Applause Magazine, Apr. 25-27, 2014

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ANIMAL CRACKERS n ONCE n AMERICAN IDIOT

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T H E D E N V E R C E N T E R F O R T H E P E R F O R M I N G A R T S

VOLUME XXV n NUMBER 7

APRIL – MAY 2014 ROCK OF AGES

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APPLAUSEM A G A Z I N E

VOLUME XXV n NUMBER 7 n APRIL – MAY 2014

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BOARD OF TRUSTEESDaniel L. Ritchie,

Chairman and CEODonald R. Seawell,

Chairman EmeritusRandy Weeks, PresidentWilliam Dean Singleton,

Secretary/TreasurerW. Leo Kiely III,

First Vice Chair Robert Slosky,

Second Vice Chair

Dr. Patricia Baca

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Trish Nagel

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Sylvia Young_______________________

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HONORARY MEMBERSJeannie Fuller

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FOUNDATION BOARD

OF TRUSTEES

Lester L. Ward, President

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SENIOR MANAGEMENT STAFF

Randy Weeks, President and Executive Director, Denver Center Attractions

Kent Thompson, Producing Artistic Director, Denver Center Theatre Company

Dorothy Denny, Executive Vice President

Vicky Miles, Chief Financial Officer

Jennifer Nealson, Chief Marketing Officer

Clay Courter, Director of Facilities Management

INDE

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4022

ANIMAL CRACKERSA madcap romp with all

your favorite brothers: Groucho, Chico, Harpo,

Zeppo—and Margaret Dumont. by Doug Langworthy

ROCK OF AGESChart-topping rock songs and

ballads from the 1980s offer “nothing but a good time.”

This show’s a party!by Genevieve Miller Holt

ONCEVacuum cleaner repairman meets immigrant flower seller, make music, fall in love and part. But not before changing each other’s lives—and enriching yours.

AMERICAN IDIOTA musical based on Green Day’s Grammy® Award-winning album. Three friends must choose between dreams and suburbia. All you need to do is enjoy.by Rob Weiner-Kendt

As you’ve heard by now, we’re launching our 36th Denver Center Theatre Company season with a ma-jor revision of the beloved musical, The Unsinkable Molly Brown, featur-ing a new book by Dick Scanlan (based on Molly Brown’s real life), several songs replaced by others from the Meredith Willson catalog, and a top creative team, led by three-time Tony® Award-winning director/chore-ographer Kathleen Marshall. And that’s just the thrilling start of an exciting year. Below (and on pages 16-17) I am outlining the rest of our 2014/15 season. William Golding’s Lord of the Flies, a title many of us read in school, tells the harrowing story of a group of schoolchildren dropped on an island after a plane crash during World War II. Left to their own de-vices, they sink into power struggles, even savagery, as bullying wins over cooperation; a scary, but touching play. Next up, Christopher Durang’s Vanya and Sonia and Masha and Spike (winner of the 2013 Tony for Best New Play) delivers a very funny, sometimes wistful reflection about middle-age ennui, loosely based on Uncle Vanya with hilarious Chekho-vian references, and the addition of a muscular “boy toy” and a prophetic, sassy housekeeper.

At the holidays we’ll hold to tradi-tion with our sumptuous staging of A Christmas Carol. We’ll celebrate our 10th annual Colorado New Play Summit in February with two world premieres that emerged from this year’s Summit to serve as the center-piece for the next one: James Still’s Appoggiatura, a romantic and tender story set in the mystical beauty of Venice as time bends and magic lies just around the corner—and Bene-diction, adapted by Eric Schmiedl to complete a trilogy drawn from the popular novels of Colorado’s acclaimed writer Kent Haruf. As with Haruf’s Plainsong and Eventide, Benediction weaves together the authentic, vivid and deeply human stories of Holt, a fictional small town on the eastern plains of Colorado. The spring brings One Night in Miami..., a surprising contemporary play by Will Kemp that fictionalizes a real meeting in a hotel room in Florida. After Cassius Clay won his first world heavyweight champion-ship (1964 against Sonny Liston), he spent the evening with three close friends: football legend Jim Brown, the remarkable composer/singer/producer Sam Cooke and Malcolm X, culminating in an announcement from Clay that shocked the world. I call One Night in Miami... a “dram-edy” because it’s filled with laughter, insight and, yes, drama. Our final stage show is yet to be selected, but we’re looking at several fascinating projects. Do come along for the adventure. Do join us again as a season ticket holder. n

Producing Artistic DirectorDenver Center Theatre Company

PROD

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AT SELECT PERFORMANCES; CHECK DATES/TIMES WHEN ORDERING.

