards/Bernice Williams/Eugene Dixon. Performed by Gene Chandler. Published by Conrad Music, A Dvision of Arc Music Corp (BMI)/BMG Platinum Songs (BMI). Used by permission. All rights reserved. Licensed by Mana Music Productions Pty Ltd on behalf of Warner Music Australia Pty Ltd. HEY BABY! (Channel/Cobb) by Bruce Channel; © EMI Unart Catalog Inc.; Licensed Courtesy Universal Music Australia Pty Ltd. HONEY LOVE. (CLYDE MC PHATTER/GERALD WEXLER) by THE DRIFTERS © 1954 (RENEWED) OLIMAC MUSIC (BMI) & UNICHAPPELL MUSIC INC., ALL RIGHTS ON BEHALF OF OLIMAC MUSIC (BMI) ADMINISTERED BY WARNER-TAMERLANE PUBLISHING CORP. (BMI). ALL RIGHTS RESERVED. USED BY PERMISSION. Licensed by Mana Music Productions Pty Ltd on behalf of Warner Music Australia Pty Ltd. HUNGRY EYES. (Previte/DeNicola) by Eric Carmen. © Worldsong lnc./RU Cyrius Publishing/Knockout Music Co./Sony ATVMusic Publishing LLC. Licensed Courtesy SONY BMG MUSIC ENTERTAINMENT (AUSTRALIA) PTY LTD. IF YOU WERE THE ONLY GIRL IN THE WORLD. (NAT D. AYER, CLIFFORD GREY) © 1916 WARNER BROS. INC. (ASCAP) & REDWOOD MUSIC LTD. ALL RIGHTS RESERVED. USED BY PERMISSION. IN THE STILL OF THE NIGHT (I’LL REMEMBER) (Parris); © Llee Corporation (BMI). INFECTIOUS CHA CHA (Lloyd/D’Andrea): © Michael Music/ Scoreboard Music. I’VE HAD THE TIME OF MY LIFE Written by Franke Previte / John DeNicola / Donald Markowitz Published by Sony/ATV Tunes, LLC / Knockout Music Company / R U Cyrius Publishing / Marcu Music Company, Inc. / Calspen Music (ASCAP). All rights for Knockout Music Company and R U Cyrius Publishing administered worldwide by WorldSong, Inc. All rights for Marcu Music Company, Inc. administered worldwide by PEN Music Group, Inc. All rights for Calspen

Music (ASCAP) administered worldwide by [email protected]. JOHNNY’S MAMBO (Lloyd/D’Andrea/Bulling); © Michael Music Curb Songs/Scoreboard Music/Erich S Muic. KELLERMAN’S ANTHEM (Goldman); © Lionsgate Music Publishing LLC. LISA’S HULA (Brucker/Ortega): © Brucker/Ortega. LOVE IS STRANGE. Words and Music by Mickey Baker, Ellas McDaniel, Sylvia Robinson, by Mickey & Sylvia © SONGS OF UNIVERSAL, INC. ON BEHALF OF BEN-GHAZI ENT, INC AND TWENTY NINE BLACK MUSIC (BMI). Licensed Courtesy SONY BMG MUSIC ENTERTAINMENT (AUSTRALIA) PTY LTD. LOVE MAN. Words and Music by Otis Redding © IRVING MUISC, INC. (BMI) MAGIC HOUR SERENADE (Helfrich/Bergstein). MAYBE (Barrett) by The Chantels. © EMI Longitude Music. Licensed Courtesy Mana Music Productions Pty Ltd on behalf of Warner Music Australia Pty Ltd.MERENGUE (Lloyd/D’Andrea/Bulling): © Michael Music/Curb Songs/ Scoreboard Music/Erich S Music. NOCTURNANDO (Cairo) by Orchestra America. © Peer International Corporation. Licensed Courtesy Balboa Records. NUNCA (Cardenas/Lopez Mendez) lnterpreted by the vocalist of Orquesta America. © Edward B Marks Music Company. Courtesy of Tumi Music UK. www.tumimusic.com. ORIGINAL WALTZ (Lloyd): © Michael Music. OVERLOAD (Mark Zappocosta); © 2013 DD Rights Ltd and C. Helfrich. PENNY’S WALTZ (Lim/Helfrich). SAVE THE LAST DANCE FOR ME. (DOC POMUS, MORT SHUMAN) by the Drifters © 1960 (RENEWED) UNICHAPPELL MUSIC INC. (BMI). ALL RIGHTS RESERVED. USED BY PERMISSION. Licensed by Mana Music Productions Pty Ltd on behalf of Warner Music Australia Pty Ltd. SHE’S LIKE THE WlND (Swayze/Widelitz) (Instrumental); © Plainview Diner Music/Very Tony Music. SOMEONE LIKE YOU (Previte/DeNicola); Worldsong lnc./RU Cyrius Publishing/Knockout Music Co. STUBBORN KIND OF FELLOW (Gordy/Gaye/Stevenson) by Marvin Gaye; © EMI April Music lnc/Jobete Music Co. Inc/Stone Agate Music. Licensed Courtesy Universal Music Australia Pty Limited. SUMMERTIME INCIDENTAL (Lim/Helfrich). THERE WILL NEVER BE ANOTHER YOU (Gordon/Warren) © Morley Music Co./Four Jays Music Publishing and Mattsam Music. THESE ARMS OF MINE. Words and Music by Otis Redding, Performed by Otis Redding © IRVING MUSIC, INC. ON BEHALF OF ITSELF AND REGENT MUSIC CORP. (BMI). Licensed by Mana Music Productions Pty Ltd on behalf of Warner Music Australia Pty Ltd. THE WAY LIFE GOES (Eleanor Bergstein/Conrad Helfrich); © 2012 DD Rights Ltd, E Bergstein and C Helfrich. THIS LAND IS YOUR LAND.Words and Music by Woody Guthrie. TRO-© Copyright 1956 (Renewed) 1958 (Renewed) 1970 (Renewed) 1972 (Renewed). Ludlow Music, Inc., New York, NY. lnternational Copyright Secured. Made in USA. All Rights Reserved Including Public Performance For Profit. Used by permission. THIS MAGIC MOMENT. (DOC POMUS, MORT SHUMAN) © 1955 (RENEWED) UNICHAPPELL MUSIC INC. (BMI). ALL RIGHTS RESERVED. USED BY PERMISSION. VIVA LA QUINCE BRIGADA (VAN DER SCHELLING) by Pete Seeger; © Stormking Music/The Royalty Network, Inc. Licensed Courtesy SONY BMG MUSIC ENTERTAINMENT (AUSTRALIA) PTY LIMITED. WE SHALL OVERCOME (Musical & Lyrical adaptation by ZilphiaHorton, Frank Hamilton, Guy Carawan and Pete Seeger). Inspired by African American Gospel Singing, members of the Food & Tobacco Workers Union, Charleston, SC, & the Southern Civil Rights Movement. TRO - © 1960 (Renewed) and 1963 (Renewed) Ludlow Music, Inc., New York, lnternational Copyright Secured. Made In USA. All Rights Reserved Including Public Performance For Profit. Royalties derived from this composition are being contributed to the We Shall Overcome Fund and The Freedom Movement under the Trusteeship of the writers Used by Permission. WIPE OUT (Fuller/Berryhill/Connolly/Wilson) by The Surfaris; © Robin Hood Music/Miraleste Music. Licensed Courtesy Universal Music Australia Pty Limited. YES! (Cavanaugh/Fryer/Graf). © Sony ATV Tunes/The Flood Music Company Inc. YOU DO SOMETHING TO ME. (COLE PORTER) © 1929 (RENEWED) The Cole Porter Musical and Literary Property Trusts. ALL RIGHTS RESERVED. USED BY PERMISSION. YOU DON’T OWN ME. (JOHN MADARA, DAVID WHITE) © 1963 (RENEWED) UNICHAPPELL MUSIC INC. (BMI). ALL RIGHTS RESERVED. USED BY PERMISSION. YOU’RE THE CREAM IN MY COFFEE. (RAY HENDERSON, LEW BROWN, B.G. DESYLVA) © 1928 (RENEWED) CHAPPELL & CO., STEPHEN BALLENTINE MUSIC & RAY HENDERSON MUSIC. BNS Canada LLC. ALL RIGHTS RESERVED. USED BY PERMISSION.

