• Denver-born 'Georgia McBride' to be a film starring Jim Parsons

    by John Moore | Feb 12, 2018
    Georgia McBride. Matt McGrath and Jamie Ann Romero. Photo by Jennifer M. Koskinen.

    Ben Huber and Jamie Ann Romero were part of the world-premiere cast that launched  'The Legend of Georgia McBride' for the DCPA Theatre Company in 2014. Photo by Jennifer M. Koskinen for the DCPA NewsCenter. 


    The Big Bang Theory star will both co-star and produce film about an Elvis impersonator who turns to drag for money

    By John Moore
    Senior Arts Journalist

    Stage and screen star Jim Parsons will co-star and produce a feature-film version of Matthew Lopez’s Denver Center-born play The Legend of Georgia McBride, according to multiple news reports today. The film rights have been acquired by New Regency and Fox 2000, according to Variety.

    Matthew LopezLopez, whose play Zoey's Perfect Wedding is now performing in the Denver Center's Space Theatre through Feb. 25, will adapt the screenplay. Upon completion, Georgia McBride will become only the second DCPA Theatre Company world-premiere play to be made into a feature film, following HBO's The Laramie Project.

    The Legend of Georgia McBride is about a broke young Elvis impersonator and father who turns to drag to feed his growing family. The play was chosen by former Artistic Director Kent Thompson to be introduced at the Denver Center’s 2013 Colorado New Play Summit and was fully staged the next year under the direction of Mike Donahue — who is also the director of Zoey’s Perfect Wedding.

    JimParsons160Parsons, star of TV’s The Big Bang Theory and who will return to Broadway this season in The Boys in the Band, will play the role of Miss Tracy Mills, a veteran drag queen who coaches a young man named Casey in the art of drag. The role was originated in Denver by Matt McGrath.

    The Big Bang Theory
    has been renewed for a 12th season and has garnered a spinoff series called Young Sheldon. Parsons most recently starred opposite Claire Danes in the play A Kid Like Jake, which coincidentally will be presented in Denver by Benchmark Theatre, opening Friday (Feb. 16) at the former Edge Theatre in Lakewood.

    Mathew Lopez: America could use a laugh right now

    Parsons will produce the film with Todd Spiewak via their That’s Wonderful Productions banner, according to Variety. Eric Norsoph will executive produce and oversee the project, and Fox will distribute the feature film.

    Matt McGrath in 'The Legend of Georgia McBride.' Photo by Jennifer M. Koskinen. DCPA Theatre Company Managing Director Charles Varin said because the play was originally produced by the Theatre Company, the Denver Center owns a small percentage of the property's subsidiary rights. Most significantly, that means the film's end credits will acknowledge that the work was developed and first presented in Denver.

    "It's exciting that Matthew is now getting recognized as an accomplished writer in many different ways — stage, TV and now film," Varin said. "His time has come, and we are proud to have been part of his journey."

    (Pictured above and right: Matt McGrath originated the role of Miss Tracy Mills, who will be played in the film by Jim Parsons. The original cast in Denver also included Ben Huber, Jamie Ann Romero and Nick Mills. Photo by Jennifer M. Koskinen for the DCPA NewsCenter.)

    Lopez, the Denver Center's Playwright in Residence for the 2014-15 season, is currently in London for the March 2 premiere of his highly anticipated two-part play The Inheritance at The Young Vic. The epic play takes a panoramic view of gay life in New York today in the aftermath of the AIDS crisis depicted in Tony Kushner’s sprawling Angels in America. Lopez posted the news on his Instagram account saying he was “happy and proud” for the news.

    DCPA Theatre Company taking new plays to new level

    Last year, The Legend of Georgia McBride  became the most-produced new Denver Center work since Quilters in 1982. After Georgia McBride was fully staged in Denver, Lopez continued to fine-tune the script as it had subsequent stagings at the MCC Theater in New York City and the Geffen Playhouse in Los Angeles. In all, 10 companies from California to Florida staged the pay in 2018, with at least four more slated for 2018.

    “We couldn’t be happier for Matthew,” said Doug Langworthy, the Denver Center’s Director of New Play Development. “Georgia McBride was such a big-hearted success here, and I’m sure filmgoers will love it as much as our audiences did.”

    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. News reports contributed to this report,

    Video: Your first look at Zoey's Perfect Wedding

    Your first look at 'Zoey’s Perfect Wedding.' Video by David Lenk for the DCPA NewsCenter.


    Zoey's Perfect Wedding
    :
    Ticket information
    Zoey_seasonlineup_200x200At a glance: 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. Like a car crash you can’t look away from, watch in awe as this wildly funny fiasco destroys her expectations with the realities of commitment, fidelity and growing up.

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

    Video: Director on how perfect Zoey's Perfect Wedding is

    Selected previous NewsCenter coverage of Zoey's Perfect Wedding:

    More Colorado theatre coverage on the DCPA NewsCenter

  • Photos: First look at 'The Great Leap,' Opening Night of 'American Mariachi'

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


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

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

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


    Photos: Opening night of American Mariachi:

    Making of 'American Mariachi'

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

    American Mariachi: Ticket information

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

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

    More Colorado theatre coverage on the DCPA NewsCenter

  • Video: First look at 'The Great Leap,' and 5 things we learned at Perspectives

    by John Moore | Feb 06, 2018
    Your first look at 'The Great Leap.' Video by David Lenk for the DCPA NewsCenter.

    Playwright Lauren Yee intends to take audiences right down to the buzzer when her new play opens Friday  

    By John Moore
    Senior Arts Journalist

    Denver audiences have not yet seen Lauren Yee’s new basketball play The Great Leap, opening Friday in the Ricketson Theatre. But while no literal hoops action goes down on the stage, actor Linden Tailor says the story plays out much like any good, close basketball game: You don't know how it’s going to come out till the very end.

    “The play builds in intensity the same way a game does in those final two minutes,” said Tailor, who plays a short but scrappy Chinese-American player named Manford in Yee's tale of a college basketball team that travels to Beijing for a “friendship” game and lands right in the middle of the Cultural Revolution. “That’s the feeling I hope the audience gets when they see the play.”

    The occasion was Perspectives, the DCPA Theatre Company’s ongoing series of community conversations held just before every first preview performance. Literary Manager Douglas Langworthy was joined by Yee, Tailor, actor Keiko Green, Dramaturg Kristin Leahey of the Seattle Repertory Theatre and Scenic Designer Wilson Chin.

    Yee takes great pains to make her play mirror the game she honors in several ways. The sound of dribbles make for heightened sound effects, for example. Intermission is like halftime. There is a big game at the end of the play, but the audiences only hear about it in a fugue of language. Actors quickly toss words back and forth like the passing of a basketball. "There are times when all four of us are sharing a sentence," Green said. The effect is similar to the teamwork you see in a game. “You can feel it when the players are comfortable and supportive of each other," she said. "And that’s the feeling we hope to convey as actors."

    Here are five things we learned about The Great Leap at Perspectives. Next up: A conversation with the creative team from Native Gardens at 6 p.m. Friday, April 6, in the Jones Theatre:

    The Great Leap Perspectives. Photo by John Moore

    From left: Douglas Langworthy, Keiko Green, Linden Tailor, Lauren Yee, Kristin Leahey, Wilson Chin and Eric Ting. Photo by John Moore for the DCPA NewsCenter. Full photo gallery below.

    NUMBER 1"Let's go co." In its nearly 400 productions, the DCPA Theatre Company has only participated in two previous “co-productions” — world-premiere plays created in full partnership with another company. And they both took place in 2000: The Laramie Project, with Moisés Kaufman’s Tectonic Theatre Project in New York, and the epic 10-play cycle Tantalus with the Royal Shakespeare Company. Until now. This season, the DCPA is launching two "co-pros" simultaneously: The Great Leap with the Seattle Repertory Theatre (opening there March 28) and American Mariachi with the Old Globe in San Diego (opening there on March 29). One of the primary reasons most theatres enter co-productions is the opportunity to share expenses. But Leahey said this arrangement has far more to do with overlapping interests. "It was an affinity for the play, for the playwright and the opportunity to collaborate with our friends the Denver Center," she said. "It was not for financial reasons."

    NUMBER 2The evolution will not be televised. Yee's play was first introduced to Denver Center audiences last February as a featured reading at the 2017 Colorado New Play Summit. Since then, "I think the play has changed an incredible amount," said Yee — and not just the title, which has morphed from the original Manford at Half Court to Manford at the Line Or The Great Leap to, finally, the shortened The Great Leap. "As a writer, I tend to know the major pieces of the puzzle early on, like the characters and the setting," Yee said. "For me the rewriting process — like being at the Summit for two weeks and seeing how it works in front of audiences — is figuring out better ways of connecting those pieces together."

    NUMBER 3Language barrier. Half of The Great Leap takes place in San Francisco, and half takes place in China. Yee was asked by a Perspectives audience member if the play will ever be staged in China, and she said that had not yet even occurred to her. "I don't think it would work there," she said. "My references are so American, both in terms of language and pop-culture references, that I don't know how it would read to a Chinese audience. In America, we have a very specific take on what our history is, and I'm sure that China has a very specific take on what world history is. I think if you were to see my play in China, you would be like, "No. You are completely wrong about our history. I see it entirely differently.' "

    NUMBER 4The Great Leap Linden Tailor Nuggets. Photo by Hope GrandonThe Hornets rest. The Great Leap cast made a field trip on Monday to the Denver Nuggets' game against the Charlotte Hornets, where they were welcomed by a message on the giant scoreboard. They also met Rocky, one of the most popular mascots in all of sports. And in return, the cast sent the Nuggets their good vibes, which surely played a part in the Nuggets' 121-104 rout. "It's fun to go to a game and have it be research," Tailor joked. (Photo: Rocky and Linden Tailor. Photo by Hope Grandon.)

    NUMBER 5Ordinary people. Yee’s next play is called Cambodian Rock Band, and it bears one major similarity to The Great Leap, she said: Ordinary people intersecting with extraordinary places in history. “In Cambodia during the 1960s and '70s, there was a whole psychedelic surf-rock scene that you never heard about because the communists took over Cambodia in 1975, after the Vietnam War ended," Yee said, "and the first thing they did was kill all the artists. In four years, 90 percent of their musicians died, and the only ones who survived are those who hid their identities. My play is the story of a Cambodian-American woman and her father, who is a Khmer Rouge survivor. In the course of the play, the daughter learns that her father was in this rock band. I think that's something we can all relate to: Not really fully knowing who your parents are.” It opens March 3 at the South Coast Repertory in Orange County, Calif.

    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.

    Photo gallery: The making of The Great Leap:

    The making of 'The Great Leap' Photos from the making of 'The Great Leap,' opening Friday and performing through March 11 in the Ricketson Theatre. To see more photos, click on the image above to be taken to our full gallery. Photos by John Moore for the DCPA NewsCenter. Pictured above is Director Eric Ting (pictured). 

    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

    Read more: Our complete interview with Lauren Yee

    Selected previous coverage of The Great Leap:
    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

  • 'Zoey' playwright Matthew Lopez: America could use a laugh right now

    by John Moore | Feb 03, 2018
    Zoeys Perfect Wedding. Photo by Adams Viscom

    The cast of 'Zoey's Perfect Wedding' includes, from left: Mallory Portnoy, Grayson DeJesus, Nija Okoro and Jeff Biehl. Photo by Adams VisCom for the DCPA NewsCenter. 


    In the face of these trying times, the playwright rejects the notion that simply 'checking out' is an acceptable option

    By John Moore
    Senior Arts Journalist

    In this painfully protracted period of ideological divisiveness in the country, there is perhaps one (single) thing we can all agree on: America could use a laugh. 

