• Tony Garcia: ‘American Mariachi' is an American beauty

    by John Moore | Feb 15, 2018
    American Mariachi jennifer-parades-doreen-montalvo-photo-by-adamsviscom_26117323378_o
    In the essay below, Su Teatro Executive Artistic Director Tony Garcia offers his reactions to seeing the DCPA Theatre Company's world-premiere production of 'American Mariachi.' Pictured are Jennifer Parades and Doreen Montalvo. Photo by Adams VisCom.


    From his new play's very title, José Cruz González challenges us to examine what we consider to be 'American'

    By Tony Garcia
    For the DCPA NewsCenter

    Chicano and Latino art often struggles to cross over into the mainstream, in large part because the dominant culture can’t understand — and in some cases, even fears — the “otherness” of the language, the culture and the traditions at play. If a story is too authentic, then it runs the risk of being exotic, different or perhaps even threatening. But if a play makes too much accommodation to include audiences outside the culture, it runs the risk of being criticized by those in our own community who view Chicano and Latino artistic endeavors with ultra-sensitivity, and often hold them to a higher standard.

    Luis Valdez, the father of Chicano theatre, explained the paradox of the contemporary Chicano experience in Los Vendidos (The Sellouts) by having a character say: “Wait a minute, you want something Mexican … but American?” 

    a jose-cruz-gonzalez-webJosé Cruz González’s American Mariachi, a play now having its world premiere at the Denver Center, is straightforward in portraying Mexicans as normal, and mariachi as an honored tradition. And the play is familiar enough to be accessible to a crossover audience. (Pictured at right: José Cruz González.)

    American Mariachi is profound in its title, which challenges us to look at our definitions of both words. And it challenges us to examine what we consider to be American. Is it American to be mariachi? Or can mariachi be American? The answer to both questions is yes. González’s title tells us that mariachi music, often portrayed as a novelty form with its bawdy costumes, its loud instruments clashing with disinterested voices and crashing dishes in overcrowded restaurants, is part of what we call “American.” And it’s not up for debate. González proceeds to treat that conversation as a settled matter.

    More Colorado theatre coverage on the DCPA NewsCenter

    Although the play is set in the U.S., the location is never a factor in the story. The characters speak Spanish and English. They work, love their families and have dreams. They do not talk about their immigrant experience or border crossings. They do not talk about gang life, prison sentences or drug use. The characters are “normal.” And that is one of the greatest beauties of American Mariachi: The profound yet simple and true assumption that we are normal — in contrast to the contemporary political landscape, where we are portrayed as anything but normal. There is tremendous power in that.

    The playwright also makes no accommodation for a monocultural audience. He interweaves Spanish and English, often without translation. Some of the biggest punchlines in the play are told only in Spanish. We are also not given a European-American character to serve as our guide through this very Mexican journey. There are no translators or sympathetic allies waiting to sweep in and save us. The play is offered from a very entre nosotros perspective. This is as if to say: “This is our family, complete with joy and pain. You are invited in to view and share. We understand that we are not perfect — can you?”

    AM 800 bobby-plascencia-and-the-company-of-american-mariachi-photo-by-adamsviscom_39989603211_oWe are also passionate people, and our passion for mariachi is deep. It is steeped in tradition. Mariachi music is cross-generational with parents judiciously teaching their children its value. Mariachis pass the music through their families with some of the greatest mariachis being the product of multi-generational descendants of master musicians. Luthiers (guitar- and violin-makers) design, build and repair instruments for specific musicians. These instruments are also passed down from generations to generation, and American Mariachi celebrates this tradition. The play describes the role of each instrument. It talks about the sacredness of each aspect of the mariachi experience including the traje — the traditional costume — a vestige of the horse culture of Guadalajara. We are immersed in a respect for the music and the form. Welcome to Mariachi 101.

    (Pictured at right: Bobby Plascencia, center, and the company of 'American Mariachi.' Photo by Adams Viscom.)

    The core of American Mariachi is its heart. This is a play about family and intense love. And like any good bolero, it carries with it that aching moment of hubris that will scar the family for years to come. Its humanness and accompanying weakness invoke elements of a Greek tragedy, and it is that diametrical opposite human trait — forgiveness — that allows us to reconcile the two forces that eventually will heal us.

    I attended Opening Night of the Denver Center’s American Mariachi. At the climactic moment of the story, I heard sniffling in the crowded theater. That reminded me of a performance by El Teatro Campesino of La Carpa de los Rasquachis more than 4o years ago at the sad moment when Rasquachi realizes — like the iconic Willie Loman in Death of a Salesman — that his life given to toil and sacrifice has led to ultimate failure. The American Dream has become his nightmare. Upon Rasquachi’s inevitable death, the sniffles began. I looked around then, expecting to see all the soft-hearted Latinas in the audience with hankies to their eyes. And they were. But my older muy macho peers were also wiping tears from under their sunglasses.

    At a similar moment in American Mariachi, there was a symphony of sniffles. But as I looked around the emotional Stage Theatre, what struck me was the number of white males who were wiping their eyes under their bifocals this time.

    Both experiences revealed to me the power of theatre.

    Tony Garcia 160Tony Garcia is the Executive Artistic Director of El Centro Su Teatro since 1989 and has been a company member since 1972. He received his BA in Theatre from the University of Colorado Denver. He won a 2006 United States Artists Fellowship, was named The Denver Post’s 2010 Theatre Person of the Year and received the prestigious Livingston Fellowship from the Bonfils Stanton Foundation. He is also an adjunct professor at Metro State College in Denver.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music.

    • Presented by the DCPA Theatre Company
    • Performances through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    When Leonor Perez found mariachi, she found her true voice
    American Mariachi
    Perspectives: Music as a powerful memory trigger
    Photos, video: Your first look at American Mariachi
    American Mariachi
    's second community conversation: Food, music and tough issues
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

  • When Leonor Perez found mariachi, she found her voice

    by John Moore | Feb 09, 2018

    Video: Dr. Leonor Xochitl Perez curated the lobby exhibit on "The Trailblazing Women of Mariachi Music" in conjunction with the DCPA Theatre Company's 'American Mariachi,' playing through Feb. 25 before moving to the Old Globe Theatre in San Diego. Video by DCPA Video Producer David Lenk and Senior Arts Journalist John Moore. 


    Pioneering female mariachi was taught to keep her voice down, until she found the music that invited her to scream

    By John Moore
    Senior Arts Journalist

    Today, Dr. Leonor Xochitl Perez holds a PhD in Education from UCLA and a master’s degree in human development and psychology from Harvard. Which would be enough for most people.

    But Perez has lived an entirely additional accomplished life as the leading proponent and preservationist of women's mariachi history in two countries.

    Back in 1973, young Perez was just an unassuming wisp of a girl who took up mariachi music at her junior high school in East Los Angeles, little realizing that by joining one of the first youth mariachi groups in the country, she would soon be breaking decades-old barriers in a predominantly macho musical culture.

    American Mariachi quote“Back then, we were at the beginning of a time where we were reclaiming our right to hang on to our culture and our heritage,” Perez said at opening festivities for the DCPA Theatre Company’s world-premiere play with music American Mariachi, by José Cruz González.

    “I walked into a mariachi class for the first time as a girl who was not allowed to embrace her culture,” said Perez , who went on to an accomplished career in higher education. “My parents were more concerned about upward mobility and assimilation. But when the guitarrón, which is the big bass instrument, started playing, I could feel vibrations of that sound throughout my body. And it was reaching somewhere deeper than that moment and that sound.

    "I know that when I heard that music, I was reaching somewhere further back in time.”

    Perez went on to perform at two Presidential Inaugural Balls — one at 19 years old — and at the Hollywood Bowl.

    (Fast-forward through many years of raising a family and astonishing success in higher education here.)

    Perez decided to return to the arts in 2012 to become Artistic Projects Manager for the San Diego Symphony. She went on to found Mariachi Women, an organization that exists to recognize and empower mariachi women throughout the world, primarily through staging large women’s mariachi festivals throughout the world.

    For the Denver Center's production of American Mariachi, Perez has curated a massive lobby exhibit outside the Stage Theatre called The Trailblazing Women of Mariachi Music.

    "It's very exciting that Denver is the first venue to offer this play," she said, "and it’s actually a beautiful thing because Denver has an important place in Mexican-American history. In March of 1969, the first-ever convening of Mexican-American students happened right here in Denver. More than 1,500 Latino youth came from all over the country and they redefined their ethnic identity as Chicanos. Many of them went on to  become activists and important people nationally and internationally. So I'd say it's no coincidence that this play is starting here in Denver."

    (Story continues below the photo.)

    American Mariachi. Photo by Adams VisCom
    The company of 'American Mariachi.' Photo by Adams VisCom

    American Mariachi
    , set in the 1970s American southwest, follows a young woman named Lucha who becomes determined to learn how to play mariachi music as a way of keeping her mother from slipping further into her dementia. This at a time when being a female mariachi player was unheard of in the United States. And that fictional character’s story is, in some ways, Perez’s story as well.  

    "I'm so honored now, so many years later, to be able to tell the story of voices that have never been heard,” Perez said of her exhibit, which includes tales of pioneering women and includes actual suits worn by mariachi women at different times and places.

    Asked what the Leonor Perez of 2018 might say to the Leonor Perez of 1973, she said with a smile: "I would tell that little girl to hang in there, because there's going to be a very important place for the telling of this story — and that that little girl will be the person telling this story.”

    Here’s more of our conversation with Dr. Perez:

    John Moore: When did you start to become interested in researching women in mariachi?

    Leonor Xochitl Perez: While I was a graduate student at UCLA and I was learning research skills, I began to ask the question: ‘When exactly did women start playing mariachi music as instrumentalists? Not as singers, but as instrumentalists?" So I applied my academic and research skills into the idea of discovering the answer to that question.

    John Moore: How did you get started playing mariachi in the first place?

    Leonor Xochitl Perez: In 1973, there were various forces that came together to promote the idea of providing Mexican music in the U.S. schools. That included the 1968 Bilingual Education Act. There was the Chicano civil-rights movement. The study of ethnic music and Chicano studies were emerging in universities. All of this was happening at the same time. For me, playing mariachi music at my school was somewhat of a lonely experience because some kids played it as an extracurricular activity, but I continued to play this music throughout my entire life.

    John Moore: How did you become a leading mariachi researcher with everything else that was happening in your life?

    Mariachi community conversation: Food, music, issues

    Leonor Xochitl Perez: Regardless of my degrees, or the family life, or where I moved, I was always playing mariachi music.

    John Moore: Tell us how your life intersects with the story of the play.

    Leonor Xochitl Perez: The play shows the struggles that women have had to endure in order to play this music, because it is a male-dominated genre — and I had some of those challenges as well. As a young girl growing up in East Los Angeles, I was expected to live out the life of a traditional Latina young woman, and that meant being domestic and looking forward to motherhood and being a wife. That meant being demure and being quiet. All of those things are good, but I felt like there was so much more for me in life. So when I found mariachi music, I was able to express myself in ways that were not allowed in my community. For example, in mariachi music, we give out an expressive yell during the performance of this music. At home, I was told to be quiet, to watch my words, to keep my voice down, to not ask so many questions. But when I was in mariachi music, whenever I felt it, I'd let a grito — a yell — come out, just to show my love for the music, whether it's a romantic bolero or a traditional son.

    John Moore: We don't necessarily think of the arts, in many cultures, as patriarchal. Why was it so unheard of that a woman should play this music in the 1970s?

    40049100881_5ecae8ed49_zLeonor Xochitl Perez: Well, it's interesting, because mariachi music originates in the rural areas of Mexico. The ranchers would play mariachi music. Women would stay home. The ranchers were the ones who would work, and then go and relax at the bars after that. Some of them would play the music of the ranch. During the Mexican Revolution, there was this cultural renaissance where they had to rethink what the cultural identity of Mexico was going to be. So because it was very much focused on the people, and particularly more of the general population in Mexico, they brought forth a lot of the traditional and cultural practices of the country, and that included mariachi music. They brought it forth as a cultural symbol of national identity post-Mexican Revolution. And because it was male and for the males in the ranches, it just remained that way. It was the offering of this music in the school systems in the United States that actually opened the doors for women to begin to play this music in large numbers.

