• Denver Center's 'Hattitude' another feather in the cap for gender equity

    by John Moore | May 08, 2018
    Hattitude. Photo by Libby Nederman 2018

    The 2018 individual 'Hattitude' winners. Pictured above include Deborah Mueller Hruza, Regan Linton, Nathalia Fairbault, Cyndy Marsh, Toni Glynon, Ruby Houston and Diane Foster. Photo by Libby Neder.

    Annual multicultural celebration raises nearly $60,000 in support of raising women's voices in American theatre

    By John Moore
    Senior Arts Journalist

    The DCPA's 13th annual 'Women with Hattitude' luncheon was held Thursday (May 3), in support of the DCPA Theatre Company's ongoing mission to level the playing field for women playwrights and directors.

    The Women’s Voices Fund is a national model that enables the Theatre Company to commission, workshop and produce new plays by women. Now valued at more than $1.5 million, the Women’s Voices Fund is one of the largest funds of any kind devoted to creating new works for the American theatre. Thursday's luncheon was attended by 650 and raised nearly $60,000 for the cause.

    "The Denver Center is promoting women’s voices all across the country and beyond," said DCPA President and CEO Janice Sinden. "Gender equality in the American theatre is so important, and what a wonderful opportunity the DCPA has to shine such a bright light on it."

    With more than 130 individual donors, the Women's Voices Fund has become a national model for female-centric theatre fundraising.

    Story continues below the photo gallery:

    Our 2018 'Women with Hattitude' photo gallery:

    2018 HattitudePhotos from the 2018 'Women with Hattitude' luncheon. To see more, press the forward arrow on the image above to be taken to our full Flickr gallery. All photos can be downloaded for free. Photos by Libby Neder and John Moore for the DCPA NewsCenter. More photos will be added to this gallery later this week.

    This season, the DCPA Theatre Company presented the world premiere of Lauren Yee's The Great Leap; four of its nine directors were women. DCPA Education's  annual statewide youth playwriting competition produced 10 semifinalist plays this year - and for the second straight year, eight of them were written or co-written women. In July, Julianna Luce and Trinell Samuel of Vista Peak Prep will get a full production of their play Technical Difficulties in the Conservatory Theatre.

    Studies have shown that while women make up nearly 60 percent of all live theatregoing audiences nationwide, only about 25 percent of all plays and musicals staged in America are written by women. In its first 13 years, the Women’s Voices Fund made it possible for the DCPA Theatre Company to produce 33 plays by women, commission 20 female playwrights and hire 31 female directors. Further, the Fund also has contributed to 13 world-premiere plays by women.

    Charlotte Movizzo Hattitude. Photo by John Moore"Today, much of the most exciting, innovative and imaginative writing for the theatre is being created by women," said Christy Montour-Larson, who in 2017 directed the world premiere of Tira Palmquist's Two Degrees. "We believe the Women’s Voices Fund both creates opportunities for some of America’s most exciting artists and leads to the creation of the theatrical classics of tomorrow."

    The 'Hattitude' party always culminates with a whimsical fashion show – each of the 58 tables nominates one woman (or man!) to walk down a runway and show off their hats. This year, University of Northern Colorado musical-theatre student Charlotte Movizzo led the parade while singing “On Your Feet!" from the upcoming touring musical of the same name, which visits Denver from Aug 8-19.

    The DCPA also hosts the annual Bobby G Awards, which celebrate achievements in Colorado high-school theatre. Movizzo is a recent winner of the Bobby G Awards' Outstanding Actress competition.


    (Photo continues below the photo.)

    LuLu Fall Hattitude. Photo by John Moore
    Lulu Fall from the DCPA Theatre Company's production of 'The Who's Tommy' at 'Hattitude.' Photo by John Moore for the DCPA NewsCenter.

    Broadway actor Lulu Fall, who plays The Acid Queen in the DCPA Theatre Company's crrent production of The Who's Tommy, performed her signature song from the show that continues in the Stage Theatre through May 27.

    "So many people talk about the importance of diversity in theatre and the arts," Fall said, "but a lot of people tend to exclude women when it comes to diversity. Diversity is not just about your skin color or your creed. It's also about gender.

    "I am happy to say that I am slowly starting to see more women on creative teams, and that absolutely, directly influences the work that you are seeing on on stage, on TV,  in film — everywhere.  

    The 'Hattitude' tradition began in 2005. It grew out of the Theatre Company’s presentation of Regina Taylor's Crowns. Her musical play explores black history and identity, using an exquisite variety of hats to tell the shared history and rituals of African-American women, ranging in era from slavery to current fashion.

    Crowns deals with what it meant for a woman to have her head covered, and the statement that it makes,” international dance legend Cleo Parker Robinson said in a previous interview. “In the African tradition, when we wear head wraps, it’s almost a regal thing.”

    More information on the Women’s Voices Fund

    Fall was not surprised to hear the 'Hattitude' tradition grew out of a local production of Crowns. She was in that show herself in 2009.

    "Black women celebrate the importance of wearing hats, especially in the church. We also celebrate individuality and uplifting each other. I mean, look at me: I am a woman, I am African-American, and I embrace my individuality. I love jazz. I love musical theatre. I have red hair. I think us embracing how different we all are, as well as lifting other women up in this male-centric business, is very important."

    Robinson was part of the DCPA's African-American Task Force that created 'Hattitude' in 2005.  “It was very important for us to include all multicultural communities,” said Robinson. The annual 'Hattitude' luncheon, she added, was the perfect opportunity for women of all backgrounds to come together, share lunch and tell stories, while also raising money for the Women’s Voices Fund.

    “This was one way to get out the African-American community. And you know - we sisters love to wear hats,” Robinson said. “Our hats make a cultural statement, and they make an age statement. It about her attitude — and her hattitude.”

    More Colorado theatre coverage on the DCPA NewsCenter

    'Hattitude' was hosted this year by Denise Plante, a mid-day personality on KOSI 101.1 and host of TV's Colorado and Company on 9News. The Event Chairs were Murri Bishop and Terri Fisher.