Performances at The Denver Center are made possible in part through the generous support of:

Denver Center Theatre Company 2013/14 Season Sponsors

Denver Center Attractions 2013/14 Season Sponsors

Media Sponsors

Red PMS 200 Gold PMS 123

Animal Crackers costume designs by Kevin Copenhaver

Dixie’s Tupperware Party

Now – April 20Garner Galleria

TheatreON SALE NOW

ShadowlandsNow – April 27Space TheatreON SALE NOW

Animal CrackersNow – May 11Stage TheatreON SALE NOW

Celtic WomanApril 19

Buell TheatreON SALE NOW

Dixie’s Never Wear a Tube Top

While Riding a Mechanical Bull...April 24 – May 11

Garner Galleria Theatre

ON SALE NOW

Rock of AgesApril 25 – 27Buell TheatreON SALE NOW

onceMay 6 – 18

Buell TheatreON SALE NOW

American IdiotMay 23 – 25Buell TheatreON SALE NOW

PippinSept 6 – 20

Buell Theatre

Lord of the Flies Sept 6 – Nov 2Space Theatre

The Unsinkable Molly Brown

Sept 12 – Oct 26Stage Theatre

Vanya and Sonia and Masha and Spike

Oct 10 – Nov 16 Ricketson Theatre

Kinky BootsOct 29 – Nov 9Buell Theatre

Forbidden Broadway: Alive

and KickingNov 15 – March 1

Garner Galleria Theatre

A Christmas CarolNov 29 – Dec 29

Stage Theatre

Jersey BoysDec 10 – 14

Buell Theatre

Dr. Seuss’ How the Grinch Stole Christmas!

The MusicalDec 17 – 28

Buell Theatre

AppoggiaturaJan 16 – Feb 22,

2015Ricketson Theatre

Benediction Jan 30 – Mar 1,

2015Space Theatre

Rodgers + Hammerstein’s

CinderellaFeb 3 – 15, 2015

Buell Theatre

Motown The Musical

March 31 – April 19, 2015

Buell Theatre

One Night in Miami...

Mar 20 – Apr 19, 2015

Space Theatre

AnnieApril 29 – May 10,

2015Buell Theatre

WickedJune 3 – July 5,

2015Buell Theatre

The Book of Mormon

Aug 11 – Sept 13, 2015

The Ellie

For in that sleep of death what dreams may come… -William Shakespeare, Hamlet, Act III, scene i

The Denver Center is saddened to announce the loss of Jeri Zucherman, longtime member of the Best of Broadway and Directors societies, who recently passed away. Our condolences to Jeri’s family and friends at this difficult time. Jeri will be greatly missed. n

Jeri Zucherman

SINGLE TICKETS ON

SALE IN AUGUST

The silver screen springs to life at the Denver Center Theatre Company in this stage version of the Marx Brothers’ Ani-

mal Crackers—a boisterous comedy about the theft of a valuable painting from a society dinner party that is quintessential Marx Brothers may-hem. Costume designer Kevin Copenhaver takes you back to the 1930s through vintage creations in this whodunit spoof. As with many productions that went on to meet broader fame on the big screen, this play with music is smaller in scale, with a nimble cast of nine actors playing multiple characters—sometimes with just one line of dialogue in which to make a change! The frequency of the lightning-fast costume changes helps dictate fab-ric and color, as well as how a costume is built. “I will be looking for stretch charmeuse, fanciful woolens, knits that resemble the rougher textures of stretch fabrics from the period, and some wacky brocades and sleek fabrics for the ‘dream’ sequence near the end of the play,” Copenhaver noted. A strong color palette also assists in defining character and affiliation, both in the clothes and hair color. Women’s fashion in the 30s went from the boyish, columnar silhouette of the 1920s to a more feminine form achieved by cutting gar-ments on the bias. Because men’s fashions have not changed drastically since the 1930s, they will seem almost modern save for differences in lapel width, shoulder shape, trouser width and rise. From the show’s zinging one-liners to its slapstick brilliance, you will travel back to the swank of the 30s as Groucho, Harpo, Chico and Zeppo zip around the stage—and take your breath away. n

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ANIM

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Animal Crackers is classic Marx Brothers comedy

brought to the modern stage

B Y D O U G L A S L A N G W O R T H Y

CRACKING

FUNNY

Animal Crackers, the hilarious Marx Brothers movie, started its life as a long-running Broadway musical that was hand-tailored to showcase the

energy of the madcap brothers (Groucho, Chico, Harpo and Zeppo) and their signature comic personae. In the stage show, with a book by George S. Kaufman, highbrow meets lowbrow to exhilarating effect. Mrs. Rittenhouse, a high-society matron, is throwing a big party to celebrate the return of Captain Spauld-ing (Groucho) from the wilds of Africa. To mark the festivities, she wants to reveal a famous painting she has borrowed for the occasion.

