• Video: Take a deeper visual dive into Off-Center's 'The Wild Party'

    by John Moore | Nov 01, 2017

     

    We didn't want to give away too much of the visual surprise while the show was going on, but now that The Wild Party has ended, here's a closer video look at Off-Center's deep dive into immersive theatre at Stanley Marketplace.

    Much like last year's Sweet & Lucky, The Wild Party transported audience members to a different era as guests at a decadent, 360-degree party set in the Roaring Twenties. There they mingled with an unruly mix of vaudevillians, playboys, divas and ingénues in a Manhattan apartment lost in time. Amid all that, a scripted musical played out in which the debauchery turned disastrous as the alcohol set in, the evening wore on and the drama bubbled to the surface.

    More Colorado theatre coverage on the DCPA NewsCenter

    This unusual, jazz- and gin-soaked gathering afforded a completely new kind of experience for visitors to the former airplane hangar Stanley Marketplace, which was completely transformed by the Denver Center's creative teams.

    The Wild Party was directed by Amanda Berg Wilson. The all-local ensemble included Brett Ambler, Leonard Barrett Jr., Allison Caw, Laurence Curry, Diana Dresser, Katie Drinkard, Trent Hines, Drew Horwitz, Wayne Kennedy, Sheryl McCallum, Jenna Moll Reyes, Marco Robinson, Emily Van Fleet, Aaron Vega and Erin Willis. To explore more about the show, go wildpartydenver.com.

    Video above by DCPA Video Producer David Lenk.

    Previous NewsCenter coverage of The Wild Party:
    Meet the cast: Katie Drinkard

    First look at photos from The Wild Party
    2017 Colorado Fall Theatre Preview: Meet Emily Van Fleet
    Cast list: Look who's been invited to The Wild Party
    Off-Center throwing a Wild Party at Stanley Marketplace this fall
    The Wild Party: Five things we learned at first rehearsal
    Vast and visceral: 2017-18 Theatre Company, Off-Center seasons announced

    PHOTOS: THE MAKING OF THE WILD PARTY

    Making of 'The Wild Party'

    (New photos added!) Photos from the making of Off-Center's 'The Wild Party,' from the Opening Night party back to the first day of rehearsal. To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.


    OFFICIAL PRODUCTION PHOTOS:

    The Wild Party
    The official production photos for 'The Wild Party.' To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by Adams VisCom.

  • Video, photos: Your first look at 'The Wild Party'

    by John Moore | Oct 19, 2017

    VIDEO:

    Your first look inside the making of Off-Center's 'The Wild Party.' Just push play. Video by DCPA Video Producer David Lenk.


    The Denver Center's Off-Center programming wing is presenting the Jazz Age musical The Wild Party as a 360-degree immersive theatregoing experience where the 208 audience members are guests at a corker of a gin-soaked Big Apple soiree, right alongside the 14 professional actors in the ensemble. It is staged in what was once an airline hangar at the new Stanley Marketplace in the Stapleton neighborhood. The director is Amanda Berg Wilson and the all-local ensemble includes Brett Ambler, Leonard Barrett Jr., Allison Caw, Laurence Curry, Diana Dresser, Katie Drinkard, Trent Hines, Drew Horwitz, Wayne Kennedy, Sheryl McCallum, Jenna Moll Reyes, Marco Robinson, Emily Van Fleet, Aaron Vega and Erin Willis. The Wild Party runs through Oct. 31 only.

    OPENING-NIGHT PHOTOS:

    Making of 'The Wild Party'

    Photos from the making of Off-Center's 'The Wild Party,' from the Opening Night party back to the first day of rehearsal. To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.


    OFFICIAL PRODUCTION PHOTOS:

    The Wild Party
    The official production photos for 'The Wild Party.' To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by Adams VisCom.


    The Wild Party: Ticket information
    The Wild PartyAt  a glance: You’re invited to leave your inhibitions (and Prohibitions) behind as you join a decadent party in the Roaring Twenties, brought to you by the producers of Sweet & Lucky. 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 gin-soaked immersive musical is the bee’s knees.

    • Music and Lyrics by Michael John LaChiusa
    • Book by Michael John LaChiusa and George C. Wolfe
    • Based on the poem by Joseph Moncure March
    • Oct. 11-31, 2017
    • At The Hangar at Stanley Marketplace, 2501 Dallas St.
    • Visit the official Wild Party web site
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    More Colorado theatre coverage on the DCPA NewsCenter


    Previous NewsCenter and other local media coverage of The Wild Party
    :



    2017 Colorado Fall Theatre Preview: Meet Emily Van Fleet
    Cast list: Look who's been invited to The Wild Party
    Off-Center throwing a Wild Party at Stanley Marketplace this fall
    The Wild Party: Five things we learned at first rehearsal
    Vast and visceral: 2017-18 Theatre Company, Off-Center seasons announced

    Reviews:
    Westword: This one party you should not miss
    5280 Magazine: full of fun, flappers, booze and tunes
    303 Magazine: The Wild Party delivers on the promise of its name

    About the Stanley Marketplace
    The Stanley Marketplace, which opened last year near the Stapleton neighborhood just east of Denver, is a community of like-minded businesses and residents who believe sustainable retail and community development. The more than 22-acre space, which occupies 140,000 square feet, was once Stanley Aviation headquarters, where airplane ejector seats were engineered and manufactured. Today it is an adaptive re-use community hub, home to a park, beer hall and an urban marketplace. All businesses are local and independent. The address is 2501 Dallas St. in Aurora. MAP IT

  • Guns and broses: Tattoos, video and opening-night 'Macbeth' photos

    by John Moore | Sep 28, 2017
    Macbeth: Opening-night photo gallery:

    Making of 'Macbeth'

     

    The photos above are from Opening Night of the DCPA Theatre Company's production of Macbeth on Sept. 22. To see more photos in the gallery above, hover your cursor over the image above and click the forward arrow that appears.

    The evening marked the official reopening of the renovated Space Theatre and was capped by a party in the Seawell Ballroom. Backstage and party photos by John Moore for the DCPA NewsCenter. Photo-booth photos by Bamboo Booth.

    Making of Macbeth video: Actor Skyler Gallun's tattoo application:


    This short, fun time-lapse video shows DCPA Theatre Company makeup artists Taylor Malott and Robin Appleton applying opening-night tattoos to actor Skyler Gallun, who plays poor Donalbain, the hunted son of murdered King Duncan, in Shakespeare's bloody tragedy.

    Some of the 17 actors are naturally tattooed, but the artists say those who are having theirs applied can have them last anywhere from a day to almost a week. Gallun says he has been having his reapplied about every three days. Video by John Moore for the DCPA NewsCenter.

    More Colorado theatre coverage on the DCPA NewsCenter

    Macbeth. Nataki Garrett

    Associate Artistic Director Nataki Garrett addresses those gathered after the Opening Night performance of 'Macbeth,' with some cast members behind her. Photo by John Moore.


