Applause Magazine, Apr. 4 - May11, 2014

ALSO PLAYING…

ROCK OF AGES n ONCE n AMERICAN IDIOT

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T H E D E N V E R C E N T E R F O R T H E P E R F O R M I N G A R T S

VOLUME XXV n NUMBER 7

APRIL – MAY 2014 ANIMAL CRACKERS

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VOLUME XXV n NUMBER 7 n APRIL – MAY 2014

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BOARD OF TRUSTEESDaniel L. Ritchie,

Chairman and CEODonald R. Seawell,

Chairman EmeritusRandy Weeks, PresidentWilliam Dean Singleton,

Secretary/TreasurerW. Leo Kiely III,

First Vice Chair Robert Slosky,

Second Vice Chair

Dr. Patricia Baca

Joy S. Burns

Isabelle Clark

Navin Dimond

Margot Gilbert Frank

Thomas W. Honig

Mary Pat Link

Trish Nagel

Robert C. Newman

Richard M. Sapkin

Martin Semple

Jim Steinberg

Peter Swinburn

Ken Tuchman

Tina Walls

Lester L. Ward

Dr. Reginald L. Washington

Judi Wolf

Sylvia Young_______________________

Carolyn Foster, Executive Assistant to Daniel L. Ritchie

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HONORARY MEMBERSJeannie Fuller

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HELEN G. BONFILS

FOUNDATION BOARD

OF TRUSTEES

Lester L. Ward, President

Martin Semple, Vice President

Judi Wolf, Sec’y/Treasurer

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W. Leo Kiely III

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SENIOR MANAGEMENT STAFF

Randy Weeks, President and Executive Director, Denver Center Attractions

Kent Thompson, Producing Artistic Director, Denver Center Theatre Company

Dorothy Denny, Executive Vice President

Vicky Miles, Chief Financial Officer

Jennifer Nealson, Chief Marketing Officer

Clay Courter, Director of Facilities Management

INDE

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4022

ANIMAL CRACKERSA madcap romp with all

your favorite brothers: Groucho, Chico, Harpo,

Zeppo—and Margaret Dumont. by Doug Langworthy

ROCK OF AGESChart-topping rock songs and

ballads from the 1980s offer “nothing but a good time.”

This show’s a party!by Genevieve Miller Holt

ONCEVacuum cleaner repairman meets immigrant flower seller, make music, fall in love and part. But not before changing each other’s lives—and enriching yours.

AMERICAN IDIOTA musical based on Green Day’s Grammy® Award-winning album. Three friends must choose between dreams and suburbia. All you need to do is enjoy.by Rob Weiner-Kendt

As you’ve heard by now, we’re launching our 36th Denver Center Theatre Company season with a ma-jor revision of the beloved musical, The Unsinkable Molly Brown, featur-ing a new book by Dick Scanlan (based on Molly Brown’s real life), several songs replaced by others from the Meredith Willson catalog, and a top creative team, led by three-time Tony® Award-winning director/chore-ographer Kathleen Marshall. And that’s just the thrilling start of an exciting year. Below (and on pages 16-17) I am outlining the rest of our 2014/15 season. William Golding’s Lord of the Flies, a title many of us read in school, tells the harrowing story of a group of schoolchildren dropped on an island after a plane crash during World War II. Left to their own de-vices, they sink into power struggles, even savagery, as bullying wins over cooperation; a scary, but touching play. Next up, Christopher Durang’s Vanya and Sonia and Masha and Spike (winner of the 2013 Tony for Best New Play) delivers a very funny, sometimes wistful reflection about middle-age ennui, loosely based on Uncle Vanya with hilarious Chekho-vian references, and the addition of a muscular “boy toy” and a prophetic, sassy housekeeper.

At the holidays we’ll hold to tradi-tion with our sumptuous staging of A Christmas Carol. We’ll celebrate our 10th annual Colorado New Play Summit in February with two world premieres that emerged from this year’s Summit to serve as the center-piece for the next one: James Still’s Appoggiatura, a romantic and tender story set in the mystical beauty of Venice as time bends and magic lies just around the corner—and Bene-diction, adapted by Eric Schmiedl to complete a trilogy drawn from the popular novels of Colorado’s acclaimed writer Kent Haruf. As with Haruf’s Plainsong and Eventide, Benediction weaves together the authentic, vivid and deeply human stories of Holt, a fictional small town on the eastern plains of Colorado. The spring brings One Night in Miami..., a surprising contemporary play by Will Kemp that fictionalizes a real meeting in a hotel room in Florida. After Cassius Clay won his first world heavyweight champion-ship (1964 against Sonny Liston), he spent the evening with three close friends: football legend Jim Brown, the remarkable composer/singer/producer Sam Cooke and Malcolm X, culminating in an announcement from Clay that shocked the world. I call One Night in Miami... a “dram-edy” because it’s filled with laughter, insight and, yes, drama. Our final stage show is yet to be selected, but we’re looking at several fascinating projects. Do come along for the adventure. Do join us again as a season ticket holder. n

Producing Artistic DirectorDenver Center Theatre Company

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AT SELECT PERFORMANCES; CHECK DATES/TIMES WHEN ORDERING.

Performances at The Denver Center are made possible in part through the generous support of:

Denver Center Theatre Company 2013/14 Season Sponsors

Denver Center Attractions 2013/14 Season Sponsors

Media Sponsors

Red PMS 200 Gold PMS 123

Animal Crackers costume designs by Kevin Copenhaver

Dixie’s Tupperware Party

Now – April 20Garner Galleria

TheatreON SALE NOW

ShadowlandsNow – April 27Space TheatreON SALE NOW

Animal CrackersNow – May 11Stage TheatreON SALE NOW

Celtic WomanApril 19

Buell TheatreON SALE NOW

Dixie’s Never Wear a Tube Top

While Riding a Mechanical Bull...April 24 – May 11

Garner Galleria Theatre

ON SALE NOW

Rock of AgesApril 25 – 27Buell TheatreON SALE NOW

onceMay 6 – 18

Buell TheatreON SALE NOW

American IdiotMay 23 – 25Buell TheatreON SALE NOW

PippinSept 6 – 20

Buell Theatre

Lord of the Flies Sept 6 – Nov 2Space Theatre

The Unsinkable Molly Brown

Sept 12 – Oct 26Stage Theatre

Vanya and Sonia and Masha and Spike

Oct 10 – Nov 16 Ricketson Theatre

Kinky BootsOct 29 – Nov 9Buell Theatre

Forbidden Broadway: Alive

and KickingNov 15 – March 1

Garner Galleria Theatre

A Christmas CarolNov 29 – Dec 29

Stage Theatre

Jersey BoysDec 10 – 14

Buell Theatre

Dr. Seuss’ How the Grinch Stole Christmas!

The MusicalDec 17 – 28

Buell Theatre

AppoggiaturaJan 16 – Feb 22,

2015Ricketson Theatre

Benediction Jan 30 – Mar 1,

2015Space Theatre

Rodgers + Hammerstein’s

CinderellaFeb 3 – 15, 2015

Buell Theatre

Motown The Musical

March 31 – April 19, 2015

Buell Theatre

One Night in Miami...

Mar 20 – Apr 19, 2015

Space Theatre

AnnieApril 29 – May 10,

2015Buell Theatre

WickedJune 3 – July 5,

2015Buell Theatre

The Book of Mormon

Aug 11 – Sept 13, 2015

The Ellie

For in that sleep of death what dreams may come… -William Shakespeare, Hamlet, Act III, scene i

The Denver Center is saddened to announce the loss of Jeri Zucherman, longtime member of the Best of Broadway and Directors societies, who recently passed away. Our condolences to Jeri’s family and friends at this difficult time. Jeri will be greatly missed. n

Jeri Zucherman

SINGLE TICKETS ON

SALE IN AUGUST

The silver screen springs to life at the Denver Center Theatre Company in this stage version of the Marx Brothers’ Ani-

mal Crackers—a boisterous comedy about the theft of a valuable painting from a society dinner party that is quintessential Marx Brothers may-hem. Costume designer Kevin Copenhaver takes you back to the 1930s through vintage creations in this whodunit spoof. As with many productions that went on to meet broader fame on the big screen, this play with music is smaller in scale, with a nimble cast of nine actors playing multiple characters—sometimes with just one line of dialogue in which to make a change! The frequency of the lightning-fast costume changes helps dictate fab-ric and color, as well as how a costume is built. “I will be looking for stretch charmeuse, fanciful woolens, knits that resemble the rougher textures of stretch fabrics from the period, and some wacky brocades and sleek fabrics for the ‘dream’ sequence near the end of the play,” Copenhaver noted. A strong color palette also assists in defining character and affiliation, both in the clothes and hair color. Women’s fashion in the 30s went from the boyish, columnar silhouette of the 1920s to a more feminine form achieved by cutting gar-ments on the bias. Because men’s fashions have not changed drastically since the 1930s, they will seem almost modern save for differences in lapel width, shoulder shape, trouser width and rise. From the show’s zinging one-liners to its slapstick brilliance, you will travel back to the swank of the 30s as Groucho, Harpo, Chico and Zeppo zip around the stage—and take your breath away. n

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ANIM

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Animal Crackers is classic Marx Brothers comedy

brought to the modern stage

B Y D O U G L A S L A N G W O R T H Y

CRACKING

FUNNY

Animal Crackers, the hilarious Marx Brothers movie, started its life as a long-running Broadway musical that was hand-tailored to showcase the

energy of the madcap brothers (Groucho, Chico, Harpo and Zeppo) and their signature comic personae. In the stage show, with a book by George S. Kaufman, highbrow meets lowbrow to exhilarating effect. Mrs. Rittenhouse, a high-society matron, is throwing a big party to celebrate the return of Captain Spauld-ing (Groucho) from the wilds of Africa. To mark the festivities, she wants to reveal a famous painting she has borrowed for the occasion.

Animal Crackers delivers classic Groucho one-liners

(“I intend to live forever, or die trying”), comedy routines,

In the meantime, a quartet of young lovers vie for each other’s affections, while Spaulding attempts to woo his

wealthy widowed hostess. As it’s a musi-cal, there are plenty of songs and choral numbers with clever lyrics such as “He’s ended our anxiety/and saved our high society/from shameless impropriety.” Into this genteel entertainment about the pastimes of the very rich, the four Marx Brothers zip around like bottle rockets, derailing the story and burst-ing the bubbles of societal pretension. The play itself serves as a backboard for these expert vaudevillians to fling them-selves against. Animal Crackers delivers classic Groucho one-liners (“I intend to live forever, or die trying”), comedy rou-tines, instrumental interludes and plenty of physical shtick.

