• Deeper dive: A closer look at 'Last Night and the Night Before'

    by John Moore | Apr 06, 2018

    In the video above, playwright Donnetta Lavinia Grays talks about "Last Night and the Night Before" at the Denver Center's 2017 Colorado New Play Summit. Video by David Lenk and John Moore for the DCPA NewsCenter.

    Note: In this daily series, we are taking a deeper dive into the eight titles recently announced on the DCPA Theatre Company's 2018-19 mainstage season. Today: Last Night and the Night Before.

    Last Night and the Night Before

    • Written by: Donnetta Lavinia Grays
    • Year: 2019 (world premiere)
    • Director: Valerie Curtis-Newton
    • Dates: Jan. 18-Feb. 24, 2019 (Opens Jan. 25)
    • Where: Ricketson Theatre
    • Genre: Family drama/mystery
    • Donnetta Lavinia Grays. Last Night And the Night Before. About the author: Donnetta Lavinia Grays, born in Panama and raised in Columbia, S.C., is a Brooklyn-based actor and playwright whose plays have been staged, read or developed at Berkeley Rep, the Eugene O’Neill Theater Center National Playwrights Conference. the New York Theater Workshop, Orlando Shakespeare Theater, Portland (Maine) Stage Company, Classical Theater of Harlem and more. She is the inaugural recipient of the Doric Wilson Independent Playwright Award. Acting credits include Broadway’s Well and In the Next Room Or the Vibrator Play, as well as TV's "Blue Bloods" and "The Sopranos." Grays says she seeks to write strong roles for women of various ages, races, sexual identities and economic standings. She believes the most radical theater happens when cultural specificity meets common human conflict. She also believes that humor should marry heartbreak at most turns in a narrative.
    • The play at a glance: When Monique and her 10-year-old daughter, Samantha, show up unexpectedly on her sister’s Brooklyn doorstep, it shakes up Rachel and her partner Nadima’s orderly New York lifestyle. Monique is on the run from deep trouble and brings their family’s Southern roots with her, grabbing hold of Rachel’s life more ferociously than she could have ever imagined. Poetic, powerful and remarkably funny, Last Night and the Night Before play explores the struggle between the responsibilities that are expected of us and the choices we actually end up making.

    On navigating trauma: Our full interview with the playwright

    • Says new DCPA Artistic Director Chris Coleman: "Last Night and the Night Before is another testament to the amazing works that have come out of the Colorado New Play Summit. Donnetta Lavinia Grays is an incredibly special writer, and the heart she brings to all of her work as an actress shines through in this beautiful play. This is a story about families. It's about why one sibling goes one way the other goes another. It's about what comprises a family today and how this young kid finds unbelievable emotional resilience in very tricky, difficult circumstances, It's a beautiful play, a deeply human story, and I’m thrilled that we get to be the first to produce it. I’m sure that we will not be the last.”
    • Last Night And the Night Before. Photo by John MooreFrom the author: "Sam has suffered a traumatic event in her life. She is in the unfortunate position of being at the mercy of the adults in her life who are trying to safeguard her from what she has suffered. And now she is having to suffer the consequences of their decisions. I think Last Night and the Night Before is a play about the tremendous, enduring component of love in our lives. It is a play about loss. It is a play about family. And it is a play about finding your singular voice as a woman coming into adulthood."
    • What the critics have said about Donnetta Lavinia Grays' acting: "Grays is one of those actors who can enthrall while doing nothing more than standing still, listening, in character. What a treat to get to watch her do so." — OffOffOnline ... "Even before her wrenching second-act monologue, Donnetta Lavinia Grays proves the soul of the piece," — Indianapolis Business Journal, on Ruined.
    • Fun facts: This play was featured in the 2017 Colorado New Play Summit. Its original title was, simply, Sam. The new title references a line from the children’s game: "Last night and the night before, I met my baby at the candy store."... Says Grays, in describing herself on her website: "I will act for food. Or write a play. )r direct one for that matter so long as food is involved. Or, you know, whiskey."... She says her dream project "is to write something sexy with African-American roots and folk music."

    Last Night And the Night Before. Photo by John Moore
    Photos: Director Valerie Curtis-Newton (above) and her cast at the 2017 Colorado New Play Summit.


    2018-19 DCPA Theatre Company season at a glance:

  • Aug. 24-Sept. 30: Vietgone (Ricketson Theatre) READ MORE
  • Sept. 7-Oct. 14: Rodgers & Hammerstein’s Oklahoma! (Stage Theatre) READ MORE
  • Sept. 21-Oct. 21: The Constant Wife (Space Theatre) READ MORE
  • Nov. 21-Dec. 24: A Christmas Carol (Stage Theatre) READ MORE
  • Jan. 18-Feb. 24, 2019: Last Night and the Night Before (Ricketson Theatre) READ MORE
  • Jan. 25-Feb. 24, 2019: Anna Karenina (Stage Theatre) READ MORE
  • Feb. 8-March 10, 2019: The Whistleblower (Space Theatre) READ MORE
  • April 26-May 26, 2019: Sweat (Space Theatre) READ MORE

  • DCPA Theatre Company tickets and subscriptions:
    New and renewing subscribers have the first opportunity to reserve tickets. Subscription packages are now available online at denvercenter.org or by calling 303-893-4100. Subscribers enjoy 30 percent off savings, 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. BUY ONLINE

    More Colorado theatre coverage on the DCPA NewsCenter

  • 2018-19 DCPA Theatre Company season: In with the old ... and the new

    by John Moore | Apr 01, 2018
    Chris Coleman offers a play-by-play look at the 2018-19 DCPA Theatre Company season, his first as the company's new Artistic Director. Video by David Lenk and John Moore for the DCPA NewsCenter.


    Coleman's 40th anniversary season includes two world premieres, Tolstoy and an African-American Oklahoma!

    By John Moore
    Senior Arts Journalist

    Incoming DCPA Theatre Company Artistic Director Chris Coleman has announced a 40th anniversary season he believes both honors the company’s past and boldly steps into the future — and in some intriguing examples, at the same time.

    Coleman will return to the company’s roots by presenting its third Rodgers and Hammerstein musical following previous stagings of Carousel and South Pacific. But Coleman is promising a fresh new look at Oklahoma! by telling the beloved story of a spirited rivalry between local farmers and cowboys from a mostly African-American perspective. Similarly, Coleman will offer adaptations of Tolstoy’s Anna Karenina and W. Somerset Maugham’s The Constant Wife, stories of women overcoming great societal barriers that may strike audiences as remarkably contemporary.