    But despite the preponderance of comedies high and low to be found on screens large and small, American playwrights have not been widely producing flat-out, laugh-out-loud comedies for generations. And that, says playwright Matthew Lopez, is a good thing. Because theatre can do better than that. 

    matthew_lopez Quote Zoey 800“Comedy has one of two functions: To make you think or to make you forget,” he said. “The best make you forget that you’re thinking. I hope we’re the latter.” 

    Lopez is the author of the DCPA Theatre Company’s  2014 breakout hit The Legend of Georgia McBride, which went on to be performed Off-Broadway and at theatres across the country. He’s back this season with another world premiere comedy Zoey's Perfect Wedding — which is anything but. 

    “I’m allergic to the notion that, in the face of trying times — or perhaps more accurately put: in the face of a full-scale national disaster — it’s preferable to simply check out,” Lopez said. “Checking out really isn’t an option in a democracy. One could argue that’s how we got into this in the first place. However, we don’t always need to think directly at the thing.”   

    There’s nothing wrong with people spending two hours laughing and having fun at the theatre, Lopez believes. But the route to funny must pass through true understanding.  

    Zoey’s Perfect Wedding presents a wedding where disaster after disaster follows the frost-caked bride down the aisle, from boozy and brutally honest speeches to obliviously self-absorbed supporting characters to a wildly incompetent wedding planner. Ain’t weddings fun? 

    Lopez has been to enough to know that self-absorbed people often turn weddings into a referendum on their own lives. Put another way, he said: It’s shockingly easy to act like a narcissist at someone else’s wedding.

    Video: Director on how perfect Zoey's Perfect Wedding is

    “It was once said of Teddy Roosevelt that he was the bride at every wedding, and the corpse at every funeral,” Lopez said. “I think that applies to more people than anyone cares to admit.”

    It’s also true what they say about your misery being another person’s funny, because Zoey’s Perfect Wedding was inspired by a train wreck of a wedding Lopez was right in the middle of a few years after college.

    “It was the weekend after Thanksgiving,” Lopez said. “We had all just seen each other two days before, and here we were back again with nothing really more to talk about than what a fun night Thanksgiving was. Then one friend began to pick at a scab of something that bothered them from Thanksgiving and, before we knew it, we were all in a full-scale verbal brawl that eventually ended up ruining the night for most of us. 

    Zoey. Adams Viscom“I’m certain that, had this been a dry wedding, we all would have had a much better time. And I am certain that is the first time those words have ever been uttered.” 

    The characters and events in Lopez’s play are pure imagination. But the notion of friends showing up to a wedding and forgetting they’re at a wedding and acting like it’s just another night out at the bar? “That, I am ashamed to admit, is true,” he said. 

    (Pictured, from left: Nija Okoro and Mallory Portnoy of 'Zoey's Perfect Wedding.' Photo by Adams VisCom for the DCPA NewsCenter.)

    But it was the underlying fuel propelling that booze-soaked fire that interested the writer in Lopez. “These characters wrestle with commitment, loyalty and honesty,” Lopez said. “They wrestle with the difference between our expectations and our reality — and those are things we all grapple with in one way or another every day.” 

    Which is why it’s misleading to label his new play a simple comedy. Lopez would like for us to move beyond distinctions between comedy, tragedy and their many variations. The fact is, a great many plays are comedies … until they just aren’t anymore. 

    “Things aren’t funny if they aren’t true,” Lopez said. “Even sight gags require the laws of physics be obeyed in order to work. If and when a comedy veers unexpectedly into drama, perhaps the question one should ask is: ‘Is that true?’ Here’s an example: Is August: Osage County a comedy or a drama?”

    The same can be said about a great joke in the middle of an unquestionably serious play. If the moment is rooted in character, then it is rooted in truth.

    “Humans are funny. Humans are sad. Humans are sometimes funny and then, the next second, tragic,” Lopez said. “Life does not fit neatly into categories and neither should our stories. At the end of the day, it all comes down to story. And if stories are not rooted in some kind of recognizable truth, they are worthless.  

    “Lest we forget: There’s a fart joke in Waiting for Godot.”

    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.

    Matthew Lopez is currently in London for the March 2 premiere of his highly anticipated two-part play The Inheritance at The Young Vic. The epic play takes a panoramic view of gay life in New York today in the aftermath of the AIDS crisis depicted in Tony Kushner’s sprawling Angels in America.

    Video: Your first look at Zoey's Perfect Wedding

    Your first look at 'Zoey’s Perfect Wedding.' Video by David Lenk for the DCPA NewsCenter.


    Zoey's Perfect Wedding
    :
    Ticket information
    Zoey_seasonlineup_200x200At a glance: 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. Like a car crash you can’t look away from, watch in awe as this wildly funny fiasco destroys her expectations with the realities of commitment, fidelity and growing up.

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


    Bonus read: The perfect union behind Zoey’s Perfect Wedding


    Zoey’s Perfect Wedding is not about a perfect wedding. It’s about a wedding where one hilarious disaster follows another. But one creative marriage that was built to last is the one between playwright Matthew Lopez and director Mike Donahue, which started, and continues, in Denver. 

    Zoey Mike Donahue Matthew LopezThe pair first teamed up in 2013 for a reading of The Legend of Georgia McBride at the Colorado New Play Summit. After the DCPA Theatre Company’s world premiere staging the next year, Donahue and Lopez took the comedy to New York, and it has since been performed at theatres across the country. The two are partnering again on Zoey’s Perfect Wedding, which plays through Feb. 25 in The Space Theatre. 

    Donahue was definitely the pursuer in this relationship. He read an early draft of Georgia McBride, loved it, and asked his agents to arrange a meeting with Lopez. But Donahue was told that Lopez was probably a bit out of his league, because his breakthrough drama The Whipping Man had taken off in New York, he had landed a few screenplays, and was writing for TV’s “The Newsroom.” Jilted, but not for long — because Cupid conspired to bring them together a few years later for the 2013 Colorado New Play Summit in Denver. 

    Donahue was here directing Grace, or the Art of Climbing for the DCPA Theatre Company when the selected titles were announced for the upcoming Summit. “One of the plays on the list was Georgia McBride, and there was no director attached to it,” said Donahue, who again called his agents and ask them to arrange a phone call with Lopez. “He didn’t call me back,” Donahue said with a laugh. “But three weeks later I got the offer, and now Matthew is one of my best friends.” 

    It’s not lost on Donahue that both of his Lopez plays have now originated at the Denver Center. “Who knows? Maybe Denver is just a magical place,” said Donahue, who says what he loves most about Lopez’s comedies is that “they are incredibly funny 
    and have a big heart.” 

    We also asked Lopez to explain what makes Donahue such a good fit to direct his plays.

    “As with any good marriage, we just get each other,” Lopez said. “We share a complimentary — though not identical — view of the world, of theatre, of storytelling. He’s smart in ways I’m not, and I’m intuitive in ways he might not always be. And sometimes vice versa.” 

    “What can I say? He completes me.”

    Selected previous NewsCenter coverage of Zoey's Perfect Wedding:

    More Colorado theatre coverage on the DCPA NewsCenter

  • The 2018 Scenesters: Emmaleth Ryan, Grandview High School

    by John Moore | Jan 16, 2018
    2018 The Scenesters Emmaleth Ryan

    Today on the DCPA NewsCenter, we continue our daily countdown of the 10 Colorado student playwrights who have been named semifinalists for our fifth annual statewide playwriting competition. On Wednesday, Jan. 17, we will announce the writers whose plays will be read at the 2018 Colorado New Play Summit. (Details below.)


    SCENESTER NO. 10: EMMALETH RYAN

    • Class: Senior
    • School: Grandview High School
    • Teacher: Brianna Lindahl
    • Your play title: Sleep No More
    • What is your play about? A girl is fighting demons both within and without herself, and she decides to end the battle by committing suicide. However, her course is interrupted by another young woman who reminds her of the resilience of the human spirit.
    • What was your inspiration for writing your play? I was inspired by the sudden influx of suicide-related media that I felt misrepresented or glorified depression and suicide (namely the TV show 13 Reasons Why and the song 1-800-273-8255 by Logic.) I've struggled with depression and I know many people who have fought against bullying, depression, anxiety, and suicidal thoughts. This play was written as an attempt to honor, but not glorify, that struggle. The title of my play was taken from a line in Macbeth: "Sleep no more, Macbeth does murder sleep." This reference was a vague parallel between Macbeth, who becomes a tyrannical king, and the tyrant of my play, as they both ruin the peace of the innocent.
    • Yara Shahidi ScenestersFavorite word that appears in your script: Visceral.
    • Killer casting: If I had any kind of influence, my first choice for playing the Princess would be Yara Shahidi. She is a known social activist, and I'm endlessly impressed by the way she uses her intelligence and popularity to promote social justice in spite of her youth. She is the type of person I hoped to exemplify when writing the Princess. Additionally, she seems like a wonderful person to work with, and she's gorgeous.
    • What did you learn from writing this play? Writing this play brought me a great deal of peace. I spent a long time in the mindset of the Warrior, who is intelligent and spirited but sunk too deep in her misery to truly see reality as it is. Her role wasn't difficult to write. Writing the Princess was far more challenging, as she is meant to be the inspiring antagonist to the Warrior's suicidal thoughts. In the play, she has been kicked around by the world, but her response was not to hide but to fight back. This response was enlightening to me, and I learned more about how to grapple with life by writing a character who has fought her demons and won.

    Video: Winning DCPA student playwrights' plays are performed

    Scenesters Quote Emmaleth Ryan

    About the 2017-18 Regional High-School Playwriting Workshop and Competition:

    What: A one-act playwriting competition designed for area high schools. Local playwrights and DCPA Education faculty taught 146 playwriting workshops in 57 Colorado schools. A record 3,002 high-school students participated in those workshops, which were held in every school district in the Denver-metro area and in 20 counties around the state.

    Why: To nurture Colorado’s young playwrights; develop theatre artists and audiences; develop new plays; and advance literacy, creativity, writing and communication through playwriting.

    How: A total of 153 submissions were judged blindly by DCPA artistic, literary and education professionals. Ten semifinalists are being identified through this rolling daily countdown. At the end of the countdown, three winners will be named. They will receive a cash scholarship of $250 each AND a staged reading in the 2018 Colorado New Play Summit next month. In addition, each teacher of the three finalists will receive a $250 gift certificate for books, supplies or other teaching tools for their classrooms. One play also will be presented as a fully staged performance exercise for DCPA Education students in the summer of 2018.

    Sponsors: Robert and Judi Newman Family Foundation with matching gifts from The Ross Foundation, June Travis and Transamerica.

    Our profiles of all 2018 Scenester semifinalists (to date):
    Video bonus: Last year's playwrights at the Colorado New Play Summit

    Video: We talked with the four 2017 student playwriting finalists whose plays were read by DCPA actors at the Colorado New Play Summit. Video by David Lenk and John Moore for the DCPA NewsCenter. 


    A look back: Our profiles of all 10 of the 2017 semifinalists:

    More Colorado theatre coverage on the DCPA NewsCenter

  • 'The Great Leap:' 5 Things we learned at first rehearsal

    by John Moore | Jan 12, 2018
    The making of 'The Great Leap'Check out our full gallery of photos from the first rehearsal for 'The Great Leap.' To see more, click on the image above to be taken to our full Flickr gallery. Photos by Sam Adams John Moore for the DCPA NewsCenter.