    Macbeth
    : Ticket information

    Macbeth_seasonlineup_200x200At a glance: Forget what you know about Shakespeare’s brutal tragedy. Director Robert O’Hara breathes new life (and death) into this raw reimagining for the grand reopening of The Space Theatre. To get what he wants, Macbeth will let nothing stand in his way – not the lives of others or his own well-being. As his obsession takes command of his humanity and his sanity, the death toll rises and his suspicions mount. This ambitious reinvention reminds us that no matter what fate is foretold, the man that chooses to kill must suffer the consequences.

    • Presented by the DCPA Theatre Company
    • Performances through Oct. 29
    • 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
    Macbeth: Previous DCPA NewsCenter coverage
    Video, photos: Your first look at Macbeth
    Perspectives: Macbeth director's recommendation: 'Invest in yes'
    Video: Adam Poss on a man playing Lady Macbeth
    Video: Ariel Shafir on the young new warrior face of Macbeth
    The masculinity of Macbeth
    Macbeth
    at a time when everything is shifting
    Cast announced for Robert O’Hara’s reimagined Macbeth
    Video, photos: Our coverage of the Space Theatre opening


    Video: Your first look at the DCPA Theatre Company's Macbeth:



    Video above by DCPA Video Producer David Lenk. 

  • Video, photos: Your first look at DCPA's 'Macbeth'

    by John Moore | Sep 20, 2017



    Without changing a word of Shakespeare's text, DCPA Theatre Company Director Robert O’Hara breathes new life (and death) into his raw reimagining of Macbeth, which will mark the grand reopening of the in-the-round Space Theatre. Video above by DCPA
    Video Producer David Lenk. 

    Production photos:

    Macbeth
    To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by Adams VisCom.

    More Colorado theatre coverage on the DCPA NewsCenter


    Macbeth: Ticket information
    Macbeth_seasonlineup_200x200At a glance: Forget what you know about Shakespeare’s brutal tragedy. Director Robert O’Hara breathes new life (and death) into this raw reimagining for the grand reopening of The Space Theatre. To get what he wants, Macbeth will let nothing stand in his way – not the lives of others or his own well-being. As his obsession takes command of his humanity and his sanity, the death toll rises and his suspicions mount. This ambitious reinvention reminds us that no matter what fate is foretold, the man that chooses to kill must suffer the consequences.

    • Presented by the DCPA Theatre Company
    • Performances through Oct. 29
    • 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
    DCPA Macbeth. Adams Viscom. Scenie Design by Jason Sherwood.
    DCPA Theatre Company's 'Macbeth.' Scenic Design by Jason Sherwood. Photo by Adams Viscom.

    Macbeth
    : Previous DCPA NewsCenter coverage

    Perspectives: Macbeth director's recommendation: 'Invest in yes'
    Video: Adam Poss on a man playing Lady Macbeth
    Video: Ariel Shafir on the young new warrior face of Macbeth
    The masculinity of Macbeth
    Macbeth
    at a time when everything is shifting
    Cast announced for Robert O’Hara’s reimagined Macbeth
    Video, photos: Our coverage of the Space Theatre opening

    Making of Macbeth: Backstage photo gallery

    Making of 'Macbeth'

    Photos from the making of Robert O'Hara's 'Macbeth' for the DCPA Theatre Company. To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.
  • 'The Wild Party': Five things we learned at first rehearsal

    by John Moore | Sep 15, 2017
    Making of 'The Wild Party'

    Photos from the first rehearsal for Off-Center's upcoming off-site, immersive production of 'The Wild Party.' To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.


    The audience will become, like the characters in the play,
    'a roomful of strangers who call themselves friends.'

    By John Moore
    Senior Arts Journalist

    The Denver Center is preparing to present the Jazz Age musical The Wild Party as a 360-degree immersive theatregoing experience where the 208 audience members are guests at a corker of a gin-soaked Big Apple soiree, right alongside the 14 professional actors in the ensemble. It will be staged in what was once an airline hangar at the new Stanley Marketplace in the Stapleton neighborhood.

    And that is not at all how composer Michael John LaChiusa originally imagined his piece to be staged. Like most musicals, The Wild Party was first presented in front of an audience separated from the stage by theatre’s nearly ubiquitous, invisible “fourth wall.”

    There’s no wall here.

    “Our production is going to put our audience directly in the Jazz Age,” two-time True West Award-winning Director Amanda Berg Wilson said Tuesday at the company’s first rehearsal for the show opening Oct. 11.

    The Wild Party. Amanda Berg Wilson. Photo by John MooreThe DCPA’s adventurous Off-Center wing is known for creating original nontraditional work in nontraditional spaces, most notably last year’s sprawling Sweet & Lucky, which played out in a huge warehouse north of downtown. The Wild Party will be its first musical, and first scripted work.

    The musical is based on a scandalous, book-length poem written by Robert Frost protege Joseph Moncure March in 1926. It was described as “a kind of obscene, more destructive take on Shakespeare’s A Midsummer Night’s Dream by Scott Miller, Artistic Director of St. Louis’ New Line Theatre. The poem paints a vivid and decadent picture of Manhattan just before the market crash. It centers on the damaged, reckless relationship between a dancer named Queenie and a vaudeville clown named Burrs. The audience here will witness many personal dramas unfold up close and in three dimensions.

    The Wild Party. Allison Caw, Marco Robinson, Katie Drinkard and Jenna Moll Reyes. Photo by John Moore.“The audience is not going to be passive witnesses to the party,” said Wilson. “They are going to be integral components of the party – and its conspirators. So we are going to encourage them to help mix the bathtub gin; to console the coke-snorting wannabe starlet; to read love letters; to be pulled into boiler rooms for intimate moments; to see things they are not supposed to see.” In the end, the audience will become, like the characters in the play, "a roomful of strangers who call themselves friends." 

    Which helps explains why this is a 21-and-over evening. It’s a party, after all. And apparently a wild one.

    “Our goal with each audience member is that they are going to experience a kind of release that you only have when you have had a really wild night," Wilson said.

    Here are five more things we learned about 'The Wild Party' at the first rehearsal:

    NUMBER 1A Wild Party PoemThe source poem, which went virtually unread for two years because no publisher would touch it, inspired iconic beat writer William Burroughs to become a writer. “It is a witty and risqué poem about two vaudeville performers who fight, make up, throw a party and flirt with danger,” Wilson said. “It name-drops Martha Graham and Langston Hughes, and the book for the musical is by George C. Wolfe (the Public Theatre icon who first directed Angels in America). The story is set at a time when America was waking up to its identity as a wild and creative nation that was emerging into its own sense of self separate from Europe. That sense of self was really born in vaudeville and speakeasies and the avant-garde of the 1920s when jazz, arguably the most American of art forms, was being born. These are people who are not only trying to figure out who they love but who they are and who they will present as. Ambisextrous, Jewish, uptown, downtown, black and white identities are all explored in these jazz-soaked numbers.”

    NUMBER 2The audience will be encouraged (but not required) to dress up for the party. Says Costume Designer Meghan Anderson Doyle: “I think we get the best of the 1920s in this piece because we get the glitz and glamour of beaded dresses and tuxedos and dinner jackets and champagne, and then we get the soft sensuality and the vulnerability of stockings and garter belts and bathtub gin.”