    The Platinum Sponsors of 'Hattitude' were Denver Center Alliance; Macy's; and Jack and Adrienne Ruston Fitzgibbons.

    The Gold Sponsors were Mariel, Ray and Denise Bellucci; Margot and Allan Frank; and Mariel Boutique. The Media Sponsor was Reign Magazine.

    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.

    Video highlights: Denver Center's 2018 'Women with Hattitude' luncheon

    Video coverage of the 2018 'Women with Hattitude' luncheon by DCPA Video Producer David Lenk. Just push play.

    Individual hat winners:
    Deborah Mueller Hruza: Vintage Beauty
    Nathalia Fairbault: I Made it Myself
    Cyndy Marsh: Fabulous Fascinator
    Toni Glynon: High Society
    Regan Linton: Wildly Whimsical
    Ruby Houston: Exquisitely Elegant
    Diane Foster: Best Derby Hat
    Note: This year, all hat-wearers were awarded "Best in Show" by judge Judi Wolf

  • New Denver Center plays take center stage in Seattle, San Diego

    by John Moore | Apr 14, 2018
    Our video report from the openings of the Denver Center-born plays 'The Great Leap' and 'American Mariachi' in Seattle and San Diego. Video by John Moore and David Lenk for the DCPA NewsCenter. 

    Theatre Company's first co-productions in a decade open for West Coast audiences on back-to-back nights 

    By John Moore
    Senior Arts Journalist

    It was an hour before the opening performance of the Denver-born play American Mariachi at the Old Globe Theatre in San Diego, and something wasn't quite right. A large backstage table was filled with floating balloons, sweets and several bouquets of fresh congratulatory flowers, including one from the Denver Center for the Performing Arts.

    But then there was the incongruous vase on Bobby Plasencia’s dressing-room table. Its water was discolored, its flowers tired and wilting. But to the actor, they were surely the most vibrant flowers in the room.

    American Mariachi in San Diego. Photo by John Moore“They’ve been here ever since our final dress rehearsal,” said Plasencia, who plays an old-school mariachi player whose wife dies in the story. After that performance almost a week before, the actor got word that a 12-year-old boy in the audience wanted to meet him. Plasencia walked to the stage door and was greeted by “this super-cool little dude,” he said, wearing a tie and perfectly gelled hair. The boy took one look at Plasencia, fell into his arms and burst into tears. “And he just couldn’t stop,” Plasencia said.  

    One of the grown-ups in the entourage pulled Plasencia aside and whispered that the boy had recently lost someone very close to him, and that the play had moved him immensely. The boy collected himself and presented Plasencia with flowers as a gift for the entire cast. “And they are going to stay right here until our very last day here on April 29,” Plasencia promised.  

    Those kinds of powerful audience responses to José Cruz González’s family drama have been steady since the play premiered back in Denver on Feb. 2. And because of several unique partnerships the DCPA Theatre Company has forged this season, they are continuing to happen in multiple cities.

    American Mariachi is one of two world-premiere plays the Denver Center has recently launched as co-productions with other leading national theatre organizations. The other was Lauren Yee’s The Great Leap in partnership with the Seattle Repertory Theatre. Both plays tell culturally specific stories that bring underrepresented voices to the stage while also telling uncommonly universal family stories.

    Jose Cruz Gonzalez quoteA co-production, or “co-pro,” as they say in the biz, is a collaboration between two companies that have a shared investment in launching a new play, both artistically and financially. They work together on the development of the piece, share certain expenses and then present the play in both cities back-to-back, with the original casts intact.

    When both plays closed in Denver last month, all key creative personnel packed up along with the sets, props and costumes and set forth to either Seattle or San Diego for their immediate transfers. By great calendrical coincidence, both plays opened in their second cities on back-to-back nights: March 28 and 29.

    Despite the modest financial benefit that comes with partnering with other companies, large-scale co-productions are rare in the American theatre. In its nearly 40-year history, the DCPA Theatre Company has only participated in three previous co-pros — Pure Confidence with Cincinnati Playhouse in 2007; and the world premieres of The Laramie Project with the Tectonic Theatre Project in 1999-2000 and Tantalus with the Royal Shakespeare Company the following year.

    The partnerships with Seattle Rep and the Old Globe involved dozens of people but were primarily negotiated by first-year DCPA Associate Artistic Director Nataki Garrett. The goal, she said, was simple: To make better, more finished plays — thereby giving them better chances for a continued life in the American theatre.  

    “The main reason I wanted to push for these co-productions is because I wanted to look for opportunities for the writers to continue to work on developing their plays,” Garrett said.

    Both productions shared key creative personnel from both companies, including American Mariachi director James Vásquez, who considers the Old Globe to be his artistic home; and Seattle Rep Director of New Works Kristen Leahey, who has served as Dramaturg for The Great Leap since its first draft. That almost all of the Latinx artists Vazquez has brought home with him to the Old Globe are now working there for the first time, Artistic Director Barry Edelstein said, “is a special happiness for all of us.” His Seattle counterpart, Braden Abraham, called The Great Leap "an irresistible opportunity to showcase a rising Chinese-American playwright in the Pacific Northwest," and said working with Garrett and the whole team in Denver was "a pure joy."   

    (Story continues below the photo gallery.)

    Our complete photo gallery from Seattle and San Diego:

    Denver Center in Seattle and San Diego

    Photos from the openings of 'The Great Leap' and 'American Mariachi' in Seattle and San Diego. To see more, click on the image above to be taken to our full Flickr gallery. Photos by John Moore for the DCPA NewsCenter.

    Both plays were begun as commissions by former DCPA Theatre Company Artistic Director Kent Thompson. A commission is when a company pays a playwright a stipend to write a new work for its right of first refusal to produce. González began writing American Mariachi in 2014, and it was first presented as a featured reading at the Denver Center’s 2016 Colorado New Play Summit. Back then it was a sprawling, 150-page script. By the time of its world premiere in Denver in February, it was down to 95 pages. “So it's now very lean, and it moves like gangbusters,” said González, who continued to hone the script all the way up to opening night in San Diego on March 29.