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Opening Night: September 2, 2014NATIONAL THEATRE, WASHINGTON, DC

GENERAL MANAGEMENTGENTRY & ASSOCIATES, Inc.GREGORY VANDER PLOEG

BOBBY MAGLAUGHLIN, TYLER SOLTIS, MARY WITTE

PRODUCTION MANAGEMENTNETWORKS PRESENTATIONS LLC

JASON JUENKER LAURA DIELI, HECTOR GUIVAS, DAVE BURCH

COMPANY MANAGERJAMEY JENNINGS

ASSISTANT COMPANY MANAGERNICOLE GEHRING

TOUR MARKETING AND PUBLICITYTYPE A MARKETING

Elyce Henkin DJ Martin Andrew Cole Andrew Darcey

EXCLUSIVE TOUR DIRECTIONTHE ROAD COMPANY

Stephen Lindsay Brett Sirotawww.theroadcompany.com

CASTINGLAURA STANCZYK CASTING

Laura Stancyzk, CSA Nicholas Petrovich Amanda D’Aquila

Hannah Rosenthal Caleb Caudill

Production Stage Manager .........................Jack McLeodStage Manager ...........................................Caroline WalkerAssistant Stage Manager ...........................Kelsey TippinsTechnical Production Supervisor ..........Michael ConlonAssociate Director ................................Kasey RT GrahamAssociate Choreographer .................. David ScotchfordAssociate Set Designer ...........................Christine PetersAssociate Costume Designer .....................Dana BurkartHair and Makeup Supervisor ......................Camra FisherAssociate Lighting Designer ......................Vivien LeoneAssistant Lighting Designer ...................... Kaitlyn BreenLighting Programmer ................................. Andrew DavisUK Programmer ............................................Emily HardingVideo Programmer (US) .............................Chris HermanAnimator ................................................Gemma CarringtonVideo Technical Associate ..................................Alan CoxSystems Engineer ................................................Oliver LuffSound Design Associate .................................Simon KingAssociate Sound Designer (US) ................ Chris CroninFight Director ............................. Christian Kelly SordeletDance Captain ............................................Amy QuanbeckAssistant Dance Captain/Fight Captain ....Josh DrakeHead Carpenter .............................................. Kenneth BrittFlyman ................................................................Kevin RiggallAssistant Carpenter ...................................Ashley HarmanAutomation Programming .............................Ben NeafusAutomation ................................................Andrew CappelliProduction Electrician .......................................Eric RimesHead Electrics ....................................................Mark VlahosVideo Engineer ..............................................Abbey DuttonAssistant Electrics .......................................Kate RaymondSound Engineer/AI ........................................... Tylor FosterAssistant Audio ......................................... Heather MalloryHead Props ..................................................... Michael TrioloAssistant Props .......................................Cheryl StansfieldProps Supervisor ...........................................Jonathan HallHead Wardrobe ...................................................Emily GossAssistant Wardrobe ................................... Emily FauscettCostume Assistant ....................................Anna StainbackHead Hair & Makeup .......................................Shon HarperProduction Assistants ....... Lionel Christian, Chet CraftNational Press Representative.... Adrian Bryan-BrownMusic Licensing ...................... Chris Roberts, Kim GreenPhysical Therapy .................................................Neuro TourPhysical Therapist .......................Jennifer Gallegos, DPTMedical Director ....................................Dr. Craig Weil, MDProduction Videographer ... Steam Motion and SoundProduction Photographer ................... Matthew MurphyWebsite .....................................................................AKA NYCInteractive Agency ..................... The Marketing Division

Bob Bucci, Maris Smith, Danielle Migliaccio

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.

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

The Musicians, Conductors, Music Preparation Personnel and Librarians employed in this production are members of the American Federation of Musicians of the United States and Canada.

The Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

United Scenic Artists represents designers and scenic artists for the American Theatre.

This production is produced by a member of The Broadway League in collaboration with our professional union-represented employees.

THE BUELL THEATRE is part of the Denver Performing Arts

Complex, owned and operated by the City and County of Denver, Arts and Venues.

CITY & COUNTY OF DENVER Michael Hancock, Mayor

ARTS AND VENUES Kent Rice, Director

For information call: 720.865.4220

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES

THE FOLLOWING SUPPORT IN ITS 2015/16 BROADWAY SEASON

PLEASE BE ADVISED Please be advised that once the show begins:

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

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

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

• DRINKS are allowed in provided containers.

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

• BRAILLE PROGRAMS are available with 2 weeks’ notice to [email protected] or 303.893.4836.

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

Linda AckerschottCarrie BreidenbachVonnie CloughJanel CloughCraig CoryCyndie CoryLaura CotugnoSteve DaviesAnne DavisCarolyn DoreDeborah Guess

AnnSue GunterJudy HolabirdLeslie LambertSharon Millikan-HaleCallie MorrowYolanda PollockDave PooleLiz SpadiAmy TepelMarybeth TscherpelBarb Wilson

Legal Counsel ....................Davis Wright Tremaine LLP/M. Graham Coleman, Andrew Owens, Jeffrey Carter

Accounting ....................... NETworks Presentations LLCTour Accountant .................................... Laura Carey, CLAHR & Payroll Services ..................Human Resources inc.Trucking ........................................................... Clark TransferHotel Booking ....................Lisa Morris, Road ConciergeCast Bus Booking .......Mary Botosan, Road ConciergeMerchandising .........................................The Araca Group

FOR LIONSGATEChief Executive Officer ............................ Jon FeltheimerVice Chairman ............................................... Michael BurnsMotion Picture Group Co-Chair ..............Rob FriedmanMotion Picture Group Co-Chair ............................ Patrick WaschsbergerCo-COO and President, Motion Picture Group ..Steve BeeksCo-COO........................................................Brian GoldsmithChairman, Lionsgate Television Group ....Kevin BeggsCOO, Lionsgate Television Group ............ Sandra SternGeneral Counsel and Chief Strategic Officer ..Wayne LevinConsultant, Theatrical Stage Productions .. Adam Bialow

FOR NETWORKS PRESENTATIONSChief Executive Officer ...........................Kenneth GentryChief Operating Officer ........................Scott W. JacksonPresident ...................................................................Orin WolfExecutive Vice President Production.........Seth WenigExecutive Assistant / Associate General Manager ......

