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The history of the DCPA intertwines with that of the Denver Performing Arts Complex. Both were ideas that blossomed from an original dream shared by philanthropist, Denver Post owner and occasional-actress Helen G. Bonfils and Wall Street lawyer and Broadway producer Donald R. Seawell.

Miss Helen, as she was fondly known, built the Bonfils Theatre on Colfax Avenue, a community theatre in which she and her friends performed. At the time, she was co-owner of The Denver Post and one of the City's leading philanthropists.

Later that decade, she and Mr. Seawell formed a successful partnership to produce plays on Broadway and in London. Soon, Miss Helen felt that Denver deserved more than community theatre and asked him to create a professional acting company to perform at the Bonfils.


Seawell got Tyrone Guthrie who had created Minneapolis' Guthrie Theatre to move to Denver, create the company and be its director. Plans for building another theatre alongside the old Bonfils were well underway when Guthrie suddenly died.

By this time, Miss Helen's health had deteriorated and she was a permanent hospital resident. Moreover, an attempt was underway by a hostile stockholder to acquire control of The Denver Post, and Miss Helen asked Seawell to lead the legal battle for Post ownership. The plan for a professional theatre was postponed. Miss Helen never dreamed it would develop into a full-scale performing arts center.


By the time the battle for ownership of The Post was won, Miss Helen had died and Seawell was Chairman and Publisher of the paper. He had also created the Bonfils Foundation primarily as a depository for all of The Denver Post stock.

Seawell found himself at 14th & Curtis streets looking at the 1908 Denver Municipal Auditorium and the all-but abandoned surrounding blocks. He was struck with an idea, sat down on the curb, took an envelope from his pocket, and sketched what would become the largest performing arts facility in the world under one roof. Before the day was over, he had changed the charter of the old Bonfils Theatre into the Denver Center for the Performing Arts, reached an agreement with the City and hired Pritzker Prize-winning architect Kevin Roche FAIA as the overall architect to put the plan into reality. He also made the Bonfils Foundation a subsidiary of the DCPA and it continues to provide funding to the organization today.


The first pieces of the puzzle were put in place in 1978 with the opening of the 2,700-seat Boettcher Concert Hall and an eight-story, 1,700-space parking garage.


By 1979, the Denver Municipal Auditorium had been renovated, two cabaret spaces had been added and the Helen G. Bonfils Theatre Complex opened with its four theatres:

The Stage Theatre — 750 seats
The Space Theatre — 380 seats
The Jones— 200 seats
The Ricketson Theatre — 250 seats (originally opened as a cinema)

The Denver Center for the Performing Arts’ Theatre Company found a home in the Bonfils Complex and opened under the artistic leadership of Edward Payson Call on New Year’s Eve with three simultaneous productions —The Caucasian Chalk CircleMoby Dick Rehearsed and The Learned Ladies.

Also in this year, the DCPA paired with local Broadway presenter Robert Garner. The combination of locally-produced theatrical productions with Broadway’s best touring shows made the Denver Center for the Performing Arts the epicenter for theatre in the West.


In its first several years, both the physical structure and the theatrical entity bore the name of the Denver Center for the Performing Arts. In the 1980s, the site was renamed the Denver Performing Arts Complex under an agreement wherein the City would manage the largest venues. This left the Denver Center for the Performing Arts as the theatrical tenant, managing its administrative offices and the spaces in which its Theatre Company performed.


The Theatre Company presented the world premiere of Quilters, which was nominated for a Tony Award and became the most widely-produced play among resident theatres in the next several seasons.

Realizing that skilled actors are essential to the theatre, the DCPA and the American National Theatre and Academy established the National Theatre Conservatory, a three-year Master of Fine Arts acting school and the only one of its kind chartered by Congress.

When Donovan Marley became Artistic Director of the Theatre Company, new play development became an important aspect of the Center's work. New plays growing out of the program were produced not only in Denver but also on- and off-Broadway, throughout America and in London.


DCPA Theatre Company became one of a select few theatre companies chosen to tour Japan. Funded by corporations seeking to strengthen ties to the Pacific Rim, the Theatre Company presented Desire Under the Elms to audiences in Tokyo, Nagoya, Kyoto and Osaka. A challenge artistically and logistically, it also was a textbook example of how business and the arts make a fruitful partnership.

The City transformed the old Auditorium sports arena into the 2,830-seat Temple Hoyne Buell Theatre creating a major, state-of-the-art Broadway roadhouse. Predicted by critics to host The Phantom of the Opera once and then sit empty, the DCPA’s Broadway division has consistently filled The Buell, contributing to its ranking as the nation’s highest-grossing theatre under 3,000 seats.


