• Subscriber Appreciation: Meet three of our finest

    by John Moore | Feb 12, 2016

    February is Subscriber Appreciation Month at the Denver Center for the Performing Arts. Here we introduce you to three of the wonderful Coloradans who represent our entire subscriber family, without whom there would be no DCPA.

    DENISE BELLUCCI

    Subscriber Quote Denise BellucciHometown: Manhasset, N.Y.

    Home now: Arvada

    Three things you love about Colorado: The view of the mountain range, the giving and fun nature of the people, and the weather 

    Your first DCPA show: Jersey Boys

    How long have you subscribed at the DCPA? I joined the DCA six years ago, then joined the Marquee Club four seasons ago.

    Why do you subscribe? Growing up in New York, I would see Broadway and Off-Broadway shows with my family, and it’s fabulous that I can continue that experience here with my family.

    All-time favorite DCPA experience: Dixie’s Tupperware Party. I went with a group of my girlfriends. We laughed all night long and still do. It was hysterical.

    What would you say to someone who might be thinking about subscribing? Join! The Marquee Club is a fun, energetic group of people who truly enjoy each other and theatre. You wouldn’t regret it!


    NANCY LIVINGSTON

    Subscriber Quote Nancy LivingstonHometown: I grew up in New Haven, Conn., where my father taught at the Yale Medical School. As young as I can remember, I attended all of the Yale Repertory Theater productions, and also the Shubert Theater where many of the Broadway productions "tried out."

    Home now: Denver

    Three things you love about Colorado: All of the friends I have made since moving here in the 1960s; the mountains and being able to see them in their many moods; and the easygoing atmosphere. It’s a bit different here than the East Coast.

    Your first DCPA show: The first production of Quilters in 1982. Immediately after that experience, we bought season tickets, and we have had them ever since. 

    How long have you subscribed at the DCPA?  This is our 34th season. I changed from evening to matinee performances as I got older. My husband died, and now I go with friends.

    What is your subscription package? The complete Theater Company season, as well as Broadway Presents.

    Why do you subscribe? Because theater is my passion and the cultural arts direct me toward a position higher than myself.

    All-time favorite DCPA experience: Doubt in 2008, because it was so beautifully done and left me with so many questions. 

    What would you say to someone who might be thinking about subscribing? Pick one DCPA offerings from the newsletter, having a topic or playwright that interests you. Almost every production is worth your time. I especially like the Molière and Shakespeare - when he is not being anti-Semitic.



    ANN MOSSO

    Subscriber Quote Ann Mosso 2Hometown: Redlands, Calif.

    Home now: Downtown Denver

    Three things you love about Colorado: The weather (I need my sunshine!), the active lifestyle and all of the great foodie restaurants. I also love that most of us are transplants, so people here are very welcoming! (Yes, I know that's four).

    Your first DCPA show: That was so long ago ... I'm going to guess and say Les Misérables.

    How long have you subscribed at the DCPA? Three years.

    Why do you subscribe? My friend Will LaBahn encouraged me to join. I have met some great people and seen shows that I probably would not have seen otherwise - and learned the background. Live entertainment is always so impressive to me. Many of the shows we see are done so creatively, and that really inspires me to think outside the box, too.

    All-time favorite DCPA experience: The first time I saw The Lion King. I took my niece and nephew when they were younger and just the awe we all felt as the "animals" walked down the aisles.  That was just an amazing experience to share with them.

    What would you say to someone who might be thinking about subscribing? Come to meet new friends, talk to interesting people and enjoy learning and experiencing a show in a way you couldn't by just buying a ticket.



    SUBSCRIBER INFORMATION
    Click here for information on all of our subscriber options.
  • Meet the cast: Mariana Fernández of 'FADE'

    by Olivia Jansen | Feb 12, 2016
    Mariana Fernandez in rehearsal for FADE. Photo by John Moore.
    Mariana Fernandez, shown in rehearsal for FADE: "I think we can all relate to how our choices in life determine where we are and where we go and who gets to tell our story." Photo by John Moore for the DCPA NewsCenter.


    MEET MARIANA FERN
    ÁNDEZ

    Lucía in FADE

    Mariana Fernandez QuoteAt the DCPA: Debut. New York credits include Disjointed Love Shorts (Ticket2Eternity.) Regional: Reasons to be Pretty (Phoenix Theatre Indianapolis) As Bees in Honey Drown (StageWest Fort Worth) Jason and Claire (San Diego Old Globe.)

    • Hometown: Born in Tampico, Mexico, and grew up in San Diego
    • Training: BFA from Texas Christian University and MFA from Purdue University
    • The role that changed your life: I was fortunate enough to be able to do the role of Blanche DuBois from A Streetcar Named Desire as my thesis role in graduate school. Putting that amount of research and energy into a role that was so far from anything I ever thought I would play really taught me discipline and what it means to immerse yourself in a role. From the text to the accent to the complexity, the role was one of the most challenging and beautiful experiences I’ve ever had.
    • Why are you an actor? Theatre was never part of my childhood or extracurricular activities growing up. I knew that I loved to read, to explore, to delve into characters and how they function, so as soon as I took an acting class in high school, I knew it was what I wanted to pursue as a career.
    • What would you be doing for a career if you weren’t an actor? Career-wise, I don’t see myself doing anything else. Nothing would be as fulfilling. There was a part of me that desired to be the host of “The Voice." Mostly because you were able to interact with this incredible amount of talent and you were able to hear the singers’ stories and got the chance to cheer them on with their families as they attempted to fulfill their dream. Otherwise, I hope to be a mother one day. That would be the only other passion that would be on par and beyond with doing theatre.
    • Meryl StreepIdeal scene partner: Meryl Streep is someone I deeply admire, so in a perfect world, I’d get to do a play with her. Not a movie - a play. She got her start in theatre and she is brilliant in everything she does. I feel like she would challenge and inspire me. Mark Rylance is also another actor who has just blown me away onstage. He is perfect. He gives so much to every actor that is onstage with him. These are just dreams, of course. I have just been blown away by their work.
    • Why does FADE matter? When I first read FADE, I was moved by how relatable it was. Not just because of how it dealt with class issues that are so prevalent in Latin-American cultures, but by the dynamic and relationship by the two characters. This play is so honest. Honest about how class works within the Mexican culture, honest about how it is still a struggle to be an educated woman in a man’s world, honest in how our generation is so programmed to succeed and move forward no matter what the price is. This play tackles all those issues and more. You don’t have to be Latino to identify with these characters. I think we can all relate to how our choices in life determine where we are and where we go and who gets to tell our story.
    • What do you hope the audience gets out of it? I can only hope they get a deeper sense of how within a culture there are different worlds and personalities and that we don’t have to stereotype anyone. We are all complex beings, and in this day and age, there are so many things that bring you together, no matter what your background. This is the human experience. We can all relate to each other in different situations.  This is an extraordinary play that brings up issues about race, class and gender but also interpersonal relationships and how we relate to each other.
    • Finish this sentence: "All I want is ..."
      ... for people to choose love. This was a lesson I learned in the theatre about exploring a scene and it translates into everything we do. I even wear this motto on a mantra bracelet on my wrist, 'Choose Love.' If your words and your actions come from a place of compassion and love … love toward the world, toward one another, I feel like we can all do and be better people.


    • FADE: Ticket information

    • By Tanya Saracho
    • Through March 13
    • Ricketson Theatre
    • Tickets: 303-893-4100 or BUY ONLINE
    • TTY: 303-893-9582
    • Groups of 15 or more: 303-446-4829
    • Also: Purchase in person at The Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex lobby. Buy and print online at DenverCenter.Org.

    Previous 2015-16 'Meet the Cast' profiles:
    Meet
    Adeoye of Lookingglass Alice and All the Way
    Meet Kevin Berntson of The Nest
    Meet J. Paul Boehmer of As You Like It
    Meet Molly Brennan of Lookingglass Alice
    Meet Courtney Capek of A Christmas Carol
    Meet Todd Cerveris of All the Way
    Meet Brian D. Coats of The Nest
    Meet Tad Cooley of Tribes
    Meet Paul DeBoy of All the Way
    Meet Allen Dorsey of A Christmas Carol
    Meet Kevin Douglas of Lookingglass Alice
    Meet Napoleon M. Douglas of A Christmas Carol
    Meet Brian Dykstra of The Nest
    Meet Isabel Ellison of Tribes
    Meet Kate Finch of Tribes
    Meet Ella Galaty of A Christmas Carol
    Meet Mike Hartman of All the Way
    Meet Ben Heil of A Christmas Carol
    Meet Carolyn Holding of As You Like It
    Meet Drew Horwitz of As You Like It
    Meet Maurice Jones of As You Like It
    Meet Geoffrey Kent of As You Like It and All the Way
    Meet Emily Kron of As You Like It
    Meet Nick LaMedica of As You Like It
    Meet Victoria Mack of The Nest
    Meet Andrew Pastides of Tribes
    Meet Shannan Steele of A Christmas Carol
    Meet Carly Street of The Nest
    Meet Samuel Taylor of Lookingglass Alice
    Meet Lindsey Noel Whiting of Lookingglass Alice
    Meet Jake Williamson  of A Christmas Carol
    Meet Matt Zambrano of As You Like It

  • 2016-17 Broadway season: 'Frozen,' 'Fun Home,' 'Finding Neverland' and more

    by John Moore | Feb 11, 2016

    Fun Home 4177 Beth Malone, Sydney Lucas, Michael Cerveris -- Photo Credit Jenny Anderson
    The Broadway cast of 'Fun Home' features Beth Malone, Sydney Lucas and Michael Cerveris. Photo by Jenny Anderson. 


    The Denver Center for the Performing Arts today announced a landmark 2016-17 season lineup that includes both of the most recent Tony Award-winners as well as the pre-Broadway debut of the highly anticipated stage adaptation of Disney's record-breaking hit Frozen, the highest-grossing animated film in history.

    2016-17 Broadway announcement partyThe season will include both Best Musical Fun Home and Best Play The Curious Incident of the Dog in the Night-Time. This is believed to be only the second time in history the DCPA has landed the most recent winners in both categories during the same season.*

    Frozen, featuring the Oscar-winning hit song "Let It Go," continues a strong pipeline from Disney to Denver, which hosted the launch of national touring productions of The Lion King and Peter and the Starcatcher as well as the pre-Broadway engagement of The Little Mermaid.

    A 2018 Broadway production of Frozen was announced earlier this week, but Denver audiences will see it first in the summer of 2017.

    "We are incredibly excited to have an opportunity to partner with Disney again on Frozen. That is a huge announcement for us, and for Denver," said DCPA Executive Director John Ekeberg. And as a whole, I really think this is a season that is both very artistic and very emotional. One of the ways I often describe Broadway shows is that they are either 'lean back' or 'lean-in.' And for the most part, this is a season of 'lean-in' shows. This is theatre you really engage with."

    The 2016-17 Broadway season will kick off in August with a celebration of the 25th anniversary of the opening of The Buell Theatre with a spectacular new production of The Phantom of the Opera. The season also includes Roundabout Theatre Company's Cabaret, Finding Neverland, An American in Paris and, in the Garner Galleria Theatre, An Act of God.

    Subscriptions are now available starting as low as eight payments of $27.50 at denvercenter.org. A single-ticket on-sale will be announced at a later date.

    SUBSCRIBE TODAY

    Additional individual offerings that are not part of the season subscription package will include Hedwig and the Angry Inch, Motown the Musical, Kinky Boots and The Illusionist.

    It is uncommon for the DCPA's Broadway Division to schedule non-musical plays, but notable exceptions in the recent past have included August: Osage County (2008) and War Horse (2013). Ekeberg said The Curious Incident of the Dog in the Night-Time, about an extraordinary special-need 15-year-old who falls under suspicion for killing his neighbor’s dog, is almost musical in its technological presentation, which finds a way to let the audience see into the boy's brain.

    "The play itself is amazing, but the story is told in an inventive, designed language that to me screams the future of theatre," Ekeberg said. "I think the type of engagement in this production is the kind that will inspire people to come to plays."

    DCPA CEO Scott Shiller said the Broadway announcement, along with the forthcoming March 8 season announcement from the homegrown DCPA Theatre Company, "show how the DCPA continues to change and evolve and grow the face of the American theatre."
       
    (*Note: The DCPA offered War Horse (Best Play) and The Book of Mormon (Best Musical) during the 2012-13 season, but not in the same subscription package.)

    (Photo above right taken at today's announcement party at the Studio Loft theatre in The Ellie Caulkins Opera House. Photo by Olivia Jansen for the DCPA NewsCenter.)