    NUMBER 3The Wild Party. David Nehls. Photo by John Moore.The Music Director is David Nehls (pictured right),  who has helmed the music for most every musical at the Arvada Center for more than a decade. "I am very excited that we have an amazing, seven-piece live band," Nehls said. One of those players is Trent Hines, himself an active Music Director in the local theatre community. For this production, Hines is also being integrated into the story as an actor.

    NUMBER 4The cast is made up entirely of local actors. Wilson, also the founder of a Boulder theatre company called The Catamounts, performed in Sweet & Lucky alongside Diana Dresser, Jenna Moll Reyes and The Wild Party choreographer Patrick Mueller. “Having an all-local cast is evidence that we really do have the talent right here to pull off a show like this,” said Wilson. “And I think it is great that as the Denver Center continues to experiment with immersive theatre, we are developing a base of talent right here in Denver with an increasing set of tools and vocabulary so that we can keep making this kind of work. And we are discovering that audiences are really hungry for it.”

    NUMBER 5The man charged with turning the airplane hangar at Stanley Marketplace into a New York apartment is Jason Sherwood, who first came to the Denver Center in 2014 as an assistant on The Unsinkable Molly Brown and returned last year as the lead Scenic Designer for Frankenstein. This season, he will create the worlds for the Denver Center’s The Wild Party, Macbeth and The Who's Tommy.

    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.



    The Wild Party: Cast list

    • Brett Ambler: Gold
    • Leonard Barrett Jr.: Oscar D’Armano
    • Allison Caw: Sally
    • Laurence Curry: Black
    • Diana Dresser: Miss Madelaine True
    • Katie Drinkard: Mae
    • Trent Hines: Phil D’Armano
    • Drew Horwitz: Burrs
    • Wayne Kennedy: Goldberg
    • Sheryl McCallum: Dolores
    • Jenna Moll Reyes: Nadine
    • Marco Robinson: Eddie Mackrel
    • Emily Van Fleet: Queenie
    • Aaron Vega: Jackie
    • Erin Willis: Kate


    The Wild Party:
    Ticket information

    The Wild PartyAt  a glance: You’re invited to leave your inhibitions (and Prohibitions) behind as you join a decadent party in the Roaring Twenties, brought to you by the producers of Sweet & Lucky. 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 gin-soaked immersive musical is the bee’s knees.

    • Music and Lyrics by Michael John LaChiusa
    • Book by Michael John LaChiusa and George C. Wolfe
    • Based on the poem by Joseph Moncure March
    • Oct. 11-31, 2017
    • At The Hangar at Stanley Marketplace, 2501 Dallas St.
    • Visit the official Wild Party web site
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    More Colorado theatre coverage on the DCPA NewsCenter


    Previous NewsCenter coverage of The Wild Party
    :



    2017 Colorado Fall Theatre Preview: Meet Emily Van Fleet
    Cast list: Look who's been invited to The Wild Party
    Off-Center throwing a Wild Party at Stanley Marketplace this fall
    Vast and visceral: 2017-18 Theatre Company, Off-Center seasons announced

    About the Stanley Marketplace
    The Stanley Marketplace, which opened last year near the Stapleton neighborhood just east of Denver, is a community of like-minded businesses and residents who believe sustainable retail and community development. The more than 22-acre space, which occupies 140,000 square feet, was once Stanley Aviation headquarters, where airplane ejector seats were engineered and manufactured. Today it is an adaptive re-use community hub, home to a park, beer hall and an urban marketplace. All businesses are local and independent. The address is 2501 Dallas St. in Aurora. MAP IT
  • Cast announced for Robert O’Hara’s reimagined 'Macbeth'

    by John Moore | Aug 28, 2017

    Rehearsal for Robert O'Hara's 'Macbeth.' Photo by John Moore. Rehearsal for Robert O'Hara's 'Macbeth.' Photo by John Moore.


    Robert O'Hara's story is told from the point of view of a warlock coven that gathers to recreate the tale of Macbeth.

    The DCPA Theatre Company has announced the full cast and creative team for Robert O’Hara’s raw and reimagined take on Shakespeare’s Macbeth, which opens the company's 38th season with an all-male cast on Sept. 22.

    In preparing for the production, the director was struck by Banquo’s line referencing the witches: “You should be women, And yet your beards forbid me to interpret that you are so.”

    “That inherent contradiction stuck in my head,” O’Hara said. “And right then I was like, ‘Well maybe they're not women. Maybe they are men.’ ” That opened the door for a concept told from the point of view of the supernatural: Specifically, a warlock coven that gathers to recreate the tale of Macbeth.

    “People have asked me, ‘What will an all-male Macbeth do to the story?’” O'Hara said. “I tell them, ‘I hope it will do exactly what Shakespeare’s work should always do – give some insight into the world in which we are living today.’ ”

    Macbeth castFrom left: Colorado natives Skyler Gallun (Donalbain) and Gareth Saxe (Duncan), with Lady M (Adam Poss) and Macbeth (Ariel Shafir).

    The production will feature, in alphabetical order:

    • Rob Fenton (Malcolm/Ensemble)
    • Kim Fischer (Second Warlock/Ensemble)
    • Thaddeus Fitzpatrick (Third Warlock/Ensemble)
    • Keith D. Gallagher (Seyton/Ensemble)
    • Skyler Gallun (Donalbain/Ensemble)
    • Joel Reuben Ganz (Macduff/Ensemble)
    • Joe Goldammer (First Warlock/Ensemble)
    • Steven Cole Hughes (Doctor of the Psychic/Ensemble)
    • Alec Hynes (Banquo/Ensemble)
    • Erik Kochenberger (Hecate Two/Ensemble)
    • Daniel Kyri (Lady Macduff/Ensemble)
    • Jesse Pennington (Rosse/Ensemble)
    • Adam Poss (Lady Macbeth/Ensemble)
    • Gareth Saxe (Duncan/Ensemble)
    • Ariel Shafir (Macbeth/Ensemble)
    • Travis Turner (Lennox/Ensemble)
    • Danny Zuhlke (Fleance/Ensemble)

    Several cast members have appeared in previous DCPA productions or have longstanding Colorado ties. Hughes is a graduate of the Denver Center's masters program and has appeared in 14 Theatre Company productions. Most recently he was seen in DCPA Cabaret's production of An Act of God in the Garner-Galleria Theatre.

    Saxe is a graduate of Denver East High School and Colorado College who has appeared in Theatre Company productions of The Homecoming and Heartbreak House. He was most recently seen as Scar in the national touring production of The Lion King. (Watch our video interview here.)

    Gallun is a graduate of Denver's George Washington High School who previously appeared here in Lord of the Flies. Kochenberger is a graduate of East High School in Pueblo. Fitzpatrick was last seen in The Book off Will.   