Animal Crackers delivers classic Groucho one-liners

(“I intend to live forever, or die trying”), comedy routines,

In the meantime, a quartet of young lovers vie for each other’s affections, while Spaulding attempts to woo his

wealthy widowed hostess. As it’s a musi-cal, there are plenty of songs and choral numbers with clever lyrics such as “He’s ended our anxiety/and saved our high society/from shameless impropriety.” Into this genteel entertainment about the pastimes of the very rich, the four Marx Brothers zip around like bottle rockets, derailing the story and burst-ing the bubbles of societal pretension. The play itself serves as a backboard for these expert vaudevillians to fling them-selves against. Animal Crackers delivers classic Groucho one-liners (“I intend to live forever, or die trying”), comedy rou-tines, instrumental interludes and plenty of physical shtick.

By the time the Marx Brothers opened that show, they were at the height of their pre-Hollywood fame. They had been honing their craft on the vaudeville stage for more than 25 years. Minnie Schoenberg Marx, their ferocious stage mother—whose own parents were a ma-gician and a yodeling harpist and whose brother, Al Shean, became a vaudeville star—shoved all her boys onto the stage, like it or not. They started out as a sing-ing group (first the Three, then the Four Nightingales), but as the boys’ voices began to change, they tried peppering the act with jokes, funny characters and mock fights, and found that their antics earned them more applause than their music.

Criss-crossing the country on the vaudeville circuit, the brothers developed the roles they became

known for, each picking up a nickname along the way: Groucho, the wise-crack-er with bushy eyebrows, moustache, glasses and a cigar; Chico (pronounced Chick-o, because he chased after the chicks), the con man with an Italian ac-cent who played the piano—and Harpo, the wide-eyed innocent with bushy hair who didn’t speak at all but liked to steal silverware and play the harp.

Zeppo, the youngest, usually played the handsome straight man, although once during the run of Animal Crackers, Zeppo went on for Groucho and was accounted even funnier than Groucho himself. (A fifth brother, Gummo, left the group during World War I.) After a successful run in 1915 at the Palace in New York City, Chico was getting restless, saying they were “too good” for vaudeville. This might have been sour grapes, as the brothers had gotten themselves banned from the major vaudeville circuits because of a dispute with impresario E.F. Albee (the adoptive grandfather of playwright Edward Albee). So they decided to try to conquer Broadway, pulling together the revue I’ll Say She Is out of their old routines and musical numbers, loosely

tied together by the story of a rich girl’s adventures with a variety of men.

The show opened in 1924 and played for 313 performances. The Marx Brothers were the toast

of the town. Then followed two more Broadway hits—The Cocoanuts (1925) and Animal Crackers (1928). As their fame kept growing, there was only one place left for them to go: Hol-lywood. When the first talkie (The Jazz Singer) was released in 1927, the Marx Brothers were perfectly positioned to bypass silent film and proceed directly to making pictures with sound. By the time the brothers started working on their first film, they were in their 40s with a wealth of theatrical experience under their belts. Paramount snapped up the team with a lucrative five-film contract. So while they were performing Animal Crackers in the evenings in Manhattan, during the day they filmed The Cocoanuts over in Queens at the Astoria Studios. In typical zany fashion, Groucho found his perfect comic foil in Margaret Dumont (Mrs. Rittenhouse), who played a succession of matronly high-society widows whom Groucho alternately insulted and pursued for their money. Her trademark deadpan was always able

to fend off Groucho’s attempts to drag her through the swamps of low comedy. Trained as an operatic singer and actress, she became a de facto “fifth brother,” starring in seven Marx Brothers films and two of their Broadway musicals, including Animal Crackers. How then do you stage a play so close-ly associated with its Marxian creators? According to Bruce Sevy, who directed this production, the actors portraying the famous siblings won’t be doing imita-tions per se.