    “Having the opportunity to have a play done in two places is a tremendous gift to a playwright,” González said. “First, to be able to premiere it in Denver and work out all the things that still needed to happen in terms of casting, storytelling and design. We left Denver feeling very satisfied, and yet that whole time we were still watching our audiences take in the play. We were learning from them and thinking about how we could improve it. And then there is the gift of that second production.”

    the-company-of-american-mariachi-photo-by-adamsviscom_39989611081_oAmerican Mariachi, set in the early 1970s, follows the journey of a young woman named Lucha who has become the caretaker for a mother with dementia. When she finds an old mariachi record that briefly brings her mother back to life, Lucha becomes determined to learn how to play the song for her with live musicians before it is too late. Although being a female mariachi player was unheard of at that time, Lucha defies her grumpy father, assembles a group of women and makes her dream come true.

    (Pictured above, from left: Amanda Robles, Jennifer Paredes, Natalie Camunas, Crissy Guerrero and Heather Velazquez. Photo by Adams VisCom.)

    American Mariachi played in the Denver Center’s largest theatre (750 seats) and exceeded box-office projections. The play is enjoying the same kind of crossover appeal in San Diego, where it is playing in a slightly more intimate, 600-seat space. None of which surprises the women in the cast.

    “This play is doing much more than filling a Latino slot on the season,” said actor Crissy Guerrero. “It has touched anyone from any background.” It is also the right time to be telling this story in the current cultural zeitgeist, said castmate Natalie Camunas. “It is important to show strong women on the stage doing what they do best right now, which is encouraging and supporting each other and shining,” she said.

    Video spotlight: Our interview with Lauren Yee

    All theatre companies, to an extent, program according to their censuses. In Denver, the Latino population is 31.8 percent, compared to 31.6 percent in San Diego. While the Denver Center has demonstrated a longstanding commitment to presenting plays with Latinx voices (most recently Native Gardens, Just Like Us, Fade and Lydia), The Great Leap, meanwhile, is only the second play by an Asian-American playwright the Denver Center has ever presented. But in Denver, the Asian-American population is just 3.4 percent, compared to 13.7 in Seattle.

    linden-tailor-photo-by-adamsviscom_39272674395_oYee’s The Great Leap, set in the late 1980s, follows a scrappy Asian-American kid who talks his way onto a college basketball team that embarks on a series of “friendship” games in a China in the throes of the post-Cultural Revolution. Yee grew up in basketball-mad San Francisco, and her story was inspired by events from her father’s real experiences. Much of the play revolves around the intersecting lives of the two coaches — the compliant Chinese and the (really) ugly American.

    "This is a play that I never would have written in quite the way I did without Denver." Yee said. "Wherever it goes, there is something embedded in its DNA what Denver is all about." Added Director Eric Ting: "What a gift to have two pre-eminent theatre companies working together to make this play happen."

    Actors Keiko Green and Linden Tailor say Seattle audiences, which are made up of many more Asian-Americans than in Denver, are reacting to the story very differently, specifically as it pertains to the American coach who spews comic racial epithets throughout.

    “In Seattle, the audiences are way tougher on the coach, absolutely,” Green said. “The race comments that he makes are definitely felt more. You can see people be slightly offended and then remember, ‘Oh yeah, this is written by a Chinese-American woman.’ ”

    That, said Tailor, “is the great thing about Lauren's writing. She wants to push the envelope and ride that fine line of making you uncomfortable and making you think. I feel like here in Seattle, we are more making them think.”

    Vásquez says the same is true of American Mariachi in San Diego. “It was a raucous comedy in Denver,” he said. “I think people are leaning in and really listening to the story a little closer here.”

    American Mariachi in San DiegoThat, to Seattle Rep’s Kristin Leahey, was the whole fun of The Great Leap. “It was a really exciting thing to be sharing this work with the Denver audience as well as the Seattle audience, and to see how it engages with each of them differently,” said Leahey.

    Making the money work

    DCPA Managing Director Charles Varin said the unusual creative arrangement of a co-pro calls for an unusual financial arrangement as well. As the instigating company, he said the Denver Center assumed the cost of producing each initial staging as it would for any other show on its season. But in the case of The Great Leap, Seattle Rep contributed about $40,000 toward the $350,000 budget and the Old Globe contributed about $75,000 of a $650,000 budget.

    Varin estimated that having a producing partner ultimately represented about a 10 percent improvement to the Denver Center’s bottom line. While that is significant, he said, it is not enough to be a motivating reason to enter into a co-pro. “This was all very much artistically motivated,” said Varin, who attended both out-of-town openings. “Having a second staging helps the playwright immensely, and I think both productions were measurably improved in their second cities.”

    Video spotlight: Our interview with José Cruz González

    A similar model of play development has been employed by the National New Play Network since 1998. That’s a group of 30 core companies that select a number of new plays each year to be fully staged by a minimum of three member companies successively. It’s called a “rolling world premiere,” and the script isn’t sealed and published until after the third staging. The major difference from a co-pro is that the chosen playwright works with completely different casts and creative teams in all three cities.

    LAUREN YEE QUOTESo what happens now?

    The extended initial birth journeys for both plays end soon — The Great Leap closes April 22 and American Mariachi on April 29. But both already have their immediate futures laid out for them: The Great Leap will be staged off-Broadway this June at The Atlantic Theatre starring Tony Award-winner BD Wong. It also will be staged by the prestigious Guthrie Theatre next January in Minneapolis. American Mariachi will be presented by the Arizona Theatre Company next March.

    American Mariachi resonates in myriad ways with the kaleidoscope of our community,” said Arizona Theatre Company Artistic Director David Ivers, a former longtime DCPA Theatre Company actor. “The writing, the gift of mariachi music, the celebration and empowerment of women, and the struggle of loss in the face of hope are powerful and meaningful messages to explore in the communities we have the honor of serving.”