    John Moore: How did being part of one of the very first school programs that allowed girls to play mariachi empower you?

    Leonor Xochitl Perez: I was raised in a classical music program. I was first chair in the school orchestra, and we were expected to play delicately and blend in. But when I played mariachi music, I'd use my bow arm, and I'd grind into the strings right short of screeching with the intention to project that sound and to express its vibrancy. That's something I wasn't physically allowed to do in any other space when I was growing up. Also, in mariachi music, I was able to go places I wasn't allowed to go. As a young Latina in a traditional family, we had to stay near home. But with a mariachi group, I was able to travel to different places — not just across the city or across the state. Across the country. Eventually, I got an internship in Washington D.C. after high school.

    John Moore: What did you think when you heard that Jose Cruz Gonzalez had written American Mariachi, and that the Denver Center, one of the largest performing-arts organizations in the country, was going to be presenting this story on its largest stage?

    Leonor Xochitl Perez: I was so thrilled to hear that finally the story and the challenges of women in mariachi will begin to be told on a mainstream level. But I was even more excited to hear that I was going to be given the opportunity to curate this lobby exhibit — because the truth is that women have been engaged in the mariachi music for more than 100 years. The play is a great start, because it talks about women in the U.S. coming together in a male-dominated field. But women have been in mariachi music since 1903 in Mexico.

    John Moore: What about in the United States?

    More Colorado theatre coverage on the DCPA NewsCenter

    Leonor Xochitl Perez: I found a group that started playing in 1967 in Alamo, Texas. And what's really special about them is not only that they played in Alamo, but they were recruited to go entertain the troops in Vietnam. So they did their civic duty and traveled very far to continue the tradition of mariachi at the same time.

    John Moore: Give us an overview of what your display covers.

    A American Mariachi Lobby Display Leonor Perez 400 Photo by John MooreLeonor Xochitl Perez: The exhibit is a brief chronology of the 100 years of women in mariachi music. It focuses, specifically, from 1903 to the mid-'70s, when the play begins. It focuses on vintage photographs of the all-female groups that started from 1948 to 1953. There is also a really beautiful display of the uniforms they used back then. I have original suits from some of the groups that started back in the '60s and '70s. We don’t cover it here, but contemporary women are also making big strides and achieving quite a bit in the field of male mariachi music. For example, Mariachi Divas have been nominated for a Grammy eight times. They're the only mariachi group that has ever received two American Grammys — so they have beaten the men.

    John Moore: I want to know about Rosa, the gun-toting mariachi player you have pictured on the wall.

    Leonor Xochitl Perez: So Rosa Quirino started playing mariachi music in 1903 as a 13-year-old. And she loved it so much that eventually, she led a predominantly male group. She was the only female, and she was the director of that group. But it was a rough environment for a woman, so she needed to carry a gun to protect herself. And, apparently, she had no reservations about using it when she needed to.

    John Moore: How did you meet playwright José Cruz González and Music Director Cynthia Reifler Flores?

    Leonor Xochitl Perez: I give presentations on the history of women in mariachi music wherever I'm invited. I've been all over the world, actually. I've been to Kazakhstan and to Ireland talking about women in mariachi. I first met José on March 11, 2015, when I was provided the opportunity to go to California State University Los Angeles, where he teaches, and he came and heard my talk. Also in the audience was Cindy, who I already knew because she has been actively a participant in the mariachi field since the 1980s. I knew her as a musician in Mariachi Reyna de Los Angeles, so I was very aware of her contributions to mariachi music in Los Angeles. That was the intersection. It's just an honor for all of us who really are very passionate about this music that all of us can work together on this.

    John Moore: What are your thoughts on the play? This is a very specific story about one family in the 1970s. So tell us how this is a story for all audiences.

    Leonor Xochitl Perez: We have a population that's aging right now, and we're all going to have to address issues like dementia in our families. In that context, I think American Mariachi tells a story that's general to the public at large. It tells the relationship between a daughter and an aging mother. One of the lines in the play is "music is memory." And in this case, the music was the memory that became the glue that held them together. I think that's very important. And I think it's going to be relevant to many of us who are engaged in caring for our aging parents.

    John Moore: And, finally, this play is going to go straight from Denver to San Diego to be seen by audiences there. What does it mean to you that this is just the start of this play's journey?

    Leonor Xochitl Perez: I think that as the Latino population grows, we have to reassess the cultural content that we put out nationally. And I think that Denver taking the step to honor this story and by showing it and investing in it, is really a tremendous step in demonstrating to the nation at large the importance of reaching this growing population. We have major contributions that we make in this country, and very few people know about that. But I think we become stronger as a nation when we reflect our diversity in our art. So I think it's very important.

    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    When Leonor Perez found mariachi, she found her true voice
    American Mariachi
    Perspectives: Music as a powerful memory trigger
    Photos, video: Your first look at American Mariachi
    American Mariachi
    's second community conversation: Food, music and tough issues
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

    American Mariachi Lobby Display Leonor Perez. Photo by John MooreDr. Leonor Xochitl Perez. Photo by John Moore.
  • Photos: First look at 'The Great Leap,' Opening Night of 'American Mariachi'

    by John Moore | Feb 09, 2018
    Production photos: Your first look at The Great Leap:


    The Great Leap Photos from 'The Great Leap,' opening Friday (tonight) and performing through March 11 in the Ricketson Theatre. To see more photos, click on the image above to be taken to our full gallery. Photos by Adams VisCom.  

    The Great Leap: Ticket information
    GreatLeap_show_thumbnail_160x160When an American college basketball team travels to Beijing for an exhibition game in 1989, the drama on the court goes deeper than the strain between their countries. For two men with a past and one teen with a future, it’s a chance to stake their moment in history and claim personal victories off the scoreboard. American coach Saul grapples with his relevance to the sport, while Chinese coach Wen Chang must decide his role in his rapidly changing country. Tensions rise right up to the final buzzer as history collides with the action on the court.

    • Presented by the DCPA Theatre Company
    • Performances Through March 11
    • Ricketson Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here


    Photos: Opening night of American Mariachi:

    Making of 'American Mariachi'

    Photos from opening night of the DCPA Theatre Company's world premiere of 'American Mariachi,' performing in the Stage Theatre through Feb. 25. To see more, click on the image above to be taken to our full gallery of photos. Photos by John Moore for the DCPA NewsCenter.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    More Colorado theatre coverage on the DCPA NewsCenter

  • 'American Mariachi' Perspectives: Music as a powerful memory trigger

    by John Moore | Feb 02, 2018
    Making of 'American Mariachi'

    Photos from the making of 'American Mariachi.' The world-premiere play with music performs in the Stage Theatre from through Feb 25. Photo above from the public Perspectives conversation hosted by Douglas Langworthy. From left: Playwright José Cruz González, director James Vásquez and Scenic Director Regina Garcia. To see more photos, click on the image above to be taken to our full gallery. Photos by John Moore for the DCPA NewsCenter.


    Director James Vásquez says it’s a good story — 'and the best party you'll come to this winter in Denver.'

    By John Moore
    Senior Arts Journalist

    The DCPA Theatre Company’s world-premiere play American Mariachi, opening tonight in The Stage Theatre, is a memory play. But not in the way Tennessee Williams' The Glass Menagerie is considered a memory play — where a character looks back (often unreliably) on a story that took place many years before.

    American Mariachi is literally a play about memory. And music has long been proven to be one of the brain’s biggest triggers for memory.  

    “The play is inspired by a story I was told about an older woman who was suffering from Alzheimer's,” playwright José Cruz González told about 100 who gathered last week before the first preview performance of American Mariachi. “But when her family played this woman’s favorite song, she just lit up. I thought that was fascinating, and I soon realized this is such a common thing that affects all of us around the world.”

    American Mariachi, set in the 1970s American southwest, follows a young woman named Lucha who is caring for a mother with dementia. When Lucha finds a mariachi record that briefly brings her mother back to life, she becomes determined to learn how to play the song for her live, before it is too late. But this was a time when being a female mariachi player was unheard of in the United States.

    Here are five things we learned at Perspectives, a series of free public community conversations  held just before the first preview performance of every DCPA Theatre Company offering. Next up: The Great Leap at 6 p.m. Friday, Feb. 2, in the Jones Theatre.

    NUMBER 1The rhythm is gonna get you. Often when you attend a play, or even a musical, the audience is expected to politely sit back on their hands. That will not be the case here. Mariachi music has always encouraged cathartic, joyous yells from anyone within earshot. “We had an invited audience at our final dress rehearsal, and as soon as the music started paying, gritos were thrown from the audience, and we encourage that,” director James Vásquez said. “You can't help but want to get up and holler and clap and sing if you know the words.” The American Mariachi band also played at the beginning of a community conversation two weeks ago, “and it turned into a party,” Vásquez said. “That's how I like to think of our play: It’s a good story — but and it's also the best party you'll come to this winter in Denver.”

    Mariachi community conversation: Food, music, issues

    NUMBER 2 American Mariachi Perspectives  Amanda RoblesSchool of mariachi. This production is made up of nine actors and five professional mariachis — and the actors all learned to play instruments along the way. Crissy Guerrero, for example, learned to play the vihuela, a guitar-like instrument from 19th-century Mexico with five strings (no E) and a vaulted back. The Mexican vihuela is tuned similarly to the guitar. The difference is that the open G, the D and the A strings are tuned an octave higher than a guitar, thus giving it a tenor sound or a higher pitch. Amanda Robles, a professional singer, learned how to play the trumpet from scratch — which González called fitting for this show, because his characters are also learning to play from scratch. Robles was surprised by how different she found singing mariachi to be, compared to traditional musical theatre. “In a typical musical, you are always thinking about singing higher,” she said, “whereas mariachi is more guttural. You need to double down and really sing your heart out.” (Pictured above, from left: Costume Designer Meghan Anderson Doyle, actor Crissy Guerrero and actor Amanda Robles.) 

    NUMBER 3The train has left the station. The American Mariachi that opens tonight is a full hour shorter than the version that was read at the 2016 Colorado New Play Summit. It moves. “Jose has been able to really compact the story and the heart of the story,” said Guerrero, who was an original cast member. “A lot of painful decisions were made to cut things, I am sure. But we have always wanted to stay focused on the story we are telling.” 


    amanda-robles-photo-by-adamsviscom

    Photo of the 'American Mariachi' mural designed by Regina Garcia. Pictured: Amanda Robles. Photo by Adams VisCom.

    NUMBER 4 Plaza sweet. The action in American Mariachi takes place in multiple locations, so Scenic Designer Regina Garcia created a world that takes you inside a single home that grows into a community plaza with towers of residential windows and a stunning 60-foot brick mural. “In the spirit of collage, I decided to celebrate the Mexican arts in general with the mural, and that includes dance, cinema, spoken word, poetry, playwriting, civic leadership and community,” said Garcia. When González and Vásquez first arrived in Denver, they were taken into the DCPA scene shop where the mural was being created, “and we burst out crying, it was so gorgeous,” González said.

    NUMBER 5 Why is the play set in the 1970s? Because the stakes were higher. “That was when women really started to push for their right to play this music here in the United States,” González said. "Here these women are trying to push open a door that has been closed to them. And this music has been closed to them. It's been passed from father to son, not father to daughter. I felt it was the right time to tell a story about the empowerment of these Latinas." 