    Newest Denver Center world premiere is a basketball story that already has a road trip scheduled after its home opener 

    Rehearsals began Tuesday for the third of three soon-to-be simultaneous DCPA Theatre Company world-premiere plays. And, like American Mariachi, when Lauren Yee’s The Great Leap finishes its inaugural run in Denver on March 11, it’s hitting the road with its cast and creative team intact.

    The Great Leap, about a college basketball team that travels to Beijing for a “friendship” game in the post-Cultural Revolution 1980s, is a co-production with the Seattle Repertory Theatre, where it will run from March 23 to April 22. The play will then make its New York premiere opening May 23 at the Atlantic Theatre Company with its own, different cast and creative team.

    “We are excited for this play to have a long and successful life, and we are honored to be premiering it here at the Denver Center,” said Associate Artistic Director Charlie Miller.

    Yee was commissioned to write The Great Leap for the Denver Center in 2015. The play was first introduced to audiences a year ago as a reading at the Denver Center’s Colorado New Play Summit. The dramaturg was, and remains, Kristin Leahey of Seattle Rep.

    The Great Leap Lauren Yee Photo by John Moore“The Denver Center has been so welcoming in inviting us to be a part of this wonderful journey with this fantastic play,” Leahey said at the opening rehearsal. “We are so thrilled to continue on this journey together, and we hope you all join us in Seattle for the next iteration of the show.”

    Since the Summit, Yee has aggressively developed her story, workshopping the play at the American Conservatory Theatre in San Francisco, the Playwrights’ Center in Minneapolis and at New York Stage and Film. “So it’s done a mini-United States tour already, and it hasn’t even opened yet,” Miller said. "There is already a lot of positive buzz about this play throughout the field."

    The Great Leap focuses on a short kid from San Francisco’s Chinatown named Manford who talks his way onto the China-bound exhibition team and soon finds himself inadvertently embroiled in international politics. "It's really the story of a young Chinese-American kid who goes to China to learn something about himself as a basketball player, as an American, and as someone of Chinese descent," Yee said. "And I think it is about how sports and politics intersect and mirror one another."

    More Colorado theatre coverage on the DCPA NewsCenter

    The story is told "with a ton of heart and is also very funny," Miller added, "but it is told with a historical and political backdrop that also gives people an interesting window into Tiananmen Square and the cultural revolution in China. It’s not often that you have a play about sports that also deals with so many other bigger issues.”

    The remarkable thing about the play to Director Eric Ting is its utter originality. After all, how many plays have there ever been about a Chinese-American basketball player? “A young Asian man on a basketball team is already an uncommon affair,” Ting said. “Manford is a person without a place wherever he is — which is a story I think many of us are very familiar with. We want to make sure this play is a celebration of what it means to be different.”

    Here are five quick things we learned at first rehearsal:

    NUMBER 1The Great Leap Eric Ting Photo by John MooreTiana who what where? One thing that has caught Ting off-guard over the past year is discovering how many young people have never heard of the 1989 Tiananmen Square Massacre. Which, if you are over 30, probably just made your back ache. But it’s a rather central plot point, so here is a refresher: The Tiananmen Square protests were student-led pro-democracy demonstrations in the capital city of Beijing in the summer of 1989. The protests, primarily targeting government corruption, lack of transparency and freedom of speech in post-Mao China, were forcibly suppressed after the government declared martial law. Troops with automatic rifles and tanks killed several hundred demonstrators trying to block the military's advance toward Tiananmen Square. The number of civilian deaths has been reported variously from 180 to 10,000. The enduring image from all that bloodshed was of a lone unidentified man dressed in a white shirt and holding a shopping bag who stood in front of a column of tanks. He became known around the world only as “Tank Man,” a powerful symbol of both violence and non-violent resistance.

    NUMBER 2Founding father. The inspiration for the play is Yee's father who, like the fictional Manford, grew up in Chinatown. “Before my father had children, the only thing he was good at was playing basketball,” said Yee. In 1981, he was invited with some of his American teammates to play a series of exhibition games throughout China. “My father had never been to China,” said Yee. “They played in 10,000-seat stadiums. The games were broadcast back on American television. And when I asked him, ‘Did you win?’ he told me, ‘We got demolished almost every single game.’ And that was because my father was the center — and he is only 6-foot-1. Their tallest player was 7-foot-6 and 350 pounds. My dad said, 'Nobody wanted to guard this guy,’ and they got creamed.”

    NUMBER 3The game is afoot. Even though the play has very little actual basketball game play in it, “there is a rhythm and an energy to the script that should make you feel like you have just been through a basketball game,” Ting said. "The scenes move like a game, and are quick in transition," Yee added. But that doesn’t mean the storytelling is always kinetic. “Basketball isn't just about movement,” Ting said. “It's also about stillness. It's about holding your ground. It's about finding each other in the space.”

    (Story continues below the video.)

    Video bonus: Our interview with Lauren Yee from the Colorado New Play Summit

    Th title of Lauren Yee's play changed three times during development before settling on 'The Great Leap.' Video above by DCPA Video Producer David Lenk and Senior Arts Journalist John Moore.

    Read more: Our complete interview with Lauren Yee

    NUMBER 4The enduring Dream. When Ting first read The Great Leap, he made the not-so-great leap to the archetypal American Dream. “It is very hard to underestimate the profound impact the possibility of the American Dream has on all the immigrants of this Earth, and the role this nation has played, historically, in inspiring people to make change,” Ting said. “One reason this play is important right now is to remind of that role we still play as a country. This is a play about what it means to dream and pursue something."  

    NUMBER 5Team Uncommon. The returning Scenic Designer is Wilson Chin, who blew audiences away last season with his singular vision for the DCPA Theatre Company’s The Secret Garden. “That was one of the most incredible experiences of my life,” Chin said. “I really fell in love with the Denver Center, and I fell in love with this town." With The Great Leap, Chin is now part of something almost completely unheard of: A creative team led by a Chinese-American director telling a Chinese-American story written by a Chinese-American playwright for a theatre that does not routinely tell Chinese-American stories. “Eric and I have done a few shows together, but in all my years of working in the theatre, that has never happened before," Chin said. "To get to tell a Chinese-American story with other Chinese-Americans is moving, and it’s thrilling. I can't wait for us to go down this road together.”

    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 Great Leap: Cast and creatives

    • Written by Lauren Yee
    • Directed by Eric Ting
    • Scenic Designer: Wilson Chin
    • Costume Designer: Valérie Thérèse Bart
    • Lighting Designer: Christopher Kuhl
    • Sound Designer: Curtis Craig
    • Projection Design: Shawn Duan
    • Dramaturg: Kristin Leahey
    • Stage Manager: Jessica Bomball
    • Assistant Stage Manager: D. Lynn Reiland

    Cast:

    • Bob Ari as Saul
    • Keiko Green as Connie
    • Linden Tailor as Manford
    • Joseph Steven Yang as Wen Chang

    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 Feb. 2-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

    Selected previous coverage of The Great Leap:
    Summit Spotlight: Lauren Yee lays it all on the free-throw line
    Vast and visceral: Theatre Company season will include The Great Leap

  • Video: Director on just how perfect 'Zoey's Perfect Wedding' really is

    by John Moore | Jan 02, 2018

     

    'This is a totally raucous, wild, sexy, wedding gone horribly, catastrophically wrong. It is wild, silly, absurd, fun.'

    What kind of wedding is Zoey’s Perfect Wedding? Here’s a hint: Not-so-perfect. Mike Donahue, who was last in Denver directing the successful 2014 world-premiere comedy The Legend of Georgia McBride for the DCPA Theatre Company, introduces you to the world of the play, also penned by Georgia scribe Matthew Lopez.

    Mike Donahue. Photo by John MooreThe play “is a totally raucous, wild, sexy, wedding gone horribly, catastrophically wrong,” Donahue tells us in the video above. “It is wild, silly, absurd, fun.”  

    But at the same time, “There is such a heart to it,” he said.

    The play revolves around a group of multiracial New York friends ranging in age from their mid-20s to early 30s. The title character is Jewish, and that Zoey will be played by an African-American actor, Donahue said, “is awesome.”

    Nija Okoro is playing Zoey as a  Jewish African-American woman who is marrying a Southern white guy from Arkansas whose family is southern Baptist and this, and part of that point is people from very different places coming together and those differences not having to matter.”

    Zoey's Perfect Wedding: Ticket information
    Zoey_seasonlineup_200x200At a glance: 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. Like a car crash you can’t look away from, watch in awe as this wildly funny fiasco destroys her expectations with the realities of commitment, fidelity and growing up.

    • Presented by the DCPA Theatre Company
    • Performances Jan. 19-Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here
    Selected previous NewsCenter coverage of Zoey's Perfect Wedding":
    Five things we learned at first rehearsal

    Photo gallery The Making of Zoey's Perfect Wedding:

    The making of Zoey's Perfect Wedding

    Photos from the making of the DCPA Theatre Company's 'Zoey's Perfect Wedding.' To see more, click on the image above to be taken to our full gallery of photos. Photos by John Moore for the DCPA NewsCenter.

  • 2018 Colorado New Play Summit selections announced

    by John Moore | Nov 29, 2017
    A video look back at the 2017 Colorado New Play Festival in February. Video by David Lenk and John Moore for the DCPA NewsCenter.

     

    DCPA's signature celebration has introduced 53 new plays, over half of which have returned as full productions.

    The DCPA Theatre Company's 13th annual Colorado New Play Summit will feature readings of new works by Sigrid Gilmer, David Jacobi, Kemp Powers, and Barbara Seyda alongside world-premiere productions by José Cruz González, Matthew Lopez and Lauren Yee, it was announced this morning. 

    A Summit 800 5The Colorado New Play Summit, which return Feb. 17-25, 2018, is the DCPA’s signature festival dedicated to supporting playwrights and developing new work. Participating playwrights, including many commissioned by the Theatre Company, are given two weeks with professional directors, actors and dramaturgs to workshop new plays. Industry professionals and the public are invited to experience them as non-staged readings.

    (Pictured above and right: 2017 Colorado New Play Summit reading of Donnetta Lavinia Grays' 'Last Night and the Night Before.')

    Since its founding, the Summit has introduced 53 new plays, over half of which returned to the stage as full Theatre Company productions. Recent Summit world premieres include Lauren Gunderson’s The Book of Will, Tanya Saracho’s FADE, Matthew Lopez’s The Legend of Georgia McBride, Samuel D. Hunter’s The Whale, Theresa Rebeck’s The Nest, Marcus Gardley’s black odyssey, Karen Zacarias’s Just Like Us, Jeffrey Haddow and Neal Hampton’s Sense and Sensibility The Musical, and Dick Scanlan’s reimagined version of The Unsinkable Molly Brown.

    2018 FEATURED NEW-PLAY READINGS:

    Mama Metallica
    By Sigrid Gilmer
    Sigrid GilmerBudding playwright Sterling Milburn has always been overshadowed by her fabulous mother Louise. Even when she’s holed up in a care facility with Parkinson’s, Louise finds a way to steal the spotlight. But with the overly critical eyes of Eugene O’Neill and Tennessee Williams to fuel her rebellion and the frenetic energy of Metallica to help find her voice, Sterling sets out to write a story that is finally her own. As unfortunate histories mesh with hilarious interludes, Sterling must face the truth: her pain, her joys and her life will forever be shaped by and linked to the woman who raised her. Sigrid Gilmer’s “wonderfully impudent sense of humor” (USA Today) shines in this joyfully irreverent black comedy that entwines issues of identity with pop culture icons for a truly unique (and head-banging) experience.