    Broadway season 2016-17


    THE 2016-17 BROADWAY SEASON BY SHOW:

    (Descriptions provided by DCPA)

    THE PHANTOM OF THE OPERA 1 - Katie Travis and Chris Mann - photo by Matthew Murphy Katie Travis as Christine Daaé and Chris Mann as The Phantom in Broadway's 'The Phantom of the Opera.' Photo by Matthew Murphy. 

    THE PHANTOM OF THE OPERA
    phantom-operaBuell Theatre, Aug. 25-Sept. 11, 2016
    Cameron Mackintosh’s spectacular new production of Andrew Lloyd Webber’s The Phantom of the Opera comes to Denver as part of a brand new North American tour. Hailed by critics as “bigger and better than ever before,” this production boasts many exciting special effects including the show’s legendary chandelier, new scenic and lighting designs, new staging and choreography. The beloved story and thrilling score will be performed by a cast and orchestra of 52, making this Phantom one of the largest productions now on tour. The Buell Theatre opened in 1991 with The Phantom of the Opera.



    CabaretTour2The 2015 Broadway Cast of Roundabout Theatre Company’s 'Cabaret.' Photo by Joan Marcus.

    Roundabout Theatre Company’s CABARET
    cabaretBuell Theatre, Sept 27-Oct. 9, 2016
    Direct from Broadway, the acclaimed masterpiece returns to Denver. As part of its 50th anniversary season, the critically acclaimed and award-winning Roundabout Theatre Company is proud to present Sam Mendes (Skyfall, American Beauty) and Rob Marshall’s (Into the Woods and Chicago, the films) Tony Award-winning production of CABARET.  Come hear some of the most memorable songs in theatre history, including “Cabaret,” “Willkommen” and “Maybe This Time.” Leave your troubles outside – life is beautiful at CABARET, John Kander, Fred Ebb and Joe Masteroff’s Tony-winning musical about following your heart while the world loses its way.


    AN ACT OF GOD
    an-act-of-godGarner Galleria Theatre, opening fall 2016
    After conquering Broadway, the King of the Universe is coming to Denver for the first time ever! God takes human form in An Act of God, the sinfully funny and critically acclaimed new play direct from Broadway. He’s finally arrived to set the record straight…and He’s not holding back! Don’t miss this hilarious 90-minute comedy written by 13-time Emmy Award winner David Javerbaum (“The Daily Show with Jon Stewart”). The New York Times calls it it’s “deliriously funny,” and the Toronto Star said, “Thou Must See it!” Denver casting to be announced at a later date.


    12 Finding Neverland. Laura Michelle Kelly (center) of the Original Broadway Cast (c)Carol Rosegg

    Laura Michelle Kelly of the original Broadway cast of 'Finding Neverland.' Photo by Carol Rosegg.

    FINDING NEVERLAND
    finding-neverlandBuell Theatre, Dec. 20, 2016-Jan. 1, 2017
    This breathtaking smash “captures the kid-at-heart” (Time magazine). Vogue cheers, “It’s a must-see you’ll remember for years to come!” Directed by visionary Tony winner Diane Paulus, Finding Neverland tells the incredible story behind one of the world’s most beloved characters: Peter Pan. With a little bit of pixie dust and a lot of faith, Playwright J.M. Barrie takes a monumental leap, leaving his old world behind for Neverland, where nothing is impossible and the wonder of childhood lasts forever. The magic of Barrie’s classic tale springs spectacularly to life in this heartwarming theatrical event. Finding Neverland is “far and away the best musical of the year” (NPR).


    FUN HOME
    2015 Tony Award-winning Best Musical
    The Ellie, Jan. 10-22, 2017

    fun-homeEvery once in a while a Broadway musical comes along that surprises, moves and excites audiences in ways only a truly landmark musical can. The “groundbreaking” “uplifting” and “exquisite” new musical Fun Home was the event of the Broadway season, receiving raves from critics and audiences alike, winning five 2015 Tony Awards including Best Musical, and making history along the way. Based on Alison Bechdel’s best-selling graphic memoir, Fun Home introduces us to Alison at three different ages, as she explores and unravels the many mysteries of her childhood. A refreshingly honest musical about seeing your parents through grown-up eyes, "Fun Home is extraordinary, a rare beauty that pumps fresh air into Broadway” (The New York Times).


    An American In Paris-0894

    The original Broadway cast of 'An American in Paris.' Photo by Matthew Murphy.

    AN AMERICAN IN PARIS
    american-in-parisBuell Theatre, March 8-19, 2017
    An American in Paris
    is the new Tony Award-winning musical about an American soldier, a mysterious French girl and an indomitable European city, each yearning for a new beginning in the aftermath of war. Acclaimed director/ choreographer and 2015 Tony Award winner Christopher Wheeldon brings the magic and romance of Paris into perfect harmony with unforgettable songs from George and Ira Gershwin in the show that earned more awards than any other musical in the 2014/2015 season! The New York Times raves, “An American in Paris is a triumph! Pure joy!” and the Wall Street Journal declares, “Once you’ve seen it, you’ll find it hard to settle for less ever again.” Don’t miss this stunning Broadway hit when it arrives in Denver on its first national tour.


    01.CuriousIncident1127rThe original Broadway company of 'The Curious Incident of the Dog in the Night-Time.' Photo by Joan Marcus.

    THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

    2015 Tony Award-winning Best Play
    The Ellie, May 30-June 18, 2017

    curious-incidentThe Curious Incident of the Dog in the Night-Time, winner of five 2015 Tony Awards including Best Play, is coming to Denver. Hailed as “One of the most fully immersive works ever to wallop Broadway” by The New York Times, this “dazzling” (Associated Press) adaptation by Simon Stephens, adapted from Mark Haddon’s best-selling novel and directed by Tony winner Marianne Elliott. Fifteen-year-old Christopher has an extraordinary brain; he is exceptionally intelligent but ill-equipped to interpret everyday life. When he falls under suspicion for killing his neighbor’s dog, he sets out to identify the true culprit, which leads to an earth-shattering discovery and a journey that will change his life forever.


    FROZEN
    frozenBuell Theatre, Opening summer 2017
    From Disney, the producers of The Lion King, Mary Poppins and Beauty and the Beast, comes the beloved tale of two sisters torn apart and their journey to find themselves and their way back to each other. Denver will be the first to see this highly anticipated new musical before it makes its Broadway debut. Frozen  features music and lyrics by creators of the film score Kristen Anderson-Lopez (In Transit, Up Here) and Robert Lopez (Avenue Q, The Book of Mormon, Up Here) and a book by Jennifer Lee (Wreck-It Ralph), the film’s screenwriter and director (with Chris Buck). Frozen won 2014 Oscars for Best Song (“Let It Go”) and Best Animated Feature. Golden Globe Award and Obie winner and two-time Tony Award nominee Alex Timbers (Peter and the Starcatcher, Here Lies Love, Amazon’s Mozart in the Jungle) is Frozen's director and Tony-winner Peter Darling (Billy Elliot, Matilda) is choreographer. The design team includes scenic and costume design by seven-time Tony Award winner Bob Crowley (Mary Poppins, The Coast of Utopia, An American in Paris), lighting design by five-time Tony Award winner Natasha Katz (Aladdin, An American in Paris, The Glass Menagerie) and sound design by four-time Tony nominee Peter Hylenski (The Scottsboro Boys, Motown, After Midnight).  Two-time Tony Award winner Stephen Oremus (Avenue Q, Wicked, The Book of Mormon) is music supervisor and creates vocal and incidental arrangements. Frozen is produced by Disney Theatrical Productions, under the direction of Thomas Schumacher.


    Broadway 2016-17 season subscribers may purchase these added attractions before they go on sale to the public:

    HEDWIG AND THE ANGRY INCH
    hedwigBuell Theatre, Dec. 6-11, 2016
    Brilliantly innovative, heartbreaking, and wickedly funny, Hedwig and the Angry Inch is the landmark American musical by John Cameron Mitchell and Stephen Trask that is “groundbreaking and undoubtedly ahead of its time” (Entertainment Weekly). This genre-bending, fourth-wall-smashing musical sensation, with a pulsing score and electrifying performances, tells the story of one of the most unique characters to ever hit the stage. Directed by Tony Award winner Michael Mayer (Spring Awakening) and winner of four 2014 Tony Awards including Best Musical Revival, Hedwig and the Angry Inch played to record-breaking sellout crowds on Broadway and promises to take Denver by storm with what Time magazine proclaims is “the most exciting rock score written for the theatre since, oh, ever!”



    Motown_Reed L Shannon as Michael Jackson (center) with the Jackson 5. MOTOWN THE MUSICAL First National Tour. (c) Joan Marcus,

    MOTOWN THE MUSICAL
    motownBuell Theatre, Feb 15-19, 2017
    It began as one man's story…became everyone's music…and is now Broadway's musical. Motown the Musical  the true American dream story of Motown founder Berry Gordy’s journey from featherweight boxer to the heavyweight music mogul who launched the careers of Diana Ross, Michael Jackson, Smokey Robinson and many more. Motown shattered barriers, shaped our lives and made us all move to the same beat. Featuring classic songs such as “My Girl” and “Ain’t No Mountain High Enough,” experience the story behind the music.



    1196_KINKY_BOOTS_TOUR

    KINKY BOOTS
    kinky_bootsBuell Theatre, March 21-26, 2017
    Kinky Boots
    is Broadway’s huge-hearted, high-heeled hit. With songs by Grammy and Tony winning pop icon Cyndi Lauper, this joyous musical celebration is about the friendships we discover, and the belief that you can change the world when you change your mind. Inspired by true events, Kinky Boots takes you from a gentlemen’s shoe factory in Northampton to the glamorous catwalks of Milan. Charlie Price is struggling to live up to his father’s expectations and continue the family business of Price & Son. With the factory’s future hanging in the balance, help arrives in the unlikely but spectacular form of Lola, a fabulous performer in need of some sturdy new stilettos. With direction and choreography by two-time Tony Award-winner Jerry Mitchell (Legally Blonde, Hairspray) and a book by Broadway legend and four-time Tony Award-winner Harvey Fierstein (La Cage Aux Folles), Kinky Boots is the winner of six Tony Awards including Best Musical, Best Score and Best Choreography.  Take a step in the right direction and discover that sometimes the best way to fit in is to stand out. “There is no show hotter than Kinky Boots!” – CBS News


    THE ILLUSIONISTS
    illusionistsThe Ellie, May 19-21, 2017
    Direct from Broadway, the world’s best-selling magic show is coming to Denver for the first time. This mind blowing spectacular showcases the jaw dropping talents of seven of the most incredible Illusionists on earth.  The Illusionistslive from Broadway has shattered box office records across the globe and dazzles audiences of all ages with a powerful mix of the most outrageous and astonishing acts ever to be seen on stage.  This non-stop show is packed with thrilling and sophisticated magic of unprecedented proportions.


    Photos from the announcement party:

    2016-17 Broadway Season Announcement



    A note to ticket-buyers:

    Please be advised that the Denver Center for the Performing Arts, online or in person, is the only authorized online ticket provider for these productions in Denver.

    2016-17 DCPA Theatre Company season announcement
    Save the date for the Denver Center for the Performing Arts 2016/17 Theatre Company announcement on March 8.

    2016-17 Broadway Season Sponsors
    The 2016/17 Broadway season sponsors are United Airlines and Murray BMW.  Media sponsorship is provided by The Denver Post and CBS4. The DCPA supported in part by the Scientific and Cultural Facilities District (SCFD). For nearly 30 years, the SCFD has enabled the DCPA to offer world-class theatre and educational programs, and has contributed to the vibrant, flourishing entertainment scene in Colorado.

  • 'Gentleman's Guide': Where every murder is a comic gift

    by NewsCenter Staff | Feb 11, 2016

    In this exclusive video interview, John Rapson and Kevin Massey tell DCPA NewsCenter viewers about 'A Gentleman's Guide to Love & Murder.'


    By Sylvie Drake
    For the DCPA NewsCenter


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

     
    (a) A directive on how to avoid commitment
    (b) An unserious evening of silly theatre
    (c) A multiple 2014 Tony Award-winner, including Best Musical
    (d) A veiled tribute to Gilbert and Sullivan
    (e) A lesson in “offing” inconvenient heirs
    (f) An inspired rip-off of Agatha Christie meets the Marx Brothers, with a whiff of Noel Coward. Set to music.

    Take your pick. You’ll be right every time.

    But talk to the creative team that put this show together, and you’ll find the outcome wasn’t always so inclusive. It took 10 years to get this farcical thriller in shape and the man who helped most joined the venture at halftime.