    More Colorado theatre coverage on the DCPA NewsCenter

    Bonus: What is the derivation of the word mariachi? It's a bit of a mystery, but it is thought to date back to the French invasion of Mexico in 1861. “It was thought that the word was connected to the French word mariage (or marriage),” Dramaturg Shirley Fishman said. Some say that’s because the Europe-born Emperor Maximilian of Mexico encouraged the music to be played at weddings. González’s theory dates back to the Spanish conquistador Hernán Cortés in the 1590s: "When Cortes arrived in the New World, his soldiers brought guitars, while the native people here played drums and flutes," said González. “And soon a new kind of music evolved. You can hear the African, the native and the Spanish influences in the rhythms of mariachi." Today the word mariachi can refer to a single player, a group, or the music itself.

    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    Photos, video: Your first look at American Mariachi
    American Mariachi
    's second community conversation: Food, music and tough issues
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

  • Video, photos: Your first look at 'American Mariachi'

    by John Moore | Jan 30, 2018
     

    Opening night is this Friday in the Stage Theatre

    Your first look at the DCPA Theatre Company's American Mariachi, José Cruz González’s story of a young woman in the 1970s who becomes determined to form an all-female mariachi band in a desperate attempt to connect with a mother lost in her dementia. The play, a co-production with the Old Globe Theatre, opens Friday (Feb. 2) and moves directly to San Diego for performances there after it closes in Denver on Feb. 25. The director is James Vásquez. Video by DCPA Video Producer David Lenk. 


    Production photos:

    American Mariachi

    Click the image above to be taken to our full gallery of more than 30 production photos. Photos by Adams VisCom for the DCPA NewsCenter.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances Jan. 26 through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    American Mariachi's second community conversation: Food, music and tough issues
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

    amanda-robles-photo-by-adamsviscom_26117318568_o 800Amanda Robles of 'American Mariachi.' Photo by Adams Viscom.
  • January 2018: Applause Magazine puzzle solution

    by John Moore | Jan 26, 2018
    With each new issue of Applause Magazine, we offer readers a puzzle related to our current shows. Here is the most recent crossword puzzle, covering The King & I, Stomp, Zoey's Perfect Wedding, American Mariachi and The Great Leap (which we took as permission to ask a few random questions about sports and theatre).

    The solution is posted below. Print and play! CLICK HERE FOR A PRINTABLE VERSION OF THIS PUZZLE, WITH THE SOLUTION!

    Applause Crossword 800


    ACROSS clues:
    • 4. American Mariachi playwright José Cruz González also wrote the DCPA’s world-premiere play Sunsets and _______
    • 6. Stomp started as two miming British street artists performing a genre widely known as ______
    • 8 Zoey playwright Matthew Lopez also wrote The _________ Man.
    • 10. Lyric: “Whenever I feel afraid, I hold my head erect and whistle a ____ tune.”
    • 12. Stomp features eight performers who employ unconventional variations of this type of musical instruments
    • 13. Zoey's Perfect Wedding playwright Matthew Lopez also wrote The Legend of Georgia _______
    • 14.  A performance of Stomp contains none of these, because the creators believe everyone can fully understand it without them.
    • 17.  The King & I is set in this city, which also has bloodlines to a famous song from Chess.
    • 18.  In the 1970s, it was unheard of for this gender to be playing mariachi music.
    • 20. Mariachi bands generally wear this kind of suit in performance.
    • 22. The idea behind Stomp is to try to find music within this, a word that usually describes unwanted sound.

       
      DOWN clues
    • 1. The most famous American to play professional basketball in China to date is Stephon _______
    • 2. Matthew Lopez was named the DCPA’s first- ever _________ Fellow in 2014
    • 3. Acclaimed baseball play about the first openly gay major-league player: Take Me _______
    • 4. Doctors believe playing this can help reach a patient with dementia even as memory fails
    • 5. Last name of the actor who played King Mongkut in The King and I 4,625 times on stage.
    • 7. The King & I is based on the novel Anna and the King of ____.”
    • 9. The generally very organized wedding _____ is typically not the drunkest person at the party. Typically.
    • 11. According to the playwright, this is the only Western sport that has never been banned in China
    • 13. The tradition of mariachi music is believed to have begun in this country.
    • 15. Song from The King & I: Shall We ______?
    • 16. Howlingly well-received current Broadway play about girls’ soccer: The _______
    • 19. Last name of basketball player who was famous for the accuracy of his underhanded free throws
    • 21. Last (family) name of the Chinese center who played in eight NBA All-Star Games as a member of the Houston Rockets.

    Zoey Crossword Puzzle. Adams Viscom

    Mallory Portnoy and Nija Okoro in 'Zoey's Perfect Wedding.' Photo by AdamsVisCom.

    Applause crossword puzzle solution


    Recent previous downloadable puzzles:

    RENT, Chicago, Mannheim Steamroller, Elf, Waitress and A Christmas Carol DOWNLOAD

    Mamma Mia!, The Secret Garden, The Illusionists – Live From Broadway and The Curious Incident of the Dog in the Night-Time DOWNLOAD

    An American in Paris, Kinky Boots, Hal Holbrook Tonight and Disgraced DOWNLOAD

    Fun Home, The Book of Will, The Christians and Two Degrees DOWNLOAD

    Jersey Boys, Hedwig and the Angry Inch, Finding Neverland, A Christmas Carol and The Hip-Hop Nutcracker DOWNLOAD

  • 'American Mariachi' community conversation: Food, music and tough issues

    by John Moore | Jan 18, 2018
    Making of 'American Mariachi'

    Local performers Deborah Gallegos and Yolanda Ortega of Su Teatro at the DCPA's 'recent American Mariachi' community conversation. To see more photos, click the image above to be taken to a full gallery. Photos by John Moore for the DCPA NewsCenter.


    'We've got some work to do,' DCPA tells Latinx community at forum addressing both barriers and opportunities

    By John Moore
    Senior Ats Journalist

    The DCPA hosted one its largest community conversations on record Jan. 11, when about 100 local Latinx and others gathered to talk about the many possibilities and challenges afforded by the Theatre Company's upcoming world premiere of the musical play American Mariachi.  

    And several admitted they came looking for a fight. One was Reynaldo Mireles, program manager of the Gay, Lesbian, Bisexual & Transgender Community Center of Colorado.

    “My first thought when I received the invitation was that I want to go down there and fight with some gringos,” Mirelis said to laughter. “I thought, ‘Well, I never got an invitation from the DCPA to have a conversation about us being Latinos before,’ so I was really coming in with that fighting energy.”  

    But he quickly softened after arriving at the DCPA’s Newman Center for Theatre Education. And for two reasons, he said: “There was cena … and there was musica.”

    Dinner and music.

    Cynthia Reifler Flores. American Mariachi Photo by John MooreThe latter was a rousing, 30-minute performance by the American Mariachi house band led by Cynthia Reifler Flores (pictured right), described by director James Vásquez as “one of the leading female mariachis in the world.” The musical demonstration, led by Flores' singing, moved legendary, five-decade Su Teatro actor Yolanda Ortega to spontaneously tell Flores: “You sing with your heart and with every little fiber in your body. I'm your new groupie.”

    Attendees represented a wide range of metro cultural, business and civic groups including the Mexican Cultural Center, Telemundo Denver, Mi Casa Resource Center, Museo de las Americas, The GrowHaus and the Denver mayor’s office, along with individual artists, teachers and students. Also representing was the entire cast of American Mariachi, José Cruz González’s story of a young woman in the 1970s who becomes determined to form an all-female mariachi band in a desperate attempt to connect with a mother lost in her dementia. The play, a co-production with the Old Globe Theatre, moves directly to San Diego for performances there after it closes in Denver on Feb. 25.

    Others admitted to their cynicism as well. But after 90 minutes of blunt and constructive conversation about the sustainability of the DCPA’s aggressive commitment to communities of color both during and after American Mariachi, any opening clenched fists changed to handshakes.

    “We are here to support you, and I am really excited about bringing more GLBT from our community to the play,” Mireles said at the end of the evening. “And of course, our ninas, because I am wanting them to see what they could actually become one day.”

    How did Mireles and others move so far in such a short period of time? In part because DCPA Director of Strategic Projects FloraJane DiRienzo came clean.

    “We’ve got some work to do,” DiRienzo said flatly. Not so much onstage: The Theatre Company has in recent years staged three world premieres by González as well as new works by Karen Zacarias, Octavio Solis, Rogelio Martinez and other Latinx playwrights.

    “We have always had a longstanding commitment to diverse voices on stage," she added. "But in some ways that has fallen a little bit short because we have make sure that our audiences are just as diverse as those voices that are onstage

    Suggestions from the community included making sure bilingual employees are positioned at the front door of the Helen Bonfils Theatre Complex to welcome all first-time patrons who need help finding their way around. Others hope that translated supertitles like you see at the opera are made available for non-English-speaking audiences. Others wondered if a performance or two might be presented entirely in Spanish. The director and his cast committed to both exploring those possibilities, and to making personal appearances at any local school that asks them.

    The primary, systemic barriers to attendance at major arts venues by communities of color are not unique to Denver: The price barrier, getting the word out to the people who might be most invested in a given story, and the cost and general intimidation of downtown parking.

    One of the most moving testaments to that reality came from Bianca Acosta, a young, single mother who is working to becoming a teacher at Bryant-Webster, a dual language Denver Public School that happens to house Mariachi Juvenil de Bryant Webster — the first after-school elementary mariachi group in the DPS system. She said:

    “I was not going to come tonight because my grandfather passed last night in Mexico. The last time I came here, I got lost for almost an hour looking for this  building because I am not familiar with driving downtown. And if I pay $10 for parking — that's my budget for gas for an entire week. Those are real things. Denver is such a beautiful city, and I am so in love with it, but it's expensive. But I am here to represent my community.

    “When I first heard this play was happening, I was so excited, but then when I saw the price of the tickets, I said to myself, ‘I can't even afford to bring me, much lesss my family.’ I see my family every day struggling to survive. When we talk about theatre, it doesn't even cross their minds because it is so out of our reach.

    “That's why I wanted to come tonight: To tell you that our communities deserve to have the experience to see this play just like anyone else. So how can we make that happen? Is there a way to raise money to bring as many families, especially Spanish-speaking families, to the play? I imagine that many of those people who come will be going to be in a theatre for the first time. I can imagine their kids being blown away by seeing their culture and their music portrayed on the stage. How can we make that possible?”

    DiRienzo told the crowd the DCPA is committed to ensuring that everyone who wants to see the play has an opportunity.

    "It's possible," DiRienzo told Acosta. "Yes, it's possible.”

    DCPA board member Patricia Baca told Acosta and others in attendance that  the DCPA has scholarships and corporate underwriting that can make it affordable for families with financial hardship to come to the DCPA not only to see its plays but to participate in classes offered by the Education Division. And she made it plain that the DCPA’s commitment to Latinx and other communities of color is neither new nor fleeting.

    "The Denver Center is for everybody," she said.

    “And this is not the first or last play we will ask you to come in and give us your thoughts about,” Baca added. “And we will not only ask you to give us your thoughts on Latino-oriented plays. We want you here for the multitude of offerings, and we want to know what you think and feel.

    “The conversation cannot end here. The conversation needs to continue. The suggestions you have made have been noted. And we will take action on as many of those as we can.” 

    Here is a roundup of other comments from the community conversation:

    American Mariachi director James Vásquez: “My full name is Pedro James Vásquez. My dad was born in Mexico, and my mom in  Southern California. I look very much like my mother, while my two younger brothers look very Mexican. I don't have a Spanish accent, so growing up, I got made fun of by a lot of my cousins for the way I spoke. So I just stopped speaking. American Mariachi is about reconnecting people to their culture. It’s about being given permission to reconnect with your culture, and attempt to start speaking again. And I am grateful for that.”

    Tina Walls, DCPA Board member: “My big passion is bringing the arts and culture of the underrepresented to the broader community, and bringing the under-represented, especially the kids, to this wonderful cultural footprint that we have in this community."