“That would get tiresome,” he says. “The challenge is to in-habit the spirit of these guys

and their comedy so that the scenes live and breathe in the moment.” In a nod to the brothers’ musical virtuosity the actor playing Ravelli, the Chico role, will be doing some live tricks at the keyboard (one involving an orange). So is Animal Crackers serious theatre? Absolutely not. Is there a place in the theatre for laughter and silliness and comic anarchy? Absolutely. But let’s let Groucho have the final word. In a sardonic moment he once said: “If it weren’t for the brief respite we give the world with our foolishness, the world would see mass suicide in numbers that compare favorably with the death rate of lemmings.” Whoever would have thought “lemmings” could be the punchline of a joke? n

Douglas Langworthy is the Literary Manager of the Denver Center Theatre Company

ANIMAL CRACKERS

303.893.4100 APPLAUSE 11

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • denvercenter.org

April 4 – May 11 • Space TheatreProducing Partners: Margot & Allan Frank, Robert & Judi Newman

Sponsored by HealthONE

The performance on Wednesday, April 23, is dedicated to the memory of Jeri Zucherman

ASL interpreted, Audio Described & Open Captioned • May 4, 1:30pm

Perspective on the play: April 4, 6pm, Jones Theatre Attend this FREE moderated discussion with DCTC’s creative team. All are welcome.

Animal Crackers is classic Marx Brothers comedy

brought to the modern stage

B Y D O U G L A S L A N G W O R T H Y

CRACKING

FUNNY

Animal Crackers delivers classic Groucho one-liners

(“I intend to live forever, or die trying”), comedy routines,

instrumental interludes and plenty of physical shtick.

PREM

IUM

SUB

SCRI

PTIO

NS


P R E M I U M S U B S C R I P T I O N SJoin Now – Support the Denver Center Theatre Company and enjoy the

new 2014/15 Season as a VIP Member!

Marquee Club sponsored in part by:

WilliamLaBAHN

visit www.denvercenter.org/members or contact David Zupancic at 303.446.4811 or [email protected] O J O I N

DIRECTORS SOCIETYTailored for the subscriber who wants to get closer to the company:• Eight-play subscription on selected Wednesday evenings• Before the Show: members-only cocktail parties• After the Show: casual yet elegant dinners with the cast and crew• Behind-the-scenes programs led by Producing Artistic Director Kent Thompson• Personalized ticketing and exchange services

$1,900 per person (A portion is tax deductible)

MARQUEE CLUBStep up your nightlife! Tailored for the active professional:• Four-play subscription on selected Thursday evenings• Before the show: members-only cocktail parties with open bar and hors d’oeuvres• After the show: meet the cast at Larimer Square hot spots• Personalized ticketing and exchange services

$500 per person ($227 is tax deductible)

Directors Society sponsored in part by:

PHOTOS BY SUZANNE YOE

PHOTOS BY VICKI KERR

THE 2014/15 EVENTSThe Unsinkable Molly Brown Sept 19Lord of the Flies Oct 8Vanya and Sonia and Masha and Spike Oct 22A Christmas Carol Dec 10Appoggiatura Jan 28Benediction Feb11One Night in Miami... April 1 Director’s Choice TBA April 15

THE 2014/15 EVENTSThe Unsinkable Molly Brown Oct 2Vanya and Sonia and Masha and Spike Nov 6Appoggiatura Feb 5Director’s Choice TBA April 16

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This exhilarating refresh of Meredith Willson’s 1960 musical tells the rags-to-riches romance of Colorado’s own heroine, Molly Brown. With a new book by Dick Scanlan (Thoroughly Modern Millie), new songs from the Willson songbook and staging by Tony-winning director/choreog-rapher Kathleen Marshall (Anything Goes), the tempestu-ous can’t-live-with-him/can’t-live-without-him love story that survived the Silver Boom, Gold Rush and sinking of the Titanic returns to the stage in an all-new production.

A staple in classrooms for generations, Chicago Theatre Beat raves Lord of the Flies is a “powerful, passionate adaptation that breathes new life into the classic novel,” which tells the story of a group of English boys who become stranded on a deserted island. Intoxicated by sudden freedom, their games quickly descend to a savage struggle for power. A compelling glimpse into dystopia that explores the grimmest reaches of human nature and fragility of free will.

LORD OF THE FLIES Adapted for the stage by Nigel WilliamsSept 26-Nov 2 • Space Theatre

SEAS

ON

Photos by Terry Shapiro

VANYA AND SONIA

AND MASHA AND SPIKE

By Christopher DurangOct 10-Nov 16 • Ricketson Theatre

Absurdist master Christopher Durang blends melancholy with mayhem in what the The New York Times declares a “deliriously funny” black comedy. Winner of the 2013 Tony Award for Best Play, this Chekhovian mash-up erupts into chaos when Vanya and Sonia receive a surprise visit from their Hollywood star sister, Masha, and her boy-toy Spike. Residents and visitors of the normally quiet house-hold are thrown into hilarious upheaval as they confront issues of sibling rivalry, regret, lust and love.