Curt OwensDirector of Finance ............................................John KinnaController......................................................Jennifer GiffordExecutive Producers ....... Kary Walker, Angela RowlesDirector of Booking ........................Charmaine McVickerDirector of Marketing/PR ............................Heather HessSenior General Manager ........... Gregory Vander PloegGeneral Managers ...Bobby MagLaughlin, Tyler Soltis,

Mary K. WitteSenior Production Manager ..................... Jason JuenkerProduction Managers ........Lauren Dieli, Hector GuivasAssociate Production Manager ....................Dave BurchAssistant Production Manager ...................Shelby StarkMusic Coordinator ........................................... John MezzioWarehouse Manager .......................................... Brad KorffDatabase Manager ........................................Siba MahantyOffice Manager ..........................................Buddy PiccolinoAdministrative Assistants ...........Esther Schwarzbauer,

Kevin PersaudIntern .......................................................................Anne Cape

Tax & Financial Consulting, Accounting Services,IT Services

CliftonLarsonAllen LLPGeorge Wilson, Linda Rubenstein

Pat Guerieri, Tim Pizza

Financial Services and Banking Arrangements bySunTrust Bank

CREDITSScenery constructed by PRG Scenic Tecnnologies. Show control and scenic motion control featuring Stage Command Systems ® by PRG-Scenic Technologies A Division of Production Resource Group, L.L.C., New Windsor, NY. Automation equipment provided by PRG Scenic Technologies. Lighting equipment from Christie Lights. Sound equipment by Sound Associates. Video equipment provided by XL VIdeo. Rigging by Christie Lights. Scenic Painting by Joe Forbes and Scenic Arts Studios. Properties provided by Marcus Hall Props. Costume Shops Arel Studio, Valerie Strok, Lisa Krizner-George and L. Allmeier. Dr. King’s “I Have a Dream” speech license granted by Intellectual Properties Management, Atlanta, Georgia, as exclusive Licensor of the King Estate.

Rehearsed at New 42nd Street Studios.

SPECIAL THANKS

NEURO TOUR - Official provider of Physical Therapy services

MAY 24 – 29 • THE ELLIE



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DENVERCENTER.ORG303.893.4100 • GROUPS 10+: 303.446.4829

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22 denvercenter.org

“ For us, it’s a passion to help the next generation be more successful than we are. It is a core aspect of Noble Energy’s mission to help build strong communities that prepare young people for the working world.” — CHIP RIMER, SENIOR VICE PRESIDENT,

NOBLE ENERGY U.S. ONSHORE

NOBLE ENERGY AND DCPA PARTNER TO CREATE AN INNOVATIVE STEAM INITIATIVE

NNoble Energy is partnering with the Denver Center for the Performing Arts (DCPA) to create an innovative initiative that will support STEAM (science, technology, engineering, arts and math) education in Denver Public Schools (DPS) and in schools across Colorado. Combining the DCPA’s Dramatic LearningTM program with an engaging STEAM curriculum will help bring concepts and skills to life for students. Noble believes that incorporating a comprehensive and innovative arts initiative in education provides the critical thinking, communications and creativity skills essential to student and professional success. Taking the traditional STEM program and adding the “A” for arts will help spark students’ imaginations and help students innovate through hands-on projects. The issue is a real one for Noble Energy. “For us, it’s a passion to help the next generation be more successful than we are,” said Noble Energy Senior Vice President Chip Rimer. “It is a core aspect of Noble Energy’s mission to help build strong communities that prepare young people for the working world.” Noble is working with DPS to identify areas with the greatest needs and how it can help strengthen science courses. The DCPA’s Dramatic LearningTM program will focus on STEM while also utilizing artistic teaching techniques to enable better understanding and learning in the classroom setting. “Education is the backbone to the success and growth of Colorado’s energy industry,” said Patsy Landaveri, Noble Energy’s Colorado community affairs manager. “Providing students with STEM knowledge through the DCPA’s Dramatic LearningTM program will expose students to important science and technology concepts, giving them the key skills they need to compete in Colorado’s future workforce.” Noble has been a long-standing supporter of both STEM curricula and DPS. Through a partnership with the Denver Broncos, Noble has donated thousands of dollars to the DPS Foundation and has helped recognize DPS students who excel in STEM courses. Noble also supports DPS’s 8th grade career fair and Noble employee volunteers are actively involved with the school district’s reading programs and other school projects.

A PROUD SPONSOR OF DCPA EDUCATION

Liz Sharrer, Chair 303.295.8000 [email protected] 555 17th Street, Suite 3200 Denver, Colorado 80202

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24 denvercenter.org

When Tanya Saracho was awarded her first commission to write a new play, she knew exactly why she was chosen for the job. “It was because I’m a Latina,” she says with unfiltered and unapologetic enthusiasm. When she got her start in television, writing for two episodes of Lifetime’s “Devious Maids” without any appreciable experience, she knew the score there, too. “Listen: I got into television because I was a diversity hire,” Saracho says almost giddily. And you know what? “I don’t care.” And you know why not? “Because by the second job, I wasn’t a diversity hire,” she said. “I earned it.” Saracho is part of a vastly underrepresented demographic in show business. She is a female writer who was born in Mexico. When you take a look around at the plays that are being presented on America’s stages, or if you examine the racial makeup of Hollywood’s TV writing rooms, you won’t find many Sarachos. She might just be a minority of one. “And that’s why I don’t care how I got in,” she said. “I just knew I needed an in — because we needed to be in the room.” And once she got in the room, she stayed in, parlaying her success into jobs writing for HBO’s “Looking,” “Girls” and, now, ABC’s “How to Get Away with Murder.” Saracho is a native of Los Mochis, Mexico, and a Boston University alum who describes herself as “an Americanized, acculturated Mexican citizen with a green card.” She was hired by “Looking” because she would be a Latina on an otherwise all-male writing staff. While there, she received news of her unexpected commission to write a new play for the DCPA. “This is the way the commissioning process works at the Denver Center,” Saracho said. “You get this amazing email that says, ‘Tell us what you are interested in writing because we want to support you with some money.’ Let me tell you, that is the best kind of email you will ever get.” Saracho was interested in writing about Mexican women in Hollywood, namely Lupe Vélez, the first crossover star of the 1920s. But Saracho eventually settled on another Mexican woman in Hollywood — herself. She started writing her own story, which evolved into FADE, currently premiering at The Ricketson Theatre. “My play is about a first-time TV writer named Lucia who works on an LA-based network show and she doesn’t know what she is doing,” Saracho said. “The only other Latino she ever runs into at the film studio is the janitor, who is a third-generation American Chicano. The play is really about the conversations they have after hours.” Sound familiar?