    This all comes in a year when Denver Center-born works are proliferating on national stages like never before. Last year, Matthew Lopez’s The Legend of Georgia McBride became the Denver Center’s most-produced new Denver Center work since Quilters in 1982. Not only is it getting its own upcoming staging at The Guthrie, it is also being made into a film starring Jim Parsons. Last week, Lauren Gunderson’s The Book of Will won the American Theatre Critics Association’s Steinberg Award as the best new play of the year produced outside of New York. It opens this summer on one of the nation’s largest stages, the Oregon Shakespeare Festival. 

    Read more: Denver Center's new place on national stage

    “I think all of that continues to advance the idea that the Denver Center is at the forefront of new-play development,” said Garrett. “As we are moving through the 21st century, one thing I lament about how we develop plays is that we all seem to be looking only for opportunities for playwrights to write something that is going to be a hit right now. There is a need for immediate success, as opposed to providing a space for something to unfold and be given life over time.”

    The benefit for actors  

    One of the ancillary windfalls that comes with any co-production benefits the actors themselves. The casts of both The Great Leap and American Mariachi were signed to four-month contracts. In a business where actors are most often signed to smaller contracts ranging from just four to eight weeks, an extended co-pro is about the best job they can get outside of a long run in New York.

    American Mariachi in San Diego. Photo by John Moore“I feel very lucky, and I think everyone else who is involved with this play feels very lucky to be a part of it,” said Plasencia.

    But the biggest benefit, says Rodney Lizcano and others, is the familia that takes shape when a creative team spends that much more time together. The American Mariachi team performs six days a week, he said. And yet, he said, they have almost to a person spent nearly every day off together as well.

    “There has been a consistently positive camaraderie since Day 1,” he said. “We share or lives both onstage and offstage — and I think the performances have deepened because of that.”

    Which makes ultimate benefit of a co-pro to the play itself and, by extension, to its expanded audiences.

    “I always had a feeling that this was going to be a very special play for everyone who saw it, and it has come to pass because it tells a story that audiences are hungry for at this very moment in our history,” Plasencia said of American Mariachi. “This is a story about inclusion and seeing yourself represented onstage, and I feel like a lot of people have been longing for a play like this. I think there is an audience this play in every big city in the country.”

    And in every audience is the potential for another life-changing moment, like that 12-year-old boy at the final dress rehearsal of American Mariachi in San Diego.

    “It is such an honor to walk out into that theatre lobby each night and see crowds of Latino families. That doesn't happen a lot,” Vásquez said. “Just tonight, a young Latino friend came up to me and said the moment the lights came up and the music started and he saw Mexican people onstage, he just started crying — because he had never seen anything like it.

    “I think that's the biggest takeaway.”

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

    American Mariachi in San Diego. Photo by Douglas Gates
    'American Mariachi' in San Diego. Photo by Douglas Gates.

    Previous NewsCenter Coverage of American Mariachi:

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


    The Great Leap in Seattle'The Great Leap' in Seattle. Photo by John Moore.

    Selected previous coverage of The Great Leap:
    The Great Leap prepares for its big bound to Seattle
    Lauren Yee: “This play would not exist without the Denver Center'
    Video: First look at The Great Leap, and five things we learned at Perspectives
    For The Great Leap playwright Lauren Yee, family is a generation map
    Five pieces of fun hoops history to know, like: What's a pick and roll?
    Five things we learned at first rehearsal, with photos
    Summit Spotlight: Lauren Yee lays it all on the free-throw line
    Vast and visceral: Theatre Company season will include The Great Leap

    More Colorado theatre coverage on the DCPA NewsCenter

  • For 'The Great Leap' playwright, family is a generation map

    by John Moore | Feb 04, 2018
    Photo gallery: The Great Lap Opening Night:

    The making of 'The Great Leap'

    Photos from opening night of the DCPA Theatre Company's 'The Great Leap' on Feb. 9, from backstage before the show through the afterparty. To see more, click on the image above to be taken to our full Flickr photo gallery. Lauren Yee's world-premiere play performs through March 11. Photos by John Moore for the DCPA NewsCenter.

    Lauren Yee draws inspiration for new play from her father and his 1980s international basketball odyssey in China  

    By Douglas Langworthy
    Denver Center Literary Manager

    Every family has stories that get passed down through the years, often taking on mythic proportions. For playwright Lauren Yee, one such story she grew up with was her father’s trip to China to play basketball in the 1980s. “It was family lore from a very young age,” she said. “I knew that the trip had been a very large part of his life before he had kids.”

    Larry Yee, Lauren’s father, traveled with a basketball team to play “friendship games” in China in the period after the Cultural Revolution. Larry was born in San Francisco and this was his first time visiting the homeland of his parents. His international journey became the loose storyline of Lauren’s play The Great Leap.

    One part of the story that Lauren was curious about was the idea of being Chinese-American and going to China to represent America. “Who do you root for?” she said. “Do you root for the people who have the same citizenship as you? Do you root for the people who look like you? Are you ever torn?”

    Yee didn’t know a lot about China and basketball going into the project, so she needed to do her research. Her primary source was her father, of course — she loved listening to his stories about the trip. In addition, she attended some pro games. She talked to players. She also spoke with a professor from China at the University of Denver who shared his experiences growing up. “I got a window into what an ordinary person’s life was like growing up in China in the ’60s, ’70s and ’80s,” Yee said. 

    Lauren Yee Quote. Photo by John MooreShe studied basketball and became consumed by the big philosophical ideas behind the game. “One idea that I found very helpful,” she said, “was that basketball is all about creating space for yourself on the court. That every pass and every fake and every dribble is made with the intent of losing your defender long enough for you to have a chance to make a shot. And I think that has parallels for our everyday lives — everyone in this world goes about their lives trying to make space for themselves that they can call their own.”

    (Photo at right of Lauren Yee by John Moore for the DCPA NewsCenter.)

    She was surprised to discover that basketball has a long history in China. “Even though it wasn’t professionalized until the mid-’90s, basketball has had a very long love affair with China, the way it’s had with America," she said.