By the time the Marx Brothers opened that show, they were at the height of their pre-Hollywood fame. They had been honing their craft on the vaudeville stage for more than 25 years. Minnie Schoenberg Marx, their ferocious stage mother—whose own parents were a ma-gician and a yodeling harpist and whose brother, Al Shean, became a vaudeville star—shoved all her boys onto the stage, like it or not. They started out as a sing-ing group (first the Three, then the Four Nightingales), but as the boys’ voices began to change, they tried peppering the act with jokes, funny characters and mock fights, and found that their antics earned them more applause than their music.

Criss-crossing the country on the vaudeville circuit, the brothers developed the roles they became

known for, each picking up a nickname along the way: Groucho, the wise-crack-er with bushy eyebrows, moustache, glasses and a cigar; Chico (pronounced Chick-o, because he chased after the chicks), the con man with an Italian ac-cent who played the piano—and Harpo, the wide-eyed innocent with bushy hair who didn’t speak at all but liked to steal silverware and play the harp.

Zeppo, the youngest, usually played the handsome straight man, although once during the run of Animal Crackers, Zeppo went on for Groucho and was accounted even funnier than Groucho himself. (A fifth brother, Gummo, left the group during World War I.) After a successful run in 1915 at the Palace in New York City, Chico was getting restless, saying they were “too good” for vaudeville. This might have been sour grapes, as the brothers had gotten themselves banned from the major vaudeville circuits because of a dispute with impresario E.F. Albee (the adoptive grandfather of playwright Edward Albee). So they decided to try to conquer Broadway, pulling together the revue I’ll Say She Is out of their old routines and musical numbers, loosely

tied together by the story of a rich girl’s adventures with a variety of men.

The show opened in 1924 and played for 313 performances. The Marx Brothers were the toast

of the town. Then followed two more Broadway hits—The Cocoanuts (1925) and Animal Crackers (1928). As their fame kept growing, there was only one place left for them to go: Hol-lywood. When the first talkie (The Jazz Singer) was released in 1927, the Marx Brothers were perfectly positioned to bypass silent film and proceed directly to making pictures with sound. By the time the brothers started working on their first film, they were in their 40s with a wealth of theatrical experience under their belts. Paramount snapped up the team with a lucrative five-film contract. So while they were performing Animal Crackers in the evenings in Manhattan, during the day they filmed The Cocoanuts over in Queens at the Astoria Studios. In typical zany fashion, Groucho found his perfect comic foil in Margaret Dumont (Mrs. Rittenhouse), who played a succession of matronly high-society widows whom Groucho alternately insulted and pursued for their money. Her trademark deadpan was always able

to fend off Groucho’s attempts to drag her through the swamps of low comedy. Trained as an operatic singer and actress, she became a de facto “fifth brother,” starring in seven Marx Brothers films and two of their Broadway musicals, including Animal Crackers. How then do you stage a play so close-ly associated with its Marxian creators? According to Bruce Sevy, who directed this production, the actors portraying the famous siblings won’t be doing imita-tions per se.

“That would get tiresome,” he says. “The challenge is to in-habit the spirit of these guys

and their comedy so that the scenes live and breathe in the moment.” In a nod to the brothers’ musical virtuosity the actor playing Ravelli, the Chico role, will be doing some live tricks at the keyboard (one involving an orange). So is Animal Crackers serious theatre? Absolutely not. Is there a place in the theatre for laughter and silliness and comic anarchy? Absolutely. But let’s let Groucho have the final word. In a sardonic moment he once said: “If it weren’t for the brief respite we give the world with our foolishness, the world would see mass suicide in numbers that compare favorably with the death rate of lemmings.” Whoever would have thought “lemmings” could be the punchline of a joke? n

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

ANIMAL CRACKERS

303.893.4100 APPLAUSE 11

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

April 4 – May 11 • Space TheatreProducing Partners: Margot & Allan Frank, Robert & Judi Newman

Sponsored by HealthONE

The performance on Wednesday, April 23, is dedicated to the memory of Jeri Zucherman

ASL interpreted, Audio Described & Open Captioned • May 4, 1:30pm

Perspective on the play: April 4, 6pm, Jones Theatre Attend this FREE moderated discussion with DCTC’s creative team. All are welcome.

Animal Crackers is classic Marx Brothers comedy

brought to the modern stage

B Y D O U G L A S L A N G W O R T H Y

CRACKING

FUNNY

Animal Crackers delivers classic Groucho one-liners

(“I intend to live forever, or die trying”), comedy routines,

instrumental interludes and plenty of physical shtick.

PREM

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SUB

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P R E M I U M S U B S C R I P T I O N SJoin Now – Support the Denver Center Theatre Company and enjoy the

new 2014/15 Season as a VIP Member!

Marquee Club sponsored in part by:

WilliamLaBAHN

visit www.denvercenter.org/members or contact David Zupancic at 303.446.4811 or [email protected] O J O I N

DIRECTORS SOCIETYTailored for the subscriber who wants to get closer to the company:• Eight-play subscription on selected Wednesday evenings• Before the Show: members-only cocktail parties• After the Show: casual yet elegant dinners with the cast and crew• Behind-the-scenes programs led by Producing Artistic Director Kent Thompson• Personalized ticketing and exchange services

$1,900 per person (A portion is tax deductible)

MARQUEE CLUBStep up your nightlife! Tailored for the active professional:• Four-play subscription on selected Thursday evenings• Before the show: members-only cocktail parties with open bar and hors d’oeuvres• After the show: meet the cast at Larimer Square hot spots• Personalized ticketing and exchange services

$500 per person ($227 is tax deductible)

Directors Society sponsored in part by:

PHOTOS BY SUZANNE YOE

PHOTOS BY VICKI KERR

THE 2014/15 EVENTSThe Unsinkable Molly Brown Sept 19Lord of the Flies Oct 8Vanya and Sonia and Masha and Spike Oct 22A Christmas Carol Dec 10Appoggiatura Jan 28Benediction Feb11One Night in Miami... April 1 Director’s Choice TBA April 15

THE 2014/15 EVENTSThe Unsinkable Molly Brown Oct 2Vanya and Sonia and Masha and Spike Nov 6Appoggiatura Feb 5Director’s Choice TBA April 16

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This exhilarating refresh of Meredith Willson’s 1960 musical tells the rags-to-riches romance of Colorado’s own heroine, Molly Brown. With a new book by Dick Scanlan (Thoroughly Modern Millie), new songs from the Willson songbook and staging by Tony-winning director/choreog-rapher Kathleen Marshall (Anything Goes), the tempestu-ous can’t-live-with-him/can’t-live-without-him love story that survived the Silver Boom, Gold Rush and sinking of the Titanic returns to the stage in an all-new production.

A staple in classrooms for generations, Chicago Theatre Beat raves Lord of the Flies is a “powerful, passionate adaptation that breathes new life into the classic novel,” which tells the story of a group of English boys who become stranded on a deserted island. Intoxicated by sudden freedom, their games quickly descend to a savage struggle for power. A compelling glimpse into dystopia that explores the grimmest reaches of human nature and fragility of free will.

LORD OF THE FLIES Adapted for the stage by Nigel WilliamsSept 26-Nov 2 • Space Theatre

SEAS

ON

Photos by Terry Shapiro

VANYA AND SONIA

AND MASHA AND SPIKE

By Christopher DurangOct 10-Nov 16 • Ricketson Theatre

Absurdist master Christopher Durang blends melancholy with mayhem in what the The New York Times declares a “deliriously funny” black comedy. Winner of the 2013 Tony Award for Best Play, this Chekhovian mash-up erupts into chaos when Vanya and Sonia receive a surprise visit from their Hollywood star sister, Masha, and her boy-toy Spike. Residents and visitors of the normally quiet house-hold are thrown into hilarious upheaval as they confront issues of sibling rivalry, regret, lust and love.

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THE UNSINKABLE MOLLY BROWNLyrics and Music by Meredith WillsonAdditional Lyrics and Book by Dick ScanlanBased on the Original Book by Richard MorrisDirected and Choreographed by Kathleen MarshallSept 12-Oct 26 • Stage Theatre

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This slice-of-life dramedy that the LA Times calls “en-gaging and thought-provoking,” imagines what occurred the night of Cassius Clay’s historic win over heavyweight champ Sonny Liston. Declining a glamorous Miami Beach party, Clay chooses to celebrate in a hotel room with his closest friends: activist Malcom X, singer Sam Cooke and football player Jim Brown. Over the course of the night each man argues his vision for what it means to be black in 1964, culminating in an early morning announcement from Clay that will shock the world. Filled with “crackling good dialogue and timely themes,” as proclaimed by Variety, One Night in Miami... is a “decisive knockout.”

Essential to the holiday season in Denver, A Christmas Carol promises to “warm your heart and renew your holi-day spirit” according to the Examiner. Based on Charles Dickens’ classic novel, this joyous and opulent musical adaptation traces money-hoarding skinflint Ebenezer Scrooge’s triumphant overnight journey to redemption. A Christmas Carol illuminates the meaning of the holiday season in a way that has resonated for generations.

Written by three-time Pulitzer nominee James Still, Appoggiatura follows three closely related Americans, each nursing a hunger and a hard-to-heal wound, as they travel to the romantic city of Venice seeking solace. As time bends and magic lies just around the corner, this favorite of the Colorado New Play Summit weaves a quirky and lyrical narrative exploring love, loss and the human soul.

Boasted a “masterful look at the end of life” by The Denver Post, this adaptation of best-selling Kent Ha-ruf’s novel takes place on the high plains of Colorado. The final chapter of a trilogy, Benediction is a power-ful drama about three souls searching for meaningful connections despite separation, loneliness and the race against time.

ONE NIGHT

IN MIAMI... By Kemp PowersMar 20-Apr 19 • Space Theatre

Photos by Terry Shapiro

APPOGGIATURABy James StillJan 16-Feb 22 • Ricketson Theatre

WORLD PREMIERE

BENEDICTION By Eric SchmiedlBased on the novel by Kent HarufJan 30-Mar 1• Space Theatre

WORLD PREMIERE

Part of the thrill of live theatre is the element of the unexpected. We are reviewing a few dynamic choices for our final production of the 2014/15 season. Stay tuned!

A CHRISTMAS CAROLBy Charles DickensAdapted by Richard HellesenMusic by David de BerryNov 28-Dec 28 • Stage Theatre

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ADDED ATTRACTION

2014/15 SEASON SPONSORS

DIRECTOR’S CHOICEMar 27-Apr 26 • Stage Theatre

Elite #

In Connection With Steamboat All Arts Festival, Emerald City Opera presents

Giuseppe Verdi’s FALSTAFF(Sung in English)

August 15 & 17, 2014

Featuring: David Malis, Megan Marino,

Chad Armstrong, Keri Rusthoi and Max HosnerDirected by Glynis Leyshon | Orchestra conducted by Adam Flatt

The Opera Artist Institute presents

Henry Purcell’sDido and Aeneas

(Sung in English)August 10 & 16, 2014

Falstaff Presenting Sponsor:

For lodging reservations call 800-525-2622

emeraldcityopera.com | Steamboat Springs, CO

|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|**|*|*|*|

escapes #

303.292.6700 | CentralCityOpera.orgYou won’t know until you go.