    A Last Night 800 1“It’s incredibly exciting to imagine what you want your first season at an organization to be,” said Coleman, who assumes his full-time Denver duties in May. "This company has long been known as a place where you can do really big, interesting, meaty, dramatic literature. One of the things that's exciting to me is to do something really traditional and then follow that with something that is brand new and edgy. That collision of styles and voices is really juicy to me.”

    Pictured above: Valerie Curtis-Newton, left, will return to again direct 2017 Colorado New Play Summit offering 'Last Night and the Night Before' on the mainstage season. Photo by John Moore for the DCPA NewsCenter.)

    Coleman covers the traditional-to-edgy gamut with the announcement of both an eight-play Theatre Company season that includes three classics and two world premieres, as well as an innovative five-play slate from the company's adventurous Off-Center wing.  

    nataki-garrettWhen Coleman was named Artistic Director in November, he promised programming that will further the DCPA’s efforts to diversify its audiences, champion local storytelling and give voice to underserved communities. All five of the other mainstage directors he named today are women — and three of the playwrights are women or persons of color. Four if you count Off-Center's commission of a planned immersive hip-hop piece from This is Modern Art co-writer Idris Goodwin.
      

    The mainstage season includes two world-premiere plays: Donnetta Lavinia GraysLast Night and the Night Before, which was featured at the company’s 2017 Colorado New Play Summit, and Itamar MosesThe Whistleblower. With the exception of A Christmas Carol, which returns for a 26th year, every playwright and source writer (even Tolstoy) will be new to Theatre Company audiences except Nottage, whose Ruined was one of the most celebrated productions in company history In 2011.

    The Off-Center offerings, said Curator Charlie Miller, will complement the Theatre Company season and tell exciting stories in unconventional ways. “From original micro plays to new theatrical experiments to a large-scale immersive hip-hop show, Off-Center will take audiences into unexpected Denver spaces and showcase local artists, stories, and communities,” he said.

    Take a deeper dive into each play on the 2018-19 season

    The Theatre Company debuted on New Year’s Eve 1979 with The Caucasian Chalk Circle, starring Tyne Daly. Coleman says there is special significance to this being the 40th anniversary season because the company is old enough to have built an significant canon but also young enough to still have staff, artists and audience members who have been here all along — a lot of them.

    "As we step into the next chapter of the Theatre Company’s history, it's inspiring and energizing to look back on the extraordinary body of work that this company has brought to the region over the last 40 seasons," Coleman said. "What's really vivid to me is how many people have been around from Day 1. There are so many people who are really invested in the history and the future of this organization. So, to me, that's worth celebrating. And I view that as a launching pad for me.

    These playwrights and directors are the cream of the crop, and I look forward to the conversations these works will open up with the Denver community."

    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.

    Meet new Theatre Company Artistc Director Chris Coleman


    Chris Coleman 2018-19 season announcement


    2018-19 DCPA Theatre Company season at a glance:

    • Aug. 24-Sept. 30: Vietgone (Ricketson Theatre) DEEPER DIVE
    • Sept. 7-Oct. 14: Rodgers & Hammerstein’s Oklahoma! (Stage Theatre) DEEPER DIVE
    • Sept. 21-Oct. 21: The Constant Wife (Space Theatre) DEEPER DIVE
    • Nov. 21-Dec. 24: A Christmas Carol (Stage Theatre) DEEPER DIVE
    • Jan. 18-Feb. 24, 2019: Last Night and the Night Before (Ricketson Theatre) DEEPER DIVE
    • Jan. 25-Feb. 24, 2019: Anna Karenina (Stage Theatre) DEEPER DIVE
    • Feb. 8-March 10, 2019: The Whistleblower (Space Theatre) DEEPER DIVE
    • April 26-May 26, 2019: Sweat (Space Theatre) DEEPER DIVE

    DCPA Theatre Company tickets and subscriptions: New and renewing subscribers have the first opportunity to reserve tickets. Subscription packages are now available online at denvercenter.org or by calling 303-893-4100. Subscribers enjoy 30 percent off savings, 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. BUY ONLINE

    2018-19 Off-Center season at a glance:

    • July 11-Aug. 22: Mixed Taste: Tag team lectures on unrelated topics (Wednesdays only, with MCA Denver, Seawell Ballroom)
    • Oct. 23-Nov. 18: Bite-Size: An evening of micro theatre (at BookBar)
    • Nov. 23-Dec. 24: The SantaLand Diaries (with Boulder Ensemble Theatre Company at The Jones)
    • March 2019: Powered by Off-Center (The Jones)
    • Dates TBA: Untitled Immersive Hip-Hop Show

    Off-Center ticket information: 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.


    2018-19 THEATRE COMPANY SEASON: Title by title

    (Descriptions provided by DCPA Theatre Company)

    Vietgone

    • Oregon Shakespeare Festival 2016 VietgoneBy Qui Nguyen
    • Original music by Shane Rettig
    • Directed by Seema Sueko
    • Aug. 24-Sept. 30, 2018 (Opens Aug. 31)
    • Ricketson Theatre
    • Glance: This rap-spitting, pop culture-crusted dramedy is an ode to the real-life courtship of Playwright Qui Nguyen’s parents. Forced to leave their country during the height of the Vietnam War, two refugees find themselves at the same relocation camp in Arkansas – the land of Harleys, hot dogs and “howdy!” Before they find their way into each other’s arms, they’ll have to blaze a trail in their weird new world and leave behind the baggage they didn’t pack. Jump on this emotional ride for an adventure that hums with excitement as it hops across time and around the globe through the highs and lows of love.
    • Fun fact: Qui Nguyen is the self-described geeky playwright behind She Kills Monsters, which addressed stereotypes and social issues through the game “Dungeons and Dragons.”
    • Take a deeper dive into Vietgone

    (Pictured: Oregon Shakespeare Festival's 2016 production of 'Vietgone,' courtesy Oregon Shakespeare Festival.)

    Rodgers & Hammerstein’s Oklahoma!