    More Colorado theatre coverage on the DCPA NewsCenter

    The creative team includes:

    • Robert O'Hara (Director)
    • Jason Sherwood (Scenic Designer)
    • Dede M. Ayite (Costume Designer)
    • Alex Jainchill (Lighting Designer)
    • Lindsay Jones (Original Music and Sound Designer)
    • Douglas Langworthy (Dramaturgy)
    • Kathryn G. Maes (vocal and dialect coaching)
    • Kurt Van Raden (Stage Manager)
    • D. Lynn Reiland (Assistant Stage Manager)

    Macbeth also marks the reopening of the newly renovated Space Theatre. The nearly 40-year-old venue has been completely rebuilt to enhance the world-class experience for audiences and artists alike.


    Macbeth
    : Ticket information

    Macbeth_seasonlineup_200x200At a glance: Forget what you know about Shakespeare’s brutal tragedy. Director Robert O’Hara breathes new life (and death) into this raw reimagining for the grand reopening of The Space Theatre. To get what he wants, Macbeth will let nothing stand in his way – not the lives of others or his own well-being. As his obsession takes command of his humanity and his sanity, the death toll rises and his suspicions mount. This ambitious reinvention reminds us that no matter what fate is foretold, the man that chooses to kill must suffer the consequences.
    • Presented bythe DCPA Theatre Company
    • First performance Sept. 15, through Oct. 29
    • 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
    Macbeth: Previous DCPA NewsCenter coverage
    Macbeth at a time when everything is shifting
    Video, photos: Our coverage of the Space Theatre opening


    Making of Macbeth: Full photo gallery:

    Making of 'Macbeth'

    Photos from the first day of rehearsal for Robert O'Hara's 'Macbeth' for the DCPA Theatre Company, along with behind-the-scenes process shots. To see more, click the forward arrow in the image above. Photos by John Moore for the DCPA NewsCenter.
  • 'Macbeth' at a time when everything is shifting

    by John Moore | Aug 17, 2017
    Making of 'Macbeth'

    Photos from the first day of rehearsal for Robert O'Hara's 'Macbeth' for the DCPA Theatre Company. To see more, click the forward arrow in the image above. 'Macbeth' plays Sept. 15-Oct. 29 in the newly reopened Space Theatre. Photos by John Moore for the DCPA NewsCenter.

    Rehearsals open in a divided country roiling and reeling from violence that is becoming commonplace in its streets

    By John Moore
    Senior Arts Journalist

    The DCPA Theatre Company opened rehearsals Tuesday for the first offering of its 39th season in a deeply divided country that is roiling and reeling from violence that is again becoming commonplace in its streets.

    That makes it both important – and poignant – to be re-examining the troubled world of Shakespeare’s bloodthirsty tragedy of Macbeth right now through the lens of a rising, rebel director named Robert O’Hara, DCPA Associate Artistic Director Nataki Garrett said in an impassioned welcome to cast, crew, staff and guests.

    Macbeth Nataki Garrett“Everything about the way we live is shifting,” Garrett said. “And that’s why this is the perfect time to be doing this play right now, in the middle of the shift. We are in this chrysalis right now, trying to figure out who we are as a people, who we are as a theatre community, who we are as creative people,” Garrett said.

    “Especially in light of where we are right now, particularly in the United States, this is what you do: You do this play, right now, because Shakespeare has this uncanny way of reaching forward and back at the same time, and making us really think about why we think the things we do. Who put those ideas there? And is there a way to have a different way of thinking than the way we think now."

    Garrett promised those gathered that O’Hara’s Macbeth “ain’t your grandmama's Macbeth.” O’Hara’s Macbeth is set entirely at the Pit of Acheron, a swamp near Macbeth's castle where the witches are ordered to bring Macbeth. Only in this telling it’s years, perhaps centuries later, and the witches are warlocks.

    “I thought, what if every so often, a bunch of witches go off and tell that messed-up story about that guy who went off killing people just because they told him he was going to be king? That would be interesting …  and crazy,” O’Hara said.

    More Colorado theatre coverage on the DCPA NewsCenter

    "We tend to demonize the witches. We blame them for what Macbeth does in the story. They always got the short end of the stick. So, what if our play is about giving those ancient witches a renewed voice, through this ritual?”

    O’Hara’s Macbeth will have a very modern, almost futuristic element, “but also one that honors the past,” said award-winning scenic designer Jason Sherwood. Dede M. Ayite's costumes will offer “lots of skin, and lots of leather,” she said, “and when we transition into the actual storytelling we will have pieces that reflect Jacobean garments.” Alex Jainchill’s lighting design will incorporate modern technologies and incorporate dub-step music from sound designer Lindsay Jones.

    Video, photos: Our coverage of the Space Theatre opening

    “Robert called me last week and said, ‘Hey did I tell you that you were writing a score that's like Game of Thrones?’ And I was like, 'No, you did not.' So I'm writing a score that's like Game of Thrones, along with rap music, lots of sound effects and other really exciting stuff.”

    O’Hara and Garrett hope this reimagined way of looking at Macbeth will give audiences another way of contextualizing the shocking daily headlines that are becoming more and more difficult to process.

    “We are a nation that moves and evolves. Said Garrett. “We are a theatre company that moves and evolves, and it is moving before our very eyes right now. And so I am very excited to have this play open our new Space Theatre, open our season and open our minds."

    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.


    Macbeth
    : Ticket information

    Macbeth_seasonlineup_200x200At a glance: Forget what you know about Shakespeare’s brutal tragedy. Director Robert O’Hara breathes new life (and death) into this raw reimagining for the grand reopening of The Space Theatre. To get what he wants, Macbeth will let nothing stand in his way – not the lives of others or his own well-being. As his obsession takes command of his humanity and his sanity, the death toll rises and his suspicions mount. This ambitious reinvention reminds us that no matter what fate is foretold, the man that chooses to kill must suffer the consequences.
    • Presented bythe DCPA Theatre Company
    • First performance Sept. 15, through Oct. 29
    • 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
  • Cast list: Look who's been invited to 'The Wild Party'

    by John Moore | Jul 06, 2017
    Wild Party
    From left: Wayne Kennedy, Sheryl McCallum, Diana Dresser and Erin Willis.


    Off-Center, the unconventional and most adventurous wing of Denver Center programming, has announced casting for its next off-site collaboration and first full-scale musical production: An immersive, 360-degree staging of Michael John LaChiusa’s jazz musical The Wild Party to run Oct. 11-31 at Stanley Marketplace.

    The Wild Party, which was nominated for seven Tony Awards when it appeared on Broadway in 2000, will feature Denver favorites Brett Ambler, Leonard Barrett Jr., Allison Caw, Laurence Curry, Diana Dresser, Katie Drinkard, Trent Hines, Drew Horwitz, Wayne Kennedy, Sheryl McCallum, Jenna Moll Reyes, Marco Robinson, Emily Van Fleet, Aaron Vega and Erin Willis.