The Sound of Music

Denver comes alive with

Ellie Caulkins Opera House August 2 - 10

June 28 - August 10

THE MARRIAGE OF FIGARO | DEAD MAN WALKING THE SOUND OF MUSIC in denver

OKLAHOMATHE LIAR

ONE MAN, TWO GUVNORS

2014SUMMER SEASON

June 20 – August 30

Famous Performing Arts Center131 W Main StreetTrinidad Colorado

(in the middle of the Creative District)

719.846.4765www.scrtheatre.com

Henri de Toulouse-Lautrec (1864-1901), Jane Avril, 1893, color lithograph, 48 ¾ x 36 inches,

Musée d’Ixelles, Brussels.

Toulouse-Lautrec and La Vie Moderne:

Paris 1880-1910

Downtown Golden, CO For more information: www.foothillsartcenter.org

This exhibition is organized & circulated by Art Services International, Alexandria, Virginia.

PRESENTING

Celebrating Henri de Toulouse-Lautrec and 94 avant-garde artists in the Parisian artistic and

cultural scene, with over 180 objects that will delight you!

June 7 - August 17, 2014

Elite #

The 27th Annual Schomp BMW Denver Polo Classic

JUNE 27-29, 2014

An event of the Denver Active 20-30 Children’s Foundation benefiting at-risk and disadvantaged children

Friday, June 27, Del Frisco’s - Sullivan’s Black Tie Ball

Saturday, June 28, Family Day

Sunday, June 29, Lockton Championship Day

To purchase single day tickets or a weekend pass call 303-832-8390 or go to www.DenverPolo.com

Celebrating its 27th year, the Schomp BMW Denver Polo Classic is three days of exciting entertainment with all proceeds benefiting local children’s charities. The weekend events will take place at the exclusive Polo Reserve Development in Littleton. Set against the spectacular backdrop of the Rocky Mountains, under our signature white tent, patrons and guests of the Schomp BMW Denver Polo Classic will enjoy world-class polo matches, exquisite spirits, wines and beers, and gourmet food from some of the finest restaurants in Denver.

The largest charitable polo event in the country

SPONSORED BY

6th Annual!

Era

We will never tell you to use your “inside voice”!

Audition and let your inner voice sing!Scheduling auditions for children entering

2nd-5th grades who love to sing and perform.ChildrensChorale.org or 303.892.5600

We will never tell you to use your “inside voice”!

Audition and let your inner voice sing!Scheduling auditions for children entering

2nd-5th grades who love to sing and perform.ChildrensChorale.org or 303.892.5600

escapes #Blue Mountain Arts presents COLORADO SHAKESPEARE FESTIVAL

June 6 - August 10, 2014Tickets are now on sale

303-492-8008 COLORADOSHAKES.ORG

MeMorial day weekend 2o14

May 23–25 Fri 4–8pm | Sat 11–8pm | Sun 11–5pm

denver Performing arts Complex downtowndenverartsFestival.com

“You cannot come to Taos without feeling that hereis one of the chosen spots on earth.”—D.H. Lawrence

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800.348.0696

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When writer Chris D’Arienzo’s agent let him know that a musical based on ’80s heavy-metal hits was being pro-duced in Los Angeles, he knew he was the man to write the book. You might say he couldn’t “fight this feeling any lon-ger” or that he wouldn’t “stop believing,” but D’Arienzo knew he could do justice to some of the biggest hits of his youth by weaving them into a Broadway musical with real heart. To win the gig, however, he had to impress the producing team. “It was probably the ballsiest pitch of my life,” he says. When he arrived for the pitch meeting, he saw the writer who had just finished pitching shuffle out the room with deflated energy, and it lit a spark of inspiration inside D’Arienzo. “I walked to the conference room where all the producers were sitting and kicked in the door, threw my bag in, took my shirt off (revealing an authentic sleeveless Journey con-cert T-shirt underneath) and sauntered in like I was some kind of David Lee Roth character.” In a move that very easily could have gotten D’Arienzo kicked out of the building, he managed to impress the team of neophyte Broadway producers with his guts. They hired him immediately.

D’Arienzo got to work. His gargantuan task was to identify pop and rock songs of the ’80s that he wanted to use, seek out the rights to use them, then

interlace them to tell a story. “For me it was important to make sure that the songs transitioned seamlessly with the book so that they really acted as dialogue, instead of, ‘Hey, let’s take a time out to sing an ’80s pop song,’ ” he says. “I wanted to find a way to re-conceive them as show tunes, as if they were written for the show and not plugged in.” He sought out songs he liked, that represented the era and the genre, and informed the emotional journey of the characters. “It was actually the most fun I’ve ever had writ-ing anything.” Some bands were understandably resistant to having their most famous rock anthems turned into a Broadway musical. “I get it,” says D’Arienzo. “If I was a hard rocker and someone told me they wanted to make a Broadway show out of my heavy-metal tunes, I would be very leery. But luckily a lot of them saw what we were trying to do.” The creative team found that it was mainly the bands that didn’t come see the show that staunchly refused use of their music. “It worked out, and I can honestly say that there isn’t a song in the show that I would replace.”

ROCK OF AGES IS “NOTHIN’ BUT A

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When asked if there was one song that got away, one that he would have really wanted in the show, D’Arienzo says, “I always dreamt of starting the show with [Guns N’ Roses’] ‘Welcome to the Jungle.’ I was really bummed at first when they wouldn’t give it to us, but then I started playing with the opening and re-listened to David Lee Roth’s ‘Livin’ In Paradise’ and I realized that Roth’s song worked so much better… Although I think ‘Jungle’ is one of the greatest rock songs ever written, I do believe it was a happy accident and a real gift from Diamond Dave!”

With a portfolio of awesome ’80s tunes in hand, D’Arienzo cre-ated a plotline that spoke to the

spirit of rock’n’roll of the era. Sher-rie (as in ‘Oh Sherrie’) is an aspiring actress just off the bus seeking fame in L.A. She lands a job at a bar on the Sunset Strip and meets aspiring rocker Drew, who’s bussing tables waiting to make the big time. Along with other kooky denizens of the Strip, the two set out to save the bar (and the rock’n’roll lifestyle it represents) from greedy

developers plotting to tear it down. D’Arienzo knew two of the songs he had in hand would inform the plot—Journey’s “Don’t Stop Believin’ ” and Starship’s “We Built This City.” “The other songs really informed character more…. I always tried to avoid songs that were really literal,” D’Arienzo says of his process. So as our hero and heroine fall in love, we rock out to Foreigner’s “Waiting for a Girl Like You,” and as the characters set out to follow their hearts we hear, “Here I Go Again on My Own” by Whitesnake, and as the crew protests against the developers, we chant, “We’re Not Gonna Take It.” In 2006, once the script was crafted, the creative team of Rock of Ages took the show to a bar in L.A, where the reception was enormously positive. “[The bar] was packed every night,” says D’Arienzo. “Then we went to Ve-

gas for ten days; that was soul-sucking and horrible…. There is nothing worse than trying to do theatre for a room full of really drunk gamblers coming in on Rascal scooters with Margaritas-by-the-Yard hanging around their necks.” The production moved to off-Broad-way in 2008, where it enjoyed a hugely successful run, and in 2009 transferred to Broadway. D’Arienzo spent five months working with the cast and crew to make the transition. “I can say with-out question [those were] the best five months of my professional life.” On the other hand, the team was not sure how audiences in New York, that mecca of high art, would receive such a cheeky, low-brow kind of show. “But people really dug it,” D’Arienzo recalls. “I was relieved, only because we were told from the beginning that New York would absolutely hate us. But we always believed in our show and the majority of people in the Broadway community really embraced [it] and made us feel right at home.”

Note to theatregoers over the age of 25: while the music will leave you dancing in the aisles and nostalgic

for a bygone era, the costumes in the show are equally authentic and may hit a bit close to home. “There were some really bad looks back then,” acknowl-edges D’Arienzo, “and I think I tried them all.” Pegged pants, layered tops, polo shirt upon polo shirt (collar up, of course), with a button-up on top and a T-shirt underneath, the styles, in retro-spect, were not kind. “But I have to say women’s clothes were more tragic. Ev-erything was either baggy and ill-fitting or super tight and slutty. There was very little in between.” D’Arienzo has stayed actively involved in the life of the show. In Manhattan he watched over the setting up of the re-opening of Rock of Ages on Broadway (after a brief hiatus and move to a smaller Broadway house). He also

adapted the screenplay for the feature film based on the musical (it starred Tom Cruise, Paul Giamatti, Mary J. Blige and Alec Baldwin and was di-rected by Adam Shankman). In addition to the Broadway and New York runs, the film and the ongoing national tour, the show has enjoyed hit productions in Australia, Asia and England.

The world over, Rock of Ages has proved to be a light-hearted, joy-ful rock musical and a nostalgic

trip down memory lane for audiences. Never underestimate the power of rock anthems, garish outfits—and a good bit of hairspray. n

Genevieve Miller Holt is the General Manager for Broadway Across America in Cincinnati. Formerly, she was Direc-tor of PR & Promotions at The Denver Center for the Performing Arts.

ROCK OF AGES

303.893.4100 APPLAUSE 23


“For me it was important to make sure that the songs transitioned seamlessly with the book so that they really acted as dialogue, instead of, ‘Hey, let’s take a time out to sing an ’80s pop song.’ ” — Chris D’Arienzo

April 25 – 27 • Buell TheatreASL interpreted, Audio Described & Open Captioned • April 26, 2pm

CHRIS CICCHINO - ROCK OF AGES LEAD GUITARIST.

PHOTO BY SCOTT SUCHMAN

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On Animal Crackers the Denver Center Theatre Company’s Production Staff is responsible for costumes, wigs, lighting, props, furniture, scenic construction, scenic painting, sound and special effects.

This adaptation of Animal Crackers received its world premiere at Goodman Theatre, Chicago, Illinois in September 2009. Robert Falls, Artistic Director; Roche Schulfer, Executive Director; Henry Wishcamper, Director

Animal Crackers is presented by special arrangement with Samuel French, Inc.