    About Sigrid Gilmer: makes black comedies that are historically bent, totally perverse, joyfully irreverent and concerned with issues of identity, pop culture and contemporary American society. Sigrid burst onto the national theatre scene with her play Harry and the Thief, an action film/historical/time travel play about a thief who is blackmailed into traveling back in time to deliver a cache of arms to Harriet Tubman. It has since been produced across the country, including runs at the Pavement Group (Chicago), the Know Theatre (Cincinnati), and the Skylight Theatre (LA). Additional select works include Slavey (Clubbed Thumb), Seed: A Weird Act of Faith, It’s All Bueno (Cornerstone Theater Company), Frilly, and White 3: Manifestdestinyland. Sigrid is also on the writing team of the acclaimed Black Women: State of the Union. Sigrid is a winner of the Map Fund Creative Exploration Grant, the James Irving Foundation Fellowship and is a USA Ford Fellow in Theatre. Sigrid has an MFA in Writing for Performance from Cal Arts, where she was mentored by Suzan-Lori Parks. She resides in Los Angeles.

     


    The Couches
    By David Jacobi

    DCPA Theatre Company Commission
    David JacobiEthan Couch has lived in a bubble of pampered privilege for his entire life, so when he’s convicted of killing four people while driving drunk, he and his mother Tonya flee to a resort in Mexico rather than face the consequences. In this self-imposed state of limbo, Ethan pays hotel clerk Daniel $1000 to be his friend and help maintain the facade of his prior life. But as the unlikely pair drink, sing, and stumble through the night, delusions of how the world works melt away as quickly as their cash flow. David Jacobi draws from the infamous 2013 “affluenza” court case to weave a surreal story of recklessness and reflection.

    About David Jacobi
    : His plays have been performed throughout the U.S. and in China, including the Peter Jay Sharp Theater, FringeNYC and Penghao Theatre. His work has been developed at Ojai Playwrights Conference, Portland Center Stage’s JAW Festival, RISK IS THIS, Great Plains Theatre Conference, Kennedy Center MFA Playwright’s Workshop, SLC Playwrights Lab and PlayPenn. He is a winner of the Holland New Voices Award, Kennedy Center Theatre for Young Audiences Award, a Relentless Award semifinalist, and has been nominated for the Weissburger. David was the 2015 Shank Fellow at Pig Iron Theatre Company, and is currently under commission from the Denver Center and South Coast Rep. He received a BFA in Dramatic Writing from Purchase College and an MFA from UC San Diego.



    Christa McAuliffe’s Eyes Were Blue
    By Kemp Powers DCPA Theatre Company Commission
    Kemp PowersEven though they share the same DNA, twins Steven and Bernard have lived drastically different lives. The big reason? One is plagued by racism because of his dark skin while the other passes as white. Steven spent his childhood fitting in with fellow classmates and is now a successful attorney. Though he was an extraordinarily bright student who had his eyes on outer space, Bernard’s future is as dismal as the Challenger Space Shuttle that once inspired him. As he prepares for trial and potential jail time, Bernard must face his childhood bully behind the judge’s bench and confront his brother’s advantages. Following his DCPA audience favorite One Night in Miami…, Kemp Powers’ piercing meditation on race and privilege targets the circumstances that can change a child’s destiny.

    About Kemp Powers:
    His plays include One Night in Miami… (Donmar Warehouse, Denver Center, Baltimore Center Stage, Rogue Machine; 2017 Olivier nominee for Best New Play, three Los Angeles Drama Critics Circle awards, four NAACP Theatre awards, LA Weekly Theater award), Little Black Shadows (South Coast Repertory) and The Two Reds (The Ground Floor at Berkeley Repertory). His work has been developed at Denver Center Theatre Company, South Coast Repertory, Berkeley Repertory Theatre and the Classical Theatre of Harlem. In television and film, he was most recently a writer for “Star Trek: Discovery”(CBS All Access) and is currently adapting his play One Night in Miami… into a feature film. He has toured nationally as a storyteller for the Peabody Award-winning series, "The Moth," and was one of the 50 storytellers selected for publication in their New York Times-bestselling book, The Moth: 50 True Stories (Hyperion Press). Powers is a founding member of The Temblors, a producing playwrights collective based in Los Angeles, where he resides.



    Celia, A Slave
    By Barbara Seyda

    Barbara SeydaIn 1855, 19-year-old African-American slave Celia was convicted of killing her master and hanged. Her story became known as a notorious failure of justice in American history, but to truly understand its significance, look to the people of Calloway County who experienced it all. Using oral histories and official records as her guide, playwright Barbara Seyda investigates the event with a tapestry of interviews with the dead. This stunningly evocative play illuminates the brutal realities of female slave life in the pre-Civil War South as it resurrects a panorama of real people on stage. The piece won the Yale Drama Series playwriting competition in its current form.

    About Barbara Seyda: She is a playwright, editor, designer and theatre artist. She has a B.S. from the University of Wisconsin-Madison and an MFA from Mason Gross School of Art, Rutgers University. She has been a freelance editor for the Southwest Center, Rio Nuevo Press and the University of Arizona Press with a focus on native art, culture, history, ethnography and oral traditions of the American Southwest. She taught at Pratt Institute, The New School for Social Research, Rutgers University and University of Arizona's Continuing Education Program. Her publications include Nomads of a Desert City (University of Arizona Press) and Women in Love (Bulfinch, imprint of Little, Brown & Company). Her debut play Celia, A Slave was selected by Nicholas Wright, former Associate Director of London's Royal Court and won the Yale Drama Prize in 2015. The first public staged reading was at Lincoln Center under the direction of Niegel Smith and the script was published by Yale University Press in 2016. Celia opened The Rogue Theatre's 2017 season to rave reviews by PBS and NPR. She will reexamine the structure of Celia at the 2018 Colorado New Play Summit. Her new plays include An Unnatural History and Life in a Jar.


    2018 WORLD PREMIERE PLAYS:

    American Mariachi
    By José Cruz González

    Directed by James Vásquez
    Produced in association with The Old Globe

    A Jose Cruz Gonzalez 160DCPA Theatre Company Commission developed at the 2016 Colorado New Play Summit
    Lucha and Boli are ready to start their own all-female mariachi band, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music.

    Zoey’s Perfect Wedding
    By Matthew Lopez
    Directed by Mike Donahue

    Matthew LopezDisaster after disaster follow one unfortunate bride down the aisle, from brutally honest boozy speeches to a totally incompetent wedding planner. Watch in awe as this wildly funny fiasco destroys her expectations with the realities of commitment, fidelity and growing up.

    The Great Leap
    By Lauren Yee
    Directed by Eric Ting
    Produced in association with Seattle Repertory Theatre

    Yee, LaurenDCPA Theatre Company Commission developed at the 2017 Colorado New Play Summit
    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. Tensions rise right up to the final buzzer as history collides with the action in the stadium.

    The 13th Annual Colorado New Play Summit
    Launch Weekend: Feb. 17-18
    Festival Weekend: Feb. 23-25
    More details: denvercenter.org/summit

    All-inclusive Festival Weekend packages including all four readings, three world premieres, plus meals and special events are on sale now. Launch weekend events will go on sale in January 2018. 

    2017 Colorado New Play Summit

    Full photo gallery from the 2017 Colorado New Play Festival in February. To see more, click on the image above. Photos by John Moore for the DCPA NewsCenter.

    Bonus video coverage: Meet the 2017 featured playwrights:
    Summit Spotlight video: Lauren Gunderson, The Book of Will
    Summit Spotlight video: José Cruz González, American Mariachi
    Summit Spotlight Video: Tira Palmquist, Two Degrees
    Summit Spotlight Video: Mat Smart, Midwinter
  • Denver Center taking new plays to new level in 2017-18

    by John Moore | Jul 02, 2017

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


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

    By John Moore
    Senior Arts Journalist

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

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

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

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

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

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

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

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

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

    How Georgia McBride has evolved since Denver

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

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

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

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

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

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

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

    (Story continues after the video)

    Video spotlight: American Mariachi



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

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

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

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

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


    DCPA AROUND THE COUNTRY: 2017-18

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    More Colorado theatre coverage on the DCPA NewsCenter


    Video spotlight: The Great Leap

  • 2017 Summit goes global while hitting close to home

    by John Moore | Feb 27, 2017

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

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

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

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

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

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

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


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

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

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

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

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

    Kent Thompson's legacy: Giving sound to unheard voices

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

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

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

    Summit stands in thanks to departing Kent Thompson

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

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

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

    The five featured Summit readings:

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

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

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

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

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

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

    More Colorado theatre coverage on the DCPA NewsCenter

    Summit. High School Playwriting. John Moore
  • Summit stands in thanks to departing founder Kent Thompson

    by John Moore | Feb 24, 2017
    Kent Thompson. Photo by John Moore
    Kent Thompson drew a standing ovation tonight from attendees at the 2017 Colorado New Play Summit, his last as Producing Artistic Director. Photo by John Moore for the DCPA NewsCenter.

     

    Colorado New Play Summit pauses to thank
    departing founder Kent Thompson

    To understand the impact the Colorado New Play Summit has had on the development of new works for the American theatre, one need look no further than Skokie Ill., home of the Northlight Theatre.

    Kent Thompson. Photo by John Moore"I just found out today that the Northlight Theatre will be doing two Colorado New Play Summit plays in its next season: The Legend of Georgia McBride by Matthew Lopez, and The Book of Will by Lauren Gunderson," DCPA Director of New Play Development Douglas Langworthy said tonight during a tribute to departing DCPA Theatre Company Producing Artistic Director Kent Thompson.

    Thompson is resigning after 12 years effective March 3, leaving a legacy that includes founding the Colorado New Play Summit in 2006 and the Women's Voices Fund, a $1.4 million endowment that supports new plays by women and female creative team members.

    Kent Thompson's legacy: Giving sound to unheard voices

    “I feel like for the past 12 years, I've had a great opportunity to present many different windows on the world, from many different peoples' viewpoints,” Thompson said from the pulpit of the Seawell Grand Ballroom.

    Kent Thompson. 1001The Colorado New Play Summit, which is presenting readings of five featured new works through Sunday, has workshopped 50 new plays, leading to 29 fully produced world premieres as part of the DCPA Theatre Company’s mainstage season. Thompson has commissioned 44 new plays, almost half written by women.


    A video honoring Thompson was shown at the tribute, followed by a prolonged standing ovation. "I don't think there are words that can possibly do justice to the countless contributions that Kent Thompson has made to this organization," said DCPA CEO Janice Sinden.

    Thompson first thanked his predecessor, Donovan Marley, who grew the Theatre Company’s national reputation as a home for new works with premieres ranging from Quilters to Black Elk Speaks to The Laramie Project. He then thanked his family. Thompson’s late father was a well-known Southern Baptist preacher, and his mother a writer, publisher and editor. His brother is a psychiatrist. 

    “My mom once said we're kind of all in the same profession,” Thompson said. “We either listen to stories to make sense of our world around us, and our place in it; or we tell stories to make sense of our world, and our place in it. My dad was really upset by this - not because he was being compared to a theatre director, but because he was being compared to a psychiatrist.”

    Thompson’s father, he said, was not an evangelical preacher. "He was a human storyteller. And he’s who I learned theatre from.”

    Thanks pour in from around the country for Kent Thompson

    Reflecting on his time in Denver, Thompson said, “I think the opportunity to tell stories that reveal the world to us in a new way is a great privilege. We have accomplished so much in a short period of time. I want to thank everybody for their support and generosity. But most of all I want to thank the writers, the artists, the actors, the craftspeople, the managers the administrators, and everyone who has made this such a wonderful place for new plays in the American theatre.”  