    A Gentleman's Guide to Love & Murder“Robert Freedman, who wrote the book for Gentleman’s Guide, saw my production of The Women at The Old Globe in San Diego,” volunteered Darko Tresnjak, Artistic Director of Hartford Stage and the directorial mastermind who scored his own Tony® Award for coming up with some of Gentleman’s Guide’s choicest silliness.

    “Something about The Women convinced Robert that I was the guy for the job. Then I met Steve Lutvak, who wrote the music and was co-lyricist, and we hit it off. It was four years leading to the production we mounted in Hartford — and a fifth year to get the show to Broadway.”

    Of course, there was more.

    Freedman and Lutvak, newbies to Broadway, avoided watching Kind Hearts and Coronets, the 1949 hit movie in which Alec Guinness played all eight heirs to an English
    fortune, each of whom meets an untimely death at the hands of the ninth, just for being, you know … in the way.

    Gentleman's Guide quoteThe film was based on the same 1907 Roy Horniman novel, Israel Rank: The Autobiography of a Criminal, and while the premise held plenty of promise, Freedman and Lutvak lacked rights to the movie and mined the novel instead.

    Tresnjak, who’d seen the movie in high school, also declined to watch it again, relying instead on his own sly sense of humor and instinct for the right casting.

    “I champion great comic actors,” he said. “They’re underestimated. Grad schools don’t teach the craft. I was lucky. I directed Paxton Whitehead. I directed Dana Ivy. It’s like a science experiment to watch Paxton get the laugh and next night figure out how to subdivide the laugh and get three laughs out of the audience without pushing…

    “The older I get, the more it seems like comedy is the perfect response to the absurdity of the world. I wish there were Joe Ortons for our time. Satire is the perfect tool to
    deal with stupid politics.

    “One of the really appealing things about Gentleman’s Guide is its structure, the fact that you have to have a spectacular actor in the revolving-door roles, playing all eight of the aristocratic d’Ysquiths. Every murder’s a gift, because you know that actor’s got to come back in another role. I thought it was really naughty because, like, wow. Monty d’Ysquith kills his whole family and the show ends in a three-way (love affair). I was like, cool! Sign me on. It’s a hand-in-the-cookie-jar kind of show.”

    Tresnjak, who’s staged a good deal of opera, fell in love with Lutvak’s offbeat score. “It’s not ‘American Idol.’ It’s hard to sing,” he said. “The two women’s roles are precise. There’s no back phrasing. You need crystalline soprano voices. That was a big part of it for me.

    “The moment when I knew it was going to work was the ending. It hadn’t been written when I came on board and there was a logistical problem. What happens when you kill the star? When the last victim bites the dust? Umm. You find … a ninth relative! Robert and Steven were, What…?

    “I don’t want to give it away, but there’s a janitor who works in the jail. They let me add that. At that point I knew the show was going to be playful. The best thing was we took huge liberties. Some ideas came from the book, but the more we made up our own, the better it got.

    “The best moment came when we had to redo one of the murders. [We tried] a car going over the cliff, then a plunge off a Ferris wheel. Didn’t work. I was listening. It was like … the famous skating waltz. I said, ‘start skating…’ ”

    That time it worked. 

    “Over lunch that day, Robert and Steven were passing napkins to each other, rewriting lyrics. Kept the tune, changed the words. Then they showed me:

    As I’m cutting, I am contemplating
    And the truth is it’s a tad exhilarating, 

    With the rhythm of a violinist 

    I’ll be sawing where I think the ice is thinnest.

    “Now that is talent,” said Tresnjak, “and it’s buried. But it’s the most sophisticated lyric in the entire show. Steve and Robert write lyrics together. Not one fake rhyme. No cheating. They’re completely rigorous.

    A Gentleman's Guide to Love & Murder“You have to believe in a musical,” he summarized, “because nothing takes as much (effort). I didn’t work on the show all of the time. I directed 20 productions during those five years. But this was really fun.”

    John Rapson plays the eight victims to Kevin Massey’s Monty. Both men were in the Broadway company.

    “After directing 25 Shakespeare plays, I also can say Shakespeare’s plays are not good. Great, but not good. Who cares? It’s theatrical logic. In Merchant of Venice months seem to be passing in Venice, but in Belmont, it’s the next day. So what?

    “It’s theatrical logic.”

    So, you’re about to discover, is Gentleman’s Guide.

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

    Photos above: Lesley McKinnell as Miss Barley and Kevin Massey as Monty Navarro in “A Gentleman’s Guide to Love & Murder,' top of page. Above right: Kristen Beth Williams as Sibella Hallward, Massey and Adrienne Eller as Phoebe D'Ysquith. Photos by Joan Marcus. To see more production photos, click here.


    A Gentleman' Guide to Love & Murder: Ticket information

  • Feb. 16-28 at the Buell Theatre
  • Tickets: 303-893-4100 or BUY ONLINE
  • TTY: 303-893-9582
  • Groups of 15 or more: 303-446-4829
  • Also: Purchase in person at The Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex lobby. Buy and print online at DenverCenter.Org.
  • Accessibility performance: 2 p.m. and 7:30 p.m. Feb. 28

  • Please be advised that the Denver Center for the Performing Arts – denvercenter.org – is the only authorized online ticket provider for 'A Gentleman's Guide to Love & Murder.'


    Our previous NewsCenter coverage of A Gentleman's Guide to Love & Murder:
    Video: A Gentleman's Guide to A Gentleman's Guide to Love & Murder
    Video: Kevin Massey sings the national anthem at Broncos game
    Official show page


    'A Gentleman's Guide' in Denver Our photos of 'A Gentleman's Guide to Love & Murder' in Denver, to date. Photos by John Moore for the DCPA NewsCenter. To see more, click the forward button on the image above. 
  • 'FADE' Perspectives: Why ARE writers' rooms so drab?

    by John Moore | Feb 10, 2016
    FADE Jerry Ruiz and Timothy R. Mackabee. Photo by John Moore. 'FADE' Perspectives conversation on Feb. 5 at The Jones Theatre, from left:

    Director Jerry Ruiz, Scenic Designer Timothy R. Mackabee and DCPA Literary Manager Doug Langworthy. Photo by John Moore for the DCPA NewsCenter.

    Perspectives is a series of free panel conversations moderated by DCPA Theatre Company Literary Manager Douglas Langworthy. They take place from 6 p.m. to 6:45 on the evening of each production's first preview performance. The next Perspectives will be held April 8 (discussing Sweeney Todd) in the Jones Theatre. No reservations necessary.

     



    In Tanya Saracho's world-premiere play FADE, opening Friday (Feb. 12) in the Ricketson Theatre, Mexican-born Lucia is hired to write for a Latina TV character in a cutthroat Hollywood TV studio. She soon discovers that the Latino studio custodian, Abel, has a windfall of plot ideas. As their friendship grows, his stories start to blur with hers, with unexpected consequences.

    Here’s some of what we learned from Literary Manager Douglas Langworthy’s conversation with FADE Director Jerry Ruiz and Scenic Designer Timothy R. Mackabee. The production's two actors, you soon will learn, were off learning brand new lines for Saracho's play. They are Mariana Fernández as Lucia and Eddie Martinez as Abel.

    1 Perspectives Why are TV writers' rooms so drab? FADE is set in a TV writer's office in Los Angeles. And TV writers’ rooms are not just drab. “They are crappy,” says Mackabee, who has the opportunity to work on several TV shows. “The funny thing about these rooms is that they are made for creative people do wonderful things, and they are the most awful rooms you could ever want to be in in your life.” Considering the budgets these shows have, who go so cheap on the aesthetics? "Usually a show rents a space to work and then you go out and rent a bunch of horrible Ikea furniture because the show might last only one season - and that's it. So there is never money or effort spent on these spaces because they are so temporary in nature.”

    Macakabee’s scenic design for FADE intentionally makes the Lucia's work space very cramped. “We are only using about a third of the Ricketson Theatre stage because we want it to be claustrophobic," he said. "These two cannot get away from each other.”

    For this production, Club Denver (located just outside of the Ricketson Theatre lobby), will be curated to look like a TV writing room, complete lousy furniture and bad lighting, to give the audience a sense of the play's environment even before walking into the theatre. 

    2 Perspectives What is the meaning of the title? “Originally, I think Tanya chose FADE because ‘fade to black’ is a common TV term,” Ruiz said. “But I also think it refers to our protagonist. Lucia comes into this job with a very clear sense of purpose. She has a mission she wants to accomplish on this TV show. But along the way, she gets so caught up in trying to survive in this shark-tank environment that she begins to lose sight of that. So her clarity of vision starts to fade away."


    John Moore's 2015 video interview with 'FADE' playwright Tanya Saracho.

    3 Perspectives

    Hispanic vs. Latino: What’s in a name? There is a moment in FADE when those two terms are bandied about. And both generate controversy. “Hispanic is an official term. It’s the one that is used on the U.S. census,” said Ruiz. “But a lot of people don't like that term politically because the root of the word is 'Hispania,' and that goes back to colonial Hispanic roots. A lot of us who are here in the Americas are from a Mestizo lineage – that is a combination of indigenous people who were already here and the colonists who came from Spain. So it is very complicated for us to say, 'Oh, we are Hispanic,' like we are some offshoot of Spain. Many people really don't like to think of themselves that way.”

    When ‘Latino’ came along as a term, many preferred it to Hispanic because it reflects a cultural identity and a pride in being from the Americas, whether that mean South America or Mexico or Central America. “But Latino is such a huge umbrella term,” Ruiz said. “There are different nationalities, different customs and very different cultures within that term - so it's not like all Latinos are the same.”

    That’s part of what FADE is exploring, Ruiz added: "How these two people who identify as Latina or Latina come from completely different backgrounds and experiences."

    4 Perspectives Get me rewrite! FADE may become the textbook example of the DCPA’s new-play development program at work. The process starts more than a year before a developing work is introduced as a reading at the annual Colorado New Play Summit. And the work continues, in some cases, until Opening Night. “When Tanya arrived in Denver last year for the New Play Summit, she really had about the first 50 pages of the play done, so she had a whole ending section to figure out,” Ruiz said. “She did quite a bit of work while she was here, and then the Denver Center conducted a workshop in Los Angeles last summer. All during this time, Tanya was doing more work on it, and she continued to flesh it out. By the time we got here to Denver for rehearsals about a month ago, she had a very solid draft of the script. And now we are starting to make one last pass at rewrites.”

    Ruiz was speaking on Feb. 5, just before the first preview performance of FADE, and one week before the official opening on Friday (Feb. 12). About six new pages of dialogue were added that day, and the actors were off learning their new lines. What’s fascinating to learn is how rewrites can greatly impact other parts of the creative process. Even those thought done.

    “These new rewrites happen in the first few scenes of the play, and they really impact how we get to know the main character,” Ruiz said. “So when I was reading these new pages, the first thing I said was, ‘Well, we are going to have to get her some new clothes.' I went to the costume designer (Meghan Anderson Doyle) last night and I said, ‘Hey, guess what? We've got these new pages. And there is a whole different tone now. These costumes are not going to work.’ And bam, she went out shopping this morning, and now there are completely different costumes in the first half of the show. All of that happened today.”  

    That anecdote, Ruiz says, demonstrates how a new play “is very much a living organism that is evolving and changing and growing.”

    5 Perspectives Is FADE autobiographical? In part. Saracho is a writer on ABC’s How to Get Away With Murder, primarily to help transform the Mexican-born protagonist played by Karla Souza into a complicated and fully fleshed character. But her first job was writing for HBO’s Devious Maids. “Tanya is a very funny writer, but she has a serious sense of politics about Latino and Latina identity,” Ruiz said. “So I think her experience on Devious Maids was somewhat troubling. She was suddenly in a show that was probably perpetuating a lot of the stereotypes that she had spent her whole theatre career trying to combat or challenge. I think FADE very much came out of that space of feeling unsure of how to navigate the world of network television while feeling conflicted between what she had to do as a writer on the staff and her own personal artistic values."


    FADE in Denver

    Photos from the making of 'FADE' in Denver. To see the full gallery, click the forward button on the photo above. Photos by John Moore for the DCPA NewsCenter.


    FADE: Ticket information
    tanya-saracho

  • By Tanya Saracho
  • Through March 13
  • Ricketson Theatre
  • Tickets: 303-893-4100 or BUY ONLINE
  • TTY: 303-893-9582
  • Groups of 15 or more: 303-446-4829
  • Also: Purchase in person at The Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex lobby. Buy and print online at DenverCenter.Org.

  • Previous NewsCenter coverage of FADE:
     

    FADE 600A question is posed at the latest Perspectives.
  • Summit playwrights introduce 2016 featured works

    by John Moore | Feb 09, 2016
    2016 Colorado New Play Summit

    Photos from the welcoming reception for the 11th annual Colorado New Play Summit. Above, the cast of 'American Mariachi.' To see our full photo gallery, click the 'forward' button on the image above. Photos by John Moore for the DCPA NewsCenter. 