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

BOOK BY George S. Kaufman & Morrie RyskindMUSIC & LYRICS BY Bert Kalmar & Harry Ruby

ADAPTED BY Henry WishcamperORIGINAL ORCHESTRATIONS BY Doug Peck

DIRECTED BY

Bruce K. Sevy

THE STAGE THEATRE • APRIL 4 – MAY 11, 2014

Denver Center Theatre CompanyResident Professional Theatre • Kent Thompson, Producing Artistic Director

PRODUCING PARTNERS

SPONSORED BYMargot & Allan Frank Robert & Judi Newman

WITHJeremy Benton*, Jonathan Brody*, Jim Ferris*, Michael Fitzpatrick*, M. Scott McLean*, Stephanie Rothenberg*, Christine Rowan*, Jonathan Randell Silver*, Celia Tackaberry*

SET DESIGN BY Vicki Smith

COSTUME DESIGN BYKevin Copenhaver

LIGHTING DESIGN BY Jaymi Lee Smith

SOUND DESIGN BY Craig Breitenbach

DRAMATURGY BY Allison Horsley

VOICE AND DIALECT COACHING BY

Kathryn G. Maes Ph.D

DIRECTOR OF PHYSICAL COMEDY

Geoffrey Kent

CASTING BYElissa Myers Casting/

Paul Fouquet, CSA

DIRECTOR OF PRODUCTIONJeff Gifford

MUSIC DIRECTORGregg Coffin

STAGE MANAGER Christopher C. Ewing*

CHOREOGRAPHERChristine Rowan

2013/14Season

Partners

CAST

Hives/Roscow W. Chandler/Major Domo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL FITZPATRICK*

Mrs. Rittenhouse/Queen of France . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CELIA TACKABERRY*

Arabella Rittenhouse/Mrs. Whitehead/Madame Dubarry. . . . . . . . . . . . . . . . . . . . . CHRISTINE ROWAN*

Wally Winston/M. Doucet/Butler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JEREMY BENTON*

Grace Carpenter/Mary Stewart/Girl A . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEPHANIE ROTHENBERG*

John Parker/Horatio Jamison/Musketeer/Butler . . . . . . . . . . . . . . . . . . . . . . . . . . . . M. SCOTT MCLEAN*

Captain Jeffrey T. Spaulding/Butler/King of France. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JIM FERRIS*

Emanuel Ravelli/Butler/Musketeer/Guest A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JONATHAN BRODY*

The Professor/Butler/Musketeer/Guest B . . . . . . . . . . . . . . . . . . . . . . . JONATHAN RANDELL SILVER*

UNDERSTUDIES

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

BRETT AMBLER (M. Doucet/Wally Winston/Butler/ John Parker/Horatio Jamison/Musketeer),

JEFFREY ROARK* (Hives/Roscow W. Chandler/Major Domo/Emanuel Ravelli/Butler/Musketeer/Guest A),

SHANNAN STEELE* (Mrs. Rittenhouse/Queen of France/Arabella Rittenhouse/Mrs. Whitehead/Madame

Dubarry/Grace Carpenter/Mary Stewart/Girl A), JUSTIN WALVOORD* (Captain Jeffrey T. Spaulding/

Butler/King of France/The Professor/Butler/Musketeer/Guest B)

Tap Choreographer/Dance Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .JEREMY BENTON*

Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER C. EWING*

Assistant Stage Managers . . . . . . . . . . . . . . . . . . . . . . KURT VAN RADEN*, MATTHEW CAMPBELL*

Production Interns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BECKY FRYBERGER, KRISTEN LITTLEPAGE

Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GEOFFREY KENT

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

MUSICAL NUMBERS

The Rittenhouse Manor, Long Island, New York. 1930...ish.

Act I

Opening Act. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hives, Butlers

Hooray for Captain Spaulding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company

Three Little Words. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Arabella, Wally

Everyone Says I Love You. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ravelli

Why am I so Romantic? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mary, John

The Blues My Naughty Sweetie Gives to Me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Grace, Mrs. Whitehead

Finale Act I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company

There will be one 15-minute intermission.

Act II

Keep Your Undershirt On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hives

Long Island Low Down. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Winston, Arabella, and Company

Show Me a Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Captain Spaulding, Mrs. Rittenhouse

Watching the Clouds Roll By . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mary, John

Four of the Three Musketeers . . . . . . . . . . . . . . . . . . . . . . . Captain Spaulding, Ravelli, Jamison, Professor

Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company

THE ORCHESTRA

Associate Music Director/Conductor/Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Erik Daniells

Woodwinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Art Bouton

Violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phyllis Carlson

Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brian Knott

Drums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mike Marlier

Trumpet/Flugelhorn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Terry Sawchuk

Music Contractor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jim Harvey

Standby Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Nehls

Orchestra musicians are represented by the Denver Musicians Association: AFM Local 20-623

EXECUTIVE STAFF

KENT THOMPSON (Producing Artistic Director) is in his ninth season as Producing Artistic Director of the Denver Center Theatre Company. In Denver he directed productions of Hamlet, Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Amadeus, The Liar and Measure for Measure, among others.

Two of Kent’s major accomplishments since moving to Denver have been the Colorado New Play Summit, a premier national festival for new American plays, and the establishment of the Women’s Voices Fund, an endowment that supports the development of new plays by women.

Prior to moving to Denver he was Producing Artistic Director of the Alabama Shakespeare Festival for 16 years. In 1991 Kent created the Southern Writers’ Project (SWP), designed to commission and develop new plays that presented 16 world premieres during his tenure.

He served for eight years on the Board of Directors for Theatre Communications Group (TCG) and as its president for three years. He has served on peer review panels for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others.

BRUCE K. SEVY (Associate Artistic Director and Director of New Play Development) has directed such memorable Denver Center productions as When We Are Married, Heartbreak House, Mariela in the Desert, The Voysey Inheritance, A Prayer for Owen Meany, Doubt, All My Sons, Master Class, Mrs. Warren’s Profession, A Christmas Carol, Cat On a Hot Tin Roof, The Little Foxes, Molly Sweeney, Amy’s View, Valley Song, Pierre, Dinner With Friends, and The Cripple of Inishmaan.

As Director of New Play Development, he oversees both the artistic and practical components of DCTC’s successful Colorado New Play Summit, including commissions from outstanding American playwrights.

He has directed for Arizona Theatre Company, Cleveland Play House, Lark Play Development Center, Kansas City Repertory Theatre, Virginia Stage Company, Alabama Shakespeare Festival, Northlight Theatre, San Jose Repertory Theatre, Eugene O’Neill Theater Center, Pioneer Theatre Company, A Contemporary Theatre, Seattle Repertory Theatre, Empty Space and Intiman Theatre in Seattle, the Kimo Theatre in Albuquerque,

and Utah Shakespearean Festival. His popular production of 2 Pianos, 4 Hands has been seen at more than 20 theatres nationally, including DCTC’s successful 2003 production.

CHARLES VARIN (Managing Director) and his team are responsible for administrative, financial and business operations related to producing DCTC’s season of productions and other artistic and educational initiatives. Prior to DCTC Charles was General Manager for Geva Theatre Center in Rochester, NY and also has worked at Glimmerglass Opera, Asolo Repertory Theatre and Florida Studio Theatre. Charles serves on the board of the Mile High Freedom Band and plays tuba with the organization.

JEFF GIFFORD (Director of Production) oversees everything you see on stage except the actors and is thrilled to be joining the Denver Center Theatre Company, leading such a fine group of artisans. Prior to DCTC, Jeff was the Production Manager at the Dallas Theater Center and South Coast Repertory in Costa Mesa, CA. Guiding world premieres to their first opening night is especially gratifying and Jeff has worked on more than 35 of them. Among his favorites are Dinner with Friends, The Violet Hour, The Beard of Avon, Mr. Marmalade, and the new musical FLY. Jeff holds an MFA from California Institute of the Arts.

ARTISTIC STAFF

GREGG COFFIN (Musical Director). At the Denver Center: Composer: Hamlet, Heartbreak House, The Taming of the Shrew, The Liar, A Midsummer Night’s Dream, Mariela in the Desert, Othello, A Prayer for Owen Meany, The Merry Wives of Windsor, Pride and Prejudice, King Lear, Measure for Measure. Musical Director/Orchestrator: Irving Berlin’s White Christmas, A Funny Thing...Forum, A Christmas Carol. Other Theatres: Stratford Festival of Canada, CanStage, Tarragon Theatre, National Arts Centre (Canada), Arena Stage, Alley Theatre, Geva Theatre Center, Indiana Rep, PCPA TheatreFest, Shakespeare Santa Cruz and the Oregon, Utah, California, Alabama, Great River and Georgia Shakespeare Festivals.

ERIK DANIELLS (Associate Music Director/Conductor/Piano). At the Denver Center: Associate conductor and pianist for Irving Berlin’s White Christmas. Other Theatres: Sacramento Music Circus (three seasons including The Music Man with Shirley Jones), The Oregon Cabaret (The Big Bang), PCPA Theatrefest, Sacramento Theatre Company (A Little Princess, world premiere),

New Helvetia Theatre Company (Ordinary Days), The Human Race Theatre (Right Next to Me). Training: Music Direction internship at PCPA Theatrefest.

ALLISON HORSLEY (Dramaturg). At the Denver Center: Colorado New Play Summit, Death of a Salesman, The Giver, Eventide, Plainsong, 1001. Broadway/West End: Jersey Boys, Dracula, Chaplin (development). Other Theatres: O’Neill National Music Theater Conference, Oregon Shakespeare Festival, Kitchen Dog Theater, La Jolla Playhouse, Dallas Theater Center, Centerstage, Yale Repertory Theatre. Special/Training: Literal Translator of Five Chekhov Plays adapted by Libby Appel, translator/adapter of Leonid Andreev’s plays, collaborator on Date* with Luciann Lajoie. MFA, Dramaturgy, Yale School of Drama; BA, Russian and Theatre, University of Denver. Associate Professor, University of Denver.

GEOFFREY KENT (Director of Physical Comedy/Assistant Director). At the Denver Center: Hamlet, Romeo & Juliet, Othello, Eventide, King Lear, Richard III and others. Other Theatres: Noises Off, Three Musketeers, Macbeth, Treasure Island and others (Colorado Shakespeare Festival); Lieutenant of Inishmore (Curious Theatre Company); Les Misérables, Twelfth Night (Arvada Center); Titus Andronicus, Cymbeline, Romeo & Juliet (Orlando Shakespeare Theatre); Carmen (Opera Colorado); Romeo & Juliet (Aspen/Sante Fe Ballet). Special/Awards: Former President, Society of American Fight Directors, 2011 Henry Award for Achievement in Fight Direction.

KATHRYN G. MAES Ph.D (Voice and Dialect Coach). At the Denver Center: Shadowlands, Hamlet, black odyssey, A Christmas Carol, Jackie & Me, The Most Deserving, Just Like Us, Death of a Salesman, When We Are Married, Fences, The Three Musketeers, Heartbreak House, Great Wall Story. Other Theatres: Royal Shakespeare Company, Royal National Theatre (Arthur Miller’s American Clock). Special/Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, Head of Voice at the Denver Center Theatre Company and the National Theatre Conservatory 1989 to 1992. Ph.D. in Theatre Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Speech and Drama, London, England.