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THE UNSINKABLE MOLLY BROWNLyrics and Music by Meredith WillsonAdditional Lyrics and Book by Dick ScanlanBased on the Original Book by Richard MorrisDirected and Choreographed by Kathleen MarshallSept 12-Oct 26 • Stage Theatre

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This slice-of-life dramedy that the LA Times calls “en-gaging and thought-provoking,” imagines what occurred the night of Cassius Clay’s historic win over heavyweight champ Sonny Liston. Declining a glamorous Miami Beach party, Clay chooses to celebrate in a hotel room with his closest friends: activist Malcom X, singer Sam Cooke and football player Jim Brown. Over the course of the night each man argues his vision for what it means to be black in 1964, culminating in an early morning announcement from Clay that will shock the world. Filled with “crackling good dialogue and timely themes,” as proclaimed by Variety, One Night in Miami... is a “decisive knockout.”

Essential to the holiday season in Denver, A Christmas Carol promises to “warm your heart and renew your holi-day spirit” according to the Examiner. Based on Charles Dickens’ classic novel, this joyous and opulent musical adaptation traces money-hoarding skinflint Ebenezer Scrooge’s triumphant overnight journey to redemption. A Christmas Carol illuminates the meaning of the holiday season in a way that has resonated for generations.

Written by three-time Pulitzer nominee James Still, Appoggiatura follows three closely related Americans, each nursing a hunger and a hard-to-heal wound, as they travel to the romantic city of Venice seeking solace. As time bends and magic lies just around the corner, this favorite of the Colorado New Play Summit weaves a quirky and lyrical narrative exploring love, loss and the human soul.

Boasted a “masterful look at the end of life” by The Denver Post, this adaptation of best-selling Kent Ha-ruf’s novel takes place on the high plains of Colorado. The final chapter of a trilogy, Benediction is a power-ful drama about three souls searching for meaningful connections despite separation, loneliness and the race against time.

ONE NIGHT

IN MIAMI... By Kemp PowersMar 20-Apr 19 • Space Theatre

Photos by Terry Shapiro

APPOGGIATURABy James StillJan 16-Feb 22 • Ricketson Theatre

WORLD PREMIERE

BENEDICTION By Eric SchmiedlBased on the novel by Kent HarufJan 30-Mar 1• Space Theatre

WORLD PREMIERE

Part of the thrill of live theatre is the element of the unexpected. We are reviewing a few dynamic choices for our final production of the 2014/15 season. Stay tuned!

A CHRISTMAS CAROLBy Charles DickensAdapted by Richard HellesenMusic by David de BerryNov 28-Dec 28 • Stage Theatre

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ADDED ATTRACTION

2014/15 SEASON SPONSORS

DIRECTOR’S CHOICEMar 27-Apr 26 • Stage Theatre

Elite #

In Connection With Steamboat All Arts Festival, Emerald City Opera presents

Giuseppe Verdi’s FALSTAFF(Sung in English)

August 15 & 17, 2014

Featuring: David Malis, Megan Marino,

Chad Armstrong, Keri Rusthoi and Max HosnerDirected by Glynis Leyshon | Orchestra conducted by Adam Flatt

The Opera Artist Institute presents

Henry Purcell’sDido and Aeneas

(Sung in English)August 10 & 16, 2014

Falstaff Presenting Sponsor:

For lodging reservations call 800-525-2622

emeraldcityopera.com | Steamboat Springs, CO

|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|*|**|*|*|*|

escapes #

303.292.6700 | CentralCityOpera.orgYou won’t know until you go.

The Sound of Music

Denver comes alive with

Ellie Caulkins Opera House August 2 - 10

June 28 - August 10

THE MARRIAGE OF FIGARO | DEAD MAN WALKING THE SOUND OF MUSIC in denver

OKLAHOMATHE LIAR

ONE MAN, TWO GUVNORS

2014SUMMER SEASON

June 20 – August 30

Famous Performing Arts Center131 W Main StreetTrinidad Colorado

(in the middle of the Creative District)

719.846.4765www.scrtheatre.com

Henri de Toulouse-Lautrec (1864-1901), Jane Avril, 1893, color lithograph, 48 ¾ x 36 inches,

Musée d’Ixelles, Brussels.

Toulouse-Lautrec and La Vie Moderne:

Paris 1880-1910

Downtown Golden, CO For more information: www.foothillsartcenter.org

This exhibition is organized & circulated by Art Services International, Alexandria, Virginia.

PRESENTING

Celebrating Henri de Toulouse-Lautrec and 94 avant-garde artists in the Parisian artistic and

cultural scene, with over 180 objects that will delight you!