    Yee’s father inspired another one of her plays, King of the Yees, based on family history, sort of. “A lot of this is true,” the play’s inscription reads, “but a lot of it is only kind of true. Just like the stories your father once told you as a child.”

    Set in San Francisco, Yee folds herself and her father into the middle of this meta-theatrical play, so there is an actor playing an actor playing Larry and an actor playing an actor playing Lauren, as well as two actors playing the “real” versions of each of them. 

    After Larry Yee saw King of the Yees and attended a reading of The Great Leap, he turned to Lauren and asked if she was done with him. “I think that’s enough about me,” he told her.

    Lauren isn’t bothered by seeing herself portrayed on stage: “I know by making myself a character I’ve immediately theatricalized it. What I am interested in is someone else’s interpretation of that particular character in those circumstances.” 

    “It was in the play’s DNA from the first scene to set you up to love my father, Larry,” she said, “and be disappointed to find out that this play is about Lauren. I set the Lauren character up for being a bit roasted in this play.”

    When asked to describe her writing process, Yee said: “I start writing as soon as I come up with a world I find interesting but don’t completely understand, and a character voice that I find really compelling. Usually if I spend enough time in that world with those voices then I am led to some sort of plot and general structure. With The Great Leap, I immediately heard Manford (the central character) and also heard Saul, his coach. 

    “I go into the writing process like an audience member, I don’t know why these characters want what they want yet, but usually, after a couple of drafts, I stumble upon things. So for me, a lot of things that happen in the play were things that I did not know at the very beginning of the writing process. I think in order for the audience to be surprised in a play, I need to be surprised while I am writing.”

    And who doesn’t love a surprise?

    Douglas Langworthy is the Denver Center's Literary Manager and resident Dramaturg. 

    Playwright Lauren Yee’s works include 'Ching Chong Chinaman,' 'The Hatmaker’s Wife,' Hookman,' 'In a Word,' 'King of the Yees,' 'Samsara' and 'The Tiger Among Us.' 'The Great Leap,' which was commissioned by DCPA Theatre Company as part of its new-play development program, will go on to the Seattle Repertory Theatre following its Denver debut.

    Video: Your first look at The Great Leap:

    Video by David Lenk for the DCPA NewsCenter.

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

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

    Bonus coverage: Five pieces of fun insider basketball info:

    By John Moore
    Senior Arts Journalist

    The DCPA Theatre Company’s world premiere play The Great Leap coincides with the 50th year of professional basketball in Denver. In honor of the play, and Denver’s storied basketball past, we offer five things you might want to know about the game or its history before you attend:

    NUMBER 1JeremyLinLinsanity! Lauren Yee has dedicated her play “to all the Jeremy Lins (on and off the court).” Who’s Jeremy Lin? The first American of Chinese or Taiwanese descent to ever play in the NBA, for one. Lin came out of nowhere in 2012 to lead an unexpected winning streak with the lowly New York Knicks, which generated a fleeting global craze known as “Linsanity.” Lin, who now plays for the NBA’s Brooklyn Nets, was the iconic underdog overachiever. Unfortunately, he is sitting out the entire current season with a ruptured patella tendon.

    NUMBER 2DenverRocketsLogo2Denver's India.Arie connection. The The play is set in 1971 and ’89. In 1971, the Denver Nuggets were still the Denver Rockets of the American Basketball Association, and they were led by a promising young guard named Ralph Simpson, who would go on to play in seven all-star games. Today he’s best known as the father of Grammy Award-winning soul singer India.Arie, who lived in Denver until she was 13. In 1989, the Nuggets, now of the NBA, were coached by Doug Moe. And — speaking of talented hoops progeny — Moe’s granddaughter, Lyndie Moe, visited Denver in November as Maureen in the 20th anniversary tour of RENT.

    NUMBER 3Pick and RollNo, not 'pick your nose!' One bit of common basketball lingo that comes up in the play is an offensive play called the “pick and roll.” That’s when you have one player holding the ball face-to-face with a defender, until a teammate comes and essentially blocks the defender off on one side. That frees the player with the ball to make a move to the basket or dump it back to his teammate who “rolls” behind him and heads for the basket.

    Read more: Our complete interview with Lauren Yee

    NUMBER 4You might want to watch this. At one point in The Great Leap, Connie urges her cousin Manford to join her at the TV for the end of an NBA playoff game, and it’s a well-chosen one: The series finale between Chicago and Cleveland on May 7, 1989. Manford doesn’t want to watch, and misses what has come to be known in NBA lore as simply “The Shot”: Michael Jordan’s buzzer-beater over Craig Ehlo.  

    John Moore: Growing Up Nuggets Defined a Childhood

    NUMBER 5David ThompsonBefore Michael Jordan, there was "The Skywalker," and he played for Denver. David Thompson once scored 73 points in a single game. He had a 44-inch leap, and in 1975, he was the highest-paid player in the history of team sports. Thompson and Julius Erving put on such a show in the first Slam-Dunk Contest at the 1976 ABA All-Star Game in Denver that the NBA later adopted it as its own. If not for off-the-court problems that cut his career short, fans no doubt would still speak of Thompson in the same breath with Jordan.

    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. His father, Ralph Moore, covered professional basketball in Denver from its inception to his retirement in 1983.

    Selected previous coverage of The Great Leap:
    Five things we learned at first rehearsal, with photos
    Summit Spotlight: Lauren Yee lays it all on the free-throw line
    Vast and visceral: Theatre Company season will include The Great Leap

    More Colorado theatre coverage on the DCPA NewsCenter

  • January 2018: Applause Magazine puzzle solution

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

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

    Applause Crossword 800

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

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

    Zoey Crossword Puzzle. Adams Viscom

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

    Applause crossword puzzle solution

    Recent previous downloadable puzzles:

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

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

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

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

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

  • Chris Coleman promises a DCPA Theatre Company that's robust and resonant

    by John Moore | Nov 14, 2017
    Chris Coleman named A.D.
    Photos from today's announcement of Chris Coleman as just the fourth Artistic Director in the nearly 40-year history of the DCPA Theatre Company. To see more, click on the image above to be taken to our full Flickr gallery. Photos by John Moore for the DCPA NewsCenter.