    (Photo below right: Douglas Langworthy and new Associate Artistic Director Nataki Garrett. Photo by John Moore for the DCPA NewsCenter.)

    Praise from playwrights for Kent Thompson:

    Douglas Langworthy. Photo by John MooreLauren Yee, Manford at the Line, Or The Great Leap: Kent Thompson is such a champion of new plays. He is such a champion of new and different voices. He always puts his money where his mouth is, and makes sure that the world we live in is reflected on the stage. I feel like he has done so much for new plays, for new playwrights and for young playwrights over the years he has been here at the Denver Center. I can't imagine what it is going to be like without him.

    Rogelio Martinez, Blind Date: I am extremely sad because I have seen this Summit grow to this incredible stage where hundreds of people come in just to see our plays. There's heartbreak because I know this is Kent's vision. I love the fact that whenever we start a Summit, Kent says, 'This is my favorite time of the year.' I think he’s done an incredible job, and he has offered a lot of people a home. He offered me a home.       

    Robert Schenkkan, Hanussen: Kent Thompson is that complete theatre individual. He is a true Renaissance man. A creator in his own right, a director, at one time a performer, and an artistic director. That's a lot of hats to wear, and he wears them all with a great deal of grace and dignity and compassion. He has a quiet sense of humor, which I particularly enjoy, and a real spirit of generosity, which I think is at the heart of his success here at the Denver Center. I think that sense of generosity, that sense of family, is real, and that’s very much a reflection of Kent Thompson 's personality and his aesthetic. I think Denver has been extraordinarily fortunate to have had Kent Thompson for this time period.

    José Cruz González, September Shoes: When Kent Thompson first came to Denver, he called me out of the blue and he said he wanted to do the second production of my play September Shoes. And that play grew in such amazing ways. I found the play here. And then he had me back, first for Sunsets and Margaritas and again last year for American Mariachi. When I came to Denver, American Mariachi was 150 pages long. Then Kent gave it a second workshop last July in Los Angeles, and now it is down to 101 pages. Now, I feel like the play is ready, and that is all thanks to him. Kent has given opportunity to new writers, and given writers a place to do really great work in a great theatre. When you come here, you feel the spirit.

    960x430-two-degreesTira Palmquist, Two Degrees: Kent Thompson's leadership and vision for the DCPA Theater Company has opened a space for a greater diversity of voices on the stage - stories from a richer cross-section of our American experience - and we are all the richer for it. Theater holds a mirror up to us and to our society, and if theater only shows a selective or exclusive image, only tells the stories of a selective or exclusive population, then it necessarily impoverishes us all. More personally, Kent Thompson recognized something in Two Degrees at a time when I was not the most recognizable name in the room. He recognized something in the story, in the writing - not because I was the safest choice. His long history of making these kinds of choices has made the Denver Center an exciting and exhilarating place to make great theater. He's the model for us all to follow.

    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.

    Kent Thompson in Denver: A photo retrospective

    Kent Thompson: A retrospective

    To see more photos, click the forward arrow on the image above.

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

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

    More Colorado theatre coverage on the DCPA NewsCenter

  • Summit Spotlight: Lauren Yee lays it all on the free-throw line

    by John Moore | Feb 23, 2017

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


    In this daily, five-part series for the DCPA NewsCenter, we will introduce you to the plays and playwrights featured at the Denver Center’s 2017 Colorado New Play Summit. Over the past 12 years, 27 plays introduced to the Summit have gone to be premiered on the DCPA Theatre Company mainstage season. Next up: Lauren Yee, author of the basketball play Manford at the Line, or The Great Leap.

    Chinese-American playwright Lauren Yee
    lays it all on the free-throw line

    When 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 opponent.

    John Moore: What do we need to know about your play?

    Lauren Yee: My father grew up in San Francisco Chinatown. And until he had kids,
    the only thing he was good at was basketball. I know this because even today, walking around San Francisco, people stop us on the street and say, “I used to play you in basketball!” And as we're walking away, my dad will smile and say, “Yeah … and I kicked your (bleep).” In the 1980s, he and his American teammates traveled to China to play a series of exhibition games against various teams throughout the country. I asked him, “Did you win?” And he told me, “They demolished us in almost every single game.” I think the first game they played was against Beijing. It was either a high-school or a college team. And my dad was like, “No, joke, Lauren, their players were, like, 7-foot-6. My father is 6-foot-1, and he was the tallest guy on his team. He said, “We would have to tell our teammates when their guy had the ball, because if you were guarding your man, you couldn't see what he was doing.” I think they only won one game, which was in Hong Kong when the players happened to be closer to 6-feet tall than 7-feet tall. And I think they only won that game by two points.

    John Moore: But I bet they could describe the waistbands of their opponents in great detail.

    Lauren Yee: Oh yeah. Have you ever seen one of those Mickey Mouse cartoons where Mickey is being chased by a train? That's how my dad felt: Like Mickey Mouse in China.

    Lauren Yee. Photo by  John Moore

    John Moore: So how does that turn into a play?

    Lauren Yee: I always thought that idea was so interesting of a Chinese-American young man like my father going to the country of his parents for the first time, playing an opponent who looks like him - but not quite.

    John Moore: What do we need to know about the title?

    Lauren Yee: Manford at the Line begs the question of whose play this is. And it foreshadows what is going to be important further down the line. It's almost the final play of the game.

    John Moore: Your play was originally called Manford from Half Court.

    Lauren Yee: Yeah. The final play longer happens at half-court. It happens at the free-throw line, so that necessitated changing the title.

    John Moore: The game of basketball has become very global in the past decade, especially in the NBA. But your play takes place in 1989. When did basketball become such a national priority in China?

    More Colorado theatre coverage on the DCPA NewsCenter

    Lauren Yee: The interesting thing about that is basketball is the only Western sport that has never been banned in China. I think we Americans think of basketball as a sport that is completely ours. And that whenever go abroad, we are bringing basketball to a different part of the world. But the truth of it is, China has had basketball since the 19th century. American missionaries first brought the game there in the late 1900s. And ever since then, the Chinese have viewed basketball as a symbol of their country. 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. Mao (Tse-tung) was a big, big fan of basketball. Prior to him coming to power in the 1930s, he used to play basketball with his colleagues. I think the shift in the game has just been the professionalization of it. In the 1990s, right after my play takes place, you begin to see the national league in China start up, the CBA (Chinese Basketball Association). That’s been really fascinating because you have players like Yao Ming coming out of the CBA and going to America, but you are also have NBA players like Stephon Marbury coming to China and playing in the CBA. Stephon Marbury is beloved in China.

    (Note: Stephon Marbury, now 40, is a two-time NBA All-Star who has played for three Chinese teams since 2010, winning three CBA championships.)

    Lauren Yee QuoteJohn Moore: How does the culture clash play out in your story? Because from a very young age, American kids are taught to shoot the ball. And your lead character at one point explains very comically how a Chinese player almost needs permission to shoot.

    Lauren Yee: My father told me that Chinese players, as opposed to his team of Americans, did not like to go inside. They didn't like to get aggressive. They loved to stand back and sink the ball from the 3-point line. I find that sport is always such a great analogy for how a country works and how two countries interact and that space where they rub up against each other and conflict in terms of strategy and styles and priorities. 

    John Moore: You have said you main character is not, specifically, your father.

    Lauren Yee: No.

    John Moore: What does he think about you writing a basketball play inspired by his experiences?

    Spotlight: Rogelio Martinez on when world leaders collide

    Lauren Yee: I feel like my father is always simultaneously a little mortified and a little delighted by the idea of there being a play about his experiences. I am sure there is a lot about the play that he will say I got wrong. I feel like the biggest difference between my main character and my father is that my father was always celebrated for the great basketball player he was.   

    John Moore: What is the tone of your play?

    Lauren Yee: My plays tend to be comedies ... until they are not. They also tend to be comedies that hopefully show you something in a way you have never seen before. This is a basketball play, but hopefully I am showing you something about the game in a delightful way that you have never seen before.

    Lauren Yee 2016 Colorado New Play SummitJohn Moore: Last year, you were a guest here at the Colorado New Play Summit as a commissioned writer for the DCPA Theatre Company. Now you are here as one of the five featured Summit playwrights. What are your thoughts on the Summit?

    Lauren Yee: I think the Colorado New Play Summit is such a wonderful playground. The Denver Center supports pieces starting from the inception of a commission and continues after the Summit. I feel like the Denver Center is really invested in telling lots of different types of stories from lots of different perspectives. I also think there is incredible freedom for playwrights to tackle the story any way they want to.

    John Moore: Let’s get perfectly real here: If you are anything other than a white male, you are probably underrepresented in the American theatre right now. And as a Chinese-American woman, you are about as under-represented as it gets. But you have broken through and really have gotten the attention of the American theatre. Do you see that as a burden or an obligation or a wide-open opportunity?

    Lauren Yee: For me, in order to spend the two or three years needed to follow a story and really see it through to its end, I think it has to be a story that feels personal and urgent and specific enough to me that I think I really am the best person to tell that story. And that I would really love to spend all those years of my life in the room with this idea. Sometimes it boils down to, "This is a story that shares something in my DNA culturally.” And other times, it has nothing to do with that. It can be a burden,  but there is also this joy in being able to tell an audience a story in a way that no one else can tell it.

    Lauren Yee QuoteJohn Moore: Obviously gender disparity has been a major topic of conversation in the American theatre for several years. What does it mean to you as a female playwright that the Denver Center is a place with the $1.2 million Women's Voices Fund?

    Lauren Yee: I think the Women's Voices Fund is such an exciting and vital venture. It makes sure that you are representing the groups that you want to be representing - and then letting them run with it. I may be sponsored by the Women's Voices Fund, but I am not being told to write a play that stars all women, or has to have some female-specific topic. My play is about a Chinese-American man playing basketball in China. I think the Women’s Voices Fund embraces the multiplicity of views that come with what your gender is, and what your ethnicity is. I am Chinese-American, but part of the joy of my work is that I get to inhabit all of these different worlds.

    John Moore: Why is your play the right play at the right time?
    Lauren Yee: I think this play is relevant now because it explores the idea that one person can make a difference in the world they live in. It's also a play about diplomacy. It's a play about relating to different people from different countries. It is a play about protest. And it is a play about realizing when it is your turn to step up.

    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.

    Manford at the Line, or The Great Leap
    Written by Lauren Yee
    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

    Manford. Photo by John MooreFrancis Jue, left, and Brian Keane in Lauren Yee's 'Manford at the Line, Or The Great Leap.' Photo by John Moore for the DCPA NewsCenter.

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

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

  • Summit Spotlight: Eric Pfeffinger on the fertile comedy of a divided America

    by John Moore | Feb 20, 2017

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


    In this daily, five-part series for the DCPA NewsCenter, we will introduce you to the plays and playwrights featured at the Denver Center’s 2017 Colorado New Play Summit. Over the past 12 years, 27 plays introduced to the Summit have gone to be premiered on the DCPA Theatre Company mainstage season. First up: Eric Pfeffinger, writer of the comedy Human Error.

    Playwright Eric Pfeffinger on the fertile comedy
    of an unfunnily divided America

    John Moore: Tell us about your play.

    Eric Pfeffinger: In Human Error, a couple goes to what they think is a routine appointment at their fertility clinic and are devastated to discover that their fertilized embryo has been mistakenly implanted into somebody else. So obviously, it's a comedy. You know: Another one of your standard-issue switched-fertilized-embryo farces.

    John Moore: Not another one of those!