To expand on its theatrical repertoire, the DCPA began using the intimate 213-seat Garner Galleria Theatre for long-running cabaret hits such as the four-year engagement of I Love You, You’re Perfect, Now Change. This addition captured quick popularity — typically offering eight shows per week and setting a new national standard for cabaret-style shows.
Expanding upon its graduate acting curriculum, the DCPA began to offer acting instruction to the community.


DCPA Theatre Company’s 15th anniversary season got off to a running start as the hugely successful Black Elk Speaks became emblematic of the year’s success. The production brought national and international acclaim when it toured to Hong Kong and later transferred to the Mark Taper Forum in Los Angeles.

The Center established the Colorado Performing Arts Hall of Fame (a) to honor Coloradans who have made major contributions to the advancement of one or more of the performing arts disciplines, and non-Coloradans who have made substantial contributions toward the advancement of the performing arts in Colorado, (b) to enhance interest and participation in the performing arts by honoring these inductees. Members of the Hall of Fame include:

  • Helen Bonfils (1999)
  • Mary Chase (1999)
  • Douglas Fairbanks (1999)
  • Glenn Miller (1999)
  • Alfred Lunt and Lynn Fontanne (1999)
  • John Denver (2002)
  • Donald R. Seawell

In recognition of its body of work and growing reputation, the Theatre Company was honored to receive the Tony Award for Outstanding Regional Theatre.

With an exploding social scene, the DCPA added a premier special event venue atop the Helen Bonfils Theatre Complex. Named in honor of the Center’s founder, the 10,000-square-foot Seawell Ballroom quickly became a venue of choice for meetings, luncheons, weddings and galas.


The new millennium started with a ground-breaking world premiere — The Laramie Project. Headed by Moisés Kaufman and the Tectonic Theatre Project, a town’s reaction to and healing following the unthinkable murder of gay student Matthew Shepard took the theatre world by storm. Following its premiere, The Laramie Project was optioned by companies across the nation and was ultimately developed into an HBO Special Presentation.

Continuing this unforgettable artistic success, the Theatre Company embarked on an ambitious, international undertaking — the ten-hour epic cycle of the Trojan War, Tantalus. This co-production of the DCPA and London’s Royal Shakespeare Company had its world premiere in Denver to audiences from 38 states and seven foreign countries before touring the UK.

The culmination to the season came when both The Laramie Project and Tantalus were named among Time magazine’s ten best plays of 2000.


Hard on the heels of this tremendous achievement, Disney Theatricals chose Denver to host the touring premiere of The Lion King. Breaking box office records, more than 1,800 fans stood in line when tickets went on sale contributing to a sell-out crowd of 220,000 for the 10-week run and generating $58 million into Denver’s economy.


Kent Thompson succeeded Donovan Marley as the third Producing Artistic Director of the Theatre Company. He recommitted the Company to the discovery of new plays by establishing the annual Colorado New Play Summit.


Following extensive renovation, the City reopened the Denver Municipal Auditorium with its new Ellie Caulkins Opera House, home to the Colorado Ballet and Opera Colorado plus occasional Broadway tours.


With the advent of 2007, came the end of an era. Founder Donald Seawell handed the reigns to Daniel L. Ritchie who said: “Donald Seawell has created a cultural legacy in the Rocky Mountain West that is both undisputed and unrivaled. It is my great honor to succeed him and take The Denver Center to the next level that will emphasize new play development and collaboration both locally and nationally.”

Later in July, The Ellie was chosen to host the pre-Broadway engagement of Disney’s The Little Mermaid. This seven-week, sold-out run was one of the best-attended productions in DCPA history.


With an Innovation Lab for the Performing Arts grant, Theatre Company spent a season creating, testing and retooling new approaches to theatre. The project culminated in a new theatre experience, one that is immersive, convergent, connective, inventive and relevant. Rebranded in the 2011/12 season as Off-Center @ The Jones, this innovative theatrical experience is one part experimental and the other part social.


Denver was once again thrust into the national spotlight when it was announced that the DCPA was chosen to launch the national touring premiere of The Book of Mormon. This nine-time Tony Award-winning musical by Colorado’s own Trey Parker and Matt Stone of “South Park” fame, sold out in just four hours and opened in the Ellie Caulkins Opera House in August 2012. The Book of Mormon did not disappoint, welcoming more than 52,300 patrons.

As proof of the rising popularity of the Colorado New Play Summit and the high-caliber playwrights whom the Theatre Company is able to attract, this seventh annual new play festival showcased Samuel Hunter's The Whale, which was quickly picked up by Playwrights Horizons leading to its win for Outstanding Play by the Lucille Lortel Awards.