    The longtime Portland leader champions a range of voices from George Bernard Shaw to Lauren Gunderson, who says: 'Denver is so lucky to get him.'

    By John Moore
    Senior Arts Journalist

    Chris ColemanWhen the Managing Director at Portland Center Stage learned that longtime Artistic Director Chris Coleman was being hired away by the DCPA Theatre Company, she shook her head and said, “Denver, I hope you know you just won the lottery.”

    “Chris Coleman is not only a gifted theater artist, he's one of the best community connectors I've ever worked with,” a resigned Cynthia Fuhrman added from Portland. “That is a rare combination.”

    Coleman was introduced this morning as only the fourth Artistic Director in the nearly 40-year history of the DCPA Theatre Company. For the past 17 years, the Atlanta native has led a company with many of the same sensibilities as his new one. Portland Center Stage offers up to 12 offerings each season ranging from classics to contemporary works to homegrown musicals on two stages while also hosting an annual new-play festival, education programs and an array of community events. All of which sounds a lot like the mission of the DCPA Theatre Company. With one big difference: Twice as many performance spaces, and more financial resources. 

    “There is not another theatre in the country with the same administrative and physical infrastructure inside one organization,” said Coleman, who also will oversee the company’s burgeoning line of Off-Center programming — the kind that takes place in non-traditional performance spaces ranging fro the Stanley Marketplace to the streets of Denver.

    Asked to name one dream offering that might help elucidate his artistic sensibilities, Coleman mulled the possibilities before offering this tantalizing prospect: “One of my fantasies would be to go back to the beginnings of the company and remount The Caucasian Chalk Circle and engage DeVotchKa to write a score for it,” he said. “I just think that would be so cool.”

    Coleman clearly has studied up on his Denver Center history. The Theatre Company launched on New Year’s Eve 1979 with Bertolt Brecht’s modernist masterpiece, starring Tyne Daly. And just last year, Colorado’s own Grammy-nominated gypsy-punk band DeVotchKa not only experimented with Stephen Sondheim’s beloved Sweeney Todd score, but the band members got their necks at every performance.

    Shawn King Devotchke Sweeney Todd. Photo by John MooreColeman lists Brecht as among his favorite playwrights — and it is a wildly eclectic list that includes William Shakespeare, Luis Alfaro, Lynn Nottage, Paula Vogel and the playwright Coleman has directed more than any other: George Bernard Shaw. Under Coleman, 52 of the new plays Center Stage helped in their gestation have been performed at 115 theatres around the country. One he is most proud of is Dan O’Brien’s Body of an American, about how a photograph of an American soldier being dragged through the streets of Mogadishu haunted the photographer who took it. (It is currently being presented by Denver’s Curious Theatre).

    Among the many rising playwrights Coleman has nurtured along their paths are Matthew Lopez and Lauren Yee, whose latest plays Zoey’s Perfect Wedding and The Great Leap, respectively, are coming up soon on the Theatre Company’s current season.

    (Pictured above and right: Shawn King of DeVotchka in 'Sweeney Todd' in 2016. Photo by John Moore.)

    In announcing the appointment, DCPA President and CEO Janice Sinden cited Coleman’s “commitment to artistic excellence, community engagement, new-play development, crowd-pleasing musicals and discovery of new voices” — all of which she said will resonate throughout the region, and will further the DCPA’s efforts to diversify its audience. Coleman said his priorities also include local storytelling, giving voice to underserved communities and building a robust collaboration with the DCPA’s Education division.

    Chris Coleman and husband Rodney Hicks. Photo by John Moore.  “I am super-interested in figuring out how we put the most resonant work on stage we can,” Coleman said. “And by that I don’t necessarily think every play has to be topical to be resonant. I mean work that really lands emotionally for people. So much so that audiences feel compelled to reach out and let us know that we affected them, and that the work has stayed with them.”

    (Pictured at right: New Theatre Company Artistic Director Chris Coleman with his husband, Rodney Hicks, at today's announcement. Photo by John Moore for the DCPA NewsCenter.)

    Coleman says he is not only a fan of the Theatre Company's annual Colorado New Play Summit, one of the signature programs launched by his predecessor, Kent Thompson, he sees it as the company’s greatest drawing card, along with the $1.4 million Women’s Voices Fund, which supports plays written and directed by women. “I am eager to connect great artists with the larger conversation Denver is having about its future right now,” he said. “I am interested in telling big stories — both from cultures that haven’t found their way onto our stages yet, and those that are waiting to burst out of the mind of the young playwright down the street.

    “I don't think there is any reason we shouldn't be one of the top institutions for producing new work in the country.”

    ‘He sure can pick em’

    At Portland Center Stage’s 2002 equivalent of the Colorado New Play Summit, Coleman had a hunch about a submission from a budding 18-year-old playwright. So he took the extraordinary step of giving the young woman a featured slot in the festival alongside, among others, a comparatively grizzled 25-year-old named Itamar Moses. His latest play, The Band’s Visit, opened on Broadway just this past Thursday.

    Chris Coleman quote 8 LAUREN GUNDERSONThe teenager’s play was called Parts They Call Deep, about three Southern women in a Winnebago. Now for the kicker: The playwright was Lauren Gunderson, who, fast-forward 14 years, wrote the Denver Center’s red-hot world-premiere The Book of Will and is now the most-produced playwright in America for the second year running. “It has been amazing to watch her rise,” Coleman said. 

    “Yeah, he sure can pick ’em,” Gunderson said with a laugh.

    Gunderson calls Coleman a mentor who helped her to visualize a possible life in the theatre for herself – when she was 12. Her hometown is also Atlanta, where in 1988 Coleman founded Actor’s Express, dubbed Atlanta's "gutsiest and most vital theatre."

    In those tender years, Gunderson fancied herself an actor, and she was cast as the kid in two mainstage productions there — The Philadelphia Story and Approaching Zanzibar — and she absorbed everything. “That’s the first time I realized that people actually sit down and write plays,” Gunderson said. “By just watching Chris, I started to see all of these other avenues for a life in the theatre for me.”