    Patrick Elkins-Zeglarski, DCPA Associate Director of Education: “People don't get any whiter than I am, and no more devoted to mariachi. And I can tell you that mariachi saved my life when I was growing up. I came from a very violent high-school experience, but we would stop everything when my peers would bring out their instruments and bring us all together in the halls of our high school in Northern California. So I am very much a witness to the story you are telling. Could we have any greater Valentine to our community than this play?”

    Jesse Ogas, Su Teatro and Fire Fly Autism: “We are seeing bigotry and hatred and ugliness in our community that I have not experienced in my lifetime — but my parents did. And to watch them now as elders having to relive that just infuriates me. What you are doing right now with American Mariachi is extremely important at this particular time in our history because you are portraying who we are as people — and to celebrate us in this way really is important. It takes courage.”

    Patty Baca, DCPA board member: "This play is going to be one of the delights of our community this year. I believe so strongly in this story, especially for our children so that they can see our people on the stage. See our people writing the play, directing the play, designing the play — and knowing that those are all possibilities for them as well.”

    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances Jan. 26 through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

  • 'American Mariachi': Cast announced, and 5 things we learned at first rehearsal

    by John Moore | Jan 04, 2018
    The making of American Mariachi: Photo gallery:

    Making of 'American Mariachi'

    Photos from the opening week of rehearsals for 'American Mariachi.' The world-premiere play with music performs in the Stage Theatre from Jan. 26 (opening Feb. 2) through Feb 25. To see more photos, click on the image above to be taken to our full gallery. Photo above by Bobby Plasencia. Other photos by John Moore for the DCPA NewsCenter.


    Director James Vásquez says now is a wildly important time to be telling stories about women in the American theatre

    By John Moore
    Senior Arts Journalist

    Rehearsals for the DCPA Theatre Company's upcoming world-premiere co-production of  playwright José Cruz González's American Mariachi began in earnest this week, launching an unprecedented partnership with the acclaimed Old Globe Theatre in San Diego.

    Amerian Mariachi QuoteThe new play with live music will open at the Stage Theatre in Denver on Feb. 2 and run through Feb. 25 as a featured attraction of the 2018 Colorado New Play Summit. And once it closes here, the entire production will be transported intact to San Diego for a second run opening March 29 – sets, actors and all.

    American Mariachi is set in the 1970s American southwest. It follows the journey of a young woman named Lucha, who has become the caretaker for a mother with dementia. When Lucha finds a mariachi record that briefly brings her mother back to life, she becomes determined to learn how to play this magical song for her before it is too late. But at a time when being a female mariachi player was unheard of in the U.S., Lucha's hopes for performing seem like a fantasy until she assembles a spunky group of female mariachi musicians who are ready to make her dream come true.

    "This is an opportunity to tell a really important story about women, about the Latinx culture and about music,” DCPA President and CEO Janice Sinden said at a gathering to greet the cast and creative team as they began rehearsals.  

    Director James Vásquez agreed that now is a “wildly, wildly” important time to be telling stories about women in the American theatre. “I grew up surrounded and influenced by strong women all my life,” he said, “so to be able to help tell these stories is an honor — and, I think, a duty.”

    Here are five things we learned at first rehearsal:

    NUMBER 1American Mariachi Patty Baca. Photo by John Moore The DCPA will host its second community conversation introducing American Mariachi and its importance from 6-8 p.m. Thursday, Jan. 11, at the Newman Building for Theatre Education, located at 13th and Arapahoe streets. DCPA Director of Strategic Projects FloraJane DiRienzo said the gathering is an opportunity for all interested parties to join Vásquez, learn more about the play and discuss with DCPA staff how to deepen engagement with the Hispanic and Latinx communities around this high-profile staging. "We are truly thrilled to have you here," said Dr. Patricia Baca (pictured above and right), longtime DCPA board member and former Denver Public Schools deputy superintendent, in welcoming the American Mariachi cast and creative team to Denver. "To me, this play is extremely important, certainly for the Latinx community, but really for all communities. We're going to get a lot of people here to see the talent that you bring, and the potential that you represent to young people in our community. You are the reality of what our kids dream of." Anyone wanting to attend the free conversation is asked to RSVP by email to Jennifer Kemps at JKemps@dcpa.org.

    Our report from the first Mariachi community conversation

    NUMBER 2 Conversations around American Mariachi reflect a rise in the term “Latinx” (pronounced “Latin X”), which is being more widely embraced among scholars, community leaders and journalists as a gender-neutral alternative to Latino or Latina.  According to The Huffington Post, Latinx is part of a “linguistic revolution” that aims to move beyond gender binaries and is inclusive of the intersecting identities of Latin American descendants. In addition to men and women from all racial backgrounds, Latinx also makes room for people who are trans, queer, agender, non-binary, gender non-conforming or gender fluid.

    American Mariachi Mural in progress. Designed by Regina Garcia. Photo by John MooreThe mural that made the director and playwright cry is shown in progress. It is the vision of Scenic Designer Regina Garcia. Photo by John Moore for the DCPA NewsCenter.

    NUMBER 3González returns to Denver with his third world-premiere play for the DCPA Theatre Company, following the lyrical magical realism piece September Shoes in 2005 and the outright comedy Sunsets and Margaritas in 2008. Last week, he and Vásquez got an early peek at a massive mural that will serve as the foundation of Regina Garcia's scenic design in the DCPA's scenic shop. "Both of us just started crying," Vásquez said. Addressing all of the artists who are working in any capacity toward the creation of this show, González said: "To me, you are all magical unicorns, because you make magic. You are the heart and soul of the DCPA, and I am humbled by that. Thank you for your talent, for your professionalism, and for your desire to make the impossible happen."

    American Mariachi Cast

    NUMBER 4 Vásquez described American Mariachi as the story of underdogs, "and right now, there is no better play to celebrate the underdog stepping into their voice than this one," he said. "We get to tell the story of five underdogs who have been pushed down, and they step out into the world and make a change. I think that's really exciting, and I think the world is ready for that. So that's what we are going to do."

    NUMBER 5 For more than a decade, the DCPA Theatre Company has typically introduced developing new works at its annual Colorado New Play Summit and then scheduled two or three titles to be fully staged on the next mainstage season. American Mariachi was given an unprecedented two-year gestation period, and for that, González is grateful. "It's really great to have been given the extra time to continue to develop the play with continuing workshops here and in Los Angeles, González said. "What was so wonderful about showing early versions of our story was seeing young women in particular come and see their lives being played out up there on the stage. That is a rare and important thing for them." 

    More Colorado theatre coverage on the DCPA NewsCenter

    American Mariachi: Cast and creatives announced:

    • Playwright: José Cruz González 
    • Director: James Vásquez
    • Music Director: Cynthia Reifler Flores
    • Natalie Camunas as Gabby / Ensemble
    • Crissy Guerrero as Soyla / Sister Manuela / Ensemble
    • Rodney Lizcano as Mino / Padre Flores / Ensemble
    • Doreen Montalvo as Amalia / Doña Lola/ Ensemble
    • Jennifer Paredes as Lucha / Ensemble
    • Bobby Plasencia as Federico / Ensemble
    • Luis Quintero as Mateo / René / Rubin / Ensemble
    • Amanda Robles as Isabel / Tía Carmen/ Ensemble
    • Heather Velazquez (Hortensia (Boli) / Ensemble 
    • Scenic Designer: Regina Garcia
    • Costume Designer: Meghan Anderson Doyle
    • Lighting Designer: Paul Miller
    • Sound Designer: Ken Travis
    • Dramaturg: Shirley Fishman
    • Stage Manager: Rachel Ducat
    • Assistant Stage Managers: Heidi Echtenkamp and Amanda Salmons
    • Violin: Martin Padilla
    • Violin :Tomás Tinoco Jr.
    • Trumpet: Guadalupe Zarate
    • Vihuela:Erick Jiménez
    • Guitarrón: Ruben Marin
    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances Jan. 26 through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Video: José Cruz González at the 2016 Colorado New Play Summit

     José Cruz González talks with John Moore about 'American Mariachi' during its first iteration in 2016.

     

    Previous NewsCenter Coverage of American Mariachi:
    American Mariachi: Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

  • 'American Mariachi': Community conversation begins

    by John Moore | Oct 09, 2017
    Making of 'American Mariachi'Photos from the Sept. 21 roundtable conversation on 'American Mariachi,' opening Jan. 26. To see more photos, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.

    Playwright, director introduce coming world premiere that will tell a pioneering story from Denver to San Diego.


    By John Moore
    Senior Ats Journalist

    The DCPA invited members of various local Latino communities to join them on Sept. 21 for a roundtable conversation on American Mariachi, the Theatre Company’s upcoming world premiere musical play by José Cruz González.

    American Mariachi Students from three local colleges, teachers, mariachi players and members of the Mi Casa Resource Center were among the two dozen who joined the playwright, director James Vásquez and members of the DCPA staff for a free-form introduction to the play, followed by an open discussion on how the Denver Center might best engage the community around this high-profile staging.

    American Mariachi is a first for the DCPA Theatre Company: It is being created as a co-production with the Old Globe Theatre in San Diego. That means the story is being brought to life here in Denver from Jan. 26-Feb. 25 as a featured attraction of the 2018 Colorado New Play Summit. And once it closes here, the entire production will be transported to San Diego for a second run opening March 23 – sets, actors and all.

    González and Vásquez gave the roundtable audience their enthusiastic accounts of the play’s history, inspirations, logistical challenges and potential audience impact. “I think this play is ultimately going to have a beautiful, brilliant life all around the country,” Vásquez said.

    But first González, who previously debuted September Shoes (2005) and Sunsets and Margaritas (2009) at the Denver Center, wants to make sure as many people from all economic, ethnic and cultural backgrounds see the play when they have the opportunity in Denver. Here’s some of what they told those gathered:

    What’s the story? American Mariachi is set in the 1970s American southwest. It follows the journey of a young woman, Lucha, who has become the caretaker for a mother suffering from dementia. As a girl, Lucha’s father and his best friend were part of a mariachi band, and their home was filled with life and music. But something happened that tore the band apart, after which the mother began to lose herself. Now years later, Lucha and her cousin find a record of a mariachi song that briefly brings the mother back to life. Lucha is then determined to learn how to play this magical song for her mother before it is too late. But as the young women set out to start their own mariachi band (something unheard of in that day), everyone around them discourages them because they are women – including Lucha’s father. But they do it anyway.

    American Mariachi. Summit Are they any good? In a word, no. “They're The Bad News Bears of mariachi bands,” González said. “They're not great. But they find their path, and they learn the song. And along the way they find their voices - and their places in the world.”

    (Pictured right: Elia Saldana and Sal Lopez in the 2016 Colorado New Play Summit reading of 'American Mariachi.' Photo by John Moore for the DCPA NewsCenter.) 

    Will the play include live music? The cast of nine not only must act and sing, they will play live musical instruments. In addition, five mariachi musicians will make up the orchestra.

    The music: About 14 songs will be performed in American Mariachi. González wrote three, including the poignant ballad song at center of the plot. The rest are traditional songs.    

    American Mariachi The development: American Mariachi was commissioned by the DCPA Theatre Company in 2014 and was presented as a featured reading at the 2016 Colorado New Play Summit. It has been honed through two workshops since, most recently in Los Angeles this past summer. At the Colorado New Play Summit in 2016, "it was 150-page play,” González said. "We're now down to 95 pages. So it's now very lean, and it moves like gangbusters.”

    (Pictured right: The cast of the DCPA's 'American Mariachi' at a workshop in Los Angeles in July. Photo provided by Douglas Langworthy.)

    Is there a language barrier? “The script is 95 percent English, with a smattering of Spanish here or there,” Vásquez said. And pains will be taken to convey the meaning of any Spanish word, through physical gestures or outright translation. “Now, the traditional songs are in Spanish,” Vásquez said. “But I think their meaning is something our audience will understand through the sheer theatricality of the musicians."

    That goes both ways: One roundtable attendee said the language barrier works both ways: “I think there would be an appetite for an all-Spanish version of this show for the communities that can only speak Spanish and would otherwise not be able to engage in the story fully,” she said. González took that to heart and said he will consider producing an all-Spanish version of the script.