    Eric Pfeffinger: Exactly.

    John Moore: So tell us about this couple.

    Eric Pfeffinger: They are a couple of blue-state, latte-sipping, NPR-listening liberals. And they go to meet this other couple and discover that they are NRA-cardholding, pickup-truck-driving, red-state conservatives. So you have two families who, under normal circumstances, would never choose to be in the same room with each other, now having to spend nine months working their way toward building this family - and hopefully not killing each other along the way. It’s a comedy about the state of the nation currently and the political polarization we are all grappling with.

    John Moore: So help me understand your style of comedy. Are we talking mean, David Mamet funny? Or punchline kind of funny?

    Eric Pfeffinger: It's BIG funny. When I heard about this actually happening at fertility clinics, my first response was, 'Oh that sounds like an episode of Three's Company: 'Wait, that's not your embryo - that's my embryo!' And … cut to commercial. This is my approach to a lot of my plays: Let's take this thing that does not seem particularly funny to the people it is happening to and find the humor in it. It's people being very funny in a very stressful situation.

    Human Error. Eric Pfeffinger. Colorado New Play Summit. Photo by John Moore

    John Moore: We just went through a brutal two-year election cycle where the divisions in this country were just laid bare, deeply and profoundly. Is that reflected in your play?

    Eric Pfeffinger: I started working on the play quite a while ago but this is a phenomenon that has been percolating for a long time, and has only gotten more pronounced in the past year or so. None of the people in my play know anybody else like the other couple. They all live in a world, as most of us do, where geography and social strata and technology have made it possible for them to isolate themselves from anybody who doesn't already think the same way they do. All their friends on Facebook, in their neighborhood and at their workplace are all pretty much like them. They don't have to confront the reality of someone who thinks differently until they are thrown together by this clerical mix-up at the fertility clinic. The play is really less about fertility technology - as dramatic as that can be - and more about the silos and the echo chambers that Americans in particular often find themselves in, and the defense mechanisms we adopt when we are forced to step outside our comfort zones and acknowledge that there are other people in the world who are not just like us.

    Human Error. John DiAntonio. Colorado New Play Summit. Photo by John MooreJohn Moore: Why is now a really good time in the American theatre for us to laugh?

    Eric Pfeffinger: Everything I write is a comedy. That's how I function. A lot of people embrace comedy as an escapist opportunity; as a way to get away from what is stressful about the world. I happen to believe that comedy is also one of the best ways to confront difficult ideas, and to examine and articulate those ideas. I would much rather explore a difficult idea through comedy than through some other genre. Comedy lowers your defenses by making you laugh. Comedy is a welcoming way to entice you into spending some time with ideas that you might find challenging.

    More Colorado theatre coverage on the DCPA NewsCenter

    John Moore: You're from Ohio, so would you say this is a Midwestern comedy?

    Eric Pfeffinger: This is definitely a Midwestern comedy. It takes place in the same northwestern part of Ohio where I live, right on the Michigan-Ohio border. The characters clash over the Michigan-Ohio athletic rivalry, in fact. So it's definitely about people in flyover country, and how they live their lives.

    John Moore: That is also Ground Zero for the American Divide.

    Eric Pfeffinger: Absolutely. Some people feel like it's possible these days to move to a city and feel fairly confident that you are going to be comfortable with the political orientation of most of your neighbors. Where I live, everybody is all over the political map. During the election, there was every kind of sign imaginable in my neighborhood, in yards right next to each other. We also have a lot of different religious communities, cultural communities and racial makeups and I think those things express themselves in a very particular way in a Midwestern city like the one I live in, and these characters live in.

    Human Error. Caitlin Wise. Colorado New Play Summit. Photo by John MooreJohn Moore: You used to be a newspaper cartoonist.

    Eric Pfeffinger: Yes, among other productive roles in society.

    John Moore: Has that experience guided you as a playwright in any way?

    Eric Pfeffinger: To me, playwriting and cartooning are two very similar media, only you express your ideas with different tools. I used to draw a daily comic strip with recurring characters. So in both cases, you have multiple characters living out stories that you are telling primarily through dialogue. You also had a punchline every four panels. There was a rhythm to it, but it also had some very specific restrictions. You didn't have the opportunity for stream-of-consciousness or delving into people's thoughts the way you can if you are writing a novel. It was really like writing a four-panel play every day and moving the characters around on this very small, two-dimensional stage. So to me, cartooning was just a variation on what I am doing now.

    John Moore: So would you say your play is more sit-com in style or a series of panels? 

    Eric Pfeffinger: Human Error does draw explicit connections to various kinds of classic comedy, particularly the TV sit-com. One of my characters is an academic who studies the theory of humor, and in doing so squeezes all of the enjoyment out of it. The points of reference in Human Error are probably more like TV comedy, which is what I grew up mainlining. But I have definitely appropriated the rhythms of the daily comic strip in some of my plays as well. 

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

    Eric Pfeffinger: It’s been fantastic. This community is just amazing. Being in that room with everyone on that first morning and seeing this huge population of people who all have different specialties but who are all committed to this one common artistic goal is really inspiring. The team that I have - the actors and the director and the dramaturg and stage management - is amazing. We just have a blast every time we close that door and spend a few hours working on the play together. The community here is really supportive and really, really fun.

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

    Human Error. Eric Pfeffinger. Colorado New Play Summit. Photo by John MooreEric Pfeffinger: That's going to be huge, especially with a comedy. The response of an audience is invaluable. Even with an early version of a play, where we haven't figured everything out yet, seeing how that plays in a room with an audience, and feeling the energy is going to be completely integral to what I work on during the second week. I am going to be constantly referring back to what was going on in that space in terms of how specific lines and moments landed. It's so much more valuable than trying to draw only on the discoveries that we make in the hermetically sealed rehearsal room together.

    John Moore: One of my favorite Pfeffinger lines isn't even from your play. It was from an interview where you described the outcome of an earlier workshop of Human Error. You said the play “no longer displays a first-draft's need for radical de-suckification."

    Eric Pfeffinger: That's probably me at my best right there. I can only hope to strive for the pithy expression that is de-suckification. I think we could all use a little radical de-suckification right now. 

    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.

    Human Error
    Written by Eric Pfeffinger
    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      

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

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

  • 'Two Degrees': How do they make that ice, ice, baby?

    by John Moore | Feb 10, 2017


    Scenic Designer Robert Mark Morgan takes you backstage for a look at how he created the ever-changing world of Two Degrees for the DCPA Theatre Company.

    Tira Palmquist's world-premiere play introduces us to a scientist named Emma who is called to Washington to testify – reluctantly – before a congressional committee on proposed climate legislation.

    Two DegreesCompounding her anxiety: It’s the one-year anniversary of her husband’s death. It’s meant to be a human story about both a woman and a planet in crisis.

    The play takes place in 11 scenes in 10 locations in the Jones Theatre. "We tried to create an abstract space that was evocative and had an arc like Emma's character that went from frozen to somewhat melting,' Morgan said. The set includes 56 Plexiglass panels that are treated to look like ice - and six of them are actual ice that will melt throughout the show.

    How did he do it? Watch and learn. Two Degrees, directed by Christy Montour-Larson, features Kathleen McCall, Robert Montano, Kim Staunton and Jason Delane Lee, and plays through March 12. 

    Video by David Lenk for the DCPA NewsCenter.

    Ticket information: Two Degrees
    Two DegreesEmma, a climate change scientist, is invited to share her findings at a Senate hearing that could define her career and her cause. But if she can’t overcome her tumultuous inner struggle, her dedication and sacrifices may not be enough. Two Degrees was developed at the 2016 Colorado New Play Summit.
    • Through March 12
    • Jones Theatre
    • ASL and Audio-Described matinee at 1:30 p.m. Sunday, March 5
    • 303-893-4100 or BUY ONLINE

    Previous NewsCenter coverage of Two Degrees:
    Photos, video: Your first look at Two Degrees
    Two Degrees: A telling exchange at public forum
    Tira Palmquist on Two Degrees: Grief for a husband, and a planet
    Two Degrees
    cast digs deep into Boulder ice-core research
    Meet the cast: Kim Staunton
    Two Degrees
    heats up conversation on global warming
    Two Degrees: Five things we learned at first rehearsal
    Colorado New Play Summit Spotlight: Tira Palmquist, Two Degrees
    Video: Look back at 2016 Colorado New Play Summit
    2016-17 season: Nine shows, two world premieres, return to classics

     

  • Video, photos: Your first look at 'Two Degrees'

    by John Moore | Feb 08, 2017
    Video: Your first look at Two Degrees

    The DCPA Theatre Company’s world-premiere play Two Degrees introduces us to a scientist named Emma who is called to Washington to testify – reluctantly – before a congressional committee on proposed climate legislation. Compounding her anxiety: It’s the one-year anniversary of her husband’s death. It’s meant to be a human story about both a woman and a planet in crisis. 

    "What we did in the past affects our present and will change our future,” Emma tells those in Washington. But is anyone listening?

    Two Degrees
    is written by Tira Palmquist, directed by Christy Montour-Larson and features Kathleen McCall, Robert Montano, Kim Staunton and Jason Delane Lee. It plays through March 12 in the Jones Theatre. Video by David Lenk for the DCPA NewsCenter.


    Photo gallery: Two Degrees production images

    Two Degrees- 2016-17 Theatre Company Season Photos from 'Two Degrees' by Adams VisCom. To see more, click the forward arrow on the image above.

    Ticket information: Two Degrees

    Two DegreesEmma, a climate change scientist, is invited to share her findings at a Senate hearing that could define her career and her cause. But if she can’t overcome her tumultuous inner struggle, her dedication and sacrifices may not be enough. Two Degrees was developed at the 2016 Colorado New Play Summit.

    Through March 12
    Jones Theatre
    ASL and Audio-Described matinee at 1:30 p.m. Sunday, March 5
    303-893-4100 or BUY ONLINE

    Previous NewsCenter coverage of Two Degrees:
    Photos, video: Your first look at Two Degrees
    Two Degrees: A telling exchange at public forum
    Tira Palmquist on Two Degrees: Grief for a husband, and a planet
    Two Degrees
    cast digs deep into Boulder ice-core research
    Two Degrees
    heats up conversation on global warming
    Two Degrees: Five things we learned at first rehearsal
    Colorado New Play Summit Spotlight: Tira Palmquist, Two Degrees
    Video: Look back at 2016 Colorado New Play Summit
    2016-17 season: Nine shows, two world premieres, return to classics

    Two Degrees Jones Theatre'Two Degrees' is the first mainstage Theatre Company offering to be presented in The Jones Theatre since 2004. It is located on the corner of Speer Boulevard and Arapahoe streets. Photo by John Moore for the DCPA NewsCenter.
  • 'Two Degrees': A telling exchange at public conversation

    by John Moore | Feb 08, 2017
    'Two Degrees' in Denver

    Photo gallery: The cast of 'Two Degrees' takes questions from the audience at Perspectives, a panel conversation held before the first public performance of every play. To see more photos, click the forward arrow on the image above. Photos by John Moore for the DCPA NewsCenter.

    There was an exchange at Friday's public Perspectives discussion that both acknowledged the deep divide in America over climate science while also illustrating just what the DCPA Theatre Company’s new play Two Degrees aspires to do: Start a dialogue among not necessarily like-minded audience members.

    Two Degrees opens just three months after the Pew Research Institute released a major study that found only 48 percent of Americans understand the Earth to be warming because of human activity.

    The play introduces us to a scientist named Emma who is called to Washington to testify – reluctantly – before a congressional committee on proposed climate legislation. Compounding her anxiety: It’s the one-year anniversary of her husband’s death. It’s meant to be a human story about both a woman and a planet in crisis. 