    Coleman, whose family's Atlanta roots go back to 1804 ("But we were poor dirt farmers," he says), was a bit of a star of the stage himself in those days. How big of a fan was Gunderson of his work? “My 14th birthday party was taking my girlfriends to see Chris Coleman play Hamlet,” she said. “I loved it, and I will never forget it.”

    More Colorado theatre coverage on the DCPA NewsCenter

    While at Portland, Coleman also produced or directed plays by Sophocles, Molière, Anton Chekhov, Edward Albee, August Wilson, Tennessee Williams, Ntozake Shange, Dael Orlandersmith, David Henry Hwang, John Patrick Shanley, Naomi Wallace, Sam Shepard, Douglas Carter Beane, Martin McDonaugh and Amy Freed — among others.

    “He just has such a knack for championing a remarkably wide variety of voices in the new-play world,” Gunderson said. “I think that’s because he has such a variety of experiences himself as a director, playwright, actor and artistic leader. What makes him a genius is that he knows every aspect of the creation of art first-hand. He has nonstop incredible ideas.” 

    Chris Coleman Introduction PhotoColeman is something of a renaissance man. Before he leaves Portland, he will direct a two-part epic he adapted himself called Astoria, featuring a cast of 16. Based on the best-selling book by Peter Stark, it tells of the harrowing but little-known journeys west undertaken by President Thomas Jefferson and millionaire John Jacob Astor that served as turning points in the conquest of the North American continent. It’s a story Coleman imagines might be of interest to Denver Center audiences because it taps directly into the spirit of the west.

    (Pictured at above and right: Chris Coleman with husband Rodney Hickst o his right and, to his left: DCPA President and CEO Janice Sinden, and Chairman Martin Semple. Photo by Brittany Gutierrez for the DCPA NewsCenter.)

    But his acting days are likely behind him, he says. These days, he is far more interested in ballot measures and fundraising and other administrative duties (he swears). He led the design and construction of Portland Center Stage’s new home in the 122-year-old Historic Portland Armory. That experience will be critical as the DCPA prepares to renovate both its Stage and Ricketson theatres within the next four years.

    Under Coleman, who earned his BFA from Baylor University and his MFA from Carnegie Mellon University, annual attendance at Portland Center Stage increased from 77,000 to 139,000. The average age of the audience dropped from 64 to 48. The company brings in about 7,600 students a year to see its plays.

    Coleman will direct his two-part adaptation of Astoria, followed by Major Barbara at Portland Center Stage before moving to Denver with his husband, Rodney Hicks, in May. In the meantime, he will work with DCPA Managing Director Charles Varin and Associate Artistic Directors Nataki Garrett and Charlie Miller to finalize the 2018-19 season selection.

    “I just think he is a great voice for the American theatre as a whole, and I can’t wait to see what he does to continue Kent’s legacy," Gunderson, said. “Oh my God, Denver is so lucky to get him.”  

    Video above: A 2015 interview with Portland Center Stage Artistic Director Chris Coleman.


    NUMBER 1Rodney Hicks King Lear Terry ShapiroHey, we already know your husband here in Denver: Rodney Hicks played bad-boy Edmund here in Kent Thompson’s 2007 production of King Lear. He was in the original Broadway cast of Rent and Come from Away. Is it safe to say he will be an active member of our acting community? It is not safe to say that. Rodney is totally excited about coming to Denver, and he wants to figure out what engaging with the artistic community here might look like for him. But his focus right now is primarily on film and television and his budding writing career. Rodney had a big career before we met, and there’s every reason to believe he will have a big career for the rest of his life. So while I think you will see him around Denver a lot, I am not sure you are ever going to see him onstage at the Denver Center.

    Pictured above right: Rodney Hicks as Edmund and Markus Potter as Edgar in the DCPA Theatre Company's 2007 production of 'King Lear.' Photo by Terry Shapiro.)

    NUMBER 2What was your introduction to theatre as a kid? It was my mom, who was trained as an actor. She started a drama ministry at our Southern Baptist church in the 1970s. So literally from the time I can remember, I was dragging angel wings around or operating a dimmer board or giving the actors their lines. So it's always been a part of my life. During my senior year in high school, it became clear that's what I wanted to pursue. And when I got to Baylor University I very quickly realized, 'This is what I want to do. This is the room I want to be in. This is my tribe of people.' 

    NUMBER 3How do you plan to move the dial when it comes to the national problem of equity, diversity and inclusion in the American theatre? As a gay man, I am on the bandwagon. I absolutely agree with the movement, and I believe it is high time for there to be opportunities for lots of different kinds of people in leadership roles. And I think there is a lot that any artistic leader can do to make positive changes, no matter that leader's gender and skin color. You would be hard-pressed to find anyone who is more passionate and committed to move us forward on that front. That certainly was the case in Portland, and I expect that only to increase in Denver.

    NUMBER 4You may have heard that Denver Center audiences are passionate about their Shakespeare. Will there be a continuing commitment to Shakespeare? And if so — what kind of Shakespeare? There absolutely will be a continuing commitment to Shakespeare. Now, over the years, I have done every kind of radical Shakespeare reinvention you can possibly imagine. But then about four years ago, I thought: 'You know what would be really radical? To do a Shakespeare play in the period when it was actually written. That would be radical.’ I expect that I am probably more of a centrist when it comes to Shakespeare at this point in my life. What I value most is truthfulness, authenticity and the ability for an audience to engage emotionally. I just want audiences to take the whole ride and not sit back.