    Barrett is set to star as Daddy Warbucks in Phamaly Theatre Company's Annie, opening Saturday at the Denver Center's Stage Theatre. Dresser recently appeared in Off-Center's Sweet & Lucky and the Theatre Company's All the Way. Curry appeared in the Theatre Company's All the Way; Willis in The Secret Garden; and Horwitz in As You Like It. Jenna Moll Reyes is a DCPA Teaching Artist who performs in the Shakespeare in the Parking Lot schools program. Reyes (Bus Stop) and Van Fleet (The Drowning Girls) were members of the Arvada Center's inaugural Black Box Repertory Ensemble. Drinkard returns to the Denver Center after having appeared in the Galleria Theatre's Forbidden Broadway: Alive & Kicking.

    Kennedy is a 30-year veteran of Boulder's BDT Stage, where he is currently playing Jacob in the critically acclaimed Joseph and the Amazing Technicolor Dreamcoat. Ambler just appeared in the Arvada Center's Jesus Christ Superstar. Caw just worked with Ethelyn Friend on an improvised opera called “_____”, An Opera, in Lafayette. McCallum, a Denver native, was in the Broadway company of The Lion King. Robinson is an actor and professional photographer whose stage credits include playing the Balladeer/Lee Harvey Oswald in the Colorado Springs Fine Arts Center's Assassins. Vega is a new Denver resident who most recently worked with the Human Race Theatre Company in Dayton, Ohio.

    The previously announced director of this fully immersive staging is Amanda Berg Wilson, who is the artistic director of the Boulder-based company The Catamounts. She was a cast member for Off-Center's Sweet & Lucky last year and is a 2016 True West Award winner.

    The music will be directed by David Nehls, the Arvada Center's former longtime resident music director. Nehls and Hines are currently sharing the music direction for Phamaly, which creates performance opportunities for actors with disabilities.

    The choreographer is Patrick Mueller. The production will feature designs by Jason Sherwood (Scenic Designer), Meghan Anderson Doyle (Costume Designer), Jason Lynch (Lighting Designer), Sean Hagerty (Sound Designer), and Erin Ramsey (Fight Coordinator).

    “Last summer, Off-Center took over a 16,000-square foot warehouse in RiNo to bring you Sweet & Lucky. This fall, we’re breaking out the bathtub gin and heading to the Hangar at Stanley to tackle the first musical in Off-Center’s history,” said Off-Center curator Charlie Miller.

    “Much like Sweet & Lucky, The Wild Party will transport audience members to a different era where they will be immersed in the story as guests at Queenie and Burr’s party. The live band will be swinging, and we’ll find out what happens when you let down your guard and give yourself over to the party. I am so excited to dive into this piece with our incredible team of collaborators.”

    This production continues the partnership forged between Off-Center and Stanley, which began with the adventure comedy Travelers of the Lost Dimension. That show ran throughout the public spaces at Stanley through May 21.

    The Stanley Marketplace, which opened last year near the Stapleton neighborhood just east of Denver, is a community of like-minded businesses and residents who believe sustainable retail and community development. The more than 22-acre space, which occupies 140,000 square feet, was once Stanley Aviation headquarters, where airplane ejector seats were engineered and manufactured. Today it is an adaptive re-use community hub, home to a park, beer hall and an urban marketplace. All businesses are local and independent. The address is 2501 Dallas St. in Aurora. MAP IT

    (Note: The Michael John LaChiusa adaptation of 'The Wild Party' is very different from the Andrew Lippa version that was presented by Ignite Theatre at the Aurora Fox.)

    The Wild Party: Cast list

    • Brett Ambler: Gold
    • Leonard Barrett Jr.: Oscar D’Armano
    • Allison Caw: Sally
    • Laurence Curry: Black
    • Diana Dresser: Miss Madelaine True
    • Katie Drinkard: Mae
    • Trent Hines: Phil D’Armano
    • Drew Horwitz: Burrs
    • Wayne Kennedy: Goldberg
    • Sheryl McCallum: Dolores
    • Jenna Moll Reyes: Nadine
    • Marco Robinson: Eddie Mackrel
    • Emily Van Fleet: Queenie
    • Aaron Vega: Jackie
    • Erin Willis: Kate


    The Wild Party:
    Ticket information

    The Wild PartyOfficial show description: You’re invited to leave your inhibitions (and Prohibitions) behind as you join a decadent party in the Roaring Twenties, brought to you by the producers of Sweet & Lucky. 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 gin-soaked immersive musical is the bee’s knees.

    • Music and Lyrics by Michael John LaChiusa
    • Book by Michael John LaChiusa and George C. Wolfe
    • Based on the poem by Joseph Moncure March
    • Oct. 11-31, 2017
    • At The Hangar at Stanley Marketplace, 2501 Dallas St.
    • For more information including ticket pre-sale and other exclusive experiences, visit WildPartyDenver.com

    More Colorado theatre coverage on the DCPA NewsCenter

    Laurence Curry
    File photo of Laurence Curry from his days as a teacher and choreographer for the Denver Center Theater Academy and the National Theatre Conservatory.
  • 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.

     

     

  • 2016 True West Award: Jason Sherwood

    by John Moore | Dec 10, 2016

    True West Award. The Coffin. Frankenstein. Jason Sherwood



    30 DAYS, 30 BOUQUETS

    Day 10:
    Jason Sherwood

         Scenic Designer, DCPA Theatre Company's Frankenstein

     
    When the audience walked into the Stage Theatre before Frankenstein even began, they could see it: An enormous mud floor with a big, open grave dug into the middle of it. And in the epic opening moment of the play, a massive wooden coffin as big as a house is hoisted out from the ground and rises slowly to reveal the mad scientist’s newly animated Creature standing underneath it, dazed from the first stages of embryonic consciousness.

    “It said to the audience from the very beginning that is an unnatural act to pull this thing out of the ground,” said Frankenstein Director Sam Buntrock.

    This “thing” - a monster of its own kind created from the imagination of groundbreaking Scenic Designer Jason Sherwood - would serve as Ground Zero for the alchemy of life, death and re-birth in Mary Shelley’s decidedly unnatural world where the roles of God and man, creator and creature are blended into a kind of operatic chaos.

    Frankenstein video: The coffin in the scene shop:

     

    This monstrous coffin, a wooden amalgam of many disparate parts, was playfully hyperbolized not only to toy with the audience’s perspective, but more literally because it represented 10 coffins – one for each of the corpses from whom The Creature was assembled.  

    Frankenstein Coffin. True West AwardsAnd it never left the audience’s sight. When the action moved, the coffin morphed with it, serving as an ingenious projection screen with complimentary effects designed by Charlie I. Miller and lighting designer Brian Tovar.

    Breathing life into the Frankenstein set: 'It's alive!'

    “So when The Creature goes into the woods, the coffin grows greenery, and moss attaches to it,” Buntrock said. “When he sets fire to the cabin, it burns, too. And when we go to the Alps, which is where the central scene in the play takes place, the coffin becomes the Alps." In a stunning transformation, the coffin comes down from above and the climactic fight between the two men occurs on top of it. “And in the end, it engulfs them," Buntrock said.

    “This served not only as a constant reminder of Victor's act of obscene creation, but also of the death dance that it locked the two main characters into.”