    More Colorado theatre coverage on the DCPA NewsCenter

    Who is the play for? After an earlier public reading, Vásquez was greeted by a young woman who told him, “I have never seen myself represented on stage. I see movies or TV shows or plays, and it's never about me. This was about me." "She walked out feeling like she had a place in the world," Vásquez said, "which I think is a testament to the play Jose has written.” But González was quick to add that American Mariachi is not only about these young women finding their voices. “It's also about families dealing with Alzheimer’s and other issues we are all dealing with in our own communities,” he said.

    The aftermath:
    After the creators’ presentation, DCPA staff asked their guests for their questions and concerns. One intrigued attendee said American Mariachi may well be seen as an effective counter in communities that still have a stigma about the relevance of the arts. Among the other concerns: A possible price barrier, getting the word out to the people who might most be interested in this story, and the cost of downtown parking. DCPA representatives told them they are committed to ensuring that everyone who wants to see the play has an opportunity.

    “You can open doors,” the DCPA's Nataki Garrett said, “or you can remind people that the doors are open.”


    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

     

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances Jan. 26 through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Video: José Cruz González at the 2016 Colorado New Play Summit

     

     

    Previous NewsCenter Coverage of American Mariachi:
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

  • Single tickets to most 2017-18 shows, classes go on sale Aug. 11

    by John Moore | Jul 26, 2017

    DCPA TITLES


    Later on-sale dates will be announced for Hamilton, Disney’s Aladdin, The Book of Mormon, Remote Denver and Dear Evan Hansen

    Tickets for most of the Denver Center's 2017-18 Broadway, Theatre Company, Cabaret, Off-Center and Education shows, as well as all fall and winter classes, will be made available to the general public at 10 a.m. on Friday, Aug. 11, at denvercenter.org

    The full list of 29 DCPA productions available for purchase on Aug. 11 is below.

    Please note that Hamilton, Disney’s Aladdin, The Book of Mormon, Remote Denver are not included in the Aug. 11 on-sale. A separate on sale for each production will be announced at a later time. Dear Evan Hansen will launch its national tour in Denver as the first show of the 2018/19 Broadway season and will go on sale to the public at a later time in 2018.

    More information on the Broadway shows on-sale Aug. 11

    More information on Theatre Company, Off-Center shows

     DCPA ORG

    2017-18 DCPA tickets on sale Aug. 11:

    Show title

    Venue

    Run Dates

    Men are from Mars,
    Women are from Venus LIVE!

    Garner Galleria

    Aug 9 - 27, 2017

    Macbeth

    Space

    Sept 15 - Oct 29, 2017

    Girls Only - The Secret Comedy of Women

    Garner Galleria

    Sept 21 - Oct 22, 2017

    The Snowy Day and Other Stories
    by Ezra Jack Keats

    Conservatory Thtr.

    Sep 21 - Nov 18, 2017

    Rob Lowe - Stories I Only
    Tell My Friends: LIVE!

    The Ellie

    Oct 1, 2017

    The Wild Party

    Hangar at Stanley

    Oct 11 - 31, 2017

    Smart People

    Ricketson

    Oct 13- Nov 19, 2017

    Something Rotten!

    Buell

    Oct 17 - 29, 2017

    Breakin' Convention

    Buell

    Nov 4-5, 2017

    First Date

    Garner Galleria

    Nov 11, 2017 - Apr 22, 2018

    RENT 20th Anniversary Tour

    Buell

    Nov 14 - 19, 2017

    A Christmas Carol

    Stage

    Nov 24 - Dec 24, 2017

    The SantaLand Diaries

    Jones

    Nov 24 - Dec 24, 2017

    Chicago

    Buell

    Nov 28 - Dec 3, 2017

    Mannheim Steamroller Christmas
    by Chip Davis

    Buell

    Dec 9 - 10, 2017

    ELF The Musical

    Buell

    Dec 13 - 17, 2017

    Waitress

    Buell

    Dec 19 - 31, 2017

    Rodgers & Hammerstein's
    The King and I

    Buell

    Jan 2 - 14, 2018

    Zoey's Perfect Wedding

    Space

    Jan 19 - Feb 25, 2018

    American Mariachi

    Stage

    Jan 26 - Feb 25, 2018

    The Great Leap

    Ricketson

    Feb 2 - March 11, 2018

    This is Modern Art

    Jones

    Mar 22 - April 15, 2018

    STOMP

    Buell

    Feb 13 - 18, 2018

    Native Gardens

    Space

    April 6 - May 6, 2018

    The Who's Tommy

    Stage

    April 20 - May 27, 2018

    Human Error

    Garner Galleria

    May 18 - June 24, 2018

    School of Rock

    Buell

    May 29 - Jun 10, 2018

    Les Misérables

    Buell

    July 25 - Aug 5, 2018

    On Your Feet!

    Buell

    Aug 8 - 19, 2018

     

    Subscriptions
    Full Broadway subscriptions are no longer available to the general public. Theatre Company Full Season, Power Pass, All Stages, Family Package, Premium Subscriptions, Designer Series and Theatre Company Choose Your Own are available. For more information, visit denvercenter.org/subs. Hamilton priority access will not be available with any new DCPA subscriptions.

    Radvantage
    Patrons between the ages of 18-30 are invited to join the Radvantage membership program, which grants access to specially priced tickets to participating shows. Ticket prices start at $20. For more information, please visit denvercenter.org/radvantage.

    Sponsors
    The 2017-18 DCPA Broadway season is generously sponsored by BMW of Denver Downtown, UCHealth and United Airlines. The 2017-18 DCPA Theatre Company season is generously sponsored by Larimer Square and Daniel L. Ritchie. Media sponsorship is provided by The Denver Post and CBS4. Denver Center for the Performing Arts is supported in part by the Scientific and Cultural Facilities District.

  • Denver Center taking new plays to new level in 2017-18

    by John Moore | Jul 02, 2017

    Lauren Yee. The Great Leap
    Lauren Yee’s 'The Great Leap,' which was introduced as a reading at the 2017 Colorado New Play Summit, will premiere at the Denver Center next February, then re-open at the Seattle Rep just 12 days after closing here. Photo by John Moore for the DCPA NewsCenter.


    Companies are now jumping on new Denver Center works before they have even been fully staged here.

    By John Moore
    Senior Arts Journalist

    The Denver Center is taking a major step forward in its development of new work for the American theatre in 2017. And one major reason is a hip new term in the theatrical lexicon: “Co-Pro.”

    For the first time, the DCPA Theatre Company will stage two new plays next season that will immediately transfer to major theatres around the country as essentially continuing world premieres. They will quickly re-open in their second cities with their Denver Center directors and casts intact.

    American Mariachi. Summit The Theatre Company opens José Cruz González’s American Mariachi on Jan. 26, 2018. Less than a month after it closes in Denver, the production will re-open at the Old Globe Theatre in San Diego. Lauren Yee’s The Great Leap, which bows in Denver on Feb. 2, will re-open at the Seattle Rep just 12 days after closing here.

    By virtue of these unique partnerships, both stagings are considered “co-productions.” Or, as the kids say, “Co-Pros.” Coincidentally, the re-opening nights in San Diego and Seattle will both take place on March 23.

    (Pictured above right: 'American Mariachi' was introduced as a reading at the 2016 Colorado New Play Summit. Photo by John Moore for the DCPA NewsCenter.)

    For 12 years, artistic leaders from around the country have come to the Denver Center’s Colorado New Play Summit each February to see readings of developing new works, then come back the next year to see the subsequent fully staged world-premiere productions before scheduling some of the plays themselves. Among the popular titles that have expanded through this slow growth plan have been Jason Grote’s 1001 and Samuel D. Hunter’s The Whale.

    But now companies are coming here to see readings and committing to scheduling them even before they are fully staged at the Denver Center for the first time.

    Matt McGrath in 'The Legend of Georgia McBride.' Photo by Jennifer M. Koskinen. All this comes at a time when Denver Center-born works are proliferating on national stages like never before. In 2017, Matthew Lopez’s The Legend of Georgia McBride will become the most-produced new Denver Center work since Quilters in 1982. Ten companies this year are presenting the story of a straight man who explores the world of drag to feed his family in cities stretching from Los Angeles to Key West, Fla., with four more already slated for 2018. Lopez’s newest work, Zoey’s Perfect Wedding, will debut at the DCPA’s Space Theatre next Jan. 19.

    (Pictured above right: Matt McGrath in the Denver Center's 2014 world premiere of 'The Legend of Georgia McBride.' Photo by Jennifer M. Koskinen.) 

    How Georgia McBride has evolved since Denver

    Since former Artistic Director Kent Thompson launched the Colorado New Play Summit in 2006, the DCPA has given 27 new plays their world-premiere stagings. At least 32 productions of 13 DCPA-born works are being presented around the country this year and next, most notably a high-profile return of the reimagined The Unsinkable Molly Brown, which plays from July 21-27 at The Muny in St. Louis. The Muny is America’s largest outdoor musical theatre. After that, star Beth Malone said, the goal is Broadway.

    LEAD MOLLY"That is absolutely the intention of putting it up at The Muny,” Malone said. “There is no other reason than for it go to Broadway. Everyone involved with it feels very strongly that we are completely on track.”

    (Pictured at right: The cast of the DCPA Theatre Company's 'The Unsinkable Molly Brown.' Photo by Adams VisCom.)

    Last week, two recent Colorado New Play Summit readings landed on The Kilroys, a curated list of the 31 most promising new plays by women: Yee's The Great Leap and Donnetta Lavinia Grays' Last Night and the Night Before.

    NATAKI GARRETT 3Even older new plays like Octavio Solis' Lydia (2008) are still making an impact. “Lydia is a blast-furnace drama now in its Seattle debut in a blistering, urgent staging from Strawberry Theatre Workshop," Misha Berson of the Seattle Times wrote last month of a "forcefully directed ensemble of visceral power." Last year, the Aurora Fox became the first company to stage the Denver Center’s Native American premiere of Black Elk Speaks since 1996.

    All of this proliferation is not only changing the way the nation looks at the Denver Center, said Associate Artistic Director Nataki Garrett. It is changing how the Denver Center looks at itself.

    “The Colorado New Play Summit is a nationally renowned place where theatre companies from all over the United States come to see those playwrights who are moving up in the ranks and becoming the clarions for the future of playwriting,” she said.  “But I think this is where it was always heading. The most important part of the work we do as theatre artists is to foster and develop new work, and I think this is that idea coming to full fruition.”

    (Story continues after the video)

    Video spotlight: American Mariachi



    What makes for a successful Co-Pro, Garrett said, is the continuation of the Denver Center’s commitment to the playwright once the new play reaches its immediate second destination.

    “What I am really focused on with these companies is, 'Are you willing to make space for that writer to keep writing?’ ” Garrett said. “The whole point is to for them to be able to keep evolving their piece after they leave Denver, if that’s what the piece needs.”

    The Theatre Company’s commissioning program is one reason the pipeline stays stocked. At any given time, the company has a number of renowned and emerging playwrights under commissions. That essentially binds the playwright to write a new work of his or her choice, and the DCPA Theatre Company then has the right of first refusal to stage it. The playwrights with commissions in progress are:

    • Kemp Powers
    • Anne Garcia-Romero
    • Aleshea Harris
    • Mary Kathryn Nagle
    • Tony Meneses
    • David Jacobi
    • Regina Taylor

    John Moore was named one of the 12 most influential theater critics in the U.S by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.


    DCPA AROUND THE COUNTRY: 2017-18

    The Unsinkable Molly Brown, by Dick Scanlan and Meredith Willson: The 1960 musical that tells the rags-to-riches tale of Colorado's greatest heroine is infused with new songs and a new script.

    • The Muny, St. Louis, July 21-27, 2017

    The Book of Will, By Lauren Gunderson:  The untold story of the race to publish Shakespeare's First Folio before half his canon was lost to history.