CHRISTINE ROWAN (Choreographer). At the Denver Center: Ensemble in Quilters; Fezziwig’s Daughter, Wife’s Sister, Street Singer in A Christmas Carol; Tessie in Irving Berlin’s White Christmas; Essie in You

Can’t Take It With You; Philia in A Funny Thing Happened… Forum. Other Theatres: Reluctant Pilgrim - the Lesser Known Songs of Stephen Schwartz (New York Musical Theater Festival), FLOPZ (Joe’s Pub), Embrace! (Westside Theatre), Interborough Repertory Theatre, The Duplex, Don’t Tell Mama, Sacramento Music Circus, Alabama Shakespeare Festival, Barter Theatre, Sierra Rep, Seaside Music Theatre, Theatre by the Sea, Ryman Auditorium, toured nationally. Training: New York University graduate, resides in New York City.

BRUCE K. SEVY (Director). See bio under Executive Staff.

ELISSA MYERS CASTING, Paul Fouquet, CSA. For PBS “Poisoner’s Handbook,” “Becoming Helen Keller,” and the mini-series “Mystery of Matter.” Other PBS projects include “The Abolitionists,” “Dolly Madison,” “Alexander Hamilton,” “John and Abigail Adams,” “Benjamin Franklin” (Emmy Award), “Liberty” (Peabody Award), “God in America,” “People vs. Leo Frank,” “Louisa May Alcott,” as well as PBS “Great Performances” (Artios Award for Outstanding Achievement in Casting). Additionally three “Movies of the Week,” as well as five pilots. Feature films include Hank and Asha (Audience Award at Slamdance 2013) and The Union. Theatre includes seven Broadway shows, including Tony nominated Having Our Say, as well as 26 Off-Broadway shows. Regional theatre casting in the past two years includes Denver Center, Geva Theatre, Cleveland Play House, Alabama Shakespeare Festival, Magic Theatre, Arena Stage, Alley Theatre, George Street Playhouse, and Arizona Theatre Company. The office has so far received 16 nominations and has won three Artios Awards for Outstanding Achievement in Casting.

DESIGNERS

CRAIG BREITENBACH (Sound Designer). At the Denver Center: Hamlet; Just Like Us; Sense & Sensibility The Musical; Irving Berlin’s White Christmas; Ring of Fire: The Music of Johnny Cash; A Christmas Carol; To Kill a Mockingbird; A Midsummer Night’s Dream; Mama Hated Diesels; Eventide; A Raisin in the Sun; Quilters; A Prayer for Owen Meany; Noises Off; Third; A Funny Thing…Forum; King Lear; Amadeus; Crowns; The Clean House; Measure for Measure; A Flea in Her Ear; Fire on the Mountain; The Misanthrope; The Three Sisters; Love’s Labor’s Lost; The Skin of Our Teeth; Betrayal; Spinning Into Butter; Dinner With Friends; Gross Indecency: The Three Trials of Oscar Wilde; The Laramie

Project; The Little Foxes. Awards: 2008 Henry Award (Plainsong).

KEVIN COPENHAVER (Costume Designer). At the Denver Center: (23 seasons) Just Like Us, Ring of Fire: The Music of Johnny Cash, World Premiere The Whale, Dracula, Mama Hated Diesels, A Christmas Carol, Noises Off, A Funny Thing…Forum, Living Out, Crowns, Fire on the Mountain, Boston Marriage, Oedipus Rex, Dirty Story, Blithe Spirit, Lobby Hero, Blue/Orange, Almost Heaven, Scapin, The Miser, Jesus Hates Me, Bernice/Butterfly, Pierre, Inna Beginning, Elevation of Thieves, Servant of Two Masters, Tantalus. Other Theatres: Smokey Joe’s Café; Love, Janis; Hedwig and the Angry Inch; Dream a Little Dream; Titus Andronicus; regional premiere Peter and the Starcatcher (USF). Training: BA in Theatre Design, University of Cincinnati College-Conservatory of Music, Centro Maschere e Strutture Gestuali, Padua, Italy.

JAYMI LEE SMITH (Lighting Designer). At the Denver Center: Debut. Off-Broadway: Moon for the Misbegotten (The Pearl Theater). National tour: Once Upon a Midnight. Other Theatres: Oregon Shakespeare Festival, Dallas Theater Center, Utah Shakespeare Festival, The Goodman, Steppenwolf, The Alliance Theater, San Jose Repertory, Milwaukee Repertory, South Coast Repertory, Hartford Stage, The Court Theater and the Clarence Brown Theater, among others. Special/Awards: Head of Design and an Associate Professor of Lighting Design at the University of California, Irvine. 2003 Michael Merritt Emerging Designer Award and a 2010 Joseph Jefferson Award.

VICKI SMITH (Set Designer). At the Denver Center: When We Are Married, Fences, Heartbreak House, The Adventures of Tom Sawyer, Mariela in the Desert, 47 others. Other Theatres: Geva Theatre Center, Arizona Theatre Company, Children’s Theatre Company, Oregon Shakespeare Festival, Cincinnati Playhouse, Indiana Repertory Theatre, Cleveland Play House, Kansas City Repertory Theatre, Seattle Repertory Theatre, Actors Theatre Louisville, Repertory Theatre St. Louis, Milwaukee Repertory Theatre, and others. Awards: Bay Area Critics Awards: Kite Runner, Execution of Justice; Dramalogue Award: Cyrano; Colorado Theatre Guild Henry Award: Mariela in the Desert, Plainsong, Doubt; Denver Post Ovation Awards: Mariela in the Desert, Pierre, I’m Not Rapaport; Prague Quadrennial Design Exposition 2007: Pierre.

PLAYWRIGHTS

GEORGE S. KAUFMAN & MORRIE RYSKIND (Playwrights) George S.Kaufman (1889-1961) was born in Pittsburgh, Pennsylvania. He is known as one of the most successful writers and directors in the first half of the 20th Century. Between 1921 and 1958, at least one Kaufman project appeared every season on Broadway. Plays with Moss Hart include Once in a Lifetime (1930), Merrily We Roll Along (1934), You Can’t Take It With You (1936), and The Man Who Came to Dinner (1939). Kaufman also was a respected director. Besides some of his own plays, his best-known credits included the original productions of The Front Page (1928), My Sister Eileen (1940), and Guys and Dolls (1950). Morrie Ryskind (1895-1985) was a leading playwright, screenwriter, lyricist, and director. Kaufman and Ryskind co-wrote the librettos for the stage version of Animal Crackers (1928) then wrote the screenplays for four Marx Brothers films: The Cocoanuts (1929), Animal Crackers (1930), A Night at the Opera (1935), and Room Service (1938). They also co-authored the librettos for the Gershwin musicals Of Thee I Sing (1932 Pulitzer Prize) and Let ‘Em Eat Cake (1934). Ryskind received Academy Award nominations for his screenplays for My Man Godfrey (1936) and Stage Door (1939). Ryskind’s Broadway credits also included the librettos for Strike Up the Band (1930, music by George Gershwin, lyrics by Ira Gershwin), and Louisiana Purchase (1941, music and lyrics by Irving Berlin). During the 1940s and ’50s, Mr. Ryskind became a political columnist for the Los Angeles Herald Examiner.

BERT KALMAR & HARRY RUBY (Music & Lyrics). Bert Kalmar and Harry Ruby’s collaboration spanned from the 1920s to 1940s, and took them from Tin Pan Alley to Broadway and eventually to Hollywood. Born in New York in 1884, Kalmar performed as a magician in tent shows and in vaudeville before founding a music publishing company. Born in New York in 1895, Ruby made a living as a pianist on the vaudeville circuit until Kalmar hired him to plug songs. The two began a collaboration that would create some of the best-known tunes of their era, including “Who’s Sorry Now?,” “I Wanna Be Loved By You,” and “A Kiss to Build a Dream On” (co-written with Oscar Hammerstein II). They wrote music and lyrics for Broadway shows including The Ziegfeld Follies, The Ramblers, The Five O’ Clock Girl, Animal Crackers, and High Kickers. The team moved to Hollywood in 1930 and contributed songs to films including Check and Double Check, The Cuckoos, The Kid from Spain, and the

Marx Brothers’ films Horsefeathers, Duck Soup, A Night at the Opera, and A Night in Casablanca. In 1950, three years after Kalmar’s death, the duo’s success story was made into a film starring Fred Astaire as Kalmar and Red Skelton as Ruby. Although Ruby continued to write after Kalmar’s death, he did not produce another hit. He died in 1974.

HENRY WISHCAMPER (Adaptor). As playwright/adaptor: Animal Crackers (Goodman Theatre, Williamstown Theater Festival, Baltimore Center Stage, Lyric Stage Company of Boston); The Polish Play (Katharsis Theater Company); Pippi Longstocking (Theater at Monmouth). As Director: Off-Broadway: Spirit Control (MTC), Graceland (LCT3), Port Authority (Atlantic Theater Company), Elvis People (New World Stages), The Polish Play (Katharsis Theater Company), Pullman Car Hiawatha (Keen Company). Regional: Ask Aunt Susan, A Christmas Carol, Other Desert Cities and Talking Pictures (Goodman Theatre); Animal Crackers (Goodman Theatre and Williamstown Theatre Festival); Dance of Death (Writers Theatre); The Birds (The Guthrie); Engaging Shaw and The Mystery of Irma Vep (The Old Globe); Art (Barrington Stage Company); The Seafarer and Speech & Debate (Hartford TheaterWorks). Assistant director of the Broadway productions of August: Osage County and Shining City. Henry is a Resident Artistic Associate at Goodman Theatre and the Artistic Director of Katharsis Theater Company. He is a Drama League Directing Fellow and a graduate of Yale University.

DOUG PECK (Orchestrator). Regional: Jungle Book, Candide, Dreamgirls, Shenandoah, Fiddler on the Roof, Cabaret, Sweet Charity, Hair, Grey Gardens, My Fair Lady, Beauty and the Beast. Recordings: Bright Young People, Foiled Again Live, Loving, Repeating. Other: Goodman, Chicago Shakespeare, Writers, TimeLine, Northlight, Drury Lane Oakbrook, Porchlight, Ravinia, Huntington, Long Wharf, Asolo, Peninsula Players. Film: A Night at the Oscars. Awards/Training: Five Joseph Jefferson Awards, Two After Dark Awards for music direction. Northwestern University graduate, Interlochen Center for the Arts.

STAGE MANAGEMENT

CHRISTOPHER C. EWING* (Stage Manager). At the Denver Center (28 seasons) Death of a Salesman, Sense & Sensibility The Musical, When We Are Married, Fences, Ring of Fire: The Music of Johnny Cash,

A Christmas Carol, To Kill a Mockingbird, Dracula, Mama Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen Meany, Noises Off, Plainsong, Mrs. Warren’s Profession, A Funny Thing…Forum, The Clean House, Gem of the Ocean, A Flea in Her Ear, Crowns, Fire on the Mountain, John Brown’s Body, The Skin of Our Teeth, Almost Heaven and 2 Pianos, 4 Hands. Other Theatres: Colorado Ballet, Denver Center Attractions, Bonfils Theatre. Training: BFA in Theatre Design/Technology from Loretto Heights College.