June 7 - August 17, 2014

Elite #

The 27th Annual Schomp BMW Denver Polo Classic

JUNE 27-29, 2014

An event of the Denver Active 20-30 Children’s Foundation benefiting at-risk and disadvantaged children

Friday, June 27, Del Frisco’s - Sullivan’s Black Tie Ball

Saturday, June 28, Family Day

Sunday, June 29, Lockton Championship Day

To purchase single day tickets or a weekend pass call 303-832-8390 or go to www.DenverPolo.com

Celebrating its 27th year, the Schomp BMW Denver Polo Classic is three days of exciting entertainment with all proceeds benefiting local children’s charities. The weekend events will take place at the exclusive Polo Reserve Development in Littleton. Set against the spectacular backdrop of the Rocky Mountains, under our signature white tent, patrons and guests of the Schomp BMW Denver Polo Classic will enjoy world-class polo matches, exquisite spirits, wines and beers, and gourmet food from some of the finest restaurants in Denver.

The largest charitable polo event in the country

SPONSORED BY

6th Annual!

Era

We will never tell you to use your “inside voice”!

Audition and let your inner voice sing!Scheduling auditions for children entering

2nd-5th grades who love to sing and perform.ChildrensChorale.org or 303.892.5600

We will never tell you to use your “inside voice”!

Audition and let your inner voice sing!Scheduling auditions for children entering

2nd-5th grades who love to sing and perform.ChildrensChorale.org or 303.892.5600

escapes #Blue Mountain Arts presents COLORADO SHAKESPEARE FESTIVAL

June 6 - August 10, 2014Tickets are now on sale

303-492-8008 COLORADOSHAKES.ORG

MeMorial day weekend 2o14

May 23–25 Fri 4–8pm | Sat 11–8pm | Sun 11–5pm

denver Performing arts Complex downtowndenverartsFestival.com

“You cannot come to Taos without feeling that hereis one of the chosen spots on earth.”—D.H. Lawrence

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ter Taos.org/applause

800.348.0696

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When writer Chris D’Arienzo’s agent let him know that a musical based on ’80s heavy-metal hits was being pro-duced in Los Angeles, he knew he was the man to write the book. You might say he couldn’t “fight this feeling any lon-ger” or that he wouldn’t “stop believing,” but D’Arienzo knew he could do justice to some of the biggest hits of his youth by weaving them into a Broadway musical with real heart. To win the gig, however, he had to impress the producing team. “It was probably the ballsiest pitch of my life,” he says. When he arrived for the pitch meeting, he saw the writer who had just finished pitching shuffle out the room with deflated energy, and it lit a spark of inspiration inside D’Arienzo. “I walked to the conference room where all the producers were sitting and kicked in the door, threw my bag in, took my shirt off (revealing an authentic sleeveless Journey con-cert T-shirt underneath) and sauntered in like I was some kind of David Lee Roth character.” In a move that very easily could have gotten D’Arienzo kicked out of the building, he managed to impress the team of neophyte Broadway producers with his guts. They hired him immediately.

D’Arienzo got to work. His gargantuan task was to identify pop and rock songs of the ’80s that he wanted to use, seek out the rights to use them, then

interlace them to tell a story. “For me it was important to make sure that the songs transitioned seamlessly with the book so that they really acted as dialogue, instead of, ‘Hey, let’s take a time out to sing an ’80s pop song,’ ” he says. “I wanted to find a way to re-conceive them as show tunes, as if they were written for the show and not plugged in.” He sought out songs he liked, that represented the era and the genre, and informed the emotional journey of the characters. “It was actually the most fun I’ve ever had writ-ing anything.” Some bands were understandably resistant to having their most famous rock anthems turned into a Broadway musical. “I get it,” says D’Arienzo. “If I was a hard rocker and someone told me they wanted to make a Broadway show out of my heavy-metal tunes, I would be very leery. But luckily a lot of them saw what we were trying to do.” The creative team found that it was mainly the bands that didn’t come see the show that staunchly refused use of their music. “It worked out, and I can honestly say that there isn’t a song in the show that I would replace.”

ROCK OF AGES IS “NOTHIN’ BUT A

”B Y G E N E V I E V E M I L L E R H O LT

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When asked if there was one song that got away, one that he would have really wanted in the show, D’Arienzo says, “I always dreamt of starting the show with [Guns N’ Roses’] ‘Welcome to the Jungle.’ I was really bummed at first when they wouldn’t give it to us, but then I started playing with the opening and re-listened to David Lee Roth’s ‘Livin’ In Paradise’ and I realized that Roth’s song worked so much better… Although I think ‘Jungle’ is one of the greatest rock songs ever written, I do believe it was a happy accident and a real gift from Diamond Dave!”