Working to cement its position as a major draw on the national touring circuit, the DCPA presented yet another national touring premiere — Peter and the Starcatcher — which was followed in subsequent years by the national tour launches of Pippin (2014) and If / Then (2015).
Following the warm reception it received during the 2012 Colorado New Play Summit, Sense & Sensibility The Musical was brought to life by an impressive theatrical team. With book and lyrics by Jeffrey Haddow and music by Neal Hampton, Jane Austen's beloved novel was directed and choreographed by Marcia Milgrom Dodge. The lush English countryside was envisioned by scenic designer Allen Moyer while costumes were beautifully designed by Esosa. The production received its world premiere April 5-May 26 and subsequently received a New York reading in June 2014.

DCPA Broadway and Education launched the Bobby G Awards. Named after DCPA Broadway founder Robert S. Garner, these awards recognize the best of Colorado High School Musical Theatre. Two students voted Outstanding Actor and Actress of Colorado go on to represent the state in “The Jimmys” in New York City, The National High School Musical Theatre Awards program.

In March, the Theatre Company announced that the story of Colorado’s own heroine would grace The Stage Theatre in The Unsinkable Molly Brown. Directed and choreographed by Tony winner Kathleen Marshall with a new book by Dick Scanlan and backing by NBC Chairman Bob Greenblatt, this rags-to-riches story launched the Company’s 37th season.

DCPA President and Broadway Executive Director Randy Weeks passed away. He led the Broadway and Cabaret divisions for more than 25 years, entertaining audiences with more than 400 shows and contributing substantially to the vitality of downtown Denver.

DCPA Education joined Denver Public Schools as a full partner in its annual DPS Shakespeare Festival. Through this relationship, the DCPA’s teaching artists provided in-school workshops to participants, judged school auditions and welcomed more than 5,000 children to the all-day festivities.

DCPA Founder and Chairman Emeritus Donald R. Seawell passed away at 103. Read the press release.

Janice Sinden joined the DCPA in September as the third CEO in its nearly 40-year history. She came to the DCPA after serving for five years as Denver Mayor Michael B. Hancock’s Chief of Staff. In making the announcement, Sinden said, “We are going to take arts and culture to the next level. We are going to get it into every kiddo’s head that they can be whatever they want to be.”

Off-Center collaborated with Third Rail Projects to produce Sweet & Lucky, an off-site, immersive play designed to appeal to Denver’s fastest growing segment — Millennials. Presented in a 16,000 square foot warehouse in the popular RiNo District, the run had to be nearly doubled to accommodate demand.

Martin Semple was named the third Chairman of the Board in the DCPA’s nearly 40-year history. On the occasion of this announcement, he said, “I look forward to working with my colleagues, Janice and the exemplary staff of the Denver Center for the Performing Arts to develop a vision that engrains this organization into the very fabric of our community — both locally and throughout the American theatre.”

Once again Disney Theatricals selected Denver to host a pre-Broadway debut. Frozen played the Mile High City for seven weeks, welcoming 125,900 guests for 47 performances, which generated a $30 million economic impact for the City of Denver. Over the 20-year partnership, Disney Theatrical Productions have infused $267 million into the local economy.

At the culmination of the 2017 Fiscal Year, demand for subscriptions to the DCPA hit an all-time high with 28,000 subscribers to Broadway and Theatre Company seasons plus another 10,000 on a waiting list.

In November DCPA Theatre Company named Chris Coleman as its fourth Artistic Director. Upon the announcement, Chris said, “The idea of bringing BIG STORIES to life for Denver is captivating.”

As the nation’s largest non-profit theatre organization, in FY2017 the Denver Center for the Performing Arts engaged 1.1 million patrons including 106,000 students through 49 productions, 937 performances, numerous classes and 234 events.

With the collective vision and unrivaled dedication of the DCPA’s artists and administrators — to theatre, to education, to events and everything that goes into running a world-class organization — the Denver Center for the Performing Arts will continue to engage, excite and inspire future generations of theatre lovers for the next 40 years and beyond.

In March, the DCPA hosted its 38th annual blacktie fundraiser, Saturday Night Alive. In what was a record-breaking event, more than 1,000 guests attended and raised $1.1 million to support the DCPA’s Education programs.

After a 17-year career at Portland Center Stage, Chris Coleman moves to Denver to become the DCPA Theatre Company’s fourth Artistic Director.


Our ticket sales only cover a portion of what it costs to produce our plays, bring Broadway tours to Denver, educate 68,000 Colorado students every year and inspire the Rocky Mountain region with theatre experiences of all kinds.


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.