KURT VAN RADEN* (Assistant Stage Manager). At the Denver Center: (30+ productions) Hamlet, Just Like Us, Romeo & Juliet, Irving Berlin’s White Christmas, The Three Musketeers, Ring of Fire: The Music of Johnny Cash, The Taming of the Shrew, A Christmas Carol, The Liar, Superior Donuts, The House of the Spirits, Othello, Eventide, A Raisin in the Sun, A Prayer for Owen Meany, Richard III, Noises Off, The Merry Wives of Windsor, Our House, Pride and Prejudice, Third, Mrs. Warren’s Profession, 1001, Season’s Greetings, Living Out, After Ashley. Other Theatres: 40 productions with The O’Neill Theatre Center (National Playwrights Conference, Cabaret and Performance Conference), The Great River Shakespeare Festival.

MATTHEW CAMPBELL* (Assistant Stage Manager). At the Denver Center: Hamlet, Just Like Us, Other Desert Cities, Romeo & Juliet, When We Are Married, The Three Musketeers, Heartbreak House, The Taming of the Shrew, A Christmas Carol, To Kill a Mockingbird, A Midsummer Night’s Dream, Dracula. Other Theatres: Colorado Shakespeare Festival, Arvada Center, Cleveland Play House, Hope Summer Repertory Theatre in Holland, Michigan, Colorado Festival of World Theatre, Country Dinner Playhouse, Candlelight Dinner Playhouse, Omaha Symphony. Served as Assistant Professor of Technical Theater at Brooklyn College. Training: MFA, University of Iowa; BA, University of Northern Colorado.

ACTING COMPANY

JEREMY BENTON* (Tap Choreographer/Dance Captain/Wally Winston/M. Doucet/Butler). At the Denver Center: Debut. Other Theatres: Billy Lawlor in 42nd Street (Broadway,

Riverside Theatre), Billy Crocker in Anything Goes (Roundabout Theatre, Taipei

Opera House), Don Lockwood in Singin’ In The Rain (Gateway Theatre), Phil Davis in White Christmas (Westchester Broadway), Mame (Kennedy Center), Jimmy Shreve in Storyville (Off-Broadway), Kenneth Gibson in Call Me Madam (Lyric Theatre), Stormy Weather (Pasadena Playhouse), Fred Astaire in Backwards In High Heels, Bob Hope in CAGNEY!. Film: The Producers. www.jeremybenton.net

JONATHAN BRODY* (Emanuel Ravelli/Butler/Musketeer/Guest A). At the Denver Center: Debut. Other Theatres: Broadway: Spamalot, Titanic, Sally Marr...and her escorts, Me and My

Girl. Tours: Mary Poppins, Funny Girl, My Fair Lady. Off-Broadway: Pirates of Penzance, Gimpl the Fool, Theda Bara & the Frontier Rabbi, Eating Raoul. Regional: Jacob Marley’s Christmas Carol, Diary of Anne Frank, Lost in Yonkers, Animal Crackers, Hamlet. TV: “Boardwalk Empire,” “Guiding Light,” “Sondheim Celebration at Carnegie Hall,” “An Evening With Alan Jay Lerner,” “Porgy & Bess: An American Voice.”

JIM FERRIS* (Captain Jeffrey T. Spaulding/Butler/King of France). At the Denver Center: Debut. Other Theatres: Broadway/Tour: The Lion King; Around the World in 80 Days; Hello,

Dolly! Off B’Way: Prelude to the First Day (Emerging Artists), Grand Hotel (Gallery Players). Regional: Privates on Parade (Studio Theatre), Into the Woods (Signature Theatre), Twelfth Night (Interplayers Theatre), Over the River…(Totem Pole Playhouse), Chicago (Theatre by the Sea), Westport Country Playhouse, Round House Theatre, Stages St. Louis, Allenberry Playhouse, Boston Post Road Stage Company, Theatre J. TV/Film: Upcoming: “The Leftovers” (HBO), Dave, The Pelican Brief and Born Yesterday. He is married to actress/comedienne Erin Maguire. For my original Nightingales.

MICHAEL FITZPATRICK* (Hives/Roscow W. Chandler/Major Domo). At the Denver Center: A Christmas Carol. Other Theatres: 42nd Street (First National Tour);

Beauty and the Beast (Atlanta TOTS);

Gross Indecency (Off-Broadway and Theatre in the Square in S.F.); RichardIII, Romeo & Juliet, Twelfth Night, Henry IV, King Lear and Othello (Great River Shakespeare); A Christmas Carol (Geva); Two Gentlemen of Verona, The Tempest, Forever Plaid, The Compleat Wks of Wm Shkspr (Utah Shakespeare Festival); Rosencrantz and Guildenstern are Dead (Willamette Rep); Tommy, The Lion in Winter, Henry II (PCPA). TV/Film: “Nash Bridges,” “Six Degrees,” Remission, Violin Case, Pearl, and Scary Larry (in production). Training: American Conservatory Theatre Masters Program.

M. SCOTT MCLEAN* (John Parker/Horatio Jamison/Musketeer/Butler). At the Denver Center: Death of a Salesman (Happy); Grace, or The Art of Climbing (Mitch);

Dracula (Arthur); When Tang Met Laika (Young Capitalist); A Christmas Carol (Fred, Young Scrooge); A Prayer For Owen Meany (Ensemble). Other Theatres: The Unexpected Guest (Julian), Arts Center of Coastal Carolina, Sense and Sensibility (Willoughby) at TheatreWorks; The Rover (Willmore) at New York Classical Theatre; Legally Blonde (Emmett) at Merry Go-Round Theatre Company. He is a graduate of the American Academy of Dramatic Arts and the National Theatre Conservatory.

STEPHANIE ROTHENBERG* (Grace Carpenter/Mary Stewart/Girl A). At the Denver Center: Sense & Sensibility The Musical (Elinor Dashwood). Other Theatres:

Broadway: How To Succeed in Business Without Really Trying (Rosemary). World Premieres: Roman Holiday at the Guthrie Theater (Princess Anne); Frog Kiss, The Musical at Virginia Stage Company (Princess Clementine); Castle Walk at NYMF (Young Irene Castle). Training: New York University, Tisch School of the Arts, CAP21.

CHRISTINE ROWAN* (Arabella Rittenhouse/Mrs. Whitehead/Madame Dubarry). See bio under Artistic Staff.

JONATHAN RANDELL SILVER* (The Professor/Butler/Musketeer/Guest B). At the Denver Center: Debut. Other Theatres: Regional: The Fantasticks! (Long Wharf); Shear Madness!

(Charles Playhouse); Charlotte’s Web (TheatreWorks); Under Milk Wood, Threepenny Opera (Williamstown); Peter Pan & Wendy (A.R.T.). Off-Broadway: Please Continue, Christmas in Queens, Suicide Math, The Most Ridiculous Thing (NYMF Award). Film/TV: Rover, Mary & Louise; Keeping the Faith; Jack; Dear John, “Bored To Death,” “Royal Pains.” Training: BA, Drew University. www.jonathanrandellsilver.com

CELIA TACKABERRY* (Mrs. Rittenhouse/Queen of France). At the Denver Center: Debut. Other Theatres: Broadway: Sweet Charity, dir. Bob Fosse; A Day in

Hollywood and a Night in the Ukraine, dir. Tommy Tune. Off-Broadway: Transport Group’s The Audience and Jewish Rep’s The Cocoanuts. National Tours: My Fair Lady, The Music Man, Sweet Charity. Regional Theatre: The Women and Animal Crackers at Arena Stage; Hollywood/Ukraine and Anything Goes at St. Louis Rep; Crazy For You and Singing In The Rain at Ogunquit Playhouse; Animal Crackers and Exactly Like You at Goodspeed.

UNDERSTUDIES

BRETT AMBLER (Understudy). At the Denver Center: Debut. Other Theatres: Princeton/Rod in Avenue Q; Malcom in The Full Monty; Historian/Prince in Herbert Spamalot (Boulder’s

Dinner Theatre); Bobby Strong in Urinetown (Swift Creek Mill Theatre); Snoopy in You’re A Good Man, Charlie Brown; The Cat In The Hat in Seussical The Musical; Miles in The Drawer Boy (Virginia Repertory Theater).

JEFFREY ROARK* (Understudy). At the Denver Center: Hamlet, A Christmas Carol, To Kill A Mockingbird, Heartbreak House, The Trip to Bountiful, King Lear, White Christmas, Gross

Indecency, A Winter’s Tale, The Tempest, Merry Wives of Windsor, Dracula. Other Theatres: The Crucible, Evita, Big River, Jekyll & Hyde, Cabaret, Legally Blonde and Curtains (Arvada Center); An Ideal Husband (Papermill Playhouse); My Fair Lady, HMS Pinafore (Berkshire Theatre Festival); Sorrows of Stephen (Blue Heron Theater-Off-Broadway); Drood, Life is a Dream (Creede Repertory); The Doyle and Debbie Show, My Way (Denver Center Attractions). Training: BFA, Miami University, MFA, National Theatre Conservatory.

SHANNAN STEELE* (Understudy). At the Denver Center: Denver Center Attractions: I Love You, You’re Perfect, Now Change (CTG Henry Award nom); The Last Five Years; My Way. Other

Theatres: The Arvada Center: 20 productions including The 1940s Radio Hour (Ginger Brooks: Ovation Award, CTG Henry Award nom), Les Misérables, Pippin, and Violet. Theaterworks: Church. Most recently at Cherry Creek Theatre: Baby the Musical (Pam: True West Award nom). TV/Film: Ink.

JUSTIN WALVOORD* (Understudy). At the Denver Center: Jackie & Me, The Adventures of Tom Sawyer (US), Measure for Measure, The Madwoman, A Flea In Her Ear, A Christmas

Carol. Other Theatres: Metamorphoses (Aurora Fox), The 39 Steps (Theatreworks), Second (NY), True West (Vermont Stage Company), Complete History of America (Oregon Cabaret Theatre), Pinocchio (Smithsonian Institute), Expedition 6 (Magic Theatre). TV/Film: Looking for Sunday, “Law and Order: Criminal Intent.” Training: MFA, National Theatre Conservatory.

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

The actors and stage managers employed in these productions are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.)

Scenic, Costume, Lighting and Sound designers in LORT theatres are represented by United Scenic Artists Local USA-829, IATSE

Member of the Colorado Theatre Guild

PLEASE BE ADVISED

LATECOMERS are seated at designated breaks.

PHOTOS & VIDEO RECORDING are prohibited.