    Frankenstein video: The coffin on the stage:

     

    It was breathtaking – a set piece worthy of its own curtain bow. And it was just one innovative way Sherwood played with perspective. For example, when The Creature murders Frankenstein's 6-year-old brother and leaves him in a small boat, Sherwood did not just have the boat float up to the doctor with a little body inside that an audience would not have been able to see. Sherwood instead had the boat shoot up vertically from below like a tectonic plate, allowing us to fully see the wee corpse at the same time Frankenstein does.

    More Colorado theatre coverage on the DCPA NewsCenter

    “Jason’s scenic design for Frankenstein was audacious in its simplicity, eschewing naturalism to allow a continuous and uninterrupted flow of action,” said Buntrock. Sherwood created fire, rain and snow. He was not safe, timid or even slightly subtle. “No, this was life and death. Big and bold,” said Buntrock.

    Just like Shelley’s gothic masterpiece.

    Jason

    ABOUT THE TRUE WEST AWARDS
    The True West Awards, now in their 16th year, began as the Denver Post Ovation Awards in 2001. DCPA Senior Arts Journalist John Moore — along with additional voices from around the state — celebrate the entire local theatre community by recognizing 30 achievements from 2016 over 30 days, without categories or nominations. 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. His daily coverage of the DCPA and the Colorado theatre community can be found at MyDenverCenter.Org

    THE 2016 TRUE WEST AWARDS
    Day 1: Jada Suzanne Dixon
    Day 2: Robert Michael Sanders
    Day 3: After Orlando
    Day 4: Michael Morgan
    Day 5: Beth Beyer
    Day 6: Patrick Elkins-Zeglarski
    Day 7: donnie l. betts
    Day 8: Night of the Living Dead
    Day 9: The Killer Kids of Miscast
    Day 10: Jason Sherwood
    Day 11: Leslie O'Carroll and Steve Wilson
    Day 12: Jonathan Scott-McKean
    Day 13: Jake Mendes
    Day 14: Charles R. MacLeod
    Day 15: Patty Yaconis
    Day 16: Daniel Langhoff
    Day 17: Colorado Shakespeare Festival costumers
    Day 18: Miriam Suzanne
    Day 19: Yolanda Ortega
    Day 20: Diana Ben-Kiki
    Day 21: Jeff Neuman
    Day 22: Gabriella Cavallero
    Day 23: Matthew Campbell
    Day 24: Sharon Kay White
    Day 25: John Hauser
    Day 26: Lon Winston
    Day 27: Jason Ducat
    Day 28: Sam Gregory
    Day 29: Warren Sherrill
    Day 30: The Women Who Run Theatre in Boulder
    Theatre Person of the Year Billie McBride

    Frankenstein. Jason Sherwood. Mark Junek. Adams VisCom'Frankenstein,' designed by Jason Sherwood and featuring Mark Junek, above, who alternated with Sullivan Jones playing Frankenstein and The Creature. Photo by  Adams VisCom.
  • Photos: Opening Night of 'Frankenstein'

    by John Moore | Oct 11, 2016
    'Frankenstein' in Denver
    To see more photos from Opening Night of 'Frankenstein,' click the forward arrow on the image above.


    The DCPA NewsCenter takes you backstage before all DCPA Theatre Company opening nights, offering a glimpse of the actors in preparation, and following through to the post-show celebration.

    In the Theatre Company’s new staging of Frankenstein, which opened on Oct. 7, leading actors Sullivan Jones and Mark Junek alternate nightly playing the roles of Victor Frankenstein and his creation.

    Our backstage visit includes watching the actors being fit with their wigs, as well as Junek inserting the colored contact lens that makes it look as if the monster has one yellow eye. When Jones plays the Creature, he wears the yellow lenses on both eyes. In the source novel, author Mary Shelley makes mention of the Creature having yellow eyes.

    Photos by John Moore and McKenzie Kielman for the DCPA NewsCenter.


    Frankenstein: Ticket information
    Frankenstein• Through Oct. 30
    • Stage Theatre
    • ASL interpreted, Audio-described and Open Captioned performance: Oct. 23
    • Tickets: 303-893-4100 or BUY ONLINE
    • Groups: Call 303-446-4829 

    Previous NewsCenter coverage:
    Video series: Inside look at the making of Frankenstein
    Five things we learned about Frankenstein at Perspectives
    Photos, video: Your first look at our montage of Frankenstein scenes
    Frankenstein
    : On the making of a two-headed monster
    Frankenstein and race: It IS a matter of black and white
    Breathing life into the Frankenstein set: 'It's alive!'
    A Frankenstein 'that will make The Bible look subtle'
    How Danny Boyle infused new life into Frankenstein
    Casting set for Frankenstein and The Glass Menagerie
    Introducing DCPA Theatre Company's 2016-17 season artwork
    Kent Thompson on The Bard, The Creature and the soul of his audience
    2016-17 season announcement

    More 2016-17 DCPA Theatre Company 'Meet the Cast' profiles:

    Meet Mark Junek
    Meet Sullivan Jones
    Meet Jessica Robblee


    Follow the DCPA on social media @DenverCenter and through the DCPA News Center.

    'Frankenstein' cast members, from left, Erin Willis, Brynn Tucker and Nellesa Walthour. Photo by John Moore for the DCPA NewsCenter.

  • Five things we learned about 'Frankenstein'

    by John Moore | Oct 05, 2016

    From left: Kevin Copenhaver (costumes), Topher Blair (projections), Jason Sherwood (scenic design), Brian Tovar (lighting), Sam Buntrock (director), Curtis Craig (sound), and actors Max Woertendyke, Molly Carden and Thaddeus Fitzpatrick. Photo by McKenzie Kielman for the DCPA NewsCenter.


    "Perspectives" is a series of free conversations with DCPA Theatre Company cast and crew on the evening of each show's first preview performance (except A Christmas Carol). On Sept. 30, DCPA Senior Arts Journalist John Moore was joined by nine members of the Frankenstein team. Here’s some of what we learned:

    1 PerspectivesThis is a stage play, but it might as well be an action film. Playwright Nick Dear's script consists of 30 scenes, but they take less than two hours to play out. "The first 20 scenes are over in the first half an hour," Director Sam Buntrock said. And why the eventual change in tempo? “At the beginning of the story, the Creature has almost no language skills, so the first five scenes have almost no dialogue. But as the Creature experiences more of the world, and as he learns to communicate better, the play elongates and becomes more conventional." 

    2 PerspectivesCostumer Kevin Copenhaver said the creative team was not interested in furthering the popular cultural depiction of Frankenstein as the neck-bolted, square-headed monster we know from the 1931 Boris Karloff film. Nor the more recent National Theatre approach in London, which turned the monster into something of a mod zipperhead. “When reading Mary Shelley’s book, I was really struck by when she said the Creature had yellow eyes,” Copenhaver said. So the two actors who play the Creature in Denver will be wearing yellow color contacts, and their teeth will be fitted with iron. “But otherwise the monster will appear to be disturbingly normal,” Copenhaver said, in part to force audiences to confront their own feelings about difference and “otherness.” The less freakish this Creature looks, the more disturbing it should be that this society rejects him anyway. (Photo: Sullivan Jones and Charlie Korman by AdamsVisCom.)

