• Shelley Butler on bringing Melissa Benoist to Broadway's 'Beautiful'

    by John Moore | Jun 18, 2018
    Melissa Benoist Beautiful Joan Marcus
    Melissa Benoist of Littleton is making her Broadway debut starring in 'Beautiful: The Carole King Musical,' through Aug. 4. Photo by Joan Marcus.

    Human Error director Shelley Butler's first-hand account of putting local favorite in her Broadway debut as Carole King

    By Shelley Butler
    Director, DCPA Theatre Company's Human Error
    Associate Director, Beautiful: The Carole King Musical

    Two weeks ago I stood outside the Stephen Sondheim Theatre on 43rd Street between Broadway and 6th Avenue in New York City. A crowd of 500 had gathered on the sidewalk to grab autographs from the new star of the musical Beautiful: The Carole King Musical. A family walked past me, a mother and her teenage daughter, and as they turned toward the crowd to see the cause of the commotion, the teenager shouted, “MOM, THAT’S SUPERGIRL!”

    Yes, it was. It was also the woman currently playing Carole King eight times a week on Broadway, Melissa Benoist. Known to the world from her television role on the CW as the female counterpart to Superman and from her star-making turn on “Glee,” where the Littleton native and Arapahoe High School graduate belted out songs like Wrecking Ball, New York State of Mind, Diamonds are a Girl’s Best Friend and other chart-topping hits. Beautiful marks her Broadway debut, and I had the great thrill of directing her into the role.

    Shelley Butler Quote Melissa Benoist BeautifulI hadn’t met Melissa before we began rehearsals together, and I wasn’t sure what to expect. Would she be down-to-earth, or diva glamorous? And how would she fill the shoes of a role originated by Tony award winner Jessie Mueller and followed by a line of remarkable actresses?

    I’ve been working as the associate director on Beautiful for two years, and when I’m not directing world premieres of new plays and musicals, I’m working at the Stephen Sondheim Theatre directing actors into the leading roles of the Broadway and first national touring companies. I also collaborated with the West End production of Beautiful and I staged the Japanese production. So I’ve worked with actresses all over the world on this role, and each time it is a different and uniquely rewarding experience.

    But I was surprised by how much fun it was working with Melissa on her Broadway debut. We instantly clicked. Minutes into our first rehearsal we bonded over our shared experiences with Denver. I had just returned from directing the world premiere of Eric Pfeffinger’s comedy Human Error for the DCPA Theatre Company, running through June 24 in the Garner Galleria Theatre. I had  previously directed The Most Deserving there, and am currently in pre-production for The Constant Wife opening in The Space Theatre on Sept. 21.

    I can say without a doubt that Melissa, who is scheduled to play Carole King through Aug. 4, is one of the most down-to-earth people I’ve ever met and she is exactly as delightful as you hope she’ll be. She’s the same wonderful person whether she’s surrounded by TV stars (like she was at the party after her opening) or speaking to a fan who’s traveled from the Midwest to see her live on stage.

    From 2012: Our interview when Melissa Benoist joined Glee

    When Melissa and I first sat down to read through the script together, I was immediately taken by her excellent instincts and her insatiable curiosity. Throughout our entire first session, she was eager to ask questions about the story, the character, the relationships, and over laughter and discussion we were able to quickly hone in on the tone of the show. Before my eyes she transformed from Supergirl to Carole King.

    It is always a thrilling challenge to take unique artists and work with them on how to find the soul of this role — a role that must honor the spirit of both the real Carole King, and the aesthetic of the theatrical show, as brilliantly created by the talented director (and my wonderful friend) Marc Bruni. But perhaps the thing I most relish as Associate Director is that Beautiful allows me the freedom to bring out the best in every actor I work with, so that the character can be uniquely their own. Musical Director Jason Howland also does this gorgeously with the Caroles vocally, so that audiences simultaneously hear the singular voices of the actresses while at the same time recognizing a tone and intonation that embodies Carole King.