TURN OFF cell phones and alarm watches.

CHILDREN UNDER 4 are not admitted.

COUGH DROPS are available at Patrons Services.

The Denver Center Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from Arts & Venues Denver; the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals.

The Denver Center Theatre Company is a division of The Denver Center for the Performing Arts, a not-for-profit organization serving the public through the performing arts.

The DCTC operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The DCTC also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada.

The Denver Center Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for the American theatre.

DENVER CENTER THEATRE COMPANY STAFF

EXECUTIVE

Kent Thompson, Producing Artistic Director Bruce K. Sevy, Associate Artistic Director Charles Varin, Managing Director Jeff Gifford, Director of Production

ARTISTIC

New Play Development: Bruce K. Sevy, Director of New Play Development Douglas Langworthy, Literary Manager/Dramaturg Chad Henry, Literary Associate Emily Tarquin, Artistic Associate/ New Play Coordinator Sylvie Drake, Advisor

PRODUCTION

Jeff Gifford, Director of Production Rick Noble, Assistant Production Manager Robert L. Orzolek, Interim Technical Director Christopher C. Ewing, Production Stage Manager Julie Brou, Production and Artistic Office ManagerScenic Design Lisa M. Orzolek, Director of Scenic DesignScenic Design Assistants: Lindsey Mayer, Nicholas Renaud Lighting Design Charles R. MacLeod, Director of LightingLighting Design Assistant: Lily BradfordMultimedia: Charlie I. Miller, Resident Multimedia Specialist Topher Blair, Multimedia Assistant/OperatorSound Design John E. Pryor, Director of SoundSound Designers: Craig Breitenbach, Jason Ducat, Tyler NelsonStage Management Christopher C. Ewing, Production Stage ManagerStage Managers: Matthew Campbell, Rachel Ducat, A. Phoebe Sacks, Kurt Van Raden Production Assistants: D. Lynn ReilandStage Management Interns: Becky Fryberger, Pearl Kerber, Kristen LittlepageScene Shop Josh Prues, Assistant Technical DirectorLead Technicians: Albert “Stub” Allison, Louis Fernandez IIIScenic Technicians: Mike Hamer, Justin Hicks, Brian “Marco” Markiewicz, Keli Sequoia, Ross Wick

Prop Shop Robin Lu Payne, Properties Director Eileen Garcia, Assistant Properties Director Roo Huigen, Lead Props ArtisanProps Artisans: Jamie Stewart Curl, Charles Dallas, David Hoth, Katie WebsterPaint Shop Jana L. Mitchell, Charge Scenic Artist Melanie Rentschler, Lead Scenic Artist Brian Proud, Scenic ArtistPaint Intern: Darcey JamesCostume Shop Janet S. MacLeod, Costume DirectorCostume Design Associates: Meghan Anderson DoyleDrapers: Stephanie Cooper, Carolyn Plemitscher, Louise Powers, Jackie ScottFirst Hands: Cathie GagnonTailor: Sheila P. MorrisStitchers: Belinda Haaland, Kelly Jones, Teresia Larsen, Jenny Milne, Zoe Pielsticker, Britta PowersCostume Crafts Kevin Copenhaver, Costume Crafts Director Costume Crafts Artisans: Judy Craigo-Robb. Karen KingWigs Diana Ben-Kiki, Wig MasterHouse Crew Doug Taylor*, Supervising StagehandStagehands: Mariah Becerra*, Jennifer Guethlein*, Andrew Hamer, Stephen D. Mazzeno*, Miles Stasica*, Matt Wagner*, Jim Berman* (*IATSE Local 7 Stagehands) Wardrobe Brenda Lawson, DirectorWig Assistants: Jocelen Barnett, Maria Y. DavisDressers: Robin Appleton, Amber Donner, Amoreena Kissel, Tim Nelson, Alan Richards, Brooke Vlasich

ADMINISTRATION

Charles Varin, Managing Director Ryan Meisheid, Associate Managing Director Alyssa Stock, Company Manager Allison Taylor, Assistant Company Manager Cassie Brown, Business Administrator

MARKETING

Brianna Firestone, Director of Marketing Alexandra Griesmer, PR & Promotions Manager Jane McDonald, Marketing Coordinator

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In 2007, the seductive, off-beat Irish film once opened to glowing reviews and quickly developed a fervent following. This lyrical musical tells the story of two down-on-their-luck musicians: an angst-ridden Dublin street singer/songwriter who works as a vacuum cleaner repairman, and a Czech immigrant who sells flowers to support herself and her family. Girl (as she is known) initiates a friendship with Guy (as he is known), and in the course of a week they make music together, fall in love and part, but not before changing each other’s lives. The movie’s stars—Glen Hansard and Marketa Irglova—also wrote much of the score and received an Oscar for their beautiful ballad, “Falling Slowly.” once is both graceful and gritty. It has a naturalism and intimacy that are generally best achieved in film, which explains why the Irish playwright Enda Walsh was less than enthusiastic when he was asked if he would write the book for a Broadway-style musical based on the movie. “I guffawed when my agent called and asked me to speak to the producers,” says Walsh. “I said, ‘What a stupid idea.’ It’s a two-hander with very little plot. It’s delicate. I called the producers and told them it wasn’t for me. There’s no tradition of musical theatre in Ireland. Then they told me John Tiffany was attached to it as director.” Walsh and Tiffany are longtime friends, and although Tiffany also had doubts at first as to the viability of the material as a musical, he convinced Walsh not to reject the idea outright. Says Walsh, “John said, ‘Let’s just take two days, and we can read the screenplay and listen to the songs and talk about it.’ I said, ‘Okay, we’ll do two days—and that’s all we’ll do.’ ” Well, not quite. “Those two days convinced us that we wanted to do this show,” says Tiffany.

The musical became such a critical and commercial success that it spawned a London production, a Broadway

show and a U.S. national tour—a journey that saw this modest undertaking win no fewer than eight 2012 Tony® Awards, including Best Musical, Best Book (Walsh), and Best Direction of a Musical (Tiffany). “I never think about adapting films for the stage. That’s not the way I work,” insists Tiffany. “When I was approached about once, I hadn’t even seen the film. But one of my best friends said, ‘You will love the music.’ So I downloaded the soundtrack—and I absolutely loved it. I’d never heard music like that. [It’s] the reason I wanted to do the show. Not just the music itself, but the fact that it’s a story about creating music, the healing power

of music. Immediately I thought, ‘We’re going to be able to see actors create that music in front of us.’ That’s really exciting. Actors have played instruments onstage for years, but not always in a show about making music.” In reading through John Carney’s screenplay, Walsh discovered there was much he could relate to. “I’m a big fan of the movie Brief Encounter, and I saw similarities,” he says. “There’s a bittersweet pang that really hurts. Very quickly I thought I was a good match for the material. I tend to write characters that are inarticulate and lonesome, and something comes into their life that changes them. From listening to the songs, I thought it might be good for me to do something about Ireland, which was so hurt in the recession. A little love letter to Dublin.

“That was my way in. You start by bringing two people together and getting them to talk to one another. The tone shows itself quickly, so you step out of the way and allow it to write itself. “I knew all along that there were markers. I just had to unlock a stage language that was right. As soon as the Girl started talking, I thought, ‘That’s the swagger of it.’ She became the style of it and the force of the piece—and the central storyteller.” The 12 adult members of the cast play at least one instrument and are onstage virtually throughout the show. “I didn’t want anyone on stage we didn’t get to know intimately,” says Tiffany. By individualizing each character, adds Walsh, “we built a community, and that became the heart of the piece. “They’re an ensemble of misshapen people who sing and tell the story. Watching them play the music and sing and find their voice is very beautiful and very strong. But in addition, we wanted the show to be hugely communal. So how do we do that? We allow the audience on stage.” Prior to the start of the show, the audience

is welcome to come up on stage, buy a drink at the bar, mingle with the cast. There’s a bit of a jam session going on. This bonding ritual obliterates the fourth wall. “We wanted the audience to own the experience,” says Walsh. As the show unfolds, the focus, of course, is on the relationship between Guy and Girl, but the audience also catches glimpses of the lives of the other characters.

“We needed to be sure that there are all these other love stories in the air. Each person is riffing

off a love that’s been lost, that got away. That was the key: for the audience to feel part of the experience, and look at the people on the stage and go, ‘They’re us.’ ” Casting the show wasn’t easy. “We needed actors who could act brilliantly, move and play instruments,” said Tiffany. They found them, “but it took ages,” he adds. “Casting the first production was easiest, because we arranged the music around the instruments the actors could play. We got used to having the bank manager play the cello, for instance, and a character named Baruska has to play the accordion because it fits who she is.” Because there are only a dozen performers on stage in once, they can’t hide. If they can’t play the piano, the guitar or the violin, they’re out. In addition, Walsh’s text is difficult to do and demands really good actors. Finally, Steven Hogget’s choreography may look easy, but it requires a great deal of skill. In the end, the material proved to be as powerful on stage as it is on film. “What’s very moving about the piece is how sometimes we meet people who we don’t necessarily stay with forever, but they give us the resources to move on to the next part of our life,” says Tiffany. “There’s something very truthful in that. People have said to me, ‘When I was sitting in the theatre watching once, I felt like I was watching it with everyone I’ve ever loved, whether or not they’re still in my life.’ ” n

Portions of this text were provided by the show’s production company.

May 6 – 18 • Buell TheatreSponsored by HealthONE and ComcastASL interpreted, Audio Described & Open Captioned • May 18, 2pm

‘‘Each person is riffing off a love that’s been lost, that got away. That was

the key: for the audience to feel part of the

experience, and look at the people on the stage and go, ‘They’re us.’ ’’

~ Enda Walsh, book writer


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Sept 6–20, 2014Buell Theatre

Feb 3–15, 2015Buell Theatre

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IMPACTCRE TIVITY

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Once upon a time, composers and playwrights conceived musicals together, with some degree of simultaneity and shared understanding about the story they were striving to tell. From Daponte and Mozart to Rodgers & Hammerstein, teams teamed, toiling to marry music and theatre into a harmonious whole. That’s so last millennium, dude. Today’s rock and pop musicals might start instead with a catalogue of well-known songs, artfully woven into an evening of theatre (Mamma Mia!, Jersey Boys) or with a club-seasoned troubadour whose story/cabaret songs seem to want to grow into some-thing play-like (Passing Strange, Hedwig and the Angry Inch). Then there’s the concept-album-turned-Broadway-rock-opera, a unique hybrid form that began in 1969 with a pair of messianic double-LP extravaganzas, Jesus Christ Superstar and Tommy. Neither was written for the stage, though both were eventually theatricalized and filmed: Superstar on Broadway in 1971 and on film two years later, and The Who’s pinball allegory, first as a film in 1975 and then on Broadway in 1993. While the Superstar album looks in retrospect like an audition demo for its writers, Andrew Lloyd Webber and Tim Rice, The Who had no such ambitions, let alone theatri-cal know-how. Apart from its outré film adaptation by the late Ken Russell, Tommy seemed destined to be performed as a sort of rock oratorio—until the La Jolla Play-house’s Des McAnuff came along in the early 1990s. With the help of Pete Townshend, The Who’s lead songwriter, McAnuff rethought Tommy for the stage, turning it into the song-and-dance entertainment it didn’t know it was meant to be.