    • Hudson Valley Shakespeare Festival, June 9-July 28, 2017
    • Northlight Theatre, Skokie, Ill., Nov. 9-Dec. 17, 2017
    • Round House Theatre, Bethesda, Md., Nov. 29-Dec. 24, 2017
    • Oregon Shakespeare Festival, Ashland, Ore., June-October, 2018

    The Great Leap, by Lauren Yee: An American college basketball team travels to Beijing in 1989.

    • American Conservatory Theatre New Strands Festival, San Francisco (reading), May 19, 2017
    • DCPA Theatre Company, Feb. 2-March 11, 2018
    • Seattle Rep, March 23-April 22, 2018 (co-world premiere)

    The Legend of Georgia McBride, by Matthew Lopez: A young Elvis impersonator turns to drag to feed his growing family.

    • Geffen Playhouse, Los Angeles, April 4-May 14, 2017
    • GableStage, Coral Gables, Fla., May 27-June 25, 2017
    • Marin Theatre Company, San Francisco, June 8-July 9, 2017
    • ACT Theatre, Seattle, June 9-July 2, 2017
    • Theatre Nova, Detroit, June 9- July 9, 2017
    • Dorset Theatre Festival, Vermont, Aug. 3-19, 2017
    • Northlight Theatre, Skokie, Ill., Sept. 14-Oct. 22, 2017
    • Hippodrome State Theatre, Gainesville, Fla., Oct. 13-Nov. 5, 2017
    • B Street Theatre, Sacramento, Calif.,Nov. 6-Dec. 9, 2017
    • Uptown Players, Dallas, Dec. 1-17, 2017
    • Guthrie Theatre, Minneapolis, March 23-April 22, 2018
    • Key West Players, Key West, Fla., May 2-19, 2018
    • Stoneham Theatre, Stoneham Mass., May 3-20, 2018
    • Round House Theatre, Bethesda, Md., June 8-July 1, 2018

    American Mariachi, by Jose Cruz Gonzalez: The musical tale of an all-female mariachi band in the 1970s.

    • DCPA Theatre Company, Jan. 26-Feb. 25, 2018
    • Old Globe (San Diego), March 23-April 29, 2018 (co-world premiere)

    Just Like Us, by Karen Zacarías: Documentary-style play follows four Latina teenage girls in Denver - two are documented, two are not.

    • Visión Latino Theatre Company, Feb. 24-March 12, 2017

    Dusty and the Big Bad World, by Cusi Cram: When a popular children’s TV  show spotlights a family with two daddies, it sparks a conservative outcry.

    • Martha’s Vineyard Playhouse, July 6-19, 2017

    Appoggiatura, by James Still: A trip to Venice brings love, loss, pain and joy to three weary travelers in search of healing and happiness in a magical story filled with music and amore.
    • Indiana Repertory Theatre, March 7-31, 2018

    FADE, by Tanya Saracho: When Mexican-born Lucia is hired to write for a Latina TV character, she finds an unexpected muse in the Latino studio custodian.
    • Cherry Lane Theatre, New York, Feb. 8-March 5, 2017
    • TheatreWorks, Hartford, June 1-30, 2017

    Lydia, by Octavio Solis: A maid cares for a border family's near-vegetative teenage daughter who was left in a coma after a mysterious accident. 

    • Strawberry Theatre Workshop, Seattle, June 1-24, 2017

    Almost Heaven: The Songs and Stories of John Denver: The songwriter's life story is told through anecdotes and 21 songs.

    • Rocky Mountain Repertory Theatre, Grand Lake, Sept. 1-30, 2017

    The Whale, by Samuel D. Hunter: An oversized, homebound and dying man struggles to reconcile with his estranged teenage daughter before it’s too late.
    • Verge Theatre Company, Nashville, June 2-14, 2017

    black odyssey, by Marcus Gardley: An imagination of Homer’s epic lens through the lens of the black American experience.
    • California Shakespeare Theatre, Orinda, Calif., Aug. 9-Sept. 3, 2017

    Quilters, by Molly Newman: A series of vignettes performed in song and spoken word that chart the joys and sorrows of the frontier journey West.

    • Ferndale (Calif.) Repertory Theatre, March 9-April 2, 2017

    More Colorado theatre coverage on the DCPA NewsCenter


    Video spotlight: The Great Leap

  • Vast and visceral: 2017-18 Theatre Company, Off-Center seasons

    by John Moore | Apr 03, 2017

     

    Macbeth, The Who's Tommy, four world premieres and
    "a deep dive into some truly exciting collaborations"

    By John Moore
    DCPA Senior Arts Journalist

    The DCPA Theatre Company’s 39th season will include vast and visceral reimaginings of two distinct cutting-edge classics, a record-tying four world premieres and the company's 25th staging of perennial favorite A Christmas Carol.

    The season begins in September with visionary director Robert O'Hara’s Macbeth to reopen the newly renovated Space Theatre, and builds to The Who’s rock musical Tommy, directed by Sam Buntrock (Frankenstein). And both directors promise ambitious stagings unlike anything audiences have seen before.

    Nataki Garrett QuoteThe DCPA has worked its way to the forefront of new-play development in the American theatre, and next season’s slate will include the comedy Zoey’s Perfect Wedding by former Playwright in Residence Matthew Lopez; José Cruz González’s American Mariachi, the musical tale of an all-female 1970s mariachi band; Lauren Yee’s The Great Leap, about an American college basketball team that travels to Beijing in 1989; and Eric Pfeffinger’s timely comedy Human Error, which raucously explores the great American ideological divide through two vastly different couples - and one wrongly implanted embryo.

    Zoey’s Perfect Wedding will reunite Lopez and Mike Donahue, writer and director from the DCPA’s endearing world premiere The Legend of Georgia McBride (which makes its West Coast debut tomorrow at the Geffen Playhouse in Los Angeles.)

    American Mariachi
    was a favorite from the Theatre Company's 2016 Colorado New Play Summit. "Women of course had many challenges trying to play in such a male-dominated musical form," González said. "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."

    The Great Leap and Human Error emerged from the recent 2017 Summit in February.  In The Great Leap, Yee explores sport as a metaphor for how countries rub up against each other in terms of strategy, styles and priorities. "If you think of all the sports out there, basketball is the one in which you can really lay the ideals of communism on top of it. Everyone gets to touch the ball. Everyone is equal in their position,” she says.

    Human Error will set a precedent as the first Theatre Company offering ever to be staged in the cabaret-style Garner-Galleria Theatre.

    “The 2017-18 DCPA Theatre Company season represents the microcosm at the heart of the American experiment,” said Associate Artistic Director Nataki Garrett. “These writers, spanning across generations, cultures, and genders, are exploring the ways in which our commonalities are more meaningful than our differences."

    2017-18 Broadway season brings Hamilton to Denver

    For the first time, the DCPA simultaneously announced the upcoming year of its adventurous and ambitious Off-Center line of programming. Off-Center is known for creating experiences that challenge conventions and expand on the traditional definition of theatre. Next season will be the largest yet for Off-Center. It includes Mixed Taste, a summer-long partnership with the Museum of Contemporary Art Denver; a 360-degree immersive staging of The Wild Party musical at the Stanley Marketplace. Also of great intrigue: Remote Denver, a  guided audio tour of the secret city; and This Is Modern Art, a controversial play by Idris Goodwin and Kevin Coval that explores graffiti as modern art ...  or urban terrorism.

    “The expansion of Off-Center is a result of the incredible response of the Denver community,” said Off-Center Curator (and Theatre Company Associate Artistic Director) Charlie Miller. “We have seen that audiences are hungry for a broad range of experiences, and are eager for the unexpected.”

    Miller calls the upcoming year "a deep dive into some truly exciting collaborations." A continuing one will be the return of The SantaLand Diaries, in partnership with Boulder Ensemble Theatre Company and again starring Michael Bouchard

    Combined, the DCPA today announced 14 upcoming new productions that will be presented across eight different venues at the Denver Performing Arts Complex and beyond.

    More Colorado theatre coverage on the DCPA NewsCenter

    “Theater has the opportunity and the ability to help bridge our differences by offering performances that inspire us to seek deeper connections with one another,” said Garrett, who will make her DCPA debut directing Lydia Diamond's acclaimed race comedy Smart People. “We are honored to provide a space for conversations and connections to the Denver community this year through this season's offerings.”

    Lisa Portes Robert O'HaraMacbeth will be directed by Robert O'Hara, a rising playwright, director and screenwriter who won the 2010 NAACP Best Director Award and the 2010 Helen Hayes Award for Outstanding New Play. He was a young prodigy of original Angels in America Director George C. Wolfe and is perhaps best-known as a writer for Insurrection, a time-traveling play exploring racial and sexual identity. 

    The Who's Tommy, the rock musical based on the classic 1969 concept album about the pinball prodigy, will reunite acclaimed British Frankenstein director Sam Buntrock and Scenic Designer Jason Sherwood (who also will create the world of Macbeth). Native Gardens will mark the DCPA return of playwright Karen Zacarias, who wrote Just Like Us in 2014. Zacarias has penned a very close-to-home border-war story: One that plays out between two neighboring couples in D.C. who have a dispute over their property line. The director is Chicago's Lisa Portes, who recently won the Stage Directors and Choreographers Foundation's 2016 Zelda Fichandler Award, which recognizes an artist who is "transforming the regional arts landscape through singular creativity and artistry in the theatre." She is head of the masters program in directing at DePaul University.

    Next year's A Christmas Carol will be the 25th season staging of Dickens' classic by the DCPA since 1990. Melissa Rain Anderson will return for her second turn at directing, and popular longtime DCPA actor Sam Gregory again will play Scrooge.

    DCPA THEATRE COMPANY SEASON AT A GLANCE:

    • Sept. 15-Oct. 29: Robert O’Hara’s Macbeth (Space Theatre Grand Reopening)
    • Oct. 13-Nov. 19: Smart People (Ricketson Theatre)
    • Nov. 24-Dec. 24: A Christmas Carol (Stage Theatre)
    • Jan. 19-Feb. 25, 2018: Zoey’s Perfect Wedding (Space Theatre)
    • Jan. 26-Feb. 25, 2018: American Mariachi (Stage Theatre)
    • Feb. 2-March 11, 2018: The Great Leap (Ricketson Theatre)
    • April 6-May 6, 2018: Native Gardens (Space Theatre)
    • April 20-May 27, 2018: The Who's Tommy (Stage Theatre)
    • May 18-June 24, 2018: Human Error (Garner Galleria Theatre)

    DCPA OFF-CENTER 2017-18 SEASON AT A GLANCE:

    • July 5-Aug. 23 Mixed Taste, with MCA Denver (Seawell Grand Ballroom)
    • Oct. 12-31: The Wild Party (The Hangar at Stanley)
    • Nov. 24-Dec. 24: The SantaLand Diaries, with Boulder Ensemble Theatre Company (Jones Theatre)
    • March 22-April 15, 2018: This Is Modern Art (Jones Theatre)
    • Spring/Summer 2018: Remote Denver (on the streets of Denver)

    TC 2017-18 800

    And here is a more detailed look at all 14 newly announced productions, in chronological order:

    MIXED TASTE (Off-Center)
    mixed-tasteTag team lectures on unrelated topic
    Presented by Off-Center with MCA Denver
    Wednesdays from July 5 through Aug 23
    Seawell Grand Ballroom
    Even mismatched subjects will find common ground in a lecture series that can go pretty much anywhere. Two speakers get twenty minutes each to enlighten you on unrelated topics, but can’t make any connections to each other. Ideas start to blend afterward when audience members ask questions to both speakers and anything goes. READ MORE ABOUT IT



    MACBETH
    macbethBy William Shakespeare
    Directed by Robert O’Hara
    Sept. 15-Oct. 29
    Space Theatre (Grand Reopening)
    To get what he wants, Macbeth will let nothing stand in his way – not the lives of others, the people of Scotland or his own well-being. As his obsession takes command of his humanity and his sanity, the death toll rises and his suspicions mount. Shakespeare’s compact, brutal tragedy kicks off the grand reopening of our theatre-in-the-round in a visceral re-imagining from visionary director Robert O’Hara, who is “shaking up the world, one audience at a time” (The New York Times). This ambitious reinvention of the classic tale reminds us that no matter what fate is foretold, the man that chooses the dagger must suffer the consequences. 