    • Oklahoma!Music by Richard Rodgers; book and lyrics by Oscar Hammerstein II
    • Based on the play Green Grow the Lilacs by Lynn Riggs
    • Original Dances by Agnes de Mille
    • Directed by Chris Coleman
    • Sept. 7-Oct. 14, 2018 (Opens Sept. 14)
    • Stage Theatre
    • Glance: With a spring in their step and a song in their hearts, cowboys, farmers and travelling salesmen alike have chased their destinies to a land that promises everything they could hope for: love, opportunity and a brighter future. The first collaboration by the legendary team of Rodgers and Hammerstein became a landmark musical for its rollicking music and stunning dance numbers, and this joyful presentation will solidify why it has stood the test of time. New DCPA Theatre Company Artistic Director Chris Coleman makes his DCPA directorial debut with this production, and he will set the story in one of the 50 all-African-American towns in the early days of the Oklahoma Territory. Discover an overlooked piece of American history as one small community stakes its claim on a place full of hope. The choreographer will be Dominique Kelley, a dancer in the film La La Land and the musical Bring in 'Da Noise, Bring in 'Da Funk.
    • Fun fact: Oklahoma! opened on Broadway at the St. James Theatre 75 years ago Saturday, and the cast of the Denver-born Frozen marked the anniversary with a curtain-call singalong that you can watch at this YouTube link.
    • Take a deeper dive into Oklahoma!

    The Constant Wife

    • The Constant WifeBy W. Somerset Maugham
    • Directed by Shelley Butler
    • Sept. 21-Oct. 21, 2018 (Opens Sept. 28)
    • Space Theatre
    • Glance: As the intelligent, charming housewife of a successful doctor, Constance Middleton cheerfully plays her traditional role. But she knows far more than she’s willing to let on. This cheeky satire pokes holes in the expectations of relationships, fidelity and social roles that were just as relevant in the 1920s as they are today. Featuring an infectiously plucky heroine at the helm, The Constant Wife takes joy in the imperfections of life and applauds those who elude the strict confines of society to discover true happiness. DCPA alum Shelley Butler (Human Error, The Most Deserving) returns to direct this contagious comedy.Fun fact: Variety calls Maugham’s protagonist “a perverse protofeminist — and an antecedent to the women of “Desperate Housewives” and “Sex and the City.”
    • Take a deeper dive into The Constant Wife

    A Christmas Carol

    • Sam Gregory A Christmas Carol. By Charles Dickens
    • Adapted by Richard Hellesen
    • Music by David de Berry
    • Directed by Melissa Rain Anderson
    • Nov. 21-Dec. 24, 2018 (Opens Nov. 29)
    • Stage Theatre
    • Glance: Based on Charles Dickens’ classic novel, the Theatre Company’s joyous and opulent seasonal offering now in its 26th year 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. Note: This is an added attraction, not part of the Theatre Company subscription season.
    • Fun fact: Denver favorite Sam Gregory is scheduled to return for a third time as Scrooge.
    • Take a deeper dive into A Christmas Carol

    Last Night and the Night Before (world premiere)

    • Summit. Last Night. Donnetta By Donnetta Lavinia Grays
    • Directed by Valerie Curtis-Newton
    • Jan. 18-Feb. 24, 2019 (Opens January 25)
    • Ricketson Theatre
    • Glance: When Monique and her 10-year-old daughter Samantha show up unexpectedly on her sister’s Brooklyn doorstep, it shakes up Rachel and her partner Nadima’s orderly New York lifestyle. Monique is on the run from deep trouble and brings their family’s Southern roots with her, grabbing hold of Rachel’s life more ferociously than she could have ever imagined. Poetic, powerful and remarkably funny, Last Night and the Night Before play explores the struggle between the responsibilities that are expected of us and the choices we actually end up making.
    • Fun fact: This play was featured in the 2017 Colorado New Play Summit. Its original title was simply, Sam. The new title references a line from the children’s game "Last night and the night before, I met my baby at the candy store."
    • Take a deeper dive into Last Night and the Night Before


    Anna Karenina

    • TC-web-Season-Ann-400x3003By Kevin McKeon, adapted from the novel by Leo Tolstoy
    • Directed by Artistic Director Chris Coleman
    • Jan. 25-Feb. 24, 2019 (Opens Feb. 1)
    • Stage Theatre
    • Glance: Love holds the power to bind us together or tear us apart, and no one knows better than Countess Anna Karenina. As a noblewoman and socialite, her glamorous lifestyle shrouds her unhappy marriage. But everything changes when she meets the dashing army officer Count Vronsky. She risks her social status, marriage, friends and family for the thrill of forbidden love. Anna Karenina uses the romantic backdrop of Tsarist Russia to tell a turbulent tale of passion and betrayal, dreams chased and lost, and the consequences of getting swept off your feet. Helmed by Artistic Director Chris Coleman, this lush, modern adaptation of Leo Tolstoy’s masterpiece brings the opulent setting and heart-wrenching story to life.
    • Fun fact: The play was made into a 2012 movie adapted by Tom Stoppard and featuring Keira Knightley and Jude Law.
    • Take a deeper dive into Anna Karenina


    The Whistleblower (world premiere)

    • itamarmoses whistleblowerBy Itamar Moses (pictured right)
    • Directed by TBA
    • Feb. 8-March 10, 2019 (Opens Feb. 15)
    • Space Theatre
    • Glance: For screenwriter Eli, an offer to finally create his own TV show should be the ultimate culmination of his goals, but instead shocks him into wondering why he had those dreams in the first place. Armed with a new sense of spiritual clarity, he sets out on a quest to serve up some hard truths to his coworkers, family, exes and friends. What could possibly go wrong? A lively world premiere about the lies we tell to protect ourselves  and how the tiniest gestures can have deep impact on those around us. Written by Itamar Moses, the award-winning author of the musical The Band’s Visit, currently on Broadway.
    • Fun facts: The Whistleblower was first introduced as a staged reading at South Coast Repertory’s 2015 Pacific Playwrights Festival in Costa Mesa, Calif. — alongside Vietgone. Also, Moses was an Executive Story Editor for HBO's "Boardwalk Empire."
    • Take a deeper dive into The Whistleblower