Director Michael Mayer played a similar role with American Idiot, the chart-busting 2004 album by the punk-pop band Green Day, which he helped shape into a Broadway show in 2010. But Mayer’s job proved a good deal more involved and

interpretive than McAnuff’s had been—not least because, while Green Day front man and main songwriter Billie Joe Armstrong proved open and cooperative, the narrative threads holding together the American Idiot album were more tenuous. “It’s not easy to follow,” Mayer admits of the record. “The story is deliberately am-biguous. It’s almost more an emotional narrative than it is a literal narrative.”

AMER

ICAN

IDIO

T

B Y R O B W E I N E R T - K E N D T

THE MUSICALS

INTO

A BROADWAYSHOW

or how to turn an albumAmerican Idiot is yet another example of a strong collection of songs lending themselves to transformation into a powerful stage show.

GOOG

LE IM

AGES

“The amount of freedom I had to

dream and imagine was unprecedented.

For whatever reason, something alchemical

happened when I spent time with

these characters.”— Director Michael Mayer

Its rough outline follows a sad sack described in the song suite as “Jesus of Suburbia” as he travels into the depths of

a city nightlife, where he meets “punk-rock freedom fighter” St. Jimmy as well as an “Extraordinary Girl” later called simply “Whatshername.” “St. Jimmy is powerful and sexy and dangerous and possibly destructive,” Mayer explains, “and this girl, who’s a rebel, is someone with whom he has some real connection.” There’s not a lot else in terms of concrete story points, Mayer concedes. “What you glean from listening to the album a lot, and reading it in a particular way, is that Jesus returns home having experienced the suicide of St. Jimmy and the destruction of his relationship with the girl. It’s kind of a mock-heroic return. Billie Joe describes it as one step forward, two steps back.” That wouldn’t be enough to sustain an evening of theatre, in other words. Besides, Armstrong, though open to the idea of a stage version, wasn’t a playwright. That left Mayer—who had a background in shepherding both bracing new works and unlikely adaptations to the stage, from The Triumph of Love to Thoroughly Modern Millie to Spring Awakening—to embark on his first professional writing gig (he shares book-writing credit with Armstrong). “It was the conceit of the project that I would take the record and basically write a story onto it and from inside it,” Mayer says. “All the songs are intact and in order” (and there are a few bonus tracks, courtesy of Green Day’s follow-up album, 21st Cen-tury Breakdown). Though Armstrong’s lyr-ics are virtually the only text

of the show, Mayer did invent characters and situations. “Jesus of Suburbia,” a.k.a. Johnny, now has two friends: Will, who stays home to molder in the small town, and Tunny, who escapes with Johnny but grows disaffected, enlists in the army and ends up wounded in Iraq. “I had great anxiety with the liberties we were taking, dramatically as well as emo-tionally, and I kept thinking we would cross a line that would be intolerable,” Mayer confesses of the writing process. “But Bil-lie Joe kept encouraging me to go further. The amount of freedom I had to dream and imagine was unprecedented. For whatever reason, something alchemical happened when I spent time with these characters.” Such was the simpatico nature of this odd collaboration, Mayer says, that he recalls “the very cool feeling of hearing Billie Joe talk about characters I’d made up in a way that demonstrated his understanding of them—which he should, given that he’d written what they say.” So American Idiot may have enough narrative content to fill an evening. But it wouldn’t be a musical at all if the songs themselves hadn’t cried out for the stage.

“The music has such buoyancy and authenticity,” Mayer effuses. “That’s what got my heart racing when I

thought of putting it on stage and creating stories that would fulfill the promise of this rock opera they’d written. They play against the tragedy of the story. If the songs were all slow, mournful, dirge-like, minor-key hymns to destruction, you wouldn’t want to watch it at all.”

This dramatic flair for contrast may be no coincidence; Armstrong had been a rosy-cheeked child performer before he became a spike-haired Berkeley punk rocker. “As far as I’m concerned, Billie Joe is a direct descendant of Al Jolson,” Mayer says. “Having seen him sing ‘Rockabye Your Baby With a Dixie Melody’ at the Bowery Ballroom, I can say it’s in his DNA. He’s a real entertainer, and that comes through.”

Ultimately, what comes through Ameri-can Idiot—and the thing that made this ad hoc adaptation process work

at all—is not only Green Day’s knack for show-stopping rock, but a sort of overarch-ing coherence of attitude and tone. This quality, in turn, may be traced to some of this concept musical’s antecedents. “He was thinking of Tommy and Rocky Horror Show,” Mayer says of Armstrong’s Idiot templates. “He also thought about West Side Story, and I think he thought a little bit about Sgt. Pepper’s Lonely Hearts Club Band.” That Green Day had a template in mind may have helped Mayer feel his way to a story. But don’t ask him to pin down the punk lightning he’s caught in this musical-theatre bottle. “I’ve been trying very hard not to define it for anyone, because it is unusual and it is its own thing,” Mayer says. “Is it a musical? Is it an opera? Is it a rock opera? Is it a punk-rock opera? Is Green Day even punk?” (A seemingly simple question that can start a long debate, if you’re up for it.) Mayer throws up his hands and says, “I’m just committed to calling it a show.”

Rob Weinert-Kendt is a senior editor at American Theatre and has written about theatre and the arts for The New York Times, The Los Angeles Times, Variety, The Guardian and The San Francisco Chronicle.

303.893.4100 APPLAUSE 41

AMERICAN IDIOT


May 23 – 25 • Buell TheatreASL interpreted, Audio Described & Open Captioned • May 24, 2pm

THE MUSICALSTH

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NERS BRUSHSTROKES STUDIO-GALLERY

Nationally noted as an exemplary artist-owned gallery, Den-ver’s Brushstrokes is the creative home of acclaimed paint-ers John Harrell, Kit Hevron Mahoney, Anita Mosher

and Kelly Berger. These artists can be found painting most days in the gallery’s gorgeous turn-of-the-century space where visitors are welcome to drop in and watch them work. The gallery’s owner/artists have garnered awards and media cov-erage and are well-represented in private and corporate collections worldwide. They have been longtime supporters of The Denver Center’s Arts in Education programs by contributing to Saturday Night Alive’s silent auction. They welcome commissions, corporate art consultation, giclée reproductions, pet portraits, original paintings and affordable miniatures—while continually displaying freshly created art on the gallery walls. Find them at 1487 S. Broadway, at Florida Ave., 303.871-.0800, Tue-Sat, 11am-5pm (or happily by appointment) www.brushstrokesstudio.com. n

Brushstrokes artists welcome visitors to their

relaxed gallery-studio setting.

“Street Musicians (Prague)” by Anita Mosher

“Traditional Girls” by John K. Harrell

Altar BoyzJune 12 - July 27

(in Repertory)

The MarvelousWonderettes

June 19 - 22

SylviaJune 26-July 25

(in Repertory)

God of CarnageJuly 3-July 19

(in Repertory)

Swing!July 31-August 3

Box Of�ice:970-351-2200www.arts.unco.edu/ltr

Little Theatre of the Rockies80th Professional

Summer StockTheatre Season

Greeley, Colorado

The University of Northern Colorado’s

Where great theatre leaps off the page!

Megan Van De Hay in

SATU

RDAY

NIG

HT A

LIVE


A sold-out crowd of 800 guests raised a record-breaking $842,000 in net proceeds for the DCPA’s Arts in Education programs at the March 1 Saturday Night Alive. The 34th annual black-tie fundraiser supports the

educational efforts serving 50,000 students each year. Song and dance man Matthew Morrison (who also stars in the hit TV series “Glee”) headlined the benefit, which was chaired by Susan and Leo Kiely.

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303.893.4100 APPLAUSE 45

IN REVIEW

And a big thank you to our contributing supporters:

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

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

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The Anschutz

COLORADOENERGY PRODUCERS

COLORADOENERGY PRODUCERS

Oil & Gas Producers of Colorado

OIL & GAS PRODUCERS OF COLORADO

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ART

PART

NERS MICROSOFT

Powering joy, fun and intellect through art

Many know Microsoft as the brand behind their favorite software, services and devices. But they

might not know that the company has a heart as big as its brand, committed to giving back in every region it serves. In fact, an official corporate giving program has been in place since the company went public in 1986. Microsoft believes a community is only as strong as its ability to nourish the mind and spirit through excellent, diverse and accessible programming in the visual and performing arts. It is within this vision that the company works with The Denver Center for the Performing Arts (DCPA). Since 1996, Microsoft has given the DCPA more than $2.3 million in software to present exceptional theatre, embrace classics, create new work and be a center for learning and civic engagement. Microsoft technology enables more than 300 DCPA employees to innovate and stay competitive in the industry as they pro-duce plays, present Broadway and cabaret musicals and provide arts education and school matinees for as many as 50,000 students each year. Through Microsoft’s software donation, the DCPA now has the latest desktop and server operating systems to provide operational improve-ment and the flexibility to meet patron and user needs.

“We are proud of the innovation and new ideas made possible through our work with the DCPA,” said J.P.Westwood, Microsoft General Manager overseeing Denver. “There are dynamic new works and musical collaborations in develop-ment that will benefit the community and inspire others to achieve greatness.” A significant portion of the Microsoft funding is directed through ArtsFund, a federated giving program for local corpo-rations, foundations and individuals. In addition to the arts, Microsoft is committed to serving Denver and other local communities in four key areas: em-powering youth, empowering nonprofits, empowering employees—and humanitar-ian and disaster response. With these pillars in mind, Microsoft do-nated more than $9.5 million to Colorado charities in the company’s most recent fiscal year. State employees also have utilized 2,792 volunteer hours to increase their community impact in a way above and beyond dollars and cents. n

Learn more about Microsoft corporate giving at http://www.microsoft.com/about/corporatecitizenship. Our stores host reg-ular events ranging from free educational workshops to community events with local nonprofit partners. To find your local store visit: content.microsoftstore.com.

A proud supporter ofThe Denver Center for

the Performing Arts

“We are proud of the innovation and new ideas

made possible through our work with the DCPA. There

are dynamic new works and musical collaborations

in development that will benefit the community

and inspire others to achieve greatness.”

—J.P.Westwood, Microsoft General Manager overseeing Denver.

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Applause Magazine, Apr. 4 - May11, 2014

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Transcript of Applause Magazine, Apr. 4 - May11, 2014