    Two Degrees quoteAnd the first chance for anyone to get together in a room and talk about it was at Friday’s Perspectives – an ongoing series of conversations between audiences and DCPA Theatre Company creative teams that is presented before every first public preview performance.

    “We are the first generation to feel the effects of climate change, and we are the last generation that can do something about it,” Two Degrees director Christy Montour-Larson told those gathered at the Conservatory Theatre before last Friday’s first performance. Many in the audience surely took that as an environmental rallying cry. But at least one man in attendance took exception.

    Two Degrees cast digs deep into Boulder ice-core research

    “That is an extremely alarming statement that really is not factual,” said the man, who said he does not consider himself a denier of climate science. “I think there is nothing more certain than that the climate is changing. The question I have is to what degree humanity is influencing the change. I don't consider this to be ‘settled’ science, and there are a lot of us out in the world who feel that way.”

    Playwright Tira Palmquist responded by pointing to research that suggests 97 percent of climate scientists around the world have endorsed the conclusion that humans have played a role in global warming since the Industrial Age. “There is scientific evidence to suggest that what we have done has made an impact,” she said.

    The man remained skeptical, but said he would keep an open mind when he saw the play later that night. Palmquist said the exchange is an example of the proactive role live theatre can contribute to any community. “For me, this is a play about the difficulty we have in having these kinds of conversations,” she said.

    More Colorado theatre coverage on the DCPA NewsCenter

    Two Degrees Dramaturg Heather Helinsky said the exchange is what the play is all about.

    “For a play to be a good play, it has to give you characters with different points of view, and this play does that,” Helinsky said. “You don't want a play that just preaches one side. A successful play has to make you want to continue having that conversation after you leave.”

    And here are five more things we learned about 'Two Degrees' at Perspectives:

    NUMBER 1Two Degrees PerspectivesEvery DCPA Theatre Company production has a week of “preview performances” before it officially opens. And Montour-Larson was asked, well, what exactly is the point of these preview performances? Once a production opens, it’s pretty much locked down. But during preview week, the work continues. The designers continue to hone staging details. If it’s a new play like Two Degrees, the cast continues to rehearse line changes by day and perform the play before live audiences by night. “During a preview performance, we add the most important element, which is the audience,” Montour-Larson said. “All of us (on the creative team) are watching the play along with all of you, but I see less of what is happening onstage because I am watching you guys.”

    (Pictured above right: Two Degrees actor Kim Staunton at Perspectives. Photo by John Moore for the DCPA NewsCenter.)


    NUMBER 2Two Degrees is a ghost story. Emma, the scientist, is grieving the death of her husband. “And anyone who has ever grieved a loved one knows that process takes a while,” Palmquist said. “In Washington, Emma finds herself confronted by a gentleman who reminds her of her husband. And then we go back in time and find another person who reminds her of her husband. And then there is a guy in a bar who reminds her of her husband. For me, that is very much a metaphor for seeing the person you love as always with you, whether it is literal or figurative or metamorphic – or a ghost. Emma is being haunted constantly. And that ghost is not going to go away until that ghost is done with you.”

    NUMBER 3Two Degrees has changed since it was presented as a reading at the 2016 Colorado New Play Summit last February. And it has changed more since the election in November. “After the Summit readings last year, we were given this big packet of responses from the Denver audience members,” said Palmquist. “But as I was gearing up to make my revisions, I thought, ‘I don’t think I can re-write this until I know the outcome of the election.’ ” So she waited. Because the energy in the room would be quite different depending on whether audiences would be attending Two Degrees at the start of a Clinton Presidency compared to the start of a Trump Presidency. After Trump’s victory, she said, “We now have a White House that has said it is going to dismantle some of the things the Obama administration did in terms of climate-change legislation. And so for me, the engine of the play became a little more ratcheted-up. The environment in Washington (for a person like Emma) is not so friendly."

    NUMBER 4Two Degrees Jones TheatreTwo Degrees is the first mainstage offering to be held in the Jones Theatre (the DCPA Theatre Company’s smallest venue) since A Boston Marriage in 2004. That posed some unique challenges for Scenic Designer Robert Mark Morgan - not the least of which is that the story has 11 scenes in 10 different locations. “The Jones is a three-sided ‘thrust’ stage, so it’s a little like Florida,” Morgan said. “And it’s just a different show if you are watching from the sides than if you are watching from the front, so it's a tricky thing for us to make sure the entire audience gets the same story.”

    NUMBER 5From the start of the rehearsal process, the cast and crew have adopted what they call a two-pronged “daily action plan.” Helinsy and Stage Manager Karen Federing provide the team with a link to relevant reading on climate change, and suggest a proactive daily step each person can take to make a positivel impact in their daily lives. Over the past month, the cast has studied the work of the League of Conservation Voters, Al Gore’s Climate Reality Project, EarthJustice.Org and Denver’s own Snowriders International, among others. “The idea is to infuse our storytelling with a sense of urgency,” Montour-Larson said.

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


    Video bonus: Your first look at Two Degrees


    Ticket information

    Two DegreesEmma, a climate change scientist, is invited to share her findings at a Senate hearing that could define her career and her cause. But if she can’t overcome her tumultuous inner struggle, her dedication and sacrifices may not be enough. Two Degrees was developed at the 2016 Colorado New Play Summit.

    Through March 12
    Jones Theatre
    ASL and Audio-Described matinee at 1:30 p.m. Sunday, March 5
    303-893-4100 or BUY ONLINE

    Previous NewsCenter coverage of Two Degrees:
    Tira Palmquist on Two Degrees: Grief for a husband, and a planet
    Two Degrees
    cast digs deep into Boulder ice-core research
    Two Degrees
    heats up conversation on global warming
    Two Degrees: Five things we learned at first rehearsal
    Colorado New Play Summit Spotlight: Tira Palmquist, Two Degrees
    Video: Look back at 2016 Colorado New Play Summit
    2016-17 season: Nine shows, two world premieres, return to classics

  • Tira Palmquist: Grief for a husband, and a planet

    by John Moore | Feb 06, 2017
    Tira Palmquist. Photo by John Moore
    Photo by John Moore for the DCPA NewsCenter.


    By Chad Henry
    DCPA Literary Associate

    Tira Palmquist is a funny, tart, plainspoken writer with several plays to her credit and a lifelong habit of writing.

    “I didn’t wake up one morning and say, ‘Hey, I’m a playwright.’ I was a pastor’s kid in the borderlands between Minnesota and Iowa," she said. "I fully intended to be an actor from the time I was old enough to memorize the entire cast album of You’re A Good Man, Charlie Brown. But then I also really loved to write, and wrote relentlessly during high school and college. At that point, I was encouraged to go to grad school as a poet, and I thought ‘Well, what the hell!’ I am constantly reinventing myself. I am currently reinventing what it means to be 50.”

    Palmquist’s new play Two Degrees brings a human face, and a grieving human heart, to the issue of global warming. Her powerful drama of a female scientist’s quest to bring the hard facts of global weather change to the world’s attention uses the latest scientific research to ground her drama. But she frames that drama in the universal and emotionally wrenching story of the loss of a loved one and the sacrifice necessary to get to the truth and to make it known.

    Palmquist said the play’s evolution and subsequent debut at DCPA Theatre Company was part persistence and part timing.

    Palmquist, who teaches at University of California at Irvine, said that over the past years she’d been submitting plays regularly to Seven Devils Playwrights Conference, a well- regarded new play development organization based in bucolic McCall, Idaho. Christy Montour-Larson, who is directing the world premiere of Two Degrees, is the board president of Seven Devils, and she chose the play and directed the workshop reading there. The play then eventually made its way to Denver’s Athena Project, where it was once directed by Montour-Larson. It then caught the eye of the Theatre Company’s new-play development department, was recommended to Producing Artistic Director Kent Thompson, read at the 2016 Colorado New Play Summit and selected as part of the 2016-17 mainstage season.

    Photo gallery: The making of Two Degrees in Denver:

    'Two Degrees' in Denver

    Photos from the making of 'Two Degrees' by the DCPA Theatre Company. To see more, click the forward arrow on the image above. All photos by John Moore for the DCPA NewsCenter.

    Palmquist, who also has worked closely with dramaturg Heather Helinsky on the play, said the process of workshopping and revising her play began at Seven Devils. “The director and dramaturg were asking me very hard questions about the focus of the play, and encouraging me to make rewrites and changes based on our conversations," Palmquist said. "At first I thought they were just being mean, but I realized as we went along that these were questions that really needed to be asked to clarify the story I was trying to tell. They actually taught me a new way of approaching my work — they taught me to be relentless.”

    Tira Palmquist QuoteAs a result of the workshop, Palmquist felt that she really was able to get to the essence of the play. “My play was revealed to me through the process.”

    The workshop process continued at the Center’s New Play Summit, which Palmquist described as “...genius. You get to rehearse for a week, day and night; rewrite, fix and tweak; then see the play in front of an audience. Then, you get to go back for another week and do even more work based on what you, your director and dramaturg and cast learned from the first reading. It’s truly a luxury for a writer.”

    More Colorado theatre coverage on the DCPA NewsCenter

    In Two Degrees, lead character Emma Phelps is a paleoclimatologist studying ice in Greenland. In drilling and studying ice core samples, she sees firsthand the symptoms of our changing planet, which makes the need for immediate remedial action and education all the more crucial and urgent. In addition to her growing sense of urgency for the planet, Emma, a recent widow, is suffering grief and loss that grows deeper as time passes. Now she’s been asked to come to Washington D.C. to testify in a Senate Committee regarding climate change legislation, and in this intersection of science and politics, and of politics and the personal, she finds her own world breaking up under the strain of change.

    Palmquist explains that the big themes of the play are not actually global warming, although the two degrees of the title are an explicit warning of the disastrous tipping point our global environment will reach without remedial action. “This is actually a play about grief — about working through grief, about deciding to stand up and move forward and do what needs to be done, rather than collapsing. And the parallel situations in the play are that Emma, our climatologist, learns that she can’t go back and fix the mistakes she made in her marriage, and that we humans cannot go back and fix the damage that we’ve done to the planet.” Emma’s strength and determination in the face of crippling grief make this story a dramatically compelling piece.

    Two Degrees cast digs deep into Boulder ice-core research

    Palmquist discovered in the course of writing the play that one of the problems in making the scientific realities of global warming immediate to the general public is that scientists are good at science — and bad at communicating their science. “I didn’t want this play to turn out to be a polemic on the subject of global warming; rather, I wanted to open a door to a dialogue about the subject. Scientists and lay people don’t speak the same language — my play is one attempt to bridge this gap.” Denver Center’s world premiere production of this important new drama is bound to spur lively conversation and debate about our own choices in our life journeys. 

    Chad.HenryChad Henry is the Literary Associate for the DCPA Theatre Company. He is a composer, actor, lyricist, playwright, and author. He has written more than 20 musical theatre titles. His DCPA credits include acting in Master Class,' and choreographing 'The Winter's Tale.' He is the author of the children's book 'Dogbreath Victorious.'  



    Video bonus: Playwright Tira Palmquist talking about Two Degrees



    Our video with 'Two Degrees' playwright Tira Palmquist, at the 2016 Colorado New Play Summit. Video by David Lenk and John Moore for the DCPA NewsCenter.

     

    Two Degrees: Ticket information
    Two DegreesEmma, a climate change scientist, is invited to share her findings at a Senate hearing that could define her career and her cause. But if she can’t overcome her tumultuous inner struggle, her dedication and sacrifices may not be enough. Two Degrees was developed at the 2016 Colorado New Play Summit.