    After the one-on-one sessions with Melissa working on script and character, it was time for staging and choreography. Our first rate production stage manager Peter Hanson taught the movements to the leading lady and the dance captain Sara Sheppard led her through the choreography. After Melissa had integrated the singing and dialogue with the staging (some which is very tricky due to the large moving set pieces) and had a few sessions with other actors on stage, she was ready for her “put-in.” A “put-in” is Broadway slang for a rehearsal with the full cast and all the technical elements in place (lighting, automated set moves) but without an audience.

    Beautiful Melissa Benoist Evan Todd. Photo by Joan Marcus 400When we added the full cast into the process, the entire company was quick to respond to Melissa’s warm energy on and off stage. I was particularly struck by the instant chemistry between Melissa and Evan Todd (who plays Carole’s husband, Gerry Goffin). It was a joy to tweak and tailor moments of their respective performances to integrate the two character interpretations and create a living, breathing marriage onstage. 

    (Pictured at right: Melissa Benoist and Evan Todd in 'Beautiful: The Carole King Musical.' Photo by Joan Marcus.)

    After all that it was time to add the most important ingredient, the audience. At the first performance the house was sold out and the entire audience was eager with anticipation; and I’ll admit to being a bit nervous while waiting for the lights to go down. After all, even though Melissa had conquered television, this was her Broadway debut, and I had to wonder what jitters she might be dealing with backstage. Before I knew it the show had begun, and there was Melissa, rising above any nerves and powerfully playing the nuance of each emotional moment and beautifully singing the great Carole King songs “Natural Woman,” “Some Kind of Wonderful,” and “I feel the Earth Move” and many, many more.

    Clearly her early stage days in Denver and her theatrical training gave her a strong foundation, and in her Broadway debut she looked like a veteran.

    During her quick preview period we met regularly to discuss the role and tweak moments, and she was a sponge for notes. She loves the details of the nuanced moments as much as I do, and with each preview the role became ironically both more her own and more a manifestation of Carole.

    More Colorado theatre coverage on the DCPA NewsCenter

    By the time of her opening, the joy radiating from both sides of the stage lights was evident. The cast backstage and the audience in front of the house love her equally. She plays Carole King with relish; bringing a youthful sparkle and drive in the first act, and then landing all the power and gravitas the second act demands.

    As is probably abundantly clear by now, the role of Carole King fits Melissa like a glove. She sings the heck out of the songs and her performance is assured, natural and exhilarating. As I stood watching the crowds line the street in front of the stage door for her autograph, I was certain that this is only the first of many Broadway moments yet to come for Melissa Benoist.

    The national touring production of Beautiful: The Carole King Musical, which features a different cast than the Broadway production, returns to Denver's Buell Theatre from Sept. 4-9. Ticket information 


    Shelley Butler, director of DCPA Theatre Company's Human Error, running through June 24 in the Garner Galleria Theatre, is also the ongoing Associate Director of Broadway's Beautiful: The Carole King Musical. She has more than 30 Broadway, Off-Broadway and regional credits to date and has worked extensively with writers on new plays and musicals. Previously she directed The Most Deserving at the DCPA, and next season returns for The Constant Wife. Recent productions include the world premiere of Lucas Hnath’s A Doll’s House Part 2 at South Coast Repertory and the Japanese premiere of Beautiful: The Carole King Musical, at the Imperial Theatre in Tokyo. She has directed and developed work across the country for theaters including: Ars Nova, Primary Stages, E.S.T., Women’s Project, Hartford Stage, South Coast Repertory, Denver Center Theatre Company, GEVA, New York Stage and Film, Dallas Lyric Stage, PlayPenn, New Dramatists, the Lark, New Georges, Dixon Place, The Playwright’s Realm, Urban Stages, Wellfleet Harbor Actor’s Theatre and Keen Company.