With a portfolio of awesome ’80s tunes in hand, D’Arienzo cre-ated a plotline that spoke to the

spirit of rock’n’roll of the era. Sher-rie (as in ‘Oh Sherrie’) is an aspiring actress just off the bus seeking fame in L.A. She lands a job at a bar on the Sunset Strip and meets aspiring rocker Drew, who’s bussing tables waiting to make the big time. Along with other kooky denizens of the Strip, the two set out to save the bar (and the rock’n’roll lifestyle it represents) from greedy

developers plotting to tear it down. D’Arienzo knew two of the songs he had in hand would inform the plot—Journey’s “Don’t Stop Believin’ ” and Starship’s “We Built This City.” “The other songs really informed character more…. I always tried to avoid songs that were really literal,” D’Arienzo says of his process. So as our hero and heroine fall in love, we rock out to Foreigner’s “Waiting for a Girl Like You,” and as the characters set out to follow their hearts we hear, “Here I Go Again on My Own” by Whitesnake, and as the crew protests against the developers, we chant, “We’re Not Gonna Take It.” In 2006, once the script was crafted, the creative team of Rock of Ages took the show to a bar in L.A, where the reception was enormously positive. “[The bar] was packed every night,” says D’Arienzo. “Then we went to Ve-

gas for ten days; that was soul-sucking and horrible…. There is nothing worse than trying to do theatre for a room full of really drunk gamblers coming in on Rascal scooters with Margaritas-by-the-Yard hanging around their necks.” The production moved to off-Broad-way in 2008, where it enjoyed a hugely successful run, and in 2009 transferred to Broadway. D’Arienzo spent five months working with the cast and crew to make the transition. “I can say with-out question [those were] the best five months of my professional life.” On the other hand, the team was not sure how audiences in New York, that mecca of high art, would receive such a cheeky, low-brow kind of show. “But people really dug it,” D’Arienzo recalls. “I was relieved, only because we were told from the beginning that New York would absolutely hate us. But we always believed in our show and the majority of people in the Broadway community really embraced [it] and made us feel right at home.”

Note to theatregoers over the age of 25: while the music will leave you dancing in the aisles and nostalgic

for a bygone era, the costumes in the show are equally authentic and may hit a bit close to home. “There were some really bad looks back then,” acknowl-edges D’Arienzo, “and I think I tried them all.” Pegged pants, layered tops, polo shirt upon polo shirt (collar up, of course), with a button-up on top and a T-shirt underneath, the styles, in retro-spect, were not kind. “But I have to say women’s clothes were more tragic. Ev-erything was either baggy and ill-fitting or super tight and slutty. There was very little in between.” D’Arienzo has stayed actively involved in the life of the show. In Manhattan he watched over the setting up of the re-opening of Rock of Ages on Broadway (after a brief hiatus and move to a smaller Broadway house). He also

adapted the screenplay for the feature film based on the musical (it starred Tom Cruise, Paul Giamatti, Mary J. Blige and Alec Baldwin and was di-rected by Adam Shankman). In addition to the Broadway and New York runs, the film and the ongoing national tour, the show has enjoyed hit productions in Australia, Asia and England.

The world over, Rock of Ages has proved to be a light-hearted, joy-ful rock musical and a nostalgic

trip down memory lane for audiences. Never underestimate the power of rock anthems, garish outfits—and a good bit of hairspray. n

Genevieve Miller Holt is the General Manager for Broadway Across America in Cincinnati. Formerly, she was Direc-tor of PR & Promotions at The Denver Center for the Performing Arts.

ROCK OF AGES

303.893.4100 APPLAUSE 23


“For me it was important to make sure that the songs transitioned seamlessly with the book so that they really acted as dialogue, instead of, ‘Hey, let’s take a time out to sing an ’80s pop song.’ ” — Chris D’Arienzo

April 25 – 27 • Buell TheatreASL interpreted, Audio Described & Open Captioned • April 26, 2pm

CHRIS CICCHINO - ROCK OF AGES LEAD GUITARIST.

PHOTO BY SCOTT SUCHMAN

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WELLS FARGO ADVISORSProudly working together for a better Colorado

A proud sponsor of the 2013/14 Denver Center Theatre

Company Season

Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company. 0214-00836

Aside from the contribution Wells Fargo Advisors, LLC, makes to The Denver Center for the Performing Arts, team members in the Rocky

Mountain Market of Wells Fargo Advisors strive to make a difference in their local communities…whether it’s through contributions of time, talent or resources. Wells Fargo invested $78.9 million in 28,000 not-for-profit organizations in 2012. Team members also personally contributed more than $60 million and logged more than 232,000 volunteer hours. More recently, Wells Fargo contributed $100,000 to the American Red Cross, $30,000 to the Salvation Army and $20,000 to Foothills Relief Fund to support flood disaster relief and recovery efforts in Colorado. Wells Fargo Advisors, LLC is proud to make a difference in the lives of those in need. n

Wells Fargo Advisors Rocky Mountain Market team members jumped into action collecting donations to aid wildfire victims.