    Feb. 3-March 12
    Jones Theatre
    ASL and Audio-Described matinee at 1:30 p.m. Sunday, March 5
    303-893-4100 or BUY ONLINE

    Previous NewsCenter coverage of Two Degrees:
    Two Degrees cast digs deep into Boulder ice-core research
    Two Degrees
    heats up conversation on global warming
    Two Degrees: Five things we learned at first rehearsal
    Colorado New Play Summit Spotlight: Tira Palmquist, Two Degrees
    Video: Look back at 2016 Colorado New Play Summit
    2016-17 season: Nine shows, two world premieres, return to classics

  • Perspectives: On coffee, conflict and 'The Christians'

    by John Moore | Jan 30, 2017
    'The Christians' in Denver
    Photos from Perspectives, a free public discussion of  of Lucas Hnath's play 'The Christians' by the DCPA Theatre Company. To see more, click the forward arrow on the image above. All photos by John Moore for the DCPA NewsCenter. 

    Kent Thompson, director of the DCPA Theatre Company's upcoming play The Christians, has experienced the play's central conflict first-hand.

    In Lucas Hnath's celebrated story, "Pastor Paul" is the founder of a huge evangelical megachurch who creates a deep schism among his congregation when he announces a ground-shaking change in his personal opinion regarding eternal salvation. And the fallout will be enormous.

    The Christians Quote Kent ThompsonThompson is the son of an influential Southern Baptist minister who went through his own personal and not entirely popular epiphany back in the late 1950s. 

    "When I was only 5 or 6, my dad was at the First Baptist Church in Jackson, Miss., when he decided to change his message and address what he perceived was the growing racial tension in that community," Thompson said at Perspectives, a series of public panel discussion held just before the first public performance of each Theatre Company offering. 

    "He was not considered to be a liberal or a progressive by the Southern Baptist Convention, although he would be today," Thompson said.

    "He changed his message to this: 'We are all human beings, and Jesus tells us to love one another, therefore we have to respect one another, and find a way to talk to one another.' "

    Thompson still can remember a large number of congregants yelling at his dad and walking out. "But after two or three weeks, there were more people coming to his church because of what he said."

    Here are five more pearls we picked up  at Perspectives, hosted by DCPA Theatre Company Literary Director Douglas Langworthy along with members of the cast and crew.

    Join us for the next Perspectives at 6 p.m. Friday, Feb. 3, in the Conservatory Theatre. Topic: Tira Palmquist's Two Degrees. It's free.

    NUMBER 1 The Christians. John MooreThompson has seen most every production of The Christians since it debuted at the Actors Theatre of Louisville in 2014. And he can assure any potential wary audience members of faith that the play does not subvert anyone's core spiritual beliefs. "No character is ever made fun of. No character's viewpoint is undermined by satire," Thompson said. "That was really my fascination with it." Louisville, Ky., is the home of the largest Southern Baptist seminary in the country, Thompson said, and his own father studied there. "That town is deeply religious - and also incredibly Baptist," Thompson said. The Actors Theatre of Louisville, he added, was concerned if the play would prove problematic for the Christian community - or the local theatre community. "But actually both sides were drawn to the play, because of the way it brings up meaningful questions about faith and belief," Thompson said. "The story is about a pastor, but it could be about almost any political or spiritual or cultural leader who changes his or her mind about a core issue. What happens to the movement as a result?”  

    Five things we learned at first rehearsal for Two Degrees

    NUMBER 2 Dramaturg Heidi Schmidt says the Denver Center invited dozens of local religious leaders to read the play and then participate in something of an ecumenical council to discuss it. "We asked them what they recognize about their own congregations, and many of them said these fractures are very common within any church," Schmidt said. "Pretty much every pastor we talked to said, 'Oh yeah. That's exactly how it plays out - even if the scale is a little bit different.' They all felt it was very true to their experience."

    NUMBER 3The creative team is testing a post-show program called "Coffee & Conversations." As audiences leave the Stage Theatre, they will notice tables set up near Jay's Cafe to encourage anyone who wants to discuss the play, either as individuals or as a group, to stay and do so, with complimentary coffee or tea. These are unofficial conversations, not talkbacks led by a moderator. "At the invited dress rehearsal, there were members of the audience who didn't even make it as far as Jay's Cafe because they were already stopping and talking to each before they even got out of the theatre," Thompson said. "The play stirs up discussion. It's not provocation, because the playwright doesn't tell you what to think. But it really makes you think about how you stand on all of these issues. So if you want to stay and talk afterward, please do so." The experiment will continue at all preview performances this coming week leading up to Friday's official (Feb. 3) opening. The creative team will then make a determination whether to keep it going through the run.

    More Colorado theatre coverage on the DCPA NewsCenter

    NUMBER 4The audience enters as if walking into a sermon at a large community church. Every performance features live music from a praise-and-worship band made up of four musicians and eight singers. "It is so exciting because there is actual dancing," said Caitlin Wise, an actor and member of the choir. "It's not choreographed dancing. I call it 'feel-the-spirit' dancing. I just think music is so special in churches. It really is a gateway to feel love and welcomed and connected to everybody else in the room." 

    NUMBER 5The bones of the play, writer Lucas Hnath has said, are secretly those of Antigone, Sophocles' Greek story of Oedipus' rebel daughter who defies her uncle's law to bury her brother. A Classics teacher in the Perspectives audience saw a greater parallel to Norwegian master playwright Henrik Ibsen's play Brand (which means "fire"). Brand is an uncompromising and harshly judgmental young priest who believes Christians have become slack. Perspectives host Douglas Langworthy totally agreed. "Talk about plays about religion - that is one of the great ones," Langworthy said. Thompson added by comparison An Enemy of the People, another Ibsen rant with a protagonist who feels everyone around him is essentially absurd.  

    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 Christians. Perspectives. John Moore.

    From left: Douglas Langworthy, Kent Thompson, Caitlin Wise, Robert Manning Jr. and Heidi Schmidt of 'The Christians.' Photo by John Moore for the DCPA NewsCenter. 


    The Christians
    : Ticket information
    The ChristiansA new play by Lucas Hnath about the mystery of faith and what happens when a doctrinal controversy shakes the foundation of a large community church.
    Through Feb. 26
    Stage Theatre
    ASL and Audio-Described matinee at 1:30 p.m. Sunday, Feb. 12
    303-893-4100 or BUY ONLINE

    Selected previous NewsCenter coverage of The Christians:
    The Christians is 'a pathway to empathy
    Composer Gary Grundei on music to move the masses
    Five things we learned at first rehearsal 
    2016-17 season: Nine shows, two world premieres, return to classics
    Meet the cast: Robert Manning Jr.

  • Record four student writers to have plays read at Summit

    by John Moore | Jan 17, 2017
    A Playwriting Scenester finalists 800Meet your 2017 Scenesters: Teen playwriting finalists (from left) Parker Bennett, Jasmin A. Hernandez Lozano, Ryan Patrick McCormick and Jessica Wood.



    The Denver Center for the Performing Arts has announced a record four finalists for its fourth annual Regional High School Playwriting Workshop and Competition for Colorado high-school students:

    • Parker Bennett, Fossil Ridge High School, Counting in Clay MEET PARKER
    • Jessica Wood, Denver Christian School, Chill Winds MEET JESSICA
    • Ryan Patrick McCormick, Fort Collins High School, Spilt Lava MEET RYAN
    • Jasmin Hernandez Lozano, Vista Peak Preparatory Academy, The Boy on the Tree
      MEET JASMIN

    Because of a tie, an unprecedented fourth finalist was named. The four will receive mentoring from a professional playwright and have their plays read by professional actors at the 2017 Colorado New Play Summit at 9 a.m. on Saturday, Feb. 25, in The Conservatory Theatre. Finalists also receive a $250 cash scholarship and complimentary pass to all Summit activities.

    A Playwriting Scenester finalists QuoteWood is the first student in the competition's history to place as a finalist two years in a row. Two of the finalists come from different high schools in Fort Collins. The finalists' plays represent a wide swath of storytelling ranging from a gender-bending variation on Rapunzel, to a modern take on Frankenstein, to a historical drama about sisters on the eve of World War II, to the love story of a boy and girl “who float across each other in a world where the floor is lava.”

    DCPA artistic, literary and education professionals first determined 10 semifinalists from  132 submissions received from high-school students across the state. The blind judging produced a first - twins sisters Sarah and Samantha Shapard of Overland High School both made the top 10.

    From that field, a record  four finalists were chosen, up from three in previous years. After the Colorado New Play Summit, one of the four scripts will be selected for full production during DCPA Education’s 2017 summer program.

    “These young playwrights are the next generation of theatre. It is our responsibility and our privilege to encourage them and give them the tools to succeed,” said DCPA Director of Education Allison Watrous. “We launched the one-act play playwriting competition in 2013 to nurture Colorado’s promising young playwrights, create new plays and inspire creativity. In just four short years, we’ve been overwhelmed with the response: 577 submissions and nearly 12,000 students served through the program, giving voice to the next generation of American theatre.”

    About the 2017 Regional High-School Playwriting Workshop and Competition:

    What: A one-act playwriting competition designed for area high schools. Local playwrights and DCPA Education faculty taught 138 playwriting workshops in 46 Colorado high schools. More than 2,823 high-school students participated in those workshops, which were held in every school district in the Denver-metro area and in 15 counties around the state, including Gunnison, Garfield, El Paso, Chaffee and Ouray.

    Why: To nurture Colorado’s young playwrights; develop theatre artists and audiences; develop new plays; and advance literacy, creativity, writing and communication through playwriting.

    How: A total of 132 submissions were judged blindly by DCPA artistic, literary and education professionals. Ten semifinalists are being identified through this rolling daily countdown. At the end of the countdown, three winners will be named. They will receive a cash scholarship of $250 each AND a staged reading in the 2016 Colorado New Play Summit next month. In addition, each teacher of the three finalists will receive a $250 gift certificate for books, supplies or other teaching tools for their classrooms. One play also will be presented as a fully staged performance exercise for DCPA Education students in the summer of 2017.

    Sponsors: Robert and Judi Newman/Newman Family Foundation with matching gifts from The Ross Foundation, June Travis and Transamerica.

    Our profiles of the 2017 Semifinalists:
    Parker Bennett, Fossil Ridge High School
    Corinna Donovan and Walker Carroll, Crested Butte Community School
    Jasmin A. Hernandez Lozano, Vista Peak High School
    Ryan Patrick McCormick, Fort Collins High School
    Abby Meyer and Nic Rhodes, Fossil Ridge High School
    Amelia Middlebrooks, Valor Christian High School
    Samantha Shapard, Overland High School
    Sarah Shapard, Overland High School
    Daniela Villalobo, York International
    Jessica Wood, Denver Christian School


    Video: We talked with the three 2016 student playwriting finalists and looked in as their plays were read by professional actors at the 2016 Colorado New Play Summit in February. Video by John Moore and David Lenk for the DCPA NewsCenter. </p?>
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ABOUT THE EDITOR
John Moore
John Moore
Award-winning arts journalist John Moore has recently taken a groundbreaking new position as the DCPA’s Senior Arts Journalist. With The Denver Post, he was named one of the 12 most influential theater critics in the US by American Theatre Magazine. He is the founder of the Denver Actors Fund, a nonprofit that raises money for local artists in medical need. John is a native of Arvada and attended Regis Jesuit High School and the University of Colorado at Boulder. Follow him on Twitter @moorejohn.

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