    Sweat

    • TC-web-Season-Ann-400x3004By Lynn Nottage
    • Directed by Nataki Garrett
    • April 26-May 26, 2019 (Opens May 3)
    • Space Theatre
    • Glance: For the people of poverty-stricken Reading, Pa., work is so much more than a paycheck – it’s the glue that holds the town together. The floor of their central factory is where lifelong friendships are made, where love blossoms and where family members work side-by-side. But as layoffs become the new norm and a cheaper workforce threatens the viability of the local union, the threads that once kept the community together begin to fray. Sweat is an “extraordinarily moving drama,” said The New York Times, that powerfully contrasts life’s happiest highs with the heart-wrenching struggles of survival. Using warm humor and deep empathy, this 2017 Pulitzer Prize winner from Lynn Nottage (Ruined) paints a moving portrait of today’s working-class America in decline.
    • Fun fact: Nottage developed her play through interviews with actual former steelworkers in Reading.
    • Take a deeper dive into Sweat

    2018-19 OFF-CENTER SEASON: Title by title

    Mixed Taste: Tag team lectures on unrelated topics

    • Mixed Taste Aug 9Co-presentation with MCA Denver
    • July 11-Aug. 22, 2018 (Wednesdays only)
    • Seawell Ballroom
    • Glance: Returning for a second summer series, even mismatched subjects find common ground in this fun lecture forum that can go pretty much anywhere. Two speakers get 20 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.
    • Fun fact: One clever example from last year’s series: “Wild West mail delivery and post-conceptual art.” Last year’s series emcee Suzi Q. Smith wrote a poem during each performance and read them at the end of every evening.
     

    Bite-Size: An evening of micro theatre

    • 2017 TRUE WEST AWARDS Gary Grundie Meridith C. GrundeiCreated and directed by Meridith Crosley Grundei
    • Oct. 23-Nov. 18, 2018
    • At BookBar, 4280 Tennyson St.
    • Glance:
    • Bite-Size brings you five short plays with bookish twists performed in and around BookBar, an independent bookstore and wine bar in the Tennyson Street Arts District. Grab tapas and drinks between the short performances of original works by Colorado-based artists. There is no better way to see a variety of local playwrights and performers in one place. Whether you’re a theatre geek, a bookworm or on the hunt for an off-beat night out, this evening will leave you eager to crack into a fresh hard-cover and dream up some tales of your own.
    • Fun fact: Director Meridith Grundei, a 2017 True West Award winner, packed up a used R.V. and hit the road with her husband and daughter in 2017 to travel the United States and Mexico for a year.


    The SantaLand Diaries

    • A Santaland Diaries Michael BouchardCo-presentation with Boulder Ensemble Theatre Company
    • By David Sedaris, adapted for the stage by Joe Mantello
    • Directed by Stephen Weitz
    • Nov. 23-Dec. 24, 2018 (Opens Nov. 25)
    • The Jones Theatre
    • Glance: This acclaimed one-man show is based on David Sedaris’ best-selling memoir about his curmudgeonly experience working as a Macy’s SantaLand elf, once again featuring Michael Bouchard and Luke Sorge as David, and his devilish Macy’s persona, Crumpet the Elf. Think holiday shopping is brutal? Try being on the receiving end of Macy’s SantaLand madness in a pair of pointy shoes. This twisted tale is the cure for the common Christmas show and the perfect excuse to take a break from it all.
    • Fun fact: 2018-19 will mark the 10th anniversary of BETC’s annual holiday staging, the last seven in partnership with Off-Center. That will equal The Bug Theatre’s run of 10 seasonal The SantaLand Diaries starring Gary Culig.

    Powered by Off-Center

    • March 2019
    • The Jones Theatre
    • Glance: Discover your next favorite Colorado performer as they debut new work at the Denver Center. Off-Center is offering the spotlight to local creators of all kinds as they get their projects off the ground with the support of our team. We’re giving our local artistic community a new place to play and a platform to experiment, engage and excite us all. Performance dates and participating artists to be announced.

    Untitled Immersive Hip-Hop Show

    • Idris Goodwin 160Written by Idris Goodwin
    • Directed by Jenny Koons
    • Glance: Following the hit experiential shows Sweet & Lucky and The Wild Party, Off-Center is cooking up its next large-scale immersive adventure. Off-Center has commissioned playwright Idris Goodwin and New York-based director Jenny Koons (Burn All Night at American Repertory Theatre) to create a one-of-a-kind new hip-hop-inspired event. Title, location, dates, and details to be announced.
    • Fun fact: Goodwin is the director and co-writer of This is Modern Art, currently playing through April 15 in The Jones Theatre.

    Note: Due to the nature of live performance, all productions, prices and dates are subject to change.

    More Colorado theatre coverage on the DCPA NewsCenter

  • 2017 Summit goes global while hitting close to home

    by John Moore | Feb 27, 2017

    Video by David Lenk and John Moore for the DCPA NewsCenter.

    Colorado New Play Summit goes global
    with stories that hit close to home

    The 2017 Colorado New Play Summit went global in its storytelling while also serving as an intimate and heartfelt celebration of departing founder Kent Thompson.

    Thompson resigned as Producing Artistic Director of the DCPA Theatre Company effective March 3, leaving a legacy that includes starting the Summit in 2006 and the Women's Voices Fund, a $1.4 million endowment that supports new plays by women and female creative team members.

    Summit. Kent Thompson. Photo by John Moore“Kent Thompson is such a champion of new plays. He is such a champion of new and different voices,” said Lauren Yee, author of the featured Summit play Manford at the Line, Or The Great Leap. “He always makes sure that the world we live in is reflected on the stage.”

    This year’s expanded Summit featured readings of five plays that spanned in time from 1931 to present day and traveled the world from Brooklyn to Berlin to Beijing to Geneva to Georgia to a suburban Ohio fertility clinic. 

    Every year, two or more readings from the previous Summit go on to become fully staged plays on the DCPA Theatre Company’s mainstage season. This year’s featured productions were Tira Palmquist’s Two Degrees and Lauren Gunderson’s The Book of Will, which both started as readings from the 2016 Summit. (Story continues below).


    Photo gallery: A look back at the Colorado New Play Summit

    2017 Colorado New Play Summit Photos from the 2017 Colorado New Play Summit. To see more, click the forward arrow in the image above. All photos can be downloaded and shared. Just click. Photos by John Moore and Adams VisCom for the DCPA NewsCenter.