FADEPLAYWRIGHT TANYA SARACHO: A MINORITY OF ONEB Y J O H N M O O R E

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“Yes, I was inspired by the setting while I was literally writing this play at the studio,” she said. “I did develop a friendship with the custodian. I was even going to go on strike with him. So it was very much inspired by that relationship. But then you fill it in with fiction…because I didn’t want to get sued!” Theatre Company Producing Artistic Director Kent Thompson invited Saracho to workshop her first draft of FADE at last year’s Colorado New Play Summit. The only problem? She arrived in Denver with only 49 pages — and no title. No problem, Director of New Play Development Bruce K. Sevy told her. “He said he wasn’t worried because he knew we were going to have a play by the end — and we did, because that attitude was there and that trust was there,” Saracho said. Thompson calls Saracho “a funny, gifted, rising writer who is intensely aware of the layers and complexities in the Latino culture — and some of the fissures.” In FADE, Lucia discovers that her custodian pal not only has a windfall of good plot ideas, he has a more credible understanding of the fictional star character than she does. When Lucia begins incorporating his insights into her scripts, Lucia’s professional stardom rises, but the friendship is compromised. “This woman came to the studio to fight the system,” Saracho said, “but when she tastes some unexpected success, she realizes, ‘Hey, I am part of this now. I am part of the problem that I came here to solve.’ ” While gender disparity in the American theatre has become a major topic of national conversation in recent months, Saracho has found Denver to be a fertile, nurturing oasis from all of that. “The support of everyone here is really amazing because they are just trying to get your play born,” she said. “So it’s like everyone here is a midwife.” The DCPA has made a major and ongoing commitment to female playwrights and directors through its Women’s Voices Fund (see pg. 36), which now tops $1 million and growing. Saracho hasn’t found that same kind of commitment to women anywhere else. That’s why she and 13 theatre friends created “The Kilroys” — an annual survey of more than 300 new-play leaders that identifies what they believe to be the 50 most promising new plays by female or transgender playwrights. The list couldn’t make it any easier for artistic directors to find and slot new plays by women. “It was simple but monumental, and I think it’s made the right kinds of waves in the field,” Saracho said. “It’s affecting change that is tangible in many ways. It’s serving to hang a lantern in a new kind of way to this ages-old problem of inequality on the American stage.” As Saracho returns to Denver to celebrate the world premiere of FADE, this woman of many words struggles to find the right one to illustrate her fondness for the Denver Center. “I don’t know how to describe the essence of this place,” she said. “Nurturing is not the right word. I wish I had a better word than that, because nurturing is not enough.”

FADEFEB 5 – MAR 13 • RICKETSON THEATRE

ASL interpreted & Audio described performance: Mar 6, 1:30pmTickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4829

25

COMING UP FROM THEATRE COMPANY:SWEENEY TODDDeVotchKa frontman Nick Urata promises Sweeney Todd (playing The Stage Theatre Apr 8 – May 15) will be “loud and proud” once he puts Stephen Sondheim’s masterpiece through the Grammy-nominated local band’s sousaphone. “And hopefully we will sneak some rock ’n’ roll elements in there, too,” Urata told Applause. This unprecedented program-ming departure for the Theatre Company calls for members of DeVotchka to play in the orchestra pit every night, with up to five additional musicians. DeVotchKa’s music comes with a meat-pie flavor all its own. The bass, tuba, trumpet, accordion, violin and percussion all mix together for a Latin and Slavic aural amalgam that is often described as “mariachi polka punk.” “Sweeney Todd is such a guilty pleasure,” Urata said. “I can’t think of a more perfect platform for us, being that we like coming from a dark and twisted place, and this is the ultimate dark and twisted musical opera.” Urata had only one demand. “We all want to have our throats slit, during the show,” he said.

Read the full interview with Nick Urata at denvercenter.org/news-center

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“ The support of everyone here is really amazing because they are just trying to get your play born. So it’s like everyone here is a midwife.” — TANYA SARACHO, PLAYWRIGHT

26 denvercenter.org

TThe Westin Denver Downtown is well known as an elite venue for social events, conferences, meetings and business travel plus weekend theatre, arts and sports staycations. Many seek out the Four-Diamond Westin Denver Downtown for a chance to sleep in the world-famous Westin Heavenly Bed. But even on a vacation close to home, Westin wants you to leave better off than when you arrived, which means taking care of you from beginning to end. From sleeping well in the Westin Heavenly Bed, to eating well with the new SuperfoodsRX in-room menu, to moving well with the Westin Run Concierge, as well as the renovated WestinWORKOUT Fitness Studio and the New Balance gear lending program, the Westin Denver Downtown keeps you active and healthy, even when you are on vacation. The hotel also is turning its best-kept secret into your best-kept secret: the fourth-floor pool deck with magnificent views of the 16th Street Mall, Sports Authority Field at Mile High, Larimer Square and the entire Front Range of the Rocky Mountains. One of the most spectacular event spaces in Denver, the pool deck hosts evening special events for up to 300 guests. Thirty years ago, the Westin Denver Downtown opened with a gala that raised funds and friends for the Denver Center for the Performing Arts (DCPA). After three decades, support of the arts and the DCPA remains a priority for the Westin and its guests and employees. The Westin hotel offers special room rates for performing arts organizations that appear on stage in the performing arts complex, including the DCPA, Colorado Ballet and Opera Colorado. The hotel also is a long-time supporter of Saturday Night Alive, the DCPA’s largest fundraiser that annually raises more than $900,000 to benefit youth education and outreach for more than 80,000 Colorado students. Thank you for supporting performing arts in Colorado. Together with the DCPA, we hope you will leave feeling better than when you arrived.

The Westin Denver Downtown 1672 Lawrence StreetDenver, CO 80202Reservations: 888-627-8435www.westindenverdowntown.com

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DENVER’S HEALTHY AND ACTIVE STAYCATION

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CCelebrated playwright Theresa Rebeck has a soft spot for bar plays. Her newest world premiere, a commissioned work for the DCPA Theatre Company, is a bar play called The Nest. That’s the name of a neighborhood watering hole on its last legs. “But it’s got very beautiful bones inside it,” she says. The bar is from another time. Its neighborhood is changing and its regulars have dwindled to an anachronistic few. And now the owner has been approached by outside forces to sell. “It’s really about the architecture of our communities and how they are being razed in favor of a much more impersonal and corporate reality,” she said. That Rebeck has a soft spot for anything might come as a surprise to audiences who gasped through her last Denver Center world premiere back in 2008. Rebeck’s Our House was an angry, cutting satire about the corrosion of journalism and the simultaneous rise of reality TV. It skewered random targets such as media mergers, the gun culture and more…with a slowly expanding pool of blood covering the stage floor. The play was a piece of inspired fury. Rebeck proudly called Our House “intentionally messy” back in 2008. And eight years later, she summoned the very same expression to describe The Nest. “I feel like the mandate of any play that takes place in a bar is that it should ramble a bit,” she said with a laugh. “I think it needs to be a little humanly reckless.” Rebeck is known for writing uncommonly topical plays that turn a mirror on the contradictions and aggravations of everyday contemporary life. And like most regulars at any given favored watering hole, Rebeck is nothing if not