    Melissa Benoist, second from top right, as Brigitta with Annaleigh Ashford (Liesl) in the Country Dinner Playhouse's 2000 staging of "The Sound of Music." In front of them is  Jesse JP Johnson, who is now in Broadway's "SpongeBob Squarepants."

  • Deeper dive: A closer look at 'The Constant Wife'

    by John Moore | Apr 04, 2018

    Chris Coleman The Constant Wife. Photo by Adams VisCom
    Photo by Adams VisCom.

    Note: In this daily series, we will take a deeper dive into the eight titles recently announced on the DCPA Theatre Company's 2018-19 season. Today: The Constant Wife

    The Constant Wife

    • Written by: W. Somerset Maugham
    • Year: 1927
    • The Constant Wife 2005Director: Shelley Butler, who will first helm Human Error (May 18 in the Galleria Theater). In 2013, Butler directed the world premiere of Catherine Trieschmann's comedy The Most Deserving, which was later presented in New York.
    • Dates: Sept. 21-Oct. 21 (Opens Sept. 28)
    • Where: Space Theatre
    • Genre: Satire of manners
    • At a glance: As the intelligent, charming housewife of a successful and wealthy doctor, Constance Middleton would appear to have everything as she 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 are just as relevant today as they were in the 1920s. The Constant Wife takes joy in the imperfections of life and applauds those who elude the strict confines of society to discover true happiness. 
    • Says Artistic Director Chris  Coleman: “I was knocked out the first time I read this play. It’s a hilariously witty, totally fresh, unbelievably modern look at marriage. It’s almost 100 years old, and it feels like it was written yesterday. Here you have this upper-class British family, and this very privileged woman finds out early on that her husband is having an affair with her best friend — and she's like, "Yeah ... so?" This woman learns how tackle the world on her own outside of any prescribed relationship. It’s delicious to watch her make those discoveries and forge her own economic future. I also think this is the kind of play that this company can do extraordinarily well.
    • The constancy of today: "This seems like the perfect play for the 'Me Too moment' of today," Coleman said, "because here you've got a wife who's has a total lack of sentiment on the subject of matrimony. She is the perfectly modern wife.
    • What the critics have said: "Maugham is concerned with the hypocrisy of the moral double standard imposed upon men and women, and recognizes, surely in advance of his time, that for a woman, the only important freedom is economic freedom. He is also willing, cynically perhaps, to castigate the modern wife of his period as, in the bitter words of his heroine: 'The prostitute who doesn't deliver the goods.' it is a perceptive enough attack on the upper‐middle-class English marriage of his age." — The New York Times' Clive Barnes in 1975.
    Constant Wives On Broadway, 'The Constant Wife' has been played by, from left, Katharine Cornell (1951), Ethel Barrymore (1926), Ingrid Bergman (1975) and Kate Burton (2005).

    • About the author: Maugham was a wildly popular British novelist and short-story writer who was reportedly the highest-paid author in the world throughout the 1930s. He was praised for having a clear, unadorned style, cosmopolitan settings and a shrewd understanding of human nature. He is perhaps best remembered for his novels Of Human Bondage (1915) and The Razor’s Edge (1944), the latter the story of a young American war veteran’s quest for a satisfying way of life.
    • Fun facts: Variety called Maugham’s protagonist in The Constant Wife “a perverse protofeminist — and an antecedent to the women of “Desperate Housewives” and “Sex and the City” ... The Constant Wife has been staged on Broadway four times, most recently in 2005 starring Kate Burton (daughter of Richard) as Constance. (Lynn Redgrave played her mother, pictured above and right). In 1975, Ingrid Bergman played Constance, Katharine Cornell in 1951 and Ethel Barrymore originated the role in 1927. So no pressure, 2018 Constance, whoever you turn out to be.

    TC-web-Season-Ann-800x30034(Artwork by  DCPA Senior Graphic Designer Kyle Malone.) 

    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)


    • 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


    • 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

    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.