    The Colorado New Play Summit has grown into one of the nation’s premier showcases of new plays. Under Thompson, the Summit has workshopped 50 new plays, leading to 29 fully produced world premieres as part of the DCPA Theatre Company’s mainstage season. Thompson has commissioned 44 new plays, almost half written by women.

    “I feel like for the past 12 years, I've had a great opportunity tSummit. Last Night. Adams Viscomo present many different windows on the world, from many different peoples' viewpoints,” Thompson said.

    To understand the impact the Summit has had on the development of new works for the American theatre, one need look no further than Skokie Ill., home of the Northlight Theatre. Recently the DCPA learned that Northlight will be fully producing two Summit plays next season: Gunderson's The Book of Will and The Legend of Georgia McBride by Matthew Lopez.

    Kent Thompson's legacy: Giving sound to unheard voices

    The Summit allows for two weeks of development, each culminating in a round of public readings. Playwrights take what they learn from the first public weekend back into rehearsal before a second round of readings for industry professionals.

    Summit. Donnetta Lavinia Grays. John Moore"That second week of work is absolutely unique," said featured playwright Robert Schenkkan (Hanussen). "I don't know any other theatre festival in the United States that does anything like that. And it's a really critical for the writer because so often, you are just beginning to get your arms around it just as you near the end of that first week. You are just beginning to say, 'Now I see what I need to do.' … And then it's over. Well, that's not true here. You get to take the things that you learned at the first reading and really thrash it out and take all of that complexity and nuance and additional richness back into the text, culminating in a second public reading."

    This year’s Summit drew more local audiences and national industry leaders than ever before, with 44 playwrights and 36 theatre organizations attending from at least 16 states. Visitors represented companies ranging from the Public Theatre in New York to the Oregon Shakespeare Festival to the Banff Centre in Ontario to the Dorset Theatre Festival in Vermont. Closer to home, guest included the Creede Repertory Theatre, Curious Theatre, The Catmounts, Athena Festival Project, Lake Dillon Theatre Company and others. More than 920 attended at least one reading, with an overall attendance of nearly 2,900.

    Summit stands in thanks to departing Kent Thompson

    The third annual Local Playwrights Slam was held a week earlier, curated by Josh Hartwell from the Colorado chapter of the Dramatists Guild, which exists to protect playwrights and their copywritten material. Readers this year included Curious Theatre founding member Dee Covington, National Theatre Conservatory alum Jeff Carey and Tami Canaday, whose new play Uncle Rooster will be performed in Brooklyn this summer.

    Summit. High School Playwrights. Photo by John Moore. For the fourth year, winners of DCPA Education’s Regional High School Playwriting Workshop and Competition had their plays presented at the Summit. This year a record four writers were showcased, two from Fort Collins.

    The annual late-night Playwrights Slam drew an eclectic group of writers sampling their developing works in a fun and supportive atmosphere. This year’s crowd was treated to Gunderson singing to a ukulele from her new play Storm Still, and Two Degrees actor Robert Montano performing an excerpt from his one-man play Small, which recounts his growing up as a jockey at the famed Belmont race track in New York.

    The five featured Summit readings:

    Click play to see short videos spotlighting all five 2017 Colorado New Play Summit plays.

    • Donnetta Lavinia Grays’ Last Night and the Night Before opens with a Georgia woman on her sister’s doorstep in Brooklyn, with her 10-year-old daughter in tow. The mystery for both the characters and the audience to solve is what trauma took place in Georgia that brought them here.
    • Rogelio Martinez’s Blind Date centers on Ronald Reagan and Mikhail Gorbachev's first meeting at the Geneva Summit in 1985 to try to open up channels between the U.S. and the Soviet Union.
    • In Eric Pfeffinger’s comedy Human Error, a couple goes to what they think is a routine appointment at their fertility clinic only to discover that their fertilized embryo has been mistakenly implanted into another couple. And it turns out they are polar opposites.
    • Robert Schenkkan’s Hanussen is set in 1931 Berlin and introduces us to the brilliant mentalist Erik Jan Hanussen, captivates German audiences with his ability to read minds and his uncanny predictions of the future. His reputation brings him to the attention of avid occultist Adolf Hitler, who does not realize he is a Jew.
    • Lauren Yee’s Manford at the Line, or The Great Leap follows an American college basketball team as it travels to Beijing for a “friendship” game during the politically charged Cultural Revolution in 1989.

    After Albee: America’s 10 leading, living playwriting voices

    Photos, from top: 'Two Degrees' Director Christy Montour-Larson with retiring DCPA Producing Director Kent Thompson; Jasmine Hughes and Veleka J. Holt in 'Last Night and the Night Before'; Playwright Donnetta Lavinia Grays performs in the annual Playwrights Slam; Grace Anolin and Wyatt DeShong perform from 'Dear Boy on the Tree,' part of the Regional High-School Playwriting readings. Below: Student playwrights, from left, Jasmin A. Hernandez-Lozano, Jessica Wood, Parker Bennett and Ryan McCormick. (Photos by John Moore and Adams VisCom). 

    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.

    Selected previous coverage of the 2017 Colorado New Play Summit:
    After Albee: America’s 10 leading, living playwrights
    2017 Summit welcomes dozens for opening rehearsal
    Summit Spotlight: Robert Schenkkan on the dangers of denial
    Summit Spotlight: Lauren Yee lays it all on the free-throw line
    Summit Spotlight: Rogelio Martinez on when world leaders collide
    Summit Spotlight: Donnetta Lavinia Grays on the aftermath of trauma
    Summit Spotlight: Eric Pfeffinger on the fertile comedy of a divided America
    Summit stands in thanks to departing founder Kent Thompson
    Record four student writers to have plays read at Summit
    DCPA completes field of five 2017 Summit playwrights

    More Colorado theatre coverage on the DCPA NewsCenter

    Summit. High School Playwriting. John Moore
  • Summit Spotlight: Donnetta Lavinia Grays on navigating trauma

    by John Moore | Feb 21, 2017

    Video above by DCPA Video Producer David Lenk and Senior Arts Journalist John Moore.


    In this daily, five-part series for the DCPA NewsCenter, we will introduce you to the plays and playwrights featured at the Denver Center’s 2017 Colorado New Play Summit. Over the past 12 years, 27 plays introduced to the Summit have gone to be premiered on the DCPA Theatre Company mainstage season. Next up: Donnetta Lavinia Grays, writer of the family drama Last Night and the Night Before.