    THE WILD PARTY
    (Off-Center)
    the-wild-partyMusic and Lyrics by Michael John LaChiusa
    Book by Michael John LaChiusa and George C. Wolfe
    Based on the poem by Joseph Moncure March
    Directed by Amanda Berg Wilson
    Oct. 12-31
    The Hangar at Stanley
    You’re invited to leave your inhibitions (and Prohibitions) behind for a decadent party in the Roaring Twenties. Indulge your inner flapper as you mingle with an unruly mix of vaudevillians, playboys, divas, and ingénues in a Manhattan apartment lost in time. Debauchery turns disastrous as wild guests becomes unhinged and their solo songs reveal the drama bubbling underneath the surface. Whether you’re a wallflower or a jitterbug, you’ll think this jazz- and booze-soaked immersive musical is the bee’s knees. Dress up in your finest pearls, suits and sequins – encouraged but not required.



    SMART PEOPLE

    smart-peopleBy Lydia R. Diamond
    Directed by Nataki Garrett
    Oct. 13-Nov. 19
    Ricketson Theatre
    Intelligence can only get you so far when it comes to navigating love, success and identity in the modern age. This biting comedy follows a quartet of Harvard intellectuals struggling to understand why the lives of so many people – including their own – continue to be undermined by race. But no matter how hard they research, question and confront the issue, their own problems with self-awareness make it difficult to face the facts of life. Fiercely clever dialogue and energetic vignettes keep the laughs coming in a story that Variety calls “Sexy, serious and very, very funny.”



    A CHRISTMAS CAROL

    christmas-carolBy Charles Dickens
    Adapted by Richard Hellesen
    Music by David de Berry
    Directed by Melissa Rain Anderson
    Nov. 24-Dec. 24
    Stage Theatre
    Essential to the holiday season in Denver, A Christmas Carol promises to “warm your heart and renew your holiday spirit” according to the Examiner. Based on Charles Dickens’ classic novel, this joyous and opulent musical adaptation traces money-hoarding skinflint Ebenezer Scrooge’s triumphant overnight journey to redemption. A Christmas Carol illuminates the meaning of the holiday season in a way that has resonated for generations. Denver favorite Sam Gregory returns as Scrooge. READ MORE ABOUT IT

    (Note: 'A Christmas Carol' is an added attraction, not part of the Theatre Company subscription season.)



    SantaLand Diaries 2016. Michael Bouchard. Photo by Adams VisCom
    'The SantaLand Diaries,' 2016. Michael Bouchard. Photo by Adams VisCom.

    THE SANTALAND DIARIES
    (Off-Center)
    By David Sedaris
    Adapted for the stage by Joe Mantello
    Presented by Off-Center with Boulder Ensemble Theatre Company
    Directed by Stephen Weitz
    Nov. 24-Dec. 24
    The Jones Theatre
    This disgruntled Macy's elf has the cure for the common Christmas show. Looking for a little more snark in your stocking? Crumpet the Elf returns for more hilarious hijinks in this acclaimed one-man show based on stories by David Sedaris. Crumpet’s twisted tales from his stint in Macy’s SantaLand are the cure for the common Christmas show. Release your holiday stress, get all of those obnoxious carols out of your head and check out even more late night options this year. READ MORE ABOUT IT



    ZOEY'S PERFECT WEDDING

    zoeys-perfect-wedding2By Matthew Lopez
    Directed by Mike Donahue
    Jan. 19-Feb. 25, 2018
    Space Theatre
    The blushing bride. The touching toast. The celebration of true love. These are the dreams of Zoey’s big day…and the opposite of what it’s turning out to be. Disaster after disaster follow her down the aisle, from brutally honest boozy speeches to a totally incompetent wedding planner. Even worse, her friends are too preoccupied with their own relationship woes to help with the wreckage around them. From the team that brought you, The Legend of Georgia McBride, Matthew Lopez’s wildly funny fiasco destroys expectations with the realities of commitment, fidelity and growing up. READ OUR 2015 INTERVIEW WITH MATTHEW LOPEZ



    AMERICAN MARIACHI

    american-mariachi2By José Cruz González
    Director to be announced
    Jan. 26-Feb. 25, 2018
    The Stage Theatre
    Lucha and Bolie are ready to start their own all-female mariachi band in the 1970s. The only things standing in their way are a male-dominated music genre, patriarchal pressure from inside their families and finding the right women to fill out their sound. As they practice, perform and strive to earn the respect of their community, their music sparks a transformation in the lives of those around them – especially Lucha’s parents. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music played on stage. González writes a passionate story about families and friendships that you should share with yours. READ OUR FULL INTERVIEW WITH JOSÉ CRUZ GONZÁLEZ


     

    THE GREAT LEAP
    the-great-leap2By Lauren Yee
    Director to be announced
    Feb. 2-March 11, 2018
    Ricketson Theatre
    When an American college basketball team travels to Beijing for an exhibition game in 1989, the drama on the court goes deeper than the strain between their countries. For two men with a past and one teen with a future, it’s a chance to stake their moment in history and claim personal victories off the scoreboard. American coach Saul grapples with his relevance to the sport, Chinese coach Wen Chang must decide his role in his rapidly-changing country and Chinese American player Manford seeks a lost connection. Tensions rise right up to the final buzzer as history collides with the action in the stadium. Yee’s “acute ear for contemporary speech” and a “devilishly keen satiric eye” (San Francisco Chronicle) creates an unexpected and touching story inspired by events in her own father’s life. READ OUR FULL INTERVIEW WITH LAUREN YEE


     

    THIS IS MODERN ART
    this-is-modern-artBy Kevin Coval and Idris Goodwin
    Directed by Idris Goodwin
    March 22-April 15, 2018
    The Jones Theatre
    Graffiti crews are willing to risk anything for their art. Called vandals, criminals, even creative terrorists, Chicago graffiti artists set out night after night to make their voices heard and alter the way people view the world. But when one crew finishes the biggest graffiti bomb of their careers, the consequences get serious and spark a public debate asking, where does art belong? This Is Modern Art gives a glimpse into the lives of anonymous graffiti artists and asks us to question the true purpose of art. READ MORE ABOUT IT


    NATIVE GARDENS
    native-gardensBy Karen Zacarias
    Directed by Lisa Portes
    April 6-May 6, 2018
    Space Theatre
    Dealing with neighbors can be thorny, especially for Pablo and Tania, a young Latino couple who have just moved into a well-established D.C. neighborhood. Though Frank and Virginia have the best intentions for making the new couple feel welcome next door, their newly budding friendship is tested when they realize their shared property line isn’t where it’s supposed to be. Frank is afraid of losing his prized garden, Pablo wants what is legally his, Tania has a pregnancy and a thesis she’d rather be worrying about, and Virginia just wants some peace. But until they address the real roots of their problems, it’s all-out war in this heartfelt comedy about the lines that divide us and those that connect us.



    Sam Buntock

    THE WHO'S TOMMY
    the-whos-tommyMusic and Lyrics by Pete Townshend
    Book by Pete Townshend and Des McAnuff
    Additional Music and Lyrics by John Entwistle and Keith Moon
    Directed by Sam Buntrock
    April 20-May 27, 2018
    Stage Theatre
    Based on The Who’s iconic 1969 rock concept album, Tommy is an exhilarating musical about the challenges of self-discovery and the resilience of the human spirit. When young Tommy retreats into a world of darkness and silence after a deeply traumatic incident, he must navigate a harsh and unforgiving world with no hope of recovery. But when he discovers a newfound talent for pinball, he’s swept up in the fame and fortune of his success. Tommy and his family give new voice to The Who’s classic stadium rock as they navigate the troubles and joys of being alive. This production reunites director Sam Buntrock and scenic designer Jason Sherwood, the team behind last season’s audience favorite, Frankenstein.



    HUMAN ERROR

    human-error2By Eric Pfeffinger
    Director to be announced
    May 18-June 24, 2018
    Garner Galleria Theatre
    Madelyn and Keenan are NPR-listening, latte-sipping, blue-state liberals, while Heather and Jim are NRA-cardholding, truck-driving, red-state conservatives. After an unfortunate mix-up by their blundering fertility doctor, Heather is mistakenly impregnated with the wrong child. Now the two couples face sharing an uproarious nine-month’s odyssey of culture shock, clashing values, changing attitudes and unlikely – but heartfelt – friendships. “Up-and-coming scribe Eric Pfeffinger has the vital nerve to explore the gaping communication gap between red America and blue America, liberal humanists and the conservative right” (Chicago Tribune). READ OUR FULL INTERVIEW WITH ERIC PFEFFINGER


    REMOTE DENVER
    remote-denverBy Rimini Protokoll
    Concept, Script and Direction: Stefan Kaegi
    Research, Script and Direction Denver: Jörg Karrenbauer
    Spring/Summer 2018
    On the streets of Denver
    Join a group of 50 people swarming Denver on a guided audio tour that seems to follow you as much as you are following it. Experience a soundtrack to the streets, sights, and rooftops of The Mile High City as a computer-generated voice guides your group’s movements in real time. Discover a "secret Denver," exploring places like gathering spaces, back alleyways, dark hallways and public areas through a new lens. You’re not just audience members — you’re actors and spectators, observers and observed, individuals and hordes, all at the same time.

     

    TICKET INFORMATION:

    • Theatre Company: New and renewing subscribers have the first opportunity to reserve tickets. Subscription packages are available online at denvercenter.org/nextseason or by calling 303-893-4100. Subscribers enjoy free ticket exchanges, payment plans, priority offers to added attractions, discounted extra tickets, a dedicated VIP hotline, free events including talkbacks and receptions, and the best seats at the best prices, guaranteed. Single ticket on-sale date will be announced at a later time. Note: Plans for the new season are subject to change and benefit restrictions may apply.
    • Off-Center: The single-ticket on-sale date for all Off-Center productions will be announced at a later time. Subscriptions are not available for Off-Center shows.

     

     

  • Kent Thompson on The Bard, The Creature and the soul of his audience

    by John Moore | Mar 09, 2016

    Kent Thompson
    Kent Thompson says one commonality in his new season is stories that in some way 'examine the fallout when we are forced to make ethical, scientific or human choices.' Photo by John Moore for the DCPA NewsCenter.


    Producing Artistic Director Kent Thompson, who announced the DCPA Theatre Company 38th season on Tuesday, said selecting any new theatre season is equal parts “fun, terrifying and collaborative.” He takes recommendations from a variety of people, from audiences to community members to staff. "But in the end, my job is about providing the vision,” he said. And in the end, he admits, "the process is as much intuitive and instinctual as it is intellectual.”

    Kent Thompson quoteThompson never schedules according to a chosen overall theme for any given season, but he said the upcoming nine-play slate he just announced does have at least one commonality, and it's that "every story in some way examines the fallout when we are forced to make ethical, scientific or human choices." That’s true from the season-opening The Glass Menagerie to the seasonal standard A Christmas Carol to two world premieres to the enduring musical The Secret Garden and everything in-between.

    “Luckily the DCPA provides us with the space and the resources to guide artists to create theatrical experiences that stimulate, entertain and inspire our audiences and enrich the lives of the audiences, artists and communities we serve,” he said.

    Here are five more thought-provoking observations from Thompson concerning the season just announced:

    F1 Perspectivesor those who were rooting for American Mariachi, Jose Cruz González's music-infused family story about a young Los Angelina who ventures into the male-dominated world of mariachi in the 1970s to help bring her mother back from dementia, Thompson said don’t read too much into it not being included in the upcoming season. “We are going to continue to develop that play this year, and we hope to bring to bring it back in a future season," he said. 