    The Denver Center's 11th annual Colorado New Play Summit began in earnest today when the four featured playwrights and their creative teams arrived for two weeks of development, rehearsals and public readings.

    Colorado New Play Summit.The four featured playwrights will work through the week in preparation for the first weekend of public readings on Feb. 13-14. They will then take what they learn into another week of intensive development, culminating with a second weekend of readings that will be attended by industry leaders from throughout the country.

    (Pictured right: Actors Mehry Eslaminia, 'Midwinter,' and Mackenzie Sherburne, Third Rail Project. Photo by John Moore.)

    Typically, two or three of the featured readings at each Colorado New Play Summit go on to full productions by the DCPA Theatre Company. The Summit has grown into one of the nation’s premier showcases of new plays. In its first decade, 44 new plays were introduced at the Summit, and more than half have returned as fully staged Theatre Company productions. This year’s The Nest and FADE were featured readings at the 2015 Summit.

    At Tuesday’s welcoming breakfast, each of the four 2016 featured playwrights briefly introduced their developing works. Here is what they said, in their own words:

    José Cruz González, American Mariachi
    Colorado New Play Summit. José Cruz González"American Mariachi is a piece inspired by women who started forming their own mariachi groups in the 1970s. Of course, they had many challenges trying to play such a male-dominated musical form. We interviewed a number of amazing women who were able to help us enter into that world, and we found an amazing group of artists who will play and sing in the piece." 

     Lauren Gunderson, The Book of Will
    Colorado New Play Summit. Lauren Gunderson“The Book of Will
    is a play that tackles the history right after Shakespeare died. His friends and fellow actors were the ones who found and collated and valiantly published - through kind of an amazing odds, actually - the first folio of his works. So our task is to really take this thing that's so epic and so universal, but make it into a story about friendships and communities and this personal stuff that was really the cause of this world-changing, beautiful poetry that has access to every language." 

    Tira Palmquist, Two Degrees
    Colorado New Play Summit. Tira Palmquist."Two Degrees is a cheery story about climate change. Actually, it so happens I love science, and I'm really, really inspired by climate change - so my main character is a woman of about 45 years old who is a climate scientist. It's really a play about grief: Grief for the planet, grief at large, grief on a more personal scale."

    Mat Smart, Midwinter
    Colorado New Play Summit. Mat Smart. "I spent three months working in Antarctica as a janitor at the McMurdo Station research center, and I wrote a play about that called The Royal Society. This is sort of a companion piece. One thing that's interesting about the station is that the people there fall in and out of love and have these epic relationships for, like, two weeks - and it's very genuine. It's kind of like a petri dish. And in the wintertime, the big event is the Midwinter Dinner. That got me thinking about A Midsummer Night's Dream. So it's a little bit of a riff on that." 

    (Note: The McMurdo Station is a research center on the south tip of Ross Island, which is in the New Zealand-claimed Ross Dependency on the shore of McMurdo Sound in Antarctica. It is operated by a branch of the United States' National Science Foundation. The station is the largest community in Antarctica, capable of supporting up to 1,258 residents. All personnel and cargo going to or coming from Amundsen–Scott South Pole Station first pass through McMurdo.)

    Colorado New Play Summit. Kemp Powers and Jason Delane.  The Colorado New Play Summit made for a 'One Night in Miami' reunion: Kemp Powers, now a commissioned DCPA Theatre playwright, and actor Jason Delane (Two Degrees'). Photo by John Moore for the DCPA NewsCenter. 


    2016 Colorado New Play Summit: Ticket information

    First weekend (Launch Weekend): Saturday, Feb. 13, and Sunday, Feb. 14
    303-893-4100 or INFO

    Second weekend (Festival Weekend): Friday, Feb. 19, through Sunday, Feb. 21

    Including an additional workshop presentation with Third Rail Projects
    303-893-4100 or INFO

    Previous NewsCenter Coverage of 2016 Colorado New Play Summit (to date):
    Featured playwrights named for 2016 Summit
  • Photos: Denver Broncos Super Bowl Celebration

    by John Moore | Feb 09, 2016
    Denver Broncos Super Bowl Celebration

    To see more parade photos, just click the forward button on the photo above. To download any photo for free, click on it, and you will be taken to the Flickr gallery, where will be given a variety of file size options.


    The Denver Center joined with the entire Rocky Mountain region today (Tuesday, Feb. 9) in celebrating the Denver Broncos' Super Bowl victory over the Carolina Panthers with a parade and rally that drew an estimated 1 million people downtown. The population of Denver is only about 650,000 and the metro area holds 3.3 million.

    Photos by John Moore and Kyle Malone for the DCPA NewsCenter. 

    ​More of our NewsCenter coverage of the Super Bowl:
    Super Bet: DCPA is backing the right horse in the Super Bowl
    Five plays about football: Is truth stranger than theatre?
    Video: Andy Kelso of Kinky Boots: Broadway backs the Broncos
    Video: Fun Home on Broadway boards the Broncos bandwagon
    Video: The Denver Center is United in Orange!

    Denver Broncos Super Bowl Celebration Kyle MaloneDenver Broncos Super Bowl Celebration. Photo by Kyle Malone (above) and John Moore (below).

    Denver Broncos Super Bowl Celebration. John Moore
  • Video: 2015 Local Playwrights Slam

    by John Moore | Feb 08, 2016

    Video by John Moore for the DCPA NewsCenter.


    As the 2016 Colorado New Play Summit approaches, we take a look back in the video above at the inaugural Local Playwrights Slam hosted and curated by a group of Colorado writers known as the Rough Draught Playwrights.

    The event was held during the opening weekend of the DCPA Theatre Company's 2015 Colorado New Play Summit last February, and featured William Missouri Downs, Megan Fevurly, Ellen K. Graham, Josh Hartwell, Cajardo Rameer Lindsey and Buntport Theater's Erin Rollman and Hannah Duggan. The evening's hosts were Nina Miller, Leslie C. Lewis and Jeff Neuman.

    Playwrights Slam. Josh Hartwell. Buntport went on to produce its work in progress, Middle Aged People Sitting in Boxes, which was nominated for seven Colorado Theatre Guild Henry Awards. Graham's The Wave That Set the Fire was a finalist at The O'Neill's 2014 National Playwrights Conference. Downs' Mr. Perfect has been published by Playscripts. Fevurly's The Funambulist, renamed Tightrope, was staged at the University of Idaho. Hartwell's one-act The Extraordinarily Mundane Adventures of Earth Boy was previously staged in 2012 at the Changing Scene Northwest. (Hartwell is pictured above.)

    The 2016 Slam will be hosted by the Athena Project, which exists to support and provide opportunities for women writers. It will take place at 5 p.m. Saturday, Feb. 13, at The Jones Theatre.

    This year's featured writers will be Lisa Wagner Erickson, Jennifer Faletto, Rebecca Gorman O’Neill, Leslie Lewis, Felice Locker and Catherine Wiley. Tickets are $10. For information, go to athenaprojectfestival.org.


    Photos from the 2015 Local Playwrights Slam:

    2015 Local Playwrights Slam Photos by John Moore for the DCPA NewsCenter.
  • 'All the Way' Opening Night: Drama on and off-stage

    by John Moore | Feb 08, 2016
    All the Way in Denver This photo shows C. David Johnson in his dressing room just minutes before making his DCPA Theatre Company debut in the massive role of President Lyndon Baines Johnson in 'All the Way." To see our full gallery of Opening Night photos, including one of Johnson with his daughter after the performance, click the forward arrow on the photo above. Photos by John Moore for the DCPA NewsCenter.


    Opening Night of the DCPA Theatre Company's All the Way had more than its share of drama on Friday, and not only on the The Stage Theatre. Just 40 minutes before the opening curtain, word came down that understudy Josh Robinson would be needed to perform that night. Without having had a rehearsal.

     All the Way Josh RobinsonTo give you some perspective, consider that Robinson understudies four different actors in the All the Way cast - and all of them play multiple roles. And because the show was not even officially open yet, the schedule had not allowed for the understudies to have what is called "put-in rehearsal." That's when attention shifts from the principal actors to their replacements, should they ever be called upon during the course of a run. The put-in rehearsal is typically scheduled for the Sunday morning following the opening performance.

    Josh Robinson quoteJosh Robinson is an award-winning and Harvard-trained actor who made his debut with the DCPA Theatre Company in Picnic back in 2003. He was driving to the Denver Performing Arts Complex with his 14-year-old daughter, Fiona, on Friday night (pictured above after the show) so they could watch the opening performance along with the rest of the audience. That's when he got "The Call." Stage Manager Rachel Ducat informed Robinson he would go on playing the central role of Walter Jenkins (LBJ's personal assistant), as well as Mississippi Rep. William Colmer.

    And Robinson was stuck in traffic.

    Oh, let's let Robinson tell the story of what he now calls "one of the five greatest nights of my life": 

    "As an understudy, I had been dutifully going to rehearsals to watch, and using the Line Learner app for the first time. (Line Learner allows you to record scenes from plays. It leaves leave gaps in the recording so you can speak your lines aloud.) I understudy for four actors in All the Way. But I had never walked the routes, used the props or spoken to any of the actors on stage.

    "I was driving with my daughter, Fiona, to watch the opening perfromance when I got the call. I listened to my lines in the car on the way there. There was an accident on Speer Boulevard, so we didn’t arrive at the theater until 7:10 - that's 20 minutes before curtain. I got my suit on right away, went to wigs to have my hair combed, got my picture taken by digital artist Charlie Miller for projections that are essential to the plot, and then went backstage with 5 minutes to spare. I checked my props, and my run sheet. They announced I was going on and (actor) John Jurcheck started a round of applause in the audience.

    "I have never had such a sense of community. Rachel Ducat and (Assistant Stage Manager) Matt Campbell were so supportive. (Fellow actors) Paul DeBoy and Todd Cerveris and the guys in the dressing room were excited and focused. (Assistant Director) Geoff Kent gave me a big hug. Erik Sandvold shadowed me backstage, always there with my script when I came off. Alan Richards and the other dressers had me in and out of the right costumes in a flash. Tyler Stauffer from the run crew  added moving some of my furniture to his list to give me a chance to breathe. I felt buoyed all night."


    Robinson and his castmates drew an opening-night standing ovation, and went on again for both performances on Saturday. At the cast party afterward, actor after actor came by and congratulated Robinson.

    Summarizing his experience, Robinson said: "I know there is no company that could have been more supportive, and no job I would rather have."

    All the Way. John Moore
    Opening night celebration, from left: Charles E. Wallace, Terence Archie, Cajardo Lindsey and Jordan Barbour. Photo by John Moore for the DCPA NewsCenter.


    All the Way
    : Ticket information

  • By Robert Schenkkan
  • Jan. 29-Feb. 28 at the Stage Theatre
  • Tickets: 303-893-4100 or BUY ONLINE
  • TTY: 303-893-9582
  • Groups of 15 or more: 303-446-4829
  • Also: Purchase in person at The Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex lobby. Buy and print online at DenverCenter.Org.

  • Previous NewsCenter coverage of All the Way
    5 things we learned about 'All the Way': Johnson gave a dam!
    Video: Cast reads from Civil Rights Act
    When Robert Schenkkan meets LBJ, sparks fly
    Five ways you don't have to connect the dots 'All the Way' to today
    Todd Cerveris: Break a leg from Broadway
    Art and Artist: Meet Stage Manager Rachel Ducat

    Full casting announced
    Official show page
    DCPA Theatre Company giddily going down rabbit hole in 2015-16

    Meet the Cast Profiles (to date)
    Meet Todd Cerveris
    Meet Paul DeBoy
    Meet Mike Hartman

    All the Way. James Newcomb. John MooreActor James Newcomb (Sen. Hubert Humphrey) was joined by his sister, Claudia Carson (a longtime DCPA employee), and mother Bev Newcomb-Madden, who has directed more plays and musicals than any other woman in Colorado theatre history. James Newcomb also appeared in last year''s 'Benediction.' John Moore
  • 'Beautiful' Music Director hosting 'Reunion '85' at Lone Tree Arts Center

    by John Moore | Feb 08, 2016
    Shannan Steele Reunion 85
    Shannan Steele in 'Reunion 85.' 


    The Tony-winning Beautiful - The Carole King Musical does not come to Denver's Buell Theatre until July, but Susan Draus, the tour's Music Director, is now hosting a one-of-a-kind theatrical comedy concert called Reunion 85 through this coming weekend (Feb. 13) at the Lone Tree Arts Center. (Draus is pictured at right.)