refreshingly outspoken. Let her loose in a fictional bar populated by small-town regulars, then add booze, and you open Rebeck’s pointed pen as wide as a whiskey spout for just about any topic she wants. When drinking at The Nest, no conversation is off limits. The same holds true when talking with Rebeck. Rebeck doesn’t want you to love her plays. She wants you to listen to what they have to say. Visitors to the DCPA’s annual Colorado New Play Summit got a sneak peek at The Nest last February. The Summit introduces four evolving scripts each year, and at least two are then selected for full production the next mainstage season. Last year, that was The Nest and Tanya Saracho’s FADE (see pg. 24). Rebeck looks at the DCPA Theatre Company’s comprehensive new play development program, headed by Producing Artistic Director Kent Thompson, Director of New Play Development Bruce K. Sevy and Dramaturg Douglas Langworthy, as a national model. Last year, development time at the Summit was expanded to two weeks. Rebeck found the extra time to be invaluable for The Nest, and not only because her play underwent two name changes. “Going into the Summit, I just had a feeling the play was too tidy and that what I needed was to explode it a little bit,” she said. “And yes, I exploded it.” Thompson also cofounded the DCPA’s Women’s Voices Fund, a $1 million endowment that specifically supports new plays by women and the hiring of female directors. The fund (see pg. 36) has allowed the Theatre Company to produce 26 plays by women, commission 16 female playwrights and hire 20 female directors since 2006.

THE NEST THERESA REBECK WIELDS A POINTED PENB Y J O H N M O O R E

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“Kent Thompson absolutely walks the walk,” Rebeck said. “Those three guys have a very delicate touch and an enormous respect for all of the artists they invite here. I love it here. I feel very safe.” The issue of gender disparity in the American theatre has grown like a national drumbeat in recent months. According to a recent sampling, just 22 percent of all plays produced on American stages between 2011 – 2014 were written by women, even though women generally average up to 61 percent of the theatregoing audience. But this is a conversation Rebeck has been leading her entire adult life. And frankly, she’s happy to pass the mic. “I am encouraged because I don’t have to be at the center of it anymore,” said Rebeck, who created The Lilly Awards with Marsha Norman and Julia Jordan in 2010 as a way to call attention to the work of women in the American theatre. “I strongly feel like going to the theatre should always be a lesson in empathy,” she said. “It is something that creates community that can potentially bring us all into the same understanding of our shared humanity. And I think that’s what The Nest is ultimately about. So I cannot wait until we are working in a post-gender universe.” That’s why she was happy to hear the following anecdote from last year’s Summit. At the end of a public reading of The Nest, a man turned to his companion and said, “I never would have guessed that was written by a woman.” Rebeck, after all, has been compared to blistering peers such as David Mamet and Neil LaBute. Rebeck, ironically, considers herself to be “absurdly and almost incoherently optimistic.” But she took the gender comparison to be compliment, she said, “because I think that has to be a person who thinks of women in a certain way, and now he has come to understand that what he thinks about women is not necessarily accurate. “So I think that’s really good.”

THE NESTJAN 22 – FEB 21 • SPACE THEATRE

ASL interpreted & Audio described performance: Jan 31, 1:30pmTickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4829

29

Enjoy a creative learning experience: acting, improv, on-camera and more.

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FIND YOUR VOICE

“ I strongly feel like going to the theatre should always be a lesson in empathy. It is something that creates community that can potentially bring us all into the same understanding of our shared humanity.” — THERESA REBECK, PLAYWRIGHT

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DCPAScott Shiller .............................................................President/CEO Eve Gordon ..........................Executive Assistant to the CEO

BROADWAY & CABARETJohn Ekeberg ..........................Executive Director BroadwayAlicia Giersch ....................................................General ManagerAlyssa Chacon ............ Operations Business AdministratorAbel Becerra ................................. Technical Director, CabaretAnson Nicholson .............................Sound Engineer, Cabaret

DEVELOPMENTDavid Zupancic ................................Director of Development Shawn Bayer ...................................................Associate DirectorChelley Canales ..................................Development AssociateMegan Fevurly ....................................Development AssociateMelissa Olson .......................................Development Assistant Marc Ravenhill ................................................Associate Director Valerie Taron ...................................................Associate Director

EDUCATIONAllison Watrous .......................................Director of EducationJessica Austgen ...............................................Teaching Artist &

Shakespeare CoordinatorStuart Barr .................................Education Technical DirectorClaudia Carson ........................................Bobby G Coordinator Leslie Channell ............................................ Education RegistrarPatrick Elkins-Zeglarski ...............................................Education

Curriculum ManagerLinda Eller .............................................................................LibrarianTim McCracken.....................................................Head of ActingJannett Matusiak ...........................................Business ManagerMichelle Patrick ..................Corporate Training CoordinatorDavid Saphier .............School Coordinator/Teaching ArtistRachel Taylor ........ .At-Risk Coordinator & Teaching Artist Chloe McCleod, Justin Walvoord, Robyn Yamada ................................................... Teaching Artists

FACILITIES & EVENT SERVICESClay Courter ....Vice President, Facilities & Event ServicesJames Babcock ..................................................................Engineer Dwight Barela .....................................................................Engineer Quentin Crump ..............................................Security SpecialistClint Flinchpaugh ..............................................................EngineerCaitlin Glasgo ...............................................Events Coordinator Stori Heleen ................................Event Technology Specialist Michael Kimbrough ..........................................................Engineer Jaymes Kimbrough .................Event Technology Specialist Clint King ........................................................Security SupervisorTerry Koch ..................................................Director, EngineeringJohn Lower .............................................................Chief EngineerBrian McClain ............................................ Custodial SupervisorTara Miller, Danielle Porter, Brittany Schoede .............................................. Events ManagerBrook Nichols ...............................Director, Event Technology Alyssa Stock ...................................Assistant Project ManagerDawn Williams ....................................Director, Event Services Juan Loya, Carmen Molina, Blanca Primero, Judith Primero, Angeles Reyes Soto, Francisco Trujillo ...........................................................Custodians

MARKETING & SALESJennifer Nealson .................................Chief Marketing Officer Heidi Bosk ........................ Senior PR & Promotions ManagerNathan Brunetti ..................................................Digital ManagerKim Conner ........................................................Graphic DesignerFlora Jane DiRienzo ............................ Strategic PartnershipsBrenda Elliott .....................................Senior Graphic DesignerBrianna Firestone ...................................Director of MarketingSimone Gordon ..................................................Project ManagerHope Grandon .........................................PR & Events ManagerJeff Hovorka ............................ Director of Sales & MarketingJennifer Kemps .......................................Group Sales ManagerEmily Kent .....................................................Marketing ManagerDavid Lenk.............................................................Video ProducerEmily Lozow ..........................................Marketing Coordinator