    Playwright Donnetta Lavinia Grays on finding
    your voice in the aftermath of trauma

    So, right off the bat: Tell us what you have in common with Taran Killam and Jim Belushi

    Donnetta Lavinia Grays (laughing): I just did a pilot with those two. Talk about typecasting: I played a lesbian goat farmer, and I will tell you: That was right up my alley. They did not have to go too deep into the costuming because I had all the gear already. I was like, “Seriously, how many flannel shirts do you need? Because I have plenty of them.”

    John Moore: And when do we get to see your network television debut as a lesbian goat farmer?

    Donnetta Lavinia Grays: Sadly, the pilot was not picked up.

    John Moore: That is sad. Well, at least you have your writing to fall back on.

    Donnetta Lavinia Grays: Yes, I do.

    John Moore: You're here in Denver as a playwright, but as we just alluded, you are an accomplished actor as well, having appeared on Broadway in plays by Lisa Kron (Well) and Sarah Ruhl (In the Next Room, or The Vibrator Play). Has your playwriting been guided by working with such iconic women?

    Last Night and the Night Before. Donnetta Lavinia Grays. Photo by John Moore.

    Donnetta Lavinia Grays: What was wonderful about working with Lisa Kron and Sarah Ruhl is that I was in on the process of watching them do the work of new-play development from the start. I saw them in communication with wonderful directors like Leigh Silverman and Les Waters. I watched how they took in information. I watched how their plays evolved. I had the opportunity to just observe and absorb all of that. So I had great teachers from the outset. And from the very beginning of my own writing, I tried to pattern what I saw in them. Over time, I developed my own way of listening and my own way of interpreting notes and feedback. But I got a good foundation from the two of them.

    John Moore: How do you think being an actor has informed you as a playwright?

    Last Night and the Night Before. Valerie Curtis-Newton. Photo by Adams VisCom. Donnetta Lavinia Grays: I’m an actor, so I write for actors. That’s the only way I know how to write. At our first rehearsal here in Denver, my director, Valerie Curtis-Newton, had me read the entire play to her by my lonesome. All of it. Which is interesting, because that's actually how I write. I am constantly talking to myself and trying to see things from each character's point of view. So as traumatic as that experience was, it was sort of familiar to try to see the play from each character's point of view.

    (Pictured above and right: Director Valerie Curtis-Newton with actors Brynn Tucker and Olivia Sullivent. Photo by Adams VisCom.)

    John Moore: You were born in Panama and raised in South Carolina. Growing up must have been interesting for you.

    More Colorado theatre coverage on the DCPA NewsCenter

    Donnetta Lavinia Grays: I am an Army brat. I was born in the Canal Zone - just like John McCain. So we have that in common. My family moved to the Long Island area when my dad was stationed there. But my parents' game plan from the start was for us to have a consistent household, so we moved to South Carolina, where my maternal grandmother lived. We were there from the time I was 5 or 6 up until I graduated from college. So South Carolina is home.

     John Moore: I want to ask you about your name. First there is Lavinia, a character in Titus Andronicus. But also, I have known many people named Gray but never anyone named Grays. You even offset that part of your name on your website. The first thing that came to my mind is that the job of the playwright is to write life in shades of gray. How awesome is it that you live and work inside the world of your name?

    Donnetta Lavinia Grays: I really dig my name. I don't know if my parents understood the poetry of it, or even that Lavinia is a Shakespearean character. I just really enjoy it, rhythmically. When I first signed with my manager, he was like, "The whole name, though? ... Really?" And I was like, "Yeah. The whole thing." Because I also want to celebrate my parents wherever I go. I want them to know that my name is their unique stamp on me – and I carry that with me. It's in honor to them that I don't deviate from any part of it.

    Last Night and the Night Before. Donnetta Lavinia Grays. John Moore: The official description of your play tells us that when a woman named Monique and her 10-year-old daughter, Sam, show up unexpectedly on her sister’s Brooklyn doorstep, it’s the beginning of the end for Rachel and her partner Nadima’s orderly New York lifestyle. It says the family’s deep Southern roots have a long reach. What do you want us to know about Last Night and the Night Before?

    Donnetta Lavinia Grays: Sam has suffered a traumatic event in her life. She is in the unfortunate position of being at the mercy of the adults in her life who are trying to safeguard her from what she has suffered. And now she is having to suffer the consequences of their decisions. I think Last Night and the Night Before is a play about the tremendous, enduring component of love in our lives. It is a play about loss. It is a play about family. And it is a play about finding your singular voice as a woman coming into adulthood. 

    John Moore: Your original title was simply, Sam. Tell us about the change to Last Night and the Night Before.

    Donnetta Lavinia Grays: Throughout the play, Sam plays these childhood hand games as a way of settling her spirit a little bit. One of the games is [singing]: "Last Night and the Night Before, I Met My Baby at the Candy Store." I think that particular phrase also supports the structure of the play as well.

    Last Night and the Night Before. Cajardo Lavinia Grays. Photo by John Moore. John Moore: When I visited your first rehearsal last week, I was taken by actor Cajardo Lindsey's observation that in two decades of performing on Colorado stages, he has never had the opportunity to play an open and vulnerable African-American male until now. This is a guy who has won many awards playing many different characters written by voices from August Wilson to Matthew Lopez. So that has me very intrigued about the character he plays - Sam's father. (Pictured above: Cajardo Lindsey as Reggie.)

    Donnetta Lavinia Grays: The role of Reggie is based on the abundant love that I found in my household. I mean, I grew up just lousy with love. And my father is probably the most gentle creature I have ever met. He is full of humor and warmth - but he is also a tiger. He's not going to let anything happen to his family. He's a man, you know? So I tried to put that on paper. What honestly frustrates me is that we have become very comfortable with the negative depictions of black men we see onstage today. We don't see bigness or a breadth of emotion unless there is an aggression or a hardness attached to it; unless it's hurting someone else. So I wanted to create a full guy who is attached to his emotions. The kind of man I have seen and witnessed in my life but not seen onstage. But I also play into what you expect of a black man, too. I twist the story a little bit.

    Spotlight: Eric Pfeffinger on the comedy of a divided America

    John Moore: This is your first time at the Colorado New Play Summit. What are your first impressions?