    Susan DrausReunion '85 takes place in the Event Hall (not the regular theatre) Lone Tree. The setting is the Clovis High School Class of 1985 reunion. Upon arriving, you assume the identity of a class member. You get a fictional name tag, you have your photo taken, and you can even look through the yearbook to learn more about your fictional character. (That is, if you take your character development seriously. If not ... just head to the bar and hope they don't call you out, Mr. Chess Club Secretary.)

    The Class President and Class Floozy are your emcees for an evening of frighteningly retro '80s rock hits, punctuated with the opening of a time capsule, the re-enactment of the school play and more, all culminating with a dance party that for graying Denverites might bring back fuzzy memories of Thirsty's, M-80s or After the Gold Rush.

    Your hosts for the evening are game actors Tom Deckman and Piper Arpan. The band is the realest of deals, including a few from the DCPA Theatre Company's recent world premiere musical The 12: Guitarist Justin Francoeur and drummer Todd Talbot.

    Klint Rudolph, who performed in DCPA Cabaret's long-running hit I Love You, You're Perfect, Now Change, is on keys and guitar; Lynn Keller is on bass and Music Director Chris Sargent is on keys.

    Your vocalists are hot heavy-hitters Karen Jeffreys (Arvada Center's Camalot), Shannan Steele (DCPA's Love, Perfect Change and most recently A Christmas Carol) and John Pinto Jr., who was part of the most recent The Book of Mormon tour and was a featured player in the Arvada Center's 2006 Christian romp, Altar Boyz.

    Draus, of Beautiful, is the creator of all this silly (but seriously good) fun. She is planning for this to be the first in a series of musical reunions themed by decade. (Think the August Wilson Cycle - only for high-school reunions).

    Beautiful - The Carole King Musical, which plays July 19-31 in the Buell Theatre, tells the true story of King’s remarkable rise to stardom. Along the way, she made more than beautiful music, she wrote the soundtrack to a generation.

    Reunion '85
    'Reunion '85' culminates in an old-school dance party.


    Reunion '85: Ticket information:

    • Remaining concert parties: 7:30 p.m. Feb. 11; and 8 p.m. Feb. 12-13
    • At the Lone Tree Arts Center, 10075 Commons St., just west of I-25 and south of the Park Meadows Mall
    • Call 720-509-1000 or go to lonetreeartscenter.org

    Beautiful — The Carole King Musical: Ticket information:

  • July 19-31 at the Buell Theatre
  • Tickets: 303-893-4100 or BUY ONLINE
  • TTY: 303-893-9582
  • Groups of 15 or more: 303-446-4829
  • Also: Purchase in person at The Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex lobby. Buy and print online at DenverCenter.Org.
  • Accessibility performance: 2 p.m. July 31


  • More on Beautiful:
    Video podcast: Jessie Mueller and Jarrod Spector

    Piper Arpan. Reunion '85.Piper Arpan belts it out in 'Reunion '85.'
  • Curious Theatre's 19th season includes puppet comedy 'Hand to God'

    by John Moore | Feb 08, 2016

    Hand to God
    Steven Boyer in a scene from Robert Askins' 'Hand to God' on Broadway. Photo by Marcus/O&M Co.)


    Curious Theatre Company's 19th season will include one world premiere and four regional premieres, including the irreverent Broadway puppet hit Hand to God, it was announced today. It’s a raucous comedy that explores faith, grief and humanity through the eyes of a foul-mouthed, possessed Christian-ministry sock puppet named Tyrone, who teaches those around him about the urges that can drive a person to give in to their darkest desires.

    Wrote Chris Jones of the Chicago Tribune: "Profane, violent, sexually uncontrollable and filter-free, Tyrone is enough to give anyone automatonophobia. He makes the mouthy puppets of Avenue Q, a show that Hand to God both chats with and thoroughly repudiates, look like cuddly toys on the toddler shelves of the Disney Store."

    The season includes the continuation and completion of Curious’ second trilogy since its announced commitment to “serial storytelling.” Curious is presenting Pulitzer Prize-winning playwright Quiara Alegria Hudes’ The Elliot Plays, starting with Elliot, A Soldier’s Fugue, opening March 12. The newly announced 2016-17 season will include the 2012 Pulitzer Prize for Drama winner, Water by the Spoonful, followed by the third chapter in the series, The Happiest Song Plays Last. That will make Curious the first theatre in the world to have completed the entire Elliot Plays cycle.

    This season includes the first in a series of new plays to be commissioned by Curious: The Luckiest People, by Meredith Friedman of Chicago, a former playwright-in-residence at Curious. Her play The Firestorm, was previously presented by the Local Theatre Company in Boulder.

    "I believe  these plays epitomize our commitments to professionalism, diversity and sharing the most provocative new work in the American theatre with Denver audiences," said Producing Artistic Director Chip Walton. "These are works you won't see anywhere else in Colorado."

    Curious’ current season continues with Sex with Strangers through Feb. 20, and finishes with Sam Gregory starring in the incendiary race drama White Guy on the Bus, opening May 14. The 19th season then begins with the following offerings. Descriptions provided by Curious Theatre Company:

    Elliot, A Soldier’s Fugue
    By Quiara Alegría Hudes
    ​Sept. 3-Oct. 15
    The second production of three in The Elliot Plays finds Elliot back home in Philadelphia, attempting to pick up the pieces of his life, haunted by everything he has seen and done during the Iraq War. Meanwhile, his birth mother Odessa runs an online chat room for recovery addicts, struggling to keep them alive day after day. Water by the Spoonful is a heartbreaking tale of family, community and the lengths we will go to achieve redemption.  

    Hand to God
    Robert Askins
    Nov. 5-Dec. 17
    In small-town Cypress, Texas, sweet but troubled teen Jason is coping with his father’s recent death and is forced to join his mother’s Church-led puppet group. However, things take a turn for the unexpected when Jason’s foul-mouthed, truth-spewing puppet Tyrone begins to take on a life of his own. 

    The Happiest Song Plays Last
    By Quiara Alegría Hudes
    Jan. 14-Feb. 17, 2017
    It finally looks as though things are going to work out for cousins Yaz and Elliot, when Elliot gets a big break starring in an action film and Yaz finds purpose becoming an activist in her community. However, much like real life, nothing ever works out exactly as planned. The Happiest Song Plays Last chronicles a year in the life of these two compassionate souls we have come to know so well as they conclude their quest for love, companionship and hope. Featuring live musicians that highlight and underscore this play’s Puerto Rican roots, this third chapter in The Elliot Plays series concludes a year’s worth of storytelling at Curious.

    Constellations
    By Nick Payne
    ​March 11-April 15, 2017
    Scientist Marianne meets beekeeper Roland at a party. They hit it off and go out for a drink, or maybe they don’t. Maybe they fall madly in love and get married. Or maybe they end up engaged to other people. Maybe they live happily ever after, or maybe they end up as total strangers. Inspired by string theory, Constellations is a multi-dimensional love story that asks when it comes to relationships just how much is written in the stars?

    The Luckiest People
    By Meredith Friedman
    May 6-June 16, 2017
    In the days following his mother’s funeral, Richard’s elderly father Oscar wants to move in. Happily settled with his partner, Richard is less than thrilled at the prospect of living with his difficult father. Accusations fly and defenses are drawn, spiraling father and son into a heated game of finger pointing with unintended consequences. The Luckiest People touchingly explores how we navigate the Sahara of middle age – those middle decades sandwiched squarely between obligations to parents, children and spouses.

    For more information, call 303-623-0524 or go to curioustheatre.org

  • Five plays about football: Is truth better drama than drama?

    by John Moore | Feb 06, 2016

    John Elway. Denver Post file photo.
    John Elway. Denver Post file photo.


    If a playwright or screenwriter had imagined the story of John Elway, would anyone have bought it? Elway was the golden boy of football who over 14 years had not yet managed to fulfill the promise and expectation that had been heaped upon him since boyhood.

    Elway was the winningest starting quarterback in NFL history, but he was no lock for the NFL Hall of Fame. His teams had been drubbed in three Super Bowls by historic margins, each one worse than the last: 136-40, all added up.

    We all know what happened next. For the first time, the Broncos surrounded Elway with superior talent at nearly every position, and the team rode an unstoppable running game to its first Super Bowl title, 31-24 over the heavily favored Green Bay Packers.

    Everyone, of course, expected The Duke of Denver to ride off into the sunset on top of the football world. But then Elway did something only Hollywood would dare dream up: He vowed to come back for another season, and he vowed to win the title all over again.

    Get real.

    He did, they did and the Broncos became just the sixth team in history to repeat as Super Bowl champions. The Broncos blew out the Atlanta Falcons 34-19, this time with Elway leading the way. He threw for more than 330 yards, was named MVP and punched his ticket to the Hall of Fame.

    Talk about great theatre. When it comes to the gridiron, can anything we put on stage come close to the unlikely drama of what happens in real sporting life?

    There are not enough plays about football to constitute a genre. But as the Denver Broncos prepare for their record-tying eighth Super Bowl appearance – with Elway back as General Manager – we thought we would take a look at five theatrical plays and musicals with football as a subject or key component.

    Death of a Salesman1 PerspectivesDeath of a Salesman: You might not think Arthur Miller’s great American tragedy is fueled all that much by football, but it was the unrealized gridiron glory of eldest son Biff that helped ultimately propel Willy Loman into that death tree. You remember Biff. He’s the son Willy is really crazy about. In other words, not sad Happy. Biff was the star football player in high school and, like most jocks, he never put much energy into his schoolwork and failed math as a senior. As explained by the awesome cheat-sheet web site schmoop.com: “Willy let Biff get away with anything and never encouraged him to do well in school. Without the math credit, Biff couldn't graduate, and therefore couldn't take his football scholarship to college. Wow, great parenting, Willy.” Then there were the football parts where Biff admits to stealing a football, and promises to throw a pass for Willy during the game. And upon being fired, the last thing old Willy does before going for the gas is shift to a memory of Biff's final football game. The moral: Our priorities are out of whack, and we should not care so deeply about the outcome of football games that are not Sunday’s Super Bowl 50. (Photo: M. Scott McLean, Mike Hartman and John Patrick Hayden in the DCPA Theatre Company's 'Death of a Salesman.' Photo by Jennifer M. Koskinen.)

    2 PerspectivesGood News: This mostly forgotten musical played the Great White Gridiron Way in 1927 alongside Show Boat. As Wiki explains: "Though its plot was decidedly old-fashioned in comparison to Show Boat's daring storyline, it was also a hit. The story is set in the Roaring Twenties at Tait College, where football star Tom Marlowe falls in love with bookish Connie Lane, who is tutoring him so he can pass astronomy and be eligible to play in the big game. (See Fences, below.) Good News spawned two films, an unsuccessful 1974 Broadway revival, and a 1993 updated production by Music Theatre of Wichita, which added such numbers as "Keep Your Sunny Side Up" and "Life Is Just a Bowl of Cherries."

    Fences3 PerspectivesFences: In the play many consider to be August Wilson’s masterpiece, young Cory has a chance to go to college on a football scholarship, but his father, a garbage-truck driver named Troy, refuses to sign the permission paper. Troy says he doesn't want his son to suffer from the same racial discrimination that kept Troy from being a pro baseball player. The tension comes to a head when Troy tells Cory's high-school football coach that Cory can't play football anymore, which destroys Cory's hopes of going to college.  And that’s when things start to go really bad for this mismatched father and son.

    Lombardi4 PerspectivesLombardi: Vince Lombardi is the legendary Green Bay Packers coach after whom the Super Bowl Trophy is named. But until Eric Simonson’s 2011 Broadway play based on David Maraniss’ best-selling biography “When Pride Still Mattered: A Life of Vince Lombardi," few knew the real story of Lombardi the man—his inspirations, his passions and ability to drive people to achieve what they never thought possible. The original cast featured Dan Lauria (The Wonder Years) as the man many consider to be one of the best and most successful coaches in football history. Lombardi led the Packers to three straight and five total NFL championships in seven years, in addition to winning the first two Super Bowls following the 1966 and 1967 seasons.

    5 PerspectivesFriday Night LightsFriday Night Lights The Musical: If this sounds too good to be true, it’s not: The team of satirists behind The Unauthorized O.C. Musical is already hitting the practice field to bring this unauthorized parody of the cult-hit NBC-TV series to the stage in 2016 with – get this – Scott Porter, who played the paralyzed quarterback Jason Street in the TV show, playing Coach Taylor. Porter got his theatrical start in the Off-Broadway musical Altar Boyz before landing FNL. No word yet on when the stage musical will bow in L.A.