    NUMBER 5Should the DCPA Theatre Company be actively responding to the political polarization of the country right now? I think if you are doing interesting new plays, then that happens, whether you want it to or not. Politics tends to show up whenever you are talking about the things that are happening in our world. For example, when we programmed a new play we are staging right now called Mojada: A Medea in Los Angeles, we already knew of course that immigration is a big issue in this country. But we had no idea how searingly hot it was going to be by the time we opened the play. It is delightful that Luis Alfaro’s play engages with the issues of the current moment, but that’s not why we did it. We did it because we liked the play. But the issue allowed us to build community partnerships around the play that are absolutely conscious of engaging with the conversation of the moment. For example, we have two symposiums in partnership with Catholic Charities that will include our attorney general, a leading immigration attorney, the deputy director of I.C.E. and two Dreamers. That kind of thing is totally in our zone. It’s not just pushing one point of view. It’s bringing together many sides and deepening the conversation you just experienced on the stage.

    NUMBER 6george-bernard-shaw-9480925-1-402So what’s with your love for George Bernard Shaw? I will tell you: The play we are doing this season that most directly engages the executive leadership of this country is Major Barbara — which of course never refers to America or our current president because it was written in 1907. But the themes are uncannily resonant.

    NUMBER 7Is there a place for current DCPA Associate Artistic Director Nataki Garrett on your team? I have actually known Nataki Garrett for 20 years because she stage-managed a show I acted in back in Atlanta. I have enormous respect and fondness for her, and I was delighted when she was hired to be the Associate Artistic Director here. I anticipate that she will continue in that role until she decides she doesn’t want it anymore. I also know there are a lot of people around the country who have noted Nataki's leadership capabilities, so I suspect there are people knocking at her door.

    NUMBER 8DCPA Education just launched its Theatre for Young Audiences program with a production of The Snowy Day that is directed at pre-kindergarten through third graders, and it was made in full collaboration with the Theatre Company's design staff. How important is it for the Theatre Company to have a strong relationship with the Education division? It's critical to me. One, because we have to prepare future audiences. It is so easy today to walk through life without any real cultural participation of some kind. So I think it's critical that we create, invent and provide as many on-ramps as we can. So education, outreach, and using every opportunity we can to build community relationships with people is just huge.

    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.

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

    by John Moore | Jul 26, 2017


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

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

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

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

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

    More information on Theatre Company, Off-Center shows


    2017-18 DCPA tickets on sale Aug. 11:

    Show title


    Run Dates

    Men are from Mars,
    Women are from Venus LIVE!

    Garner Galleria

    Aug 9 - 27, 2017



    Sept 15 - Oct 29, 2017

    Girls Only - The Secret Comedy of Women

    Garner Galleria

    Sept 21 - Oct 22, 2017

    The Snowy Day and Other Stories
    by Ezra Jack Keats

    Conservatory Thtr.

    Sep 21 - Nov 18, 2017

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

    The Ellie

    Oct 1, 2017

    The Wild Party

    Hangar at Stanley

    Oct 11 - 31, 2017

    Smart People


    Oct 13- Nov 19, 2017

    Something Rotten!


    Oct 17 - 29, 2017

    Breakin' Convention


    Nov 4-5, 2017

    First Date

    Garner Galleria

    Nov 11, 2017 - Apr 22, 2018

    RENT 20th Anniversary Tour


    Nov 14 - 19, 2017

    A Christmas Carol


    Nov 24 - Dec 24, 2017

    The SantaLand Diaries


    Nov 24 - Dec 24, 2017



    Nov 28 - Dec 3, 2017

    Mannheim Steamroller Christmas
    by Chip Davis


    Dec 9 - 10, 2017

    ELF The Musical


    Dec 13 - 17, 2017



    Dec 19 - 31, 2017

    Rodgers & Hammerstein's
    The King and I


    Jan 2 - 14, 2018

    Zoey's Perfect Wedding


    Jan 19 - Feb 25, 2018

    American Mariachi


    Jan 26 - Feb 25, 2018

    The Great Leap


    Feb 2 - March 11, 2018

    This is Modern Art


    Mar 22 - April 15, 2018



    Feb 13 - 18, 2018

    Native Gardens


    April 6 - May 6, 2018

    The Who's Tommy


    April 20 - May 27, 2018

    Human Error

    Garner Galleria

    May 18 - June 24, 2018

    School of Rock


    May 29 - Jun 10, 2018

    Les Misérables


    July 25 - Aug 5, 2018

    On Your Feet!


    Aug 8 - 19, 2018


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

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

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

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

    by John Moore | Jul 02, 2017

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

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

    By John Moore
    Senior Arts Journalist

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

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

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

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

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

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

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

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

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

    How Georgia McBride has evolved since Denver

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

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

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

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

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

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

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

    (Story continues after the video)

    Video spotlight: American Mariachi

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    More Colorado theatre coverage on the DCPA NewsCenter

    Video spotlight: The Great Leap

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

    by John Moore | Apr 03, 2017


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

    By John Moore
    DCPA Senior Arts Journalist

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

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

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

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

    American Mariachi
    was a favorite from the Theatre Company's 2016 Colorado New Play Summit. "Women of course had many challenges trying to play in such a male-dominated musical form," González said. "We interviewed a number of amazing women who were able to help us enter into that world, and we found an amazing group of artists who will play and sing in the piece."

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

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

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

    2017-18 Broadway season brings Hamilton to Denver

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

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

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

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

    More Colorado theatre coverage on the DCPA NewsCenter

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

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

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

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


    • 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)


    • 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

    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-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-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.”


    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.

    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


    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-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-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-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-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-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-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-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.



    • 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.



  • Photos: 2017 Summit welcomes dozens for opening rehearsal

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Blind Date
    By Rogelio Martinez

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

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

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

    Human Error
    By Eric Pfeffinger

    2017 Colorado New Play Summit Eric PfeffingerMadelyn and Keenan are NPR-listening, latte-sipping, blue-state liberals, while Heather and Jim are NRA-cardholding, truck-driving, red-state conservatives. After an unfortunate mix-up by their blundering fertility doctor, Heather is mistakenly impregnated with the wrong child. Now the two couples face sharing a nine-month’s odyssey of culture shock, clashing values, changing attitudes and unlikely friendships.

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

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


    By Robert Schenkkan

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

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

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

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

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

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

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

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

    More Colorado theatre coverage on the DCPA NewsCenter

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.

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