    Donnetta Lavinia Grays: This is the most massive facility I have ever been in. It's beautiful. I am super-duper impressed. But more than that, the people here are just lovely.

    John Moore: What does it mean to you to be one of the chosen five playwrights for the 2017 Summit?

    Donnetta Lavinia Grays: I had never been to Colorado, and I had never worked at this theatre before, even as an actor, so it was exciting to be selected. And the other playwrights here are just so exceptional. For my little play to be a part of this is super-exciting to me.

    John Moore: You have said you seek to write strong roles for women of various ages, races, sexual identities and economic standings. So what does it mean to you that the Denver Center has a $1.2 million Women's Voices Fund, and it essentially puts its money where the women are?

    Last Night and the Night Before. Photo by Adams VisComDonnetta Lavinia Grays: It means a lot to me to now be a part of an organization that has such a great mission toward women's voices, because that is something I am passionate about. I grew up in a very loving, very female-centered household, and so strong women are just a part of my culture. So I put those women in my plays. I put working women in my plays. I put women of various incomes in my plays. I want to give them a strong voice wherever they are. It means a lot. 

    (Pictured above and right: Valeka Holt and Jasmine Hughes. Photo by Adams Viscom.)

    John Moore: One of the things that makes this festival unique is the second week of rehearsals and public readings. How do you think that will impact what you will take away from the Summit?

    Donnetta Lavinia Grays: It's nice to have two weeks for development because you get to play. You get to set up these large, beautiful failures for the first week, see how it goes over, get feedback, and then go back and clean some stuff up for the second week. Instead of going home with all of these notes and not knowing how they might land the next time around, you get an actual next opportunity to find out right here.

    John Moore: So why is this the right time for your play?

    Donnetta Lavinia Grays: We are in a violent moment in time right now. And by “violent,” I am talking about an internal kind of disruption. How do we channel the justifiable rage of something that has hit us? How do we manage depression? How do we manage chaos? How do we manage our expectations of each other? How do we care for each other? I think that is a big part of this play, and a big part of where we are at right now. The world feels kind of like an unsafe place. We don't know what's going to happen next, and Sam mirrors that. So how do we get back to a safe place?

    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.


    Last Night and the Night Before

    Written by Donnetta Lavinia Grays
    Directed by Valerie Curtis-Newton
    Dramaturgy by Lauren Whitehead
    Sam: Olivia Sullivent
    Monique: Brynn Tucker
    Reggie: Cajardo Lindsay
    Rachel: Jasmine Hughes
    Nadima: Valeka Holt
    Stage Directions: Tresha Farris

    Selected previous coverage of the 2017 Colorado New Play Summit:
    2017 Summit welcomes dozens for opening rehearsal
    Summit Spotlight: Robert Schenkkan on the dangers of denial
    Summit Spotlight: Lauren Yee lays it all on the free-throw line
    Summit Spotlight: Rogelio Martinez on when world leaders collide
    Summit Spotlight: Donnetta Lavinia Grays on the aftermath of trauma
    Summit Spotlight: Eric Pfeffinger on the fertile comedy of a divided America
    Record four student writers to have plays read at Summit
    DCPA completes field of five 2017 Summit playwrights

    The 12th Annual Colorado New Play Summit
    Launch Weekend: Feb. 18-19
    Festival Weekend: Feb. 24-26
    More details: denvercenter.org/summit

  • Photos: 2017 Summit welcomes dozens for opening rehearsal

    by John Moore | Feb 14, 2017
    Colorado New Play Summit opening-day photo gallery:

    2017 Colorado New Play Summit
    To see more photos, click the forward arrow on the image above. All photos may be downloaded simply free by clicking on them. Photos by John Moore for the DCPA NewsCenter.


    The DCPA Theatre Company today welcomed dozens of actors, playwrights, directors and crew for the first day of rehearsal for the 2017 Colorado New Play Summit. The 12th annual festival will feature readings of new works by Donnetta Lavinia Grays, Rogelio Martinez, Eric Pfeffinger, Robert Schenkkan and Lauren Yee.

    The Colorado New Play Summit presents readings of new plays over two weeks as the playwrights continue to craft their developing works alongside a full, professional creative team. Audiences also are offered the opportunity to see two fully staged world premiere productions that emerged from the previous year's Summit: The Book of Will by Lauren Gunderson and Two Degrees by Tira Palmquist. In addition, the DCPA Theatre Company is presenting the regional premiere of Lucas Hnath's The Christians. Most of the Summit actors are also appearing in one of those three mainstage plays.

    2017 Colorado New Play Summit "I always feel blessed at this time of year when we get to tell new stories that provide windows on the world," said DCPA Artistic Director Kent Thompson. "Our audiences can see how these playwrights and these artists are responding to the world around them today."

    (Pictured right: Olivia Sullivent in rehearsal for 'Last Night and the Night Before.' Photo by John Moore for the DCPA NewsCenter.)

    Tuesday's launch was bittersweet given that the 2017 Summit will be Thompson's last. Thompson, who founded the Summit upon his arrival in Denver in 2006, has announced his resignation effective March 3. 

    "We have workshopped 50 plays at the Summit," Thompson said. "We have had 44 playwrights, including 20 female playwrights. We have had 27 world premieres that began at the Summit, and we have launched two major musicals (The Unsinkable Molly Brown and Sense and Sensibility the Musical)."

    2017 Colorado New Play Summit. Kent ThompsonThree years ago, Thompson (pictured at right) expanded the Summit by a week so that once playwrights get their work in front of an audience, they can take feedback and come back for another round of rehearsals and readings.

    "These two weeks are really about the playwright," Thompson said. 

    The five 2017 Summit readings will take audiences from an American suburb to Brooklyn to China to Nazi Germany to the first meeting between Reagan and Gorbechev.

    New DCPA Associate Artistic Director Nataki Garrett said this is an important time in history for playwrights. "It's the playwright's responsibility to always have their ear not only to the present, but also to the future," she said. "What I am most most excited about the plays we are about to unpack at the Summit is that these playwrights have one foot in the present and one foot in the future. We will get to the other side."