    What are some of your favorite plays and musicals about football, or sports in general? Leave your comment at the bottom of this story.

    Note: A previous version of this story included a reference to You’re a Good Man Charlie Brown - until reader Howard Sherman pointed out that feel-good musical does not include the traumatizing Peanuts tradition of having Lucy pull that infernal football away from Charlie just before was about to kick.  

    ​More of our NewsCenter coverage of the Super Bowl:
    Super Bet: DCPA is backing the right horse in the Super Bowl
    Video: Andy Kelso of Kinky Boots: Broadway backs the Broncos
    Video: Fun Home on Broadway boards the Broncos bandwagon
    Video: The Denver Center is United in Orange!
  • Video: The Denver Center is United in Orange!

    by John Moore | Feb 06, 2016


    Employees of the Denver Center for the Performing Arts make it plain where their loyalties lie when it comes to Sunday's Super Bowl matchup between the Denver Broncos and Carolina Panthers. They were videotaped on the set of the DCPA Theatre Company's All The Way - on Opening Night, no less. The background projection is the handiwork of the Denver Center's Topher Blair, Charles MacLeod and Charlie Miller. The DCPA and Phamaly Theatre Company have entered into a friendly wager with the Blumenthal Performing Arts Center and Children's Theatre of Charlotte over the outcome of the game. Read more here.


    This just in: A message from Fun Home on Broadway!


    The cast and crew of Fun Home, the Tony-winning Best Musical of 2015, have a message from Broadway. Fun Home's Tony-nominated Beth Malone is a Castle Rock native and recently starred as Molly Brown in the DCPA Theatre Company's "The Unsinkable Molly Brown." Thank you, Fun Home!

    ​More of our NewsCenter coverage of the Super Bowl:
    Super Bet: DCPA is backing the right horse in the Super Bowl
    Andy Kelso of Kinky Boots: Broadway backs the Broncos

    DCPA United in Orange Go Broncos
    Photo by John Moore for the DCPA NewsCenter.

  • Video: Andy Kelso of 'Kinky Boots' backs the Broncos

    by John Moore | Feb 05, 2016


    Andy KelsoAndy Kelso, who stars as Charlie Price in Kinky Boots on Broadway, is a Colorado native, graduate of Eaglecrest High School in Aurora and the University of Northern Colorado in Greeley, and a die-hard Denver Broncos fan.

    Here's what he has to say about the upcoming Super Bowl matchup with the Carolina Panthers.

    In the photo at right, Kelso is joined by Kinky Boots co-star Wayne Brady supporting the Broncos ina team cap. hat. Hey, whatever Lola wants!

    Photo courtesy Andy Kelso.


    Re-live Andy Kelso's National Anthem Day in Denver:

    Andy Kelso came home to sing the national anthem at the Denver Broncos' nationally televised victory over the San Diego Chargers on Oct. 24, 2014. Watch above.

    Super Bet: DCPA backing the right horse in Super Bowl


    This just in: A message from Fun Home on Broadway!



    The cast and crew of Fun Home, the Tony-winning Best Musical of 2015, have a message from Broadway. Fun Home's Tony-nominated Beth Malone is a Castle Rock native and recently starred as Molly Brown in the DCPA Theatre Company's "The Unsinkable Molly Brown." Thank you, Fun Home!


    Andy Kelso. Photo by John Moore
  • Video: Todd Cerveris: Break a Leg from Broadway

    by John Moore | Feb 05, 2016

    Michael Cerveris and Beth Malone of Fun Home on Broadway wish Michael's brother, Todd Cerveris, well in this selfie video on Opening Night of the Denver Center's 'All The Way,' tonight (Feb. 5).

    Malone is a Castle Rock native who in 2014 starred in the DCPA Theatre Company's reimagined The Unsinkable Molly Brown.

    Todd Cerveris plays Gov. George Wallace in All the Way, which plays through Feb. 28 in the Stage Theatre.  Call 303-893-4100.

    Meet the Cast: Todd Cerveris


    All the Way
    : Ticket information

  • All the WayJan. 29-Feb. 28 at the Stage Theatre
  • Tickets: 303-893-4100 or BUY ONLINE
  • TTY: 303-893-9582
  • Groups of 15 or more: 303-446-4829
  • Also: Purchase in person at The Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex lobby. Buy and print online at DenverCenter.Org.

  • Previous NewsCenter coverage of All the Way
    5 things we learned about 'All the Way': Johnson gave a dam!
    Video: Cast reads from Civil Rights Act
    When Robert Schenkkan meets LBJ, sparks fly
    Five ways you don't have to connect the dots 'All the Way' to today
    Art and Artist: Stage Manager Rachel Ducat

    Full casting announced
    Official show page
    DCPA Theatre Company giddily going down rabbit hole in 2015-16



    Michael Cerveris and Beth Malone
  • Meet the cast: Todd Cerveris of 'All The Way'

    by Olivia Jansen | Feb 05, 2016
    Todd_ATW_insta_DCPA

    Today (Friday, Feb. 5): Follow along with Todd Cerveris as he takes over the Denver Centers Instagram account. Click here.

    MEET TODD CERVERIS
    Gov. George Wallace and Walter Reuther in All The Way

    At the DCPA: Debut. Broadway: South Pacific, Twentieth Century. Off-Broadway premieres: Southern Comfort; Almost, Maine; The Booth Variations. National Tours: War Horse, Spring Awakening, Twelve Angry Men, The Acting Company. Regional: Arena Stage (True West), La Jolla Playhouse (Boy), Old Globe (August: Osage County, All In The Timing), Pioneer Theater (I Hate Hamlet), Kansas City Rep (The Great Immensity) Cincinnati Playhouse (Royal Shakespeare Company's The Complete Word of God, Abridged, King Lear, Death of a Salesman), Actors Theater of Louisville (Aloha, Say The Pretty Girls). International: Edinburgh Fringe, Actors Touring Co. TV/Film: "Allegiance," "The Affair," "White Collar," "Nurse Jackie," "Law & Order," "One True Thing."

    • Hometown: Huntington, W.V.
    • Training: Yale University; masters degree from University of California San Diego
    • What was the role that changed your life: Alan Strang in Equus in high school. It was a chance to prove to myself that I could do more than I thought I could.
    • Why are you an actor? I spent five years after college trying to do anything else. But at the end of the day, I never felt satisfied and this was something I knew how to do.  
    • What would you be doing for a career if you weren’t an actor? I’d like to be a photojournalist or wildlife photographer.
    • hoffman
    • Ideal scene partner: I would have liked to work with Phillip Seymour Hoffman. He seemed to be so present in every moment of his work. I think I would have learned a great deal from working with him.
    • Why does All The Way matter? Theater is communal storytelling. This play tells one story of our American community. The benefit of a communal forum, one in which we share in each other’s varied responses to the subject matter, cannot be achieved as well when you are the only viewer. The most important part of the play is the change - in political commitment, in perspective, in understanding - within the audience, and part of that change is watching how it affects other people around you.
    • What do you hope the audience gets out of it? Their money’s worth.
    • Finish this sentence: "All I want is ..."
      "...there to be nothing – not even a god – that is more valuable than the life and dignity of another person."

    Todd Cerveris. Photo by John MooreTodd Cerveris was part of a video in which 'All the Way' cast members read part of the historic Civil Rights Act of 1964. Watch it here. Photo above by John Moore


    A TODD CERVERIS BONUS:

    What does Todd Cerveris have in common with Sweeney Todd? Cerveris is the brother of two-time Tony Award-winning Broadway actor Michael Cerveris, whose credits include the Demon Barber. Michael won his first Tony in 1993 for The Who’s Tommy, and last year for playing the conflicted father in Fun Home opposite Castle Rock native Beth Malone.

    Michael Cerveris, left, and Todd CerverisThe brothers are active on social media and are often encouraging each other’s work on Twitter. “The bedeviling thing about my brother is that he's a nice guy,” said Todd. The pair know each other’s strengths, weaknesses and acting tools better than anyone, so they often play the role of coach or professional adviser to one another, Todd said.

    Todd almost never followed in his big brother’s footsteps. “When I graduated from college, it made the most sense to go into theatre - which is why I didn't,” he said. “I spent about five years doing anything but (theatre). I drove a bike taxi for a while. I taught high-school English. I was a phlebotomist at a health clinic.”

    But Todd has another significant, small-world ally in his theatrical corner. He is married to actor Angela Reed, who graduated from Ponderosa High School and the University of Colorado-Boulder. She is a Colorado Shakespeare Festival alum and starred in the DCPA Theatre Company’s 2006 production of After Ashley. She returned to Denver in 2009, playing all of the adult women in the national touring production of Spring Awakening.

    “We understand each other,” Todd said. “We're good at talking each other off the cliff when either of us has been without a job for a long period of time.”


    All the Way
    : Ticket information

  • All the WayJan. 29-Feb. 28 at the Stage Theatre
  • Tickets: 303-893-4100 or BUY ONLINE
  • TTY: 303-893-9582
  • Groups of 15 or more: 303-446-4829
  • Also: Purchase in person at The Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex lobby. Buy and print online at DenverCenter.Org.

  • Previous NewsCenter coverage of All the Way
    5 things we learned about 'All the Way': Johnson gave a dam!
    Video: Cast reads from Civil Rights Act
    When Robert Schenkkan meets LBJ, sparks fly
    Five ways you don't have to connect the dots 'All the Way' to today
    Art and Artist: Stage Manager Rachel Ducat

    Full casting announced
    Official show page
    DCPA Theatre Company giddily going down rabbit hole in 2015-16

    Previous 2015-16 'Meet the Cast' profiles:
    Meet Adeoye of Lookingglass Alice and All the Way
    Meet Kevin Berntson of The Nest
    Meet J. Paul Boehmer of As You Like It
    Meet Molly Brennan of Lookingglass Alice
    Meet Courtney Capek of A Christmas Carol
    Meet Brian D. Coats of The Nest
    Meet Tad Cooley of Tribes
    Meet Paul DeBoy of All the Way
    Meet Allen Dorsey of A Christmas Carol
    Meet Kevin Douglas of Lookingglass Alice
    Meet Napoleon M. Douglas of A Christmas Carol
    Meet Brian Dykstra of The Nest
    Meet Isabel Ellison of Tribes
    Meet Kate Finch of Tribes
    Meet Ella Galaty of A Christmas Carol
    Meet Mike Hartman of All the Way
    Meet Ben Heil of A Christmas Carol
    Meet Carolyn Holding of As You Like It
    Meet Drew Horwitz of As You Like It
    Meet Maurice Jones of As You Like It
    Meet Geoffrey Kent of As You Like It and All the Way
    Meet Emily Kron of As You Like It
    Meet Nick LaMedica of As You Like It
    Meet Victoria Mack of The Nest
    Meet David Mason of The Nest
    Meet Andrew Pastides of Tribes
    Meet Shannan Steele of A Christmas Carol
    Meet Carly Street of The Nest
    Meet Samuel Taylor of Lookingglass Alice
    Meet Lindsey Noel Whiting of Lookingglass Alice
    Meet Jake Williamson  of A Christmas Carol
    Meet Matt Zambrano of As You Like It
  • Emily Tarquin: Disabilities aren't what make Phamaly actors unique

    by NewsCenter Staff | Feb 05, 2016

    Emily Tarquin photo by John Moore for the DCPA NewsCenter. Emily Tarquin photo by John Moore for the DCPA NewsCenter.


    By Olivia Jansen
    For the DCPA NewsCenter

    Passion is certainly not lacking at the Phamaly Theatre Company. The acclaimed company, which makes professional performance opportunities available to actors with disabilities, is passionate about its work, its mission and its message.

    And now Phamaly has a passionate new director – The Denver Center’s own Emily Tarquin. As Artistic Associate for the Theatre Company and Producing Curator for Off-Center, Tarquin has directed many shows, but never anything like Phamaly’s new production of Fuddy Meers, opening Saturday (Feb. 6) at the Aurora Fox.

    For more than 25 years, Phamaly has presented plays and musicals featuring actors with disabilities that span the physical, cognitive and emotional span of the disability spectrum. Tarquin was first introduced to Phamaly shortly after she moved to Denver.

    Trenton Schiondele Quote“I’ve seen a lot of their work over the past seven years, and it’s really awesome,” she said. “Many of their actors work solely with Phamaly, so getting the opportunity to work with them and direct them is cool because I may not have been able to otherwise.”

    Fuddy Meers, a wild comedy written by David Lindsay-Abaire, follows Claire, an amnesiac who wakes up every day as a blank slate. Every morning her husband usually has to remind her who she is, but today is different. A limping, lisping man surprises Claire, claiming to be her brother. He takes her to meet her stroke-impaired mother and introduces her to a strange, secretive man with a puppet. Every twist and turn in Claire's absurd journey brings her closer to discovering her past life and everything she thought she'd forgotten.