Adam Lundeen..................................... Website AdministratorKyle Malone ...................................................................Art DirectorCarolyn Michaels ..........................................................CopywriterJohn Moore ...............................................Senior Arts JournalistAdam Obendorf ..........................................Senior Art DirectorBeth Osolin .....................Group Sales Business CoordinatorAllison Barber Pasternak .... Executive Assistant to the CMODonna Rossi ...........................Customer Experience DirectorJoseph Schurwonn......................................... Financial AnalystJill Schwager ..............Education Group Sales CoordinatorRob Silk ................................................................ Creative DirectorSuzanne Yoe ..........................Director of Marketing Services

& Cultural AffairsTHEATRE SERVICES Carol Krueger .................................Theatre Services ManagerAdam Alberti, Ethan Aumann, Nora Caley, Hadley Kamminga-Peck, LeiLani Lynch, Gregory Melton, Douglas Murphey, Joyce Murphey, Margaret Ohlander, Dylan Phibbs, Valerie Schaefer, Mica Ward ....................Theatre Company House ManagersTICKETING SERVICESJennifer Lopez ........................Director of Ticketing ServicesKirk Petersen ..........................................Assoc. Dir. of Ticketing

Services – Patron RelationsDavid Smith ............................................Assoc. Dir. of Ticketing

Services – Subscription ServicesJessica Bergin, Katie Clow-Pollard, Tristan Jungferman, Laura Kirby ......Box Office ManagersMicah White .............................................Subscription ManagerMalcolm Brown, William Dutton III, Kevin Dykstra, Elisabeth Link, Molly McDonough .....................Show LeadsKirsten Anderson, Ashley Brown, Scott Lix, Gregory Swan ............................................Subscription AgentsMaggie Blumer, Rena Bugg, D.J. Dennis, Nicole Giordano, Jennifer Gray, Edmund Gurule, Roger Haak, Rebecca Hibbert, Joel Innes, Alex Jannen, Noah Jungferman, Megan Kelly, Alia Kempton, Michael Lang, Daniel Lindsey, Brett Martinez, Shane Rodriguez, Juan Carlos Sánchez, Hayley Solano, Alec Sydlow, Ereece Thomas, J.P. Velez, Tomas Waples ....................................Ticket Agents

SHARED SERVICESVicky Miles ...............................................Chief Financial OfficerJennifer Jeffrey ..................................Senior Financial AnalystACCOUNTINGJennifer Siemers .......................................Director AccountingSara Brandenburg ........................................Senior AccountantMichaele Davidson ......................................Senior AccountantGeorgette Maddox ..........................................Payroll SpecialistKim Stewart .......................................................Staff AccountantHUMAN RESOURCESRegina Matthews ........................Director Human ResourcesBrian Carter ..................................Human Resources ManagerDonald Gabenski ............................................................ReceptionJamie Hawkins .....................................................HR Coordinator Monica Robles ...........................................Mailroom SupervisorINFORMATION TECHNOLOGYChris Calenzo ..................................................Help Desk AnalystJayson Cowley......................................Network AdministratorJim Hipp ................................................Associate Director of ITChristopher Hoge ......................VoIP/System AdministratorBobby Jiminez ........................ Senior Audienceview AnalystJohn H. Voorheis ...........................Manager of Infrastructure

THEATRE COMPANY Kent Thompson .......................... Producing Artistic Director ADMINISTRATIONCharles Varin ..................................................Managing DirectorRyan Meisheid ..........................Associate Managing DirectorAllison Taylor .................................................Company ManagerKerri Mirtsching ................................... Business Administrator Alie Quistberg ..........................Assistant Company Manager ARTISTICBruce K. Sevy ..............Director of New Play DevelopmentDouglas Langworthy ...........Literary Manager/DramaturgChad Henry ......................................................Literary Associate

Emily Tarquin ..................................................Artistic Associate/New Play Coordinator

Grady Soapes .............................................Artistic CoordinatorEli Carpenter ..............................................................Artistic InternPRODUCTIONJeff Gifford ..............................................Director of ProductionMelissa Cashion ...................Associate Production ManagerJulie Brou ..................Production & Artistic Office ManagerScenic DesignLisa M. Orzolek ...............................Director of Scenic DesignMatthew Plamp, Nicholas Renaud..............................Scenic Design AssistantsLighting DesignCharles R. MacLeod ..................................Director of LightingLily Bradford ....................................Lighting Design AssistantReid Tennis .............................................. Production ElectricianMultimediaCharlie I. Miller...................... Resident Multimedia SpecialistTopher Blair ...........................Multimedia Assistant/OperatorSound DesignCraig Breitenbach ..........................................Director of SoundTyler Nelson ......................................................... Sound DesignerAlex Billman, Frank Haas .............................Sound OperatorsStage ManagementChristopher C. Ewing ...............Production Stage ManagerMatthew Campbell, Rachel Ducat, Aja M. Jackson, Randall Lum, Lyle Raper, Kurt Van Raden .........................Stage ManagersD. Lynn Reiland ........................................Production AssistantCorin Ferris, Lexi Holtzer, Kristen Littlepage........... Stage Management ApprenticesScene ShopEric Rouse .........................................................Technical DirectorRobert L. Orzolek ....................Associate Technical DirectorJosh Prues ................................... Assistant Technical DirectorAlbert “Stub” Allison, Louis Fernandez III .........................................Lead TechniciansJustin Hicks, Brian “Marco” Markiewicz, Keli Sequoia, Mike Van Aartsen, Ross Wick ........................................................Scenic TechniciansProp ShopRobin Lu Payne ............................................Properties DirectorEileen S. Garcia ........................Assistant Properties DirectorJamie Stewart Curl, Charles Dallas, David Hoth, Georgina Kayes, Katie Webster .....................Props ArtisansPaint ShopJana L. Mitchell ..........................................Charge Scenic ArtistMelanie Rentschler .......................................Lead Scenic ArtistRachael Gibson ............................................................Paint InternCostume ShopJanet S. MacLeod .........................................Costume Director/

Costume Design AssociateMeghan Anderson Doyle .......Costume Design AssociateCarolyn Plemitscher, Louise Powers, Jackie Scott ...........................................................................DrapersCathie Gagnon ................................................................First HandSheila P. Morris...........................................................................TailorKelly Jones, Jenny Milne-Wright, Beth Walker ..... StitchersCostume CraftsKevin Copenhaver ...........................Costume Crafts DirectorWigsDiana Ben-Kiki ..............................................................Wig MasterHouse CrewDoug Taylor* .........................................Supervising StagehandMariah Becerra*, Jim Berman*, Jennifer Guethlein*, Stephen D. Mazzeno*, Miles Stasica*, Tyler Stauffer, Matt Wagner* (*IATSE Local 7 Stagehands) ............................... StagehandsWardrobeBrenda Lawson .......................................Director of WardrobeMaria Y. Davis, Taylor Malott ...........................Wig AssistantsRobin Appleton, Amber Donner, Kelly Jones, Anthony Mattivi, Tim Nelson, Lisa Parsons, Alan Richards ...................................................................... Dressers

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Experience a Divine Culture

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ALL-NEW 2016 SHOW | WITH LIVE ORCHESTRA

A GRAND PRODUCTION TAKES YOU ON AN UNFORGETTABLE ADVENTURE

IN ANCIENT TIMES, China was known as the Land of the Divine. Everyone, from the emperors to the common people, believed that their culture was a divine gift. They lived in harmony with the universe and saw a connection among all things. And authentic Chinese culture carried these principles for thousands of years—until it was lost.