    3 PerspectivesJason Sherwood admitted that his vibrant scenic deign, which features one massive (and surprise) overhanging set piece, created a nightmare for Lighting Designer Brian Tovar and others on the creative team. Everywhere a lighting designer might normally expect to place lights, Sherwood has invaded his space with hanging set pieces, as well as accommodation for rain, snow and fire. “The whole team had to get creative all around because of me, and I apologize for that,” Sherwood said with a laugh.

    More Colorado theatre coverage on the DCPA NewsCenter

    4 Perspectives Frankenstein PerspectivesActors Sullivan Jones and Mark Junek, the actors who will alternate playing the roles of Dr. Frankenstein and his Creature, have been encouraged to go their own ways – and that freedom affects everyone else on and around the stage. Said ensemble actor Molly Carden: “One thing Sam kept repeating to us was, 'If you are going to have two people play the same role on different nights, you don't want it to be the same performance. That would be antithetical to the whole premise.' ” Or, as Buntrock puts it: “I can't cram one person's performance into another person's. Sometimes I have to keep reminding myself that this show is not the same for both people. It can't be.” That freedom not only means two actors interpreting the text differently, but also having the liberty to move about differently on the stage. That requires flexibility from the acting ensemble, the audience and even the technical crew - specifically, the person operating the lights. “That’s because Mark and Sullivan aren’t always in the same place on the stage each night, even though they are saying the same words,” actor Thaddeus Fitzpatrick said. (Photo: Sam Buntrock by By McKenzie Kielman for the DCPA NewsCenter.)

    5 PerspectivesDenver Center newcomer Max Woertendyke plays a gentleman named Felix de Lacey, a man who is devoted to his family and mistress. In fact, Felix is kind, educated, and gentle to all — save for the poor monster. Just a few months ago, Woertendyke was part of the Broadway ensemble of A View From the Bridge, which won the Tony Award for Best Revival of a Play. “Just to clarify - I don’t think I was the one who got it for us,” joked Woertendyke, who understudied the roles of Louis and Marco.

    6 PerspectivesBonus: Mary Shelley’s source novel turns 200 years old this year. And yet surely some audience members will be experiencing the story for the first time. “I don’t want to spoil the story for anyone - but it's about a monster,” Buntrock said with a laugh.

    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.

    The next Perspectives will cover The Book of Will at 6 p.m. Friday, Jan. 13, in the Jones Theatre. It’s free.


    Photo gallery: The making of Frankenstein in Denver:

    'Frankenstein' in Denver

    To see more photos, click the arrow on the image above. All photos by John Moore and McKenzie Kielman for the DCPA NewsCenter.


    Frankenstein: Ticket information
    Frankenstein• Through Oct. 30
    • Stage Theatre
    • ASL interpreted, Audio-described and Open Captioned performance: Oct. 23
    • Tickets: 303-893-4100 or BUY ONLINE
    • Groups: Call 303-446-4829 


    Previous NewsCenter coverage:

    Photos, video: Your first look at the making of Frankenstein
    Frankenstein
    : On the making of a two-headed monster
    Frankenstein and race: It IS a matter of black and white
    Breathing life into the Frankenstein set: 'It's alive!'
    A Frankenstein 'that will make The Bible look subtle'
    How Danny Boyle infused new life into Frankenstein
    Casting set for Frankenstein and The Glass Menagerie
    Introducing DCPA Theatre Company's 2016-17 season artwork
    Kent Thompson on The Bard, The Creature and the soul of his audience
    2016-17 season announcement

    Follow the DCPA on social media @DenverCenter and through the DCPA News Center

  • Breathing life into the 'Frankenstein' set: 'It's alive!'

    by John Moore | Sep 13, 2016

    Jason Sherwood may be designing one of the largest coffins in stage history. Photo by John Moore for the DCPA NewsCenter.


    By Douglas Langworthy

    DCPA Literary Director

    You may be wondering how the DCPA Theatre Company's new adaptation of Frankenstein, written by the prominent British playwright Nick Dear, differs from the Frankensteins we have grown up with. (The 1931 Boris Karloff version comes to mind.)

    The answer is that you might not want to brush up on the classic black-and-white horror film before you come to the theatre.

    For one thing, Dear’s Creature speaks, and speaks fluidly at that, while the Karloff monster communicates with mere grunts. While the film Creature is mute, Dear stays much truer to Mary Shelley’s groundbreaking novel, serving up a man/beast who converses, has a soul and keeps trying to figure out who he is and where he came from. This seems acceptable for a Creature whose creator wants to play God.

    To express himself, both Shelley and Dear have the Creature painstakingly acquire language, from observing a peasant family and then reading books, primarily Paradise Lost. That epic poem’s portrayal of man and woman being expelled from Eden touches the Creature deeply, feeling himself excluded from human society. It also inspires him to desire a female companion for himself. Dr. Victor Frankenstein, on the other hand, behaves without compassion, recoiling repeatedly from the Creature to whom he has given life.

    Dear’s Creature spends less time destroying (although there is plenty of that, be forewarned) and more time philosophizing: “Ideas batter me like hailstones. Questions but no answers. Who am I? Where am I from? Do I have a family?”

    Stage adaptations of novels are invariably cinematic. Dear’s play alternates from indoors to outdoors and frequently out in the extremes of nature

    More Colorado theatre coverage on the DCPA NewsCenter

    DCPA Theatre Company Scenic Designer Jason Sherwood's set has to facilitate multiple locations. “The script is very cinematic and calls on swift transitions to very different kinds of environments," he said. "We have to move from an abstract moment, to a real basement laboratory, to the outside in rain, to a street, to a forest in a matter of moments. I love the challenge of a play that demands a lot from physical space.”

    Challenges indeed: Dr. Frankenstein confronts the Creature on top of Mount Blanc, he travels to the Orkney Islands to create a female for his Creature, and at the end of the story, he pursues his creation across the barren Arctic.

    But even though the play’s many different locations may make it cinematic in scope, Sherwood says the artistic team, led by director Sam Buntrock (Ed, Downloaded), stayed far away from the standard film versions of Frankenstein to keep their creative slates clean. “We really wanted to depart from the typical visual associations that people have with the Frankenstein story," he said. "So we didn’t really look to any of the films for more than context and an understanding of how we think of the story in American culture today.” 

    Sherwood says the world of the play is based on an intersection between natural and man-made elements. “The entire stage floor is wet mud, with a huge hole at the center, like the sight of a recent burial. I don’t want to give much more away than that. But we use the elements (earth, rain, wind, fire) in some exciting ways.

    “We’re using a stage deck of wet, earthy mud as our base layer. We’ll be using various automated elevators to create different interior spaces. The entire back of the stage is framed with an enormous drop that looks like jagged rock, or the surface of a body of water (when lit particularly). We’ll also be using live rain.” 