    Tarquin said the humor of the play walks a fine line. At its roots, the play is about abuse and disability, so the more you look into the humor, the darker it seems. And that’s what makes it a perfect play for Phamaly to explore.

    Most Phamaly productions shows are staged by a core group of directors, so Tarquin has been a breath of fresh air to cast members who say she has brought a balance of professionalism and love into the creative process.

    “She reached out to us months in advance before rehearsals started,” said Daniel Traylor, who plays Millet. “She’s incredibly passionate about this theatre company and our mission.”

    Read more: Emily Tarquin wins 2015 True West Award

    Actress Jenna Bainbridge, who stars as Claire, was partially paralyzed from a fall at 18 months and walks with a gait. She said directors don’t typically contact actors until rehearsals begin. But Tarquin gathered the Fuddy Meers cast well in advance to start the conversation about mutual expectations and the direction of the play. Traylor, who has hip dysplasia and is hard of hearing, said demonstrating that kind of dedication so early  in the process set a high bar for the show. But Tarquin believes she had nothing to do with that bar.

    “I haven’t worked with them before, but I knew I had a high level of talent to work with,” Tarquin said. “That makes it easy to say, ‘Here’s what we’re going to achieve, because I know we can do it.’ They’re the ones who really set the bar.”

    Based on her time with the actors so far, Tarquin hasn’t found anything different working at Phamaly than any other theatre company. Although the actors at Phamaly have different needs, she believes all actors have a range of needs. So she approached Fuddy Meers as she would any assignment, with her main goal to work with everyone as artists.

    “It’s really not about their disabilities,” she said. “The disabilities are what make them part of Phamaly, and I think that community is really special and important. But in terms of the actual work, it’s about them as artists and the unique qualities they bring.”

    Read more: Phamaly wins 2015 True West Award

    Tarquin, who is very involved with casting DCPA Theatre Company shows, has found it important to encourage Phamaly company members to take their talents to other local theatres. She wants them all to feel comfortable and confident auditioning outside of Phamaly. Many of them have worked at other companies, including the Colorado Shakespeare Festival, Miners Alley Playhouse and the DCPA.

    Tarquin has attended many Phamaly shows and later emailed actors to congratulate them and inquire whether they had an interest in auditioning for the DCPA. Leonard Barrett was the Ghost of Christmas Present in the DCPA's 2015 production of A Christmas Carol, and Traylor was a featured performer at last year’s Saturday Night Alive concert fundraiser for DCPA Education.

    Bainbridge, who was nominated for a Colorado Theatre Guild Henry Award for her performance as Hermia in the Colorado Shakespeare Festival’s A Midsummer Night’s Dream, credits Phamaly for giving her the skills to audition for entrance into the University of Denver’s Lamont School of Music. She also has performed as Cinderella for BDT Stage and recently played Jo in the Aurora Fox’s Little Women.

    Bainbridge said many local companies have been more than accepting and willing to adapt to her physical needs, but that wasn’t always the case. In one show, she was made to spend her entire scene behind a desk so she didn’t have to walk. It seemed to be a game of “show the talent, but hide the disability,” she said. But in Phamaly shows, the actors’ disabilities are incorporated into the characters they play. So if the actor playing Fraulein Schneider in Cabaret has Parkinson’s disease, then so too does Fraulein Schneider - no explanations necessary. That allows the disabled actors to be themselves, while they are playing someone else.

    “There’s definitely no hiding here,” Bainbridge said. “There is that physical freedom of not having to change the way I walk at all. And that’s nice.”

    Cast of Phamaly Theatre Company's 'Fuddy Meers.' Photo by Michael Ensminger.
    Cast of Phamaly Theatre Company's 'Fuddy Meers.' Photo by Michael Ensminger.


    The environment at Phamaly has allowed Trenton Schindele, who has cerebral palsy, to pour all of his energy into his performance as Richard in Fuddy Meers, knowing a wheelchair will be waiting for him when he comes off stage.

    “You want your everything to go into the scene, your character and the story you’re telling,” he said. “There have been many times where I go through all that and my body is just tired, so they have a wheelchair ready for me. There’s just something about Phamaly that brings a kind of freedom and release of fear.”

    Call it a cliché, but Phamaly really is a family. With caustic jokes and stories circulating backstage and in the rehearsal room, it is easy to see how this company has positively influenced so many lives and changed many people's thinking. Traylor thinks one reason for the company’s longstanding success is that Phamaly actors bring something to the stage not all actors can.

    “Being an actor is about looking at the human condition and understanding all the aspects of humanity,” he said. “I think at Phamaly, more than anywhere, there’s just a uniqueness we bring to the stage that you don’t always find in other companies.”

    And that doesn’t necessarily mean disabilities, Schindele added. “It’s because of the things we’ve had to go through as people with disabilities. We go through a lot every single day, which really lets you to tap into different emotions more than other people can.”

    Working with Phamaly has helped Tarquin learn more about herself as an artist. She has loved watching the actors grow into their roles from the beginning moments of getting the show up on its feet – or, in this case, up on its feet and wheels.

    “I think any organization that takes a minority and makes it a majority is a worthy and important cause, especially in the arts,” she said.


    DCPA NewsCenter intern Olivia Jansen is a junior at Wartburg College in Waverly, Iowa, where she is studying multimedia journalism. She is from Johnsburg, Ill. Read her previous profile on DCPA stage manager Rachel Ducat here.



    ​Fuddy Meers: Cast list
    Claire: Jenna Bainbridge
    Richard: Trenton Schindele
    Kenny: Stewart Caswell
    Limping Man: James Sherman
    Gertie: Lucy Roucis
    Millet: Daniel Traylor
    Heidi: Harper Liles

    Lucy Roucis, left, and Jenna Bainbridge in Phamaly Theatre Company's 'Fuddy Meers.' Photo by Michael Ensminger. Lucy Roucis, left, and Jenna Bainbridge in Phamaly Theatre Company's 'Fuddy Meers.' Photo by Michael Ensminger.

    Fuddy Meers: Ticket information
    Presented by Phamaly Theatre Company
    Feb. 6-21 at Aurora Fox Arts Center
    9900 E. Colfax Ave., Aurora
    303-739-1970

    ​Feb. 26-28 at Arvada Center for Arts and Humanities
    6901 Wadsworth Blvd., Arvada
    720-898-7200 Online tickets: Click here

    Note: Phamaly will next present 'Taking Leave,' by former DCPA New Play Director Nagle Jackson, from April 1-17 in the Jones Theatre. Click here for information.


    Cult Following
    : Ticket information
    Presented by Off-Center
    Feb. 12-13 at the Jones Theatre
    Denver Performing Arts Complex
    303-893-4100 or denvercenter.org

  • Cast lists: Colorado Shakes bringing Hutton back to Denver

    by John Moore | Feb 04, 2016
    Colorado Shakespeare Festival 2016 Casting
    From left: John Hutton, Carolyn Holding, Steve Maurice Jones and Michael Morgan are among those who are Boulder-bound for the summer of 2016.


    The 2016 Colorado Shakespeare Festival will boast many names that are familiar to local theatre audiences, including many with ties to the DCPA.

    A gender-bending The Comedy of Errors will reunite the primary lovers from the DCPA Theatre Company's recent romantic comedy As You Like ItCarolyn Holding will play Antiphola of Syracuse, and Steve Maurice Jones will play Adriano. The director is DCPA Fight Director Geoffrey Kent, who currently is appearing in All the Way.
     
    In As You Like It, Holding played Rosalind, who dressed as a boy while falling in love with Jones' Orlando. Here, Kent takes the twist one step further by setting Shakespeare's The Comedy of Errors in 1930s Paris, with women playing the primary male roles, and vice versa. So the Dromio twins are Dromias and the Antipholus twins are Antipholas.

    The regional premiere of Equivocation will bring longtime DCPA Theatre Company actor John Hutton, last seen in Shadowlands, back to Colorado to play the titular role in Cymbeline, and star in the regional premiere of Bill Cain's Equivocation. Like last year's Wittenberg, Equivocation is a scholarly Bard variation with a fun fictional hypothesis: What if the British government commissioned Shakespeare to write the definitive history of a national crisis, the treasonous Gunpowder Plot, into one of his plays?

    Shag, as Shakespeare is known in this play, will be played by Michael Morgan, who just starred in the Boulder Ensemble Theatre Company's The Few and will soon join with Diana Dresser (All the Way) as guest artists for Buntport Theater's upcoming new creation, 10 Myths on the Proper Application of Beauty Products (March 4-26).

    Christopher Joel Onken, who just played a savage blue tribesman in the Lone Tree Arts Center's comedy The Explorer's Club, will star as Troilus in Troilus and Cressida.

    Other familiar names in the 2016 CSF company include:
    Returning company members also include Benaiah Anderson (DCPA's Hamlet), Sean Scrutchins (Curious Theatre's 9 Circles) and Sam Sandoe, who will be back for his 27th season this summer.

    Complete cast lists follow. The 2016 season runs June 3-Aug. 7 in Boulder on the campus of the University of Colorado. Play descriptions are provided by the Colorado Shaakespeare Festival. Tickets are currently available by calling 303-492-8008 or going to www.coloradoshakes.org

    Carolyn Holding and Steve Maurice Jones in the DCPA Theatre Company's 2015 'As You Like It.' Photo by Adams Visual Communications.
    Carolyn Holding and Steve Maurice Jones in the DCPA Theatre Company's 2015 'As You Like It.' Photo by Adams Visual Communications.


    THE COMEDY OF ERRORS:
    From the director of CSF’s A Midsummer Night’s Dream (2013), The Comedy of Errors is Shakespeare’s purest comedy — with a twist. Set in jazzy, sexy 1930s Paris, this new production bends the classic adventure of mistaken identities in a different direction that puts the women in charge ... and the men in their places. Sultry singing, cabaret nightlife, puns and punchlines. In the Mary Rippon Amphitheatre.

    Director: Geoffrey Kent
    Spencer Althoff, Paramour
    Naomi Ambroise, Luce
    Benaiah Anderson, 2nd Merchant
    Alicia Baker, The Parisian Minstrel
    Kristofer Buxton, Ensemble
    Kelsey Didion, Antiphola of Ephesus
    Carolyn Holding, Antiphola of Syracuse
    Steve Maurice Jones, Adriano
    Emelie O'Hara, Dromia of Ephesus
    Paige Olson, Balthasar
    Christopher Joel Onken, Luciano
    Sean Scrutchins, Doctor Pinch/1st Merchant
    Zach Stoltz, Fat Neil
    Howard Swain, Egeon
    Mare Trevathan, Abbess
    Jesse Wardak, Officer/Headsman
    Coleman Zeigen, Duke Solinus

    EQUIVOCATION:
    Reluctant playwright and sleuth “Shag” — aka William Shakespeare — finds himself at the perilous crossroads between artistic integrity and survival when King James I commissions him to rewrite the history of England’s infamous Gunpowder Plot. Under the Orwellian gaze of a security state not far removed from today’s headlines, he must find a way to tell the truth without selling his soul. Indoors.

    Director: Wendy Franz
    Michael Morgan, Shag
    John Hutton, Richard / Garnet
    Rodney Lizcano, Cecil / Nate / Percy
    Hunter Ringsmith, Sharpe / James / Wintour
    Drew Horowitz, Armin / Catesby / Coke
    Elisabeth Collins, Judith

    TROILUS AND CRESSIDA
    God-like heroes, embattled kings, doomed love, and a sinister, snarky clown make Shakespeare’s epic of the Trojan War one of his greatest legends. Like grown-up versions of Romeo and Juliet all too familiar with life’s stark realities, the eponymous lovers face painful choices in this mythic mélange of drama, comedy and history. In the Mary Rippon Amphitheatre.

    Director: Carolyn Howarth
    Spencer Althoff, Patroclus
    Naomi Ambroise, Ensemble
    Benaiah Anderson, Diomedes
    Kristofer Buxton, Ensemble
    Kelsey Didion, Agamemnon
    Lilli Hokama, Aeneas
    Carolyn Holding, Cressida
    Steve Maurice Jones, Hector
    Geoffrey Kent, Achilles
    Jihad Milhem, Paris
    Emelie O'Hara, Cassandra
    Paige Olson, Andromochae
    Christopher Joel Onken, Troilus
    Sam Sandoe, Nestor
    Sean Scrutchins, Thersites
    Zach Stoltz, Ensemble
    Howard Swain, Pandarus
    Mare Trevathan, Ulysses
    Jesse Wardak, Ensemble

    CYMBELINE:
    Cymbeline is a vassal king of the mighty Roman Empire, but Britain herself remains a wild and untamed land in this mythic, idyllic romance. When the king banishes Posthumus—his beautiful daughter’s illicit, low-born husband—Imogen flees into a Welsh forest that still rings with Britain’s legendary past. By turns comic, heroic and harrowing, this tale of gods and villains, lovers and warriors, brings the entire CSF company together onstage. Indoors.