We now invite you to visit this lost civilization. To make the journey possible, we had to push the boundaries of performing arts. We combine ancient dance with technological innovations, and historically authentic costumes with breathtaking animated backdrops. We let classical Chinese dance do the storytelling, and share with you the beautifully diverse worlds of ethnic and folk traditions. Filled with an enchanting orchestral sound, this is a stunning visual and emotional experience you won’t find anywhere else.

SOLD-OUT SHOWS 2013–2015! SECURE YOUR BEST SEATS TODAY!

“Most beautiful production I’ve ever seen in my life...”— Ray Williams, former Managing Director, Medfield Corporation

“I feel like I have been to heaven and back...”— Deirdre Denise McClain, dancer and dance teacher

“Absolutely the NO.1 SHOW in the world...”— Kenn Wells, former lead dancer of the English National Ballet

“There is nothing beyond this...”— Jim Crill, Producer

36 denvercenter.org

IIn 2005, the Denver Center for the Performing Arts (DCPA) launched a first-of-its kind initiative. The Women’s Voices Fund is an endowment designed to foster and further the work of women in theatre. At that time, roughly 82 percent of all plays produced in America were written by men. At that point in its 26-year history, only 17 of the DCPA Theatre Company’s 220 productions were by a woman, which was reflective of theatre nationwide. In fact, between 1918 and 2005, only 11 out of 75 plays to be recognized with the Pulitzer Prize for Drama were by women. So Producing Artistic Director Kent Thompson set out to change the course of theatre in Denver if not the US. “The United States has a rich history of brilliant women writers,” said Thompson, “but female playwrights have long been neglected on the American stage. Today much of the most exciting, innovative and imaginative writing for the theatre is being created by women.” Fast forward to 2015 and the endowment now exceeds $1 million, making it not only the first but the largest endowment fund dedicated to plays by women. “We believe this kind of investment over time will both create opportunities for some of America’s most exciting artists and lead to the creation of the theatrical classics of tomorrow,” Thompson continued. But raising money is just the beginning. The funds have been put to good and regular use. Since its inception, DCPA Theatre Company has been able to:

• Commission 15 female playwrights

• Produce 10 world premieres

• Hire 17 women to direct 24 plays and readings

“There is nothing like this anywhere in America,” said Theatre Company commissioned playwright Michele Lowe (Inana and Map of Heaven). “There is nothing like this anywhere in the world. The Women’s Voices Fund is a miracle, a living breathing American theatre miracle.” Director Wendy C. Goldberg (The Clean House, Living Out, The Sweetest Swing in Baseball, Third and Two Things You Don’t Talk About At Dinner) echoed this sentiment: “Creating funding for the development and production of new work is a constant struggle…this unique fund makes it possible to support the most gifted storytellers of our time.” Contributors to the endowment fund are invited to the annual Women with Hattitude luncheon (May 5), the Colorado New Play Summit and conversations with Kent Thompson as well as to meet playwrights, actors and directors. Gifts of any amount are welcome and may be made online at www.denvercenter.org/wvf or by calling 303.572.4593. Your support will give momentum to the new voices shaping American theatre today.

“ Today much of the most exciting, innovative and imaginative writing for the theatre is being created by women.” — KENT THOMPSON, DCPA THEATRE COMPANY PRODUCING ARTISTIC DIRECTOR

WOMEN’S VOICES FUND$1 MILLION IN 1 DECADE

WEAR A HAT THAT SPEAKS VOLUMES.Join our Women with Hattitude benefit for the Women’s Voices Fund at the Denver Center for the Performing Arts.

Enjoy a delicious lunch, a surprise musical performance and a colorful parade of the day’s best hats —

all to help women playwrights and directors be heard.

THU, MAY 5 • SEAWELL GRAND BALLROOM • 11:30AM DENVERCENTER.ORG/HATS • 303.572.4593

Adrienne Campbell-Holt, director of The Nest

Women’s Voices Fund contributors meet playwright Theresa Rebeck.

Photos by John Moore.

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S. GrantJames & Jan ChaseIsabelle ClarkRobert & Elaine CollinsSuzanne CollinsJill Irvine CrowKatie CymbalaLisa Daniel-JohnsonGully Stanford & Dorothy

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Wooster-JacksonMichael A. KarmilLeo & Susan KielyJeremy Kinney & Holly Arnold

KinneyMike & Diana Kinsey Elizabeth KirkpatrickKarolynn LestrudDr. & Mrs. Stanley L. LoftnessDr. Kathryn G. Maes & Mr. Lee

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Arts School & Camp

Frank & Linda PlautJane PrancanJane QuinetteFran QuinlanElizabeth RaveWilliam & Mary Carol RiaskiTina RischWalter S. Rosenberry, III -

Charitable TrustMolly RossCarol Ann RothmanPeggy RottnerDutchess ScheitlerDonald R. SeawellDr. Barbara Shannon-Banister

& Mr. Guardie BanisterAlison ShetterRuth SilverBob & Carole SloskyJim & Lori SteinbergPeter & Janet SwinburnBea TaplinJames & Kate TaucherSandy TenenbaumKent Thompson & Kathleen

McCallJune TravisLeslie Tweed KingAndrea WarnerRandy WeeksCarol E. WolfMarvin and Judi Wolf Christine Yaros

ASSOCIATE MEMBERSAnnual membership of $300

Andrea Nicole AckermanJamie AngelichMartha BennettMurri BishopMaureen Regan Cannon

Joy DinsdaleJames and FloraJane

DiRienzoLouise DouglassBrianna FirestoneTrish GreenJulie GunliksonAnn Hinkins-SteinerDon Johnson & Arlene Mohler

JohnsonLaura NachburBonnie NeiheiselDr. Alexis ParkerMarc & Margot PintoToby PippinGlenda RainoldKerry ShillerMarlene SiegelDean & Adrienne SingletonCynthia TreadwellRachel WilliamsDeborah Woodward

CONTRIBUTIONS AT OTHER LEVELS

Alires AlmonJessica BalunSara BoydSue BrunerMegan CalvertDavid & Jody CharmatzKeri ChristiansenFreda ClaybornMarla CorwinAnn DeGroatAllison DoplerGreta DunnMs. Jacalyn Durkin-MillerViolet EdwardsDeborah FordBernice FosterLinda Gibson

Angela GourdenKathryn HaleSusan HelmerHon. Robert Fullerton &

Beverlee Henry FullertonGeorgia HigginsAngela HillMia HofmannAshley HofwoltJill JordanMargaret KellyJoby KorenLois MacPheeCarol & DirkMcDermottBeatrice MontoyaVeronica MontoyaKathy Nesbitt Jane NetzorgJackie NordstromEileen O’BrienVerna OrsattiMary Katherine PagelsDelores PardnerNicole ReinanWendy RitterVada RobinsonMarion SmithDebbie SmithAlyssa StockSusan VanNessNatisha WaltonStephanie WelshShirley WhitakerElizabeth WiersmaIrma WilbornSuzanne Yoe

Donations can be made all year long. Please contact Megan Fevurly at 303.572.4593 for more information.