    Here is a look at each featured Summit play, with an introduction from each of the playwrights:

    Last Night and the Night Before
    By Donnetta Lavinia Grays
    2017 Colorado New Play Summit Donetta GraysWhen Monique and her 10-year-old daughter Samantha show up unexpectedly on her sister’s Brooklyn doorstep, it’s the beginning of the end for Rachel and her partner Nadima’s orderly New York lifestyle. Monique is on the run from deep trouble, and her husband is nowhere to be seen. The family’s deep Southern roots have a long reach, and they grab hold of Rachel’s life stronger than she could have ever imagined.

    Says Grays: "It's fitting that today is Valentine's Day because I think this play is squarely about the power and dynamic of love. There are questions around motherhood, what defines motherhood, what defines being a woman, what makes a family, and what loss is as well."

    Directed by Valerie Curtis-Newton
    Dramaturgy by Lauren Whitehead
    Sam: Olivia Sullivent
    Monique: Brynn Tucker
    Reggie: Cajardo Lindsay
    Rachel: Jasmine Hughes
    Nadima: Valeka Holt
    Stage Directions: Tresha Farris   

    Blind Date
    By Rogelio Martinez

    A DCPA Theatre Company commission
    2017 Colorado New Play Summit Rogelio MartinezThis play centers on odd-couple Ronald Reagan and Mikhail Gorbachev's first meeting in Geneva in an attempt to  open up channels between the U.S. and the Soviet Union. Though members of their cabinets try to keep them on track, the leaders steer the conversation to pop culture and films. While the men chip away at the mistrust between their countries, Nancy Reagan and Raisa Gorbachev play out a passive-aggressive tango that mirrors their husbands’ negotiations. This play is the conclusion to Martinez’s Cold War trilogy. Martinez previously wrote the DCPA Theatre Company's world premiere of When Tang Met Laika.

    Says Martinez: "At some point in their lives, both of these men took a huge pivot. They they were from completely different philosophies and had different ideas. But for a small moment in time they became idealists and they believed in something that no one else believed in. Ultimately the play is about trust: Can one person trust the other across the negotiating table?

    Directed by Giovanna Sardelli
    Dramaturgy by Douglas Langworthy
    George Shultz: Liam Craig                                                                                   
    Eduard Shevardnadze: Steve Brady
    Mikhail Gorbachev: Triney Sandavol
    Ronald Reagan: Victor Slezak
    Edmund Morris: Kurt Rhoads
    Raisa Gorbachev: Kathleen McCall
    Nancy Reagan: Nance Williamson
    Peter, Politburo Member, Dimitri Zarechnak: Rodney Lizcano
    Stage Directions: Mehry Eslaminia                            

    Human Error
    By Eric Pfeffinger

    2017 Colorado New Play Summit Eric PfeffingerMadelyn 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 a nine-month’s odyssey of culture shock, clashing values, changing attitudes and unlikely friendships.

    Says Pfeffinger: "One couple's fertilized embryo has been mistakenly implanted in a stranger so, obviously, it's a comedy: One of those classic 'switched embryo' farces. What ensues is the two couples trying to come to understand a kind of people they have never had any interest in knowing before."

    Directed by Jane Page
    Dramaturgy by Amy Jensen
    Madelyn: Caitlin Wise
    Keenan: Robert Manning Jr.
    Jim: John DiAntonio
    Heather: Jennifer Le Blanc
    Dr. Hoskins: Wesley Mann
    Stage Directions: Drew Horwitz               

    Hanussen

    By Robert Schenkkan

    A DCPA Theatre Company commission
    2017 Colorado New Play Summit Robert SchenkkanIn 1930s Berlin, the brilliant mentalist Erik Jan Hanussen captivates German audiences with his ability to read minds and his uncanny predictions of the future. His reputation brings him to the attention of avid occultist Adolph Hitler. While his star seems to be on the rise, the consequences of his next major prediction (and his own true identity) may break his spell. Based on true events. Schenkkan is a Tony Award and Pulitzer Prize-winning playwright (All the Way, The 12).

    Says Schenkkan: "The Weimar Republic seems like a good place to be visiting right now. It is said that Hanussen helped coach Hitler to improve his public speaking. That he cast Hitler's horoscope. And that he may or may not have had some part in the Black Flag Operation known as The Reichstag fire. Hanussen was Jewish. This is a play about denial and avoidance and individual responsibility."

    Directed by Kent Thompson
    Dramaturgy by Liz Engelman
    Hanussen: Jamison Jones
    Hitler: Richard Thieriot
    Wolfe: Kevin Kilner
    Ernerst Juhn, Bruno Frei and Stage Manager: Andy Nagraj
    Fred Marion, Joseph Goebbles, Young Man and Manager: Robert Montano
    Fritzi, Katrina and Maria Paudler: Sarah Schenkkan
    Servant, Rudolf Steinle and Nobleman: Leigh Miller
    Businessman and Kurt Egger: Jason Delane
    Stage Directions: Luke Sorge

    Manford From Half Court, or The Great Leap
    By Lauren Yee

    DCPA Theatre Company Commission
    2017 Colorado New Play Summit Lauren YeeWhen an American college basketball team travels to Beijing for a “friendship” game in the post-Cultural Revolution 1980s, both countries try to tease out the politics behind this newly popular sport. Cultures clash as the Chinese coach tries to pick up moves from the Americans and a Chinese-American player named Manford spies on his opponents.

    Says Yee: "What you need to know about The Great Leap is that my father is 6-foot-1. He grew up in San Francisco Chinatown, and before he had kids, the only thing he was good at was basketball. He was never going to the NBA, but he was good enough that even today in San Francisco, people stop us on the street and say, 'I used to play you in basketball.' And as they walk away, my dad is always like, 'Yeah ... and I kicked his ass.' In the 1980s, my father and his Chinese-American teammates went to China to play a series of exhibition games throughout the country. And he got completely demolished in almost every single game. Apparently in Beijing, they played against all these 7-foot-6, 300-pound gods - and remember, my dad was 6-foot-1. And he was the tallest guy on his team. 'We did not even know when they had the ball,' he said."

    Directed by Josh Brody
    Dramaturgy by Kristen Leahey
    Manford: Kevin Lin
    Saul: Brian Keane
    Wen Chang: Francis Jue
    Connie: Jo Mei
    Stage Directions: Samantha Long

    The 12th Annual Colorado New Play Summit
    Launch Weekend: Feb. 18-19
    Festival Weekend: Feb. 24-26
    More details: denvercenter.org/summit

    More Colorado theatre coverage on the DCPA NewsCenter

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

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