    Director: Jim Helsinger
    Spencer Althoff, 1st Lord
    Naomi Ambroise, Ensemble
    Benaiah Anderson, Guiderius / Servant 1
    Kristofer Buxton, Ensemble
    Elisabeth Collins, Ensemble
    Kelsey Didion, Dr. Cornelius / Tribune 1 (1st Senator)
    Carolyn Holding, Helen (Lady/Attendant)
    Drew Horowitz Frenchman/Tribune 2
    John Hutton, Cymbeline
    Steve Maurice Jones, Posthumous
    Geoffrey Kent, Iachimo
    Rodney Lizcano, Pisanio
    Michael Morgan, Caius Lucius
    Emelie O'Hara, British Soldier/Musician
    Paige Olson, Ensemble
    Christopher Joel Onken, Arvigarus/Servant 2
    Anne Penner, Queen
    Hunter Ringsmith, Servant/Roman Soldier 1
    Sam Sandoe, Sicilius Leonatus/Philario
    Sean Scrutchins, Cloten
    Zach Stoltz Ensemble, Jesse Wardak Ensemble

    HENRY VI, PART 2:
    (An Original Practices presentation)
    TO COME.

    Casting by Sylvia Gregory
  • Video, story: Building 'The Nest': Bringing a bar to life

    by John Moore | Feb 04, 2016


    Take a backstage look at how DCPA artisans crafted the 13-foot bar that creates the world of 'The Nest.' Our guests in the video above include Properties Director Robin Lu Payne, Carpenter David Hoth and Props Artisan Katie Webster. They explain how they achieved rounded corners and the impression of intricately carved rosewood and ivory marble inlays. When asked why it was important for the DCPA artists to build the bar from scratch, Hoth said, “It’s what we do. It’s what we have done for years.” Video by David Lenk and Senior Arts Journalist John Moore for the DCPA NewsCenter.



    Staging the world premiere of Theresa Rebeck’s The Nest in The Space Theatre has created more than the usual challenges for Director of Scenic Design Lisa Orzolek to solve. The play is set in a bar. The Space is a five-sided theatre in the round. How do you make that work?

    “Bar plays are traditionally very stationary, and whenever you do a play in the round, you don’t ever want to be stationary,” Orzolek said. “So the challenge from the get-go is, ‘How do you shape the bar so it is the most open to the most people in the audience?’”

    The Nest
    is a provocative new comedy that introduces a group of disparate bar regulars whose social foundations are shaken when a stranger walks in with a lucrative proposition. It plays though Feb. 21 in the Space Theatre.

    The Nest BarThe setting is a Midwestern bar that is now fading more than 100 years after it was exquisitely crafted, anchored by a huge, ornate, beveled - and imagined, from the audience's perspective - German mirror. DCPA carpenters began building the bar the week of Thanksgiving.

    Orzolek is in her 26th season with the DCPA Theatre Company, and she considers it her privilege to design the final play in The Space Theatre before it closes for a year of renovations. She took some time to talk about the design process.

    (Pictured above right: Properties Director Robin Lu Payne, Carpenter David Hoth and Props Artisan Katie Webster. Photo by John Moore.)

    John Moore: A bar is inherently fixed, but you don’t want the story to play out at anyone’s back for any length of time. What can you tell us about the solutions you came up with, without giving anything away?

    Lisa Orzolek: Not very much, sorry. I can say that there are challenges in the script that we have solved with the magic of theatre.

    John Moore: Artfully dodged! How did you even approach the project in the first place?

    Lisa Orzolek: I met with Adrienne Campbell-Holt, the director, over the summer to talk it through. We started by sitting down together in The Space Theatre for quite some time just trying to envision how a bar could fit into our little, five-sided theatre. We asked each other all kinds of questions, like, “Should we remove some seats and turn the play into more like a traditional proscenium style?”

    John Moore: I take it you thought better of that?

    Lisa Orzolek: Oh, yeah. The solution we finally discovered is much more theatrically interesting than that. I thought it was important that we embrace the challenge of the in-the-roundness of The Space Theatre and not take a proscenium approach.

    John Moore: So when you left that meeting, did you feel like you had all of the challenges solved?

    Lisa Orzolek: Not 100 percent. But I feel we have solved the problem of putting a bar play in the round very well. I think audiences are going to be surprised by how well it works, actually. I think they will feel like they are part of the bar itself. But it took some artistic and financial creativity. The solution we came up with would not have been possible without our reallocating some funds from one part of the show budget to another.

    John Moore: Any other peculiar design challenges?

    Lisa Orzolek: Yes. These characters eat an awful lot of steak. So a great deal of steak will need to be cooked and consumed throughout the run.

    John Moore: Will that be real steak they are eating?

    Lisa Orzolek: That is yet to be determined.

    John Moore: What if an actor doesn’t eat meat?

    Lisa Orzolek: We are already considering what could be a possible substitute for steak. And our Director of Props, Robin Payne, has some really good alternatives in the works.

    John Moore: And there is a lot of booze.

    Lisa Orzolek: There is an awful lot of booze. The play is set in a bar, after all. But alcohol is actually much more easy to solve in a play than food that has to be consumed.

    John Moore: Theresa Rebeck is a big advocate for gender parity in the theatre, and she told me one way to achieve parity if you are a woman in power is to hire other women. Half of the design staff for The Nest are women. Is that a nice change for you?

    Lisa Orzolek: I think it is exciting and empowering whenever there are more women in any given production, but I don’t perceive a real disproportion between the number of male and female designers here at the DCPA. That said, there is a different energy with this play. It’s a lot of fun to work with many talented women at once. And you may not know this, but the stage management staff for this play is all female, too.

    John Moore:  Are you sentimental about this being the last play in The Space Theatre as we know it before it gets renovated in 2016?

    Lisa Orzolek: I am sentimental. It’s the end of an era, but it is not the end of The Space Theatre. I am privy to what it’s going to look like on the other side, and it is not changing in configuration all that dramatically. So I am glad we are going to keep it in the round.

    John Moore: It had to be fun putting in all that critical research this play must have demanded.

    Lisa Orzolek: It has been really fun to design a working bar for this play — and yes, there was a lot of research conducted in bars. We spent a lot of time just sitting and looking at how different things look that you never pay attention to in a bar. For example, we spent a lot of time just measuring things out, and looking closely at what it really looks like from behind the bar. You know, the feng shui of the place. So yes, there was a lot of research — but it was important research!

    John Moore: Did you look to any particular local watering hole for inspiration?

    Lisa Orzolek: Yes, My Brother’ Bar at 15th and Platte streets. That place is just the perfect bar. It usually has a lot more customers than the bar in The Nest does, but it’s got that same, comfortable, everyman’s place kind of feel to it.

    Photos of the process:

    Building 'The Nest'Photos by John Moore, Carolyn Michaels and Adams Visual Communications for the DCPA NewsCenter. To see more photos, hover over the photo above and click the forward arrow.

    The Nest: Ticket information
  • By Theresa Rebeck
  • Through Feb. 21
  • Space Theatre
  • When you have a seat at the bar called The Nest, no conversation is off-limits, whether you’re speaking or eavesdropping. That is, until a stranger walks in with a lucrative proposition. Pulitzer Prize finalist Theresa Rebeck’s plays “may make you laugh or shudder (or both)” according to American Theatre, and with its feisty humor and scorching dialogue, this explosive new comedy holds a cracked mirror up to friendships, romantic relationships and families.
  • Tickets: 303-893-4100 or BUY ONLINE

  • Previous NewsCenter coverage of The Nest:

    The Nest flies in face of national gender trends
    Opening night photo coverage
    5 Things We Learned from The Nest ... Like ‘Mansplaining'​
    Theresa Rebeck: Bar plays should be 'humanly reckless'
    Five things we now know about that bar
    Cast list announced
    Theresa Rebeck is not getting angry: She's getting even
    ​American Theatre magazine: The Colorado New Play Summit Is a Developing Story

    Meet the Cast profiles (to date):

    Meet Kevin Berntson
    Meet Brian D. Coats
    Meet Brian Dykstra
    Meet Victoria Mack
    Meet David Mason
    Meet Carly Street
  • The Yellow-Brick Road from Oz to Denver: A timeline

    by NewsCenter Staff | Feb 03, 2016
    Wizard of Oz. Photo by Daniel A. Swalec
    From left: Aaron Fried as Lion, Jay McGill as Tin Man, Morgan Reynolds as Scarecrow and Sarah Lasko as Dorothy in the national touring production of 'The Wizard of Oz.'  Photo by Daniel A. Swalec.


    The Wizard of Oz is one of the most recognizable icons of North American pop culture. It has been interpreted, reinterpreted, parodied, plagiarized and performed across every medium.

    The latest incarnation, by Andrew Lloyd Webber, comes to the Denver Center for the Performing Arts for a week beginning Feb. 7, so we thought it appropriate to follow the long and winding road that takes us from L. Frank Baum’s source book to the present. We’re definitely not in Kansas anymore.

    Wizard of Oz montage1903
    L. Frank Baum writes an original American fairytale — The Wonderful Wizard of Oz.

    1908
    Dorothy makes her first appearance on the silver screen in The Fairylogue and Radio-Plays, Baum’s first attempt to create a cinematic version of his Oz books. He goes bankrupt.

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

    1925

    Another silent film makes its debut and credits L. Frank Baum Jr. as the screenwriter.

    1939
    The MGM classic starring Judy Garland is released.

    1942

    The 1939 film is adapted into a stage musical.

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

    1975
    The Tony Award-winning The Wiz puts Oz in the context of African-American culture. It is remade as a movie in 1978 starring Michael Jackson and Diana Ross. A new adaptation is aired live on national
    TV in 2015.

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

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

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

    1987

    The Wizard of A.I.D.S. is an adaptation used as an educational play about AIDS.

    1987-89
    The 1939 film is adapted for stage again, this time for the Royal Shakespeare Company. It is truer to the screenplay than the adaptation from the 1940s.

    1995
    Gregory Maguire’s novel Wicked reimagines the story of the Wicked Witch of the West addressing how she may have gotten to be that way.

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

    2003
    Maguire’s novel is adapted into the Tony Award-winning Broadway smash hit musical Wicked, which has visited Denver a record five times.

    2005
    The Muppets’ Wizard of Oz premieres at the Tribeca Film Festival.

    2007
    The Sci Fi Channel released a mini-series called The Tin Man — a reimagined science-fiction version of Dorothy’s tale.

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

    2011
    Oz — The Wonderful Wizard is a full-length ballet by the Staatsballett Berlin.

    2012
    Andrew Lloyd Webber’s new stage production takes the stage before going on tour — the same tour now visiting Denver.

    2013
    Oz: The Great and Powerful, a film about the Wizard’s arrival in Oz is released starring James Franco.

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

    The Wizard of Oz. The 1939 film starring Judy Garland.
    The 1939 film classic starring Judy Garland.


    The Wizard of Oz: Ticket information

  • Through Feb. 13 at the Buell Theatre
  • Tickets: 303-893-4100 or BUY ONLINE
  • TTY: 303-893-9582
  • Groups of 15 or more: 303-446-4829
  • Also: Purchase in person at The Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex lobby. Buy and print online at DenverCenter.Org.
  • Accessibility performance: 2 p.m. Feb. 13

  • Please be advised that the Denver Center for the Performing Arts – denvercenter.org – is the only authorized online ticket provider for 'The Wizard of Oz.'

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    ABOUT THE EDITOR
    John Moore
    John Moore
    Award-winning arts journalist John Moore has recently taken a groundbreaking new position as the DCPA’s Senior Arts Journalist. With The Denver Post, he was named one of the 12 most influential theater critics in the US by American Theatre Magazine. He is the founder of the Denver Actors Fund, a nonprofit that raises money for local artists in medical need. John is a native of Arvada and attended Regis Jesuit High School and the University of Colorado at Boulder. Follow him on Twitter @moorejohn.

    DCPA is the nation’s largest not-for-profit theatre organization dedicated to creating unforgettable shared experiences through beloved Broadway musicals, world-class plays, educational programs and inspired events. We think of theatre as a spark of life — a special occasion that’s exciting, powerful and fun. Join us today and we promise an experience you won't soon forget.