2015/16 WOMEN’S VOICES FUND SUPPORTERS

WEAR A HAT THAT SPEAKS VOLUMES.Join our Women with Hattitude benefit for the Women’s Voices Fund at the Denver Center for the Performing Arts.

Enjoy a delicious lunch, a surprise musical performance and a colorful parade of the day’s best hats —

all to help women playwrights and directors be heard.

THU, MAY 5 • SEAWELL GRAND BALLROOM • 11:30AM DENVERCENTER.ORG/HATS • 303.572.4593

Sponsored by MARGOT & ALLAN FRANK

HILJA K. HERFURTH

38 denvercenter.org

For answers please visit denvercenter.org/news-center.

ACROSS2 FADE playwright writes for TV’s “How to Get Away

with _______”

6 LBJ’s wife (two words)

7 TV’s “_______ Maids” was another Tanya Saracho writing gig

10 Country where Tanya Saracho was born

11 The B in LBJ

13 Theresa Rebeck’s _______ Awards honor women in the American theatre

14 Theresa Rebeck play recently staged by Boulder Ensemble Theatre Company

16 He sang and co-wrote Dirty Dancing’s “She’s Like The Wind” with Stacy Widelitz

DOWN1 This new version of The Wizard of Oz features new

songs by Rice and _______

3 Patrick Swayze and Jennifer Grey also appeared in this film (two words)

4 He played LBJ on Broadway

5 Theresa Rebeck’s Our _______ was a 2008 DCPA Theatre Company world premiere

7 In Gentleman’s Guide, the jungle natives have but six words — all of them different words for _______

8 For the movie, the part of The Wizard was original-ly written for W.C. _______

9 Dirty Dancing’s resort dance instructor Johnny _______

12 For the movie, The Tin Man cried chocolate _______

13 “So I’ll tell you something. This could be _______”

15 This Tony Award winner originated the role of “The D’ysquith Family” on Broadway

A MEDLEY OF CROSSWORD TRIVIALITY Dirty Dancing, The Wizard of Oz, A Gentleman’s Guide to Love & Murder, All the Way, The Nest and FADE

As professionals who work in the realm of the imagination, we never plan the same event twice. Our team of on-site designers, event managers and technical specialists know how to take your vision of your big day and create something you’ve never imagined. Let us direct your award-winning event.

DENVERCENTER.ORG • 303.572.4466DIRECTORS ROOM • SEAWELL GRAND BALLROOM

YOU’VE WRITTEN YOUR LOVE STORY. LET US DIRECT IT.

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februaryInside The Score: Holst The Planets I N S I D E T H E S C O R E

FEB 5 T FRI 7:30Christopher Dragon, conductor

Side-By-Side with DYAO: 100 Year Celebration F A M I L Y

of the U.S. National ParksFEB 6 T SAT 2:30Christopher Dragon, conductorDenver Young Artists Orchestra

Sierra Boggess In Concert P O P S

FEB 13-14 T SAT 7:30 T SUN 1:00Andres Lopera, conductorSierra Boggess, vocalsColorado Children’s Chorale, Deborah DeSantis, artistic director

Mahler Symphony No. 2 “Resurrection” M A S T E R W O R K S

FEB 19-20 T FRI-SAT 7:30Andrew Litton, conductorColorado Symphony Chorus, Duain Wolfe, directorMAHLER Symphony No. 2, “Resurrection”

Igudesman and Joo: “BIG Nightmare Music” S P E C I A L

FEB 27 T SAT 7:30 Andrew Litton, conductorAleksey Igudesman, violinHyung-ki Joo, piano

march Shakespeare Festival: M A S T E R W O R K S

A Midsummer Night’s Dream MAR 4-5 T FRI-SAT 7:30 Hans Graf, conductorMaureen Thomas, actorColorado Children’s Chorale, Deborah DeSantis, artistic directorTCHAIKOVSKY The Tempest, Fantasy-OvertureMENDELSSOHN A Midsummer Night’s Dream

Inside the Score: Shakespeare Festival: I N S I D E T H E S C O R E

Colorado Symphony ChorusMAR 11 T FRI 7:30 Duain Wolfe, conductorColorado Symphony Chorus, Duain Wolfe, director

An Evening with Wonderbound S P E C I A L

MAR 12 T SAT 7:30Christopher Dragon, conductorWonderboundTCHAIKOVSKY excerpts from Sleeping BeautyTCHAIKOVSKY excerpts from Swan LakeTCHAIKOVSKY Serenade for Strings

Carnival of the Animals and The Story of Babar F A M I L Y

MAR 13 T SUN 1:00Andres Lopera, conductorSAINT-SAËNS Carnival of the AnimalsPOULENC The Story of Babar, the Little Elephant

Shakespeare Festival: Romeo and Juliet M A S T E R W O R K S

MAR 18-20 T FRI-SAT 7:30 T SUN 1:00 Christopher Dragon, conductorColorado Symphony Chorus, Duain Wolfe, directorVAUGHAN WILLIAMS Serenade to Music BERNSTEIN Symphonic Dances from West Side StoryTCHAIKOVSKY excerpts from Romeo and Juliet PROKOFIEV excerpts from Romeo and Juliet ROTA Love Theme from “Romeo and Juliet”

aprilBéla Fleck: Return of the Banjo M A S T E R W O R K S

APR 1-2 T FRI-SAT 7:30 Jose Luis Gomez, conductorBéla Fleck, banjoJOHN ADAMS The Chairman DancesVILLA-LOBOS Chôros No. 6BÉLA FLECK Concerto for Banjo and Orchestra No. 2

Inside The Score: I N S I D E T H E S C O R E

An Evening of Chamber MusicAPR 8 T FRI 7:30

A Symphonic Tribute to Mel Brooks P O P S

APR 9 T SAT 7:30Andres Lopera, conductorColorado Symphony Chorus, Mary Louise Burke, associate director

Jeffrey and Gabriel Kahane M A S T E R W O R K S

APR 15-17 T FRI-SAT 7:30 T SUN 1:00Jeffrey Kahane, conductor/pianoGabriel Kahane, vocals/guitarBERNSTEIN Fancy FreeGABRIEL KAHANE Crane PalimpsestGERSHWIN Concerto in F

Colorado Symphony Ball F U N D R A I S E R

APR 23 T SAT 6:00

ticketscoloradosymphony.org T 303.623.7876 box office mon-fri 10 am-6 pm :: sat 12 pm-6 pmstudent tickets: $10 at the door with valid student i.d. $12 in advance - call for details

Sierra Boggess

HalfNotes Please join us for family-friendly pre-concert activities in Gallery 2.

New Year New You

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Applause Magazine, Jan. 26-31, 2016

Documents

Transcript of Applause Magazine, Jan. 26-31, 2016