    When asked if this telling of the story will provide some frights, Sherwood promises "there will be some very jarring, surprising, thrilling moments in our production. Particularly the way the characters are going to interact with the space, and how the story is going to clip along at such a fast pace. I think there’s some real potential for some scare factor.” 

    Scare factor. So here at last is something all of the versions of Shelley’s novel have in common. It was the first example of the horror story after all.



    Pictured above: The emerging, massive 'Frankenstein' set designed by Jason Sherwood is coming to life for its first public performance on Sept. 30. Photo by John Moore for the DCPA NewsCenter.


    Photo gallery: More on the making of Frankenstein in Denver

    'Frankenstein' in Denver
    Photos from the making of 'Frankenstein' in Denver. To see more, click the forward arrow in the image above. Photos by John Moore for the DCPA NewsCenter.

    Frankenstein: Ticket information
    Frankenstein• Sept. 30-Oct. 30
    • Stage Theatre
    • ASL interpreted, Audio-described and Open Captioned performance: Oct. 23
    • Tickets: 303-893-4100 or BUY ONLINE
    • Groups: Call 303-446-4829 


    Previous NewsCenter coverage:

    A Frankenstein 'that will make The Bible look subtle'
    How Danny Boyle infused new life into Frankenstein
    Casting set for Frankenstein and The Glass Menagerie
    Introducing DCPA Theatre Company's 2016-17 season artwork
    Kent Thompson on The Bard, The Creature and the soul of his audience
    2016-17 season announcement

    Follow the DCPA on social media @DenverCenter and through the DCPA News Center.

  • This is a Frankenstein 'that will make the Bible look subtle'

    by John Moore | Aug 25, 2016
    Our Frankenstein photo gallery:

    'Frankenstein' in Denver

    Photos from the Aug. 23 first rehearsal for the DCPA Theatre Company’s 'Frankenstein,' opening Sept. 30 in the Stage Theatre. Above in shadow is Director Sam Buntrock. To see more photos, click here. All photos by John Moore for the DCPA NewsCenter.

    We all learn at a very young age what that word means. Frankenstein: To bring a dead thing back to life. And so you know that anyone coming to see a play called Frankenstein already knows the essential story.

    Frankenstein Sullivan Jones, Mark Junek That’s why Director Sam Buntrock promises his upcoming production of Frankenstein will hit the ground running.

    “This is not an upper West Side play about relationships,” Buntrock said. “It’s do-or-die. It's life and death. It's big and bold.”

    This is a tale, Buntrock says, “that makes the Bible look subtle.”

    Buntrock, who was nominated for a Tony Award for his direction of Sunday In The Park With George, and his creative team introduced their visions at Tuesday’s opening rehearsal for the DCPA Theatre Company’s production opening Sept. 30 in the Stage Theatre. When Buntrock and Scenic Designer Jason Sherwood began their work on the play, he said, they hit on their catchphrase instantly:

    “We agreed that it needs to be really (messed) up,” Buntrock said.

    More Colorado theatre coverage on the DCPA NewsCenter

    The DCPA is the first theatre company in North America to stage Nick Dear’s adaptation of  Mary Shelley’s Frankenstein, which was a global sensation at London’s National Theatre in 2011. The story of the creature who is given a troubled heart from a creator with a troubled heart came with an electrifying twist that will be twisted further in Denver: The lead actors (Sullivan Jones and Mark Junek, pictured above right) will alternate performances playing the roles of Frankenstein and The Creature.

    Frankenstein Sam Buntrock

    At the first rehearsal, Director Sam Buntrock flipped a coin to determine whether alternating actors Mark Junek or Sullivan Jones would read that day as The Creature or The Creator. Photo by John Moore for the DCPA NewsCenter.

    Here are five things we learned about the DCPA’s staging at the first gathering of cast and crew:

    1 PerspectivesThe script was written like a screenplay. Nick Dear wrote this stage adaptation specifically for noted filmmaker Danny Boyle (Trainspotting). So, no surprise – he wrote it in much the same way he would have a film. “There are stage directions throughout the script that say, ‘Cut,’ or ‘Cut to ...” said Buntrock. “It very much is a screenplay for the stage. That meant we needed to allow for a speed and a clarity that removed any sense of the paraphernalia or clutter that we have come to associate with Frankenstein.” Sherwood says the scenery also honors a cinematic approach "in the way that we are shifting perspective and pulling the naturalism out of the scenes.” For example, rather than merely dragging a boat onto the stage from a wing, he said, “We are trying to show you something that flips the way you experience it, and changes the way you see it.”

    2 PerspectivesIt’s The Creature’s story now. A notable departure from Shelley’s source novel is how this adaptation focuses on The Creature - grotesque as he is, and yet childlike in his innocence. “I will continuously argue that this script is told completely from The Creature’s perspective,” Buntrock said. “The story begins with his birth. And he is born, essentially, as a grown-up baby.”

    3 PerspectivesThe play is still about relationships. Specifically, dysfunctional relationships. “I love that this is a play with two people – a slave and a master, a creature and a creator – who go through a series of arguments and misfortunes that afflict all of us as a human race,” Buntrock said. "The central question is particularly relevant to me now: Even if you could recreate life, should you? Here we have someone who creates – or recreates – life, and he just doesn't consider the consequences. So what if a person who manages to create life had no understanding of life himself, or of what it means to be alive?”

    4 PerspectivesFor Kent Thompson, it’s personal. The DCPA’s Producing Artistic Director is a diabetic, so he watches keenly for new developments in genetic modification. “I am always reading for when we are going to figure out how to get stem cells to recreate insulin in my body,” Thompson said. “Over and over again, you find all these charlatans, particularly in Australia and New Zealand, promising they can sell you stem cells that will cure your diabetes. And they are con men. But what about somebody who actually can create life, but has absolutely no forethought of the consequences because he just can’t understand it on an emotional or a psychological or a cultural or a societal level?”

    5 PerspectivesYou'll see fire, and you'll see rain. In every telling of the Frankenstein story, fire is a central plot point. That’s no spoiler. Here, there will be a cottage, “and we will set the door of that cottage on fire, literally,” Sherwood said. There is also a scene in a graveyard (again, no surprise), and it will not only rain onstage. “It's just going to downpour,” Sherwood said.

    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.

    Follow the DCPA on social media @DenverCenter and through the DCPA News Center.

     

    Frankenstein: Ticket information
    Frankenstein• Sept. 30-Oct. 30
    • Stage Theatre
    • ASL interpreted, Audio-described and Open Captioned performance: Oct. 23
    • Tickets: 303-893-4100 or BUY ONLINE
    • Groups: Call 303-446-4829 


    Previous NewsCenter coverage:

    Casting set for Frankenstein and The Glass Menagerie
    Introducing DCPA Theatre Company's 2016-17 season artwork
    Kent Thompson on The Bard, The Creature and the soul of his audience
    2016-17 season announcement

    Frankenstein first rehearsal.

    'Frankenstein' first rehearsal, above. Below: Charlie Korman, left, and Sullivan Jones (as The Creature.) Photo by John Moore for 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.