    2 PerspectivesOne highlight of the season will be Nick Dear’s Frankenstein, which premiered at the National Theatre in London in 2011, featuring Benedict Cumberbatch and Jonny Lee Miller as Victor Frankenstein and The Creature. As was the case in London, the not-yet cast Denver actors will alternate roles at each performance, allowing audiences to better see what makes man and monster both diverge and intersect. “It will be fascinating for audiences to see both," Thompson said, "because when they did it in London, they found that each actor brought unique things to each role, and the relationship between the characters changed as the actors changed roles. The fabulous part about this script to me is answering the question: ‘Who is most human by the end of the evening - Victor or The Creature?’ ”

    DCPA announces 2016-17 Theatre Company season

    3 PerspectivesAnticipating concern from that might arise from the topical play The Christians, Thompson assured, “No character is made fun of, and no character is derided for their views.” In Lucas Hnath’s acclaimed – and button-pushing play – the pastor of a large evangelical church gets up one Sunday and has changed one of the core beliefs he's been preaching and teaching to his congregation for years, sending shockwaves and reverberations throughout his membership. “This is really a story about what happens, both to yourself and to your followers, when you are a leader and you change a core belief, be it religious, political or spiritual. The Christians is an intimate look at the moments that define who we are and what we believe.” The Christians features a full choir at every performance.”

    4 PerspectivesScheduling the national touring production of the most recent Tony Award-winning new play as a Theatre Company offering is unprecedented – although in 2009, the Denver Center did bring the touring production of August: Osage County to Denver as a Broadway subscription offering. It is rare today because not many Broadway plays tour anymore. After plays run their course in New York, the rights are typically made available to professional theatre companies around the country for them to self-produce. But because the widely hailed The Curious Incident of the Dog in the Night-Time is touring the country, that means no local theatre company will have the opportunity to self-produce the play for several years. And even then, this technologically groundbreaking winner of five 2015 Tony Awards will prove difficult for any theatre company to stage. The play essentially allows the audience to go inside the mind of a 15-year-old London boy who is exceptionally intelligent but ill-equipped to function in everyday life, and the play helps the audience experience the short-circuitry in his brain first-hand. When he falls under suspicion for killing his neighbor’s dog, he sets out on a dangerous journey to identify the true culprit. “If we could only do one play this season, this is the one I would want to do,” Thompson said. But because self-producing the play is not yet an option, the touring production offers the only opportunity for audiences to see the story way it was originally conceived. “This is the kind of play that I think the Theatre Company patrons will love to see,” said Thompson.

    5 PerspectivesAs for his overall scheduling philosophy, Thompson said: “The core of our work at the Theatre Company is original productions ranging from the newest stories to the most enduring stories. But I also want to make clear that we are looking to do stories that are also told in a variety of forms and styles, from the absolutely most innovative to the most traditional storytelling. I seek no less than to open the hearts, minds, eyes and sometimes the souls of both audiences and artists in our community when they see a production here at the Theatre Company.”

    And as for those who have asked "Will Shakespeare be back?" Thompson said emphatically, "yes." And in a very real way, Shakespeare will be present on the 2016-17 season in the form of The Book of Will.

    THEATRE COMPANY 2016-17 SEASON/AT A GLANCE
    Sept. 9-Oct. 16: The Glass Menagerie, Ricketson Theatre
    Sept. 30-Oct. 30: Frankenstein, Stage Theatre
    Nov. 25-Dec. 24: A Christmas Carol, Stage Theatre
    Jan. 13-Feb. 26, 2017: The Book of Will, Ricketson Theatre
    Jan. 27-Feb. 26, 2017: The Christians, Stage Theatre
    Feb. 3-March 12, 2017: Two Degrees, The Jones Theatre
    March 31-May 7, 2017: Disgraced, Ricketson Theatre
    Apr 21-May 28, 2017: The Secret Garden, Stage Theatre
    May 30-June 18, 2017: The Curious Incident of the Dog in the Night-Time, The Ellie

    Tickets and Subscriptions
    New and renewing subscribers have the first opportunity to reserve tickets. Tickets are available to subscribers online at denvercenter.org by calling 303-893-6030 or 303-893-4100. Subscribers enjoy free ticket exchanges, payment plans, priority offers to Broadway and student shows, discounted extra tickets, a dedicated VIP hotline, free events including talkbacks and receptions, and the best seats at the best prices, guaranteed.

    A single ticket on-sale date will be announced at a later time.

  • Video: Colorado New Play Summit Spotlight: José Cruz González, 'American Mariachi'

    by John Moore | Feb 20, 2016


    Our interview, in video and words, with Colorado New Play Summit featured playwright José Cruz González, author of American Mariachi,  a piece set in Denver and inspired by women who started forming their own mariachi groups in the 1970s. "We interviewed a number of amazing women who were able to help us enter into that world," González, said, "and we found an amazing group of artists who will play and sing in the piece."


    Here are highlights from DCPA Senior Arts Journalist John Moore's conversation with  'American Mariachi' playwright José Cruz González:

    John Moore: How has the title of the play evolved?

    José Cruz González: American Mariachi started with just the initials AM. It stands for three things: It’s one of the character’s names. And there is the musical style: American Mariachi. And also AM radio, which is where you might hear this music on the radio. So (DCPA Associate Artistic Director) Bruce Sevy said, ‘Why don’t we just call it that?’ And I said, ‘Ding! Of course. That sounds great. It’s so perfect.

    American Mariachi. Summit John Moore: How do you like to introduce your play?

    José Cruz González: American Mariachi is a play about music, and it’s the story of women who come to discover this music and adopt it during a time when that’s not permitted. The play is set here in Denver, and it’s the 1970s. In my research looking at women playing mariachi music in the United States, it’s been fascinating to see how these little pockets of musicians appeared throughout the country. And I thought, ‘Well, I’m sure there’s a story here. (Pictured: Elia Saldana and Sal Lopez. Phot oby John Moore for the DCPA NewsCenter.) 

    John Moore: What challenges did these women face in playing mariachi music?

    José Cruz González: We’re really looking at a tradition that is male-dominated. Men played mariachi. And so for women to enter into that world was a challenge for them on many many fronts. First of all, just being able to play the music. Men perceived that women couldn’t play it - that they didn’t have the music inside them. So it was very taboo. These women had to learn by finding themselves and finding ways for them to approach this music and to eventually perform it.

    John Moore: This story is of such a specific time, place and situation. But the ides of it – women breaking into a male-dominated world - that theme couldn’t be more timeless.

    José Cruz González: That’s right, it is a timeless story because these young women are challenged, and they come together because of their love of the music. And it’s all brought together because of one character, Lucha, whose mother is battling Alzheimer’s disease. One thing she discovers is that the mother comes alive suddenly whenever she hears this one song. So that begins the journey for this young woman to see if she can bring the music back to her mother.

    Jose Cruz Gonzalez Quote Summit

    John Moore: There will be an expectation that music will play a large role in any performance of this play.

    José Cruz González: Music plays such an important role in this piece. First of all, it’s live and that sound of mariachi is so fantastic when you fill a room with people and you hear people singing. And these artists here for the reading, I have to tell you: I’m so impressed with them. We asked them before we came to Denver if they could play these instruments, and some of them learned to play for this. But we also found that most of our artists can play and sing, so it’s really a rich mix. It’s a beautiful sound and I love how it fits with these characters because in the story, they’re not supposed to be the best musicians in the world. So that fits with the story. But those voices are incredible.

    John Moore: Let’s talk about your first experience in Denver when the DCPA Theatre Company back in 2005.

    José Cruz González: Kent Thompson was coming to be the artistic director of the company, and he called me up to invite me to explore a play I had written called September Shoes. That was my first introduction to this amazing company. And subsequently I’ve come back with Sunsets and Margaritas, and now with American Mariachi. The Denver Center is really a home for me - an artistic home. It’s a place for artists to stretch themselves and tell stories in a place that’s conducive to creativity, to fostering and nurturing new work. I’m just happy to be here. I get up really early every morning to write before I go into rehearsals. I think on Monday, my day off, I spent 15 hours working on my play. To me, this is the best opportunity to hear your play with great artists, in a great location and in great environment. This is a place where audiences really come to experience something new.

    John Moore: The three plays you have brought to the Denver Center could not be more different.

    José Cruz González: For me, September Shoes was a play about the past and how these individuals, because of an accident 30 years ago, changes their lives and haunts them. I was fascinated by that world and how one picks up the pieces when their lives have been destroyed. With Sunsets and Margaritas, I had never attempted a comedy and I wanted to try that as an exercise for myself. And I think with American Mariachi, those elements of September Shoes and Sunsets and Margaritas both come into play here. Those two plays really helped inform me in terms of not only the pathos of the story but also the comedy in it. But the new wrinkle here is live music. For the last five years, I have been a student of mariachi myself. I have been learning how to play these instruments. But I also had the chance to interview mariachi musicians, both men and women. That helped me to tell the story. In fact this piece is dedicated to a mariachi woman named Laura Sobrino Cano, who actually came from my hometown - a little town on the central coast of California, and went on to become one of the premier mariachi women in the world. She trained the next generations of both men and women mariachi musicians. It’s personal to me because of those connections.

    John Moore: How have you benefited having a second week of development time her at the Summit?

    José Cruz González: Well time really is the key thing for new-play development, and so the luxury of having two weeks is huge. The play that we presented last week has changed considerably during this second week. It is now a much deeper play that explores these characters much further than we did in the first week. I am able to spend the day in rehearsal and then go back to my place and spend another four or five hours working. The we come back the next day and experiment and explore what that story is. I think audiences will be able to go, ‘Yes I understand it. It touches me, it angers me, I want to laugh with it and I want to sing along.

    John Moore: When Kent Thompson slotted September Shoes in 2005, the Denver Center hadn’t done a play by a Latino writer in six years. What does his commitment to writers of color mean to you?

    José Cruz González: I have to take my hat off to Kent for his commitment to new work and to the different voices that need to be reflected, I believe, in this country. And we don’t see that in a whole lot of places yet. I think what he’s doing here is important and I hope that our colleagues around the country will pick up the ball and do what needs to be done. Because when you think about the stories that are being told, it’s really a small group of people who are telling those stories. But there are a lot of stories that are not being told. We need variety, and we need those hidden voices. I think that’s what Kent is doing. He is giving us an opportunity, and a place here where we can tell our stories.

    American Mariachi. Summit


    American Mariachi:
    Cast list

    José Cruz González, Playwright
    Rachel Bowditch, Director
    Cindy Flores, Musical Director
    Shirley Fishman, Dramaturg
    Elia Saldana, Lucha
    Olivia Espinosa, Bolie
    Vivis Colombetti, Amalia/Dona Lola
    Sal Lopez, Frederico
    Rosalie Rodriguez, Isabel
    Sol Castillo, Mateo/Beto/Hotel Striker
    Vaneza Calderon, Gabby
    Crissy Guerrero, Soyla
    Daniel Valdez, Mino
    Carlos Hidalgo, Stage Directions/ Musician

    2016 Colorado New Play Summit: Ticket information
    Second weekend (Festival Weekend): Friday, Feb. 19, through Sunday, Feb. 21
    303-893-4100 or INFO

    Previous NewsCenter Coverage of 2016 Summit (to date):
    Summit Spotlight video: Lauren Gunderson, The Book of Will
    Summit Spotlight video: José Cruz González, American Mariachi
    Summit Spotlight Video: Tira Palmquist, Two Degrees
    Summit Spotlight Video: Mat Smart, Midwinter
    DCPA rolls out the welcome mat: It's Summit weekend
    2016 Summit playwrights introduce their featured works
    Three major Summit events to be streamed live
    Featured playwrights named for 2016 Summit
    Audio: Colorado Public Radio on the 2016 New Play Summit

  • 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
POPULAR POSTS
 
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.