Wells Fargo Advisors’ Managing Director - Market Manager Marc Beshany and his team presented a check for $18,000 to Jeff Reilly, Chief Development Officer of the American Red Cross Mile High Chapter.

The Colorado Springs branch raised more than $10,000 for the American Cancer Society with a Relay for Life team led by Stephen Drexler, Managing Director – Investments.

rock

of

agesDenver Center Attractions

The Broadway division of The Denver Center for the Performing Arts

and Season Sponsors

and

Stephen B. Kane & Michael McFaddenpresent

book by

chriS d’arienzo

set designBeowulF Boritt

costume design GreGory Gale

lighting designJaSon lyonS

sound designcraiG caSSidy

projection designzaK BoroVay

music directordarren ledBetter

original arrangementsdaVid GiBBS

castingMarK MinnicK

tour marketing consultantsanita dloniaK & aSSociateS, inc.

production stage managerhope VillanueVa

company managerarthur J.M. callahan

choreography recreated by

MarcoS Santanachoreographed by

Kelly deVine

directed by

KriStin hanGGi

direction recreated by

adaM John hunter

ROCK OF AGES opened on Broadway at The Brooks Atkinson Theatre on April 7, 2009 and subsequently transferred to The Helen Hayes Theatre where it continues to rock on. Originally produced on Broadway by MATTHEW WEAVER, CARL LEVIN, JEFF DAVIS, BARRY HABIB, SCOTT PRISAND, MICHAEL COHL, REAGAN SILBER, S2BN ENTERTAINMENT, RELATIVITY MEDIA In Assocation With JANET BILLIG, RICH HILLARY, WEAVER CORNER STORE FUND, RYAN KAVANAUGH, TONI HABIB, PAULA DAVIS, SIMON AND STEFANY BERGSON/JENNIFER MALONEY, CHARLES ROLECEK, SUSANNE BROOK, CRAIG COZZA, ISRAEL WOLFSON, SARA MERCER, JAYSON RAITT, MAX GOTTLIEB, MICHAEL MINARIK, DAVID KAUFMAN/JAY FRANKS, MICHAEL WITTLIN, PROSPECT PICTURES, LAURA SMITH/BILL BODNAR, WIN SHERIDAN, HAPPY WALTERS, MICHELE CARO, NEIL CANELL/JAY CANELL, MARIANO TOLENTINO, MARC BELL and THE ARACA GROUP.

EXCLUSIVE TOUR DIRECTION by THE ROAD COMPANY165 West 46th Street, Suite 1101, New York, NY 10036 • (212) 302-5200

www.theroadcompany.comwww.rockofagesontour.com www.phoenix-ent.com

phoenix entertainMent - BourBon rooM rocKS, llc

director of operationsliSa Mattia

production supervisorShawn penninGton

technical directoraddiSon GriSt

hair/wig designtoM watSon

music supervision, arrangements and orchestrations by

ethan popp

makeup designanGelina aVallone

rock

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Lonny ...........................................................................................................ANDREW SKLAR

Justice ..............................................................................................................KADEJAH ONÉ

Dennis ............................................................................................BRIAN ASHTON MILLER

Drew .......................................................................................................DOMINIQUE SCOTT

Sherrie .................................................................................................... SHANNON MULLEN

Father .............................................................................................................JOSHUA HOBBS

Mother .............................................................................................................KADEJAH ONÉ

Regina ............................................................................................................ JESSICA PUCEK

Mayor ..................................................................................................................CHRIS SAMS

Hertz ..........................................................................................................PHILIP PETERSON

Franz .......................................................................................................... TANNER HUSSAR

Stacee Jaxx ....................................................................................................JOSHUA HOBBS

Waitress #1 .............................................................................................ASHLEY McMANUS

Constance .................................................................................................... GELSEY LAURIE

Ja’Keith Gill ........................................................................................................CHRIS SAMS

Young Groupie ........................................................................................MADISON TURNER

Sleazy Producer ..............................................................................................SAM DOWLING

Joey Primo ......................................................................................................SAM DOWLING

Candi .............................................................................................................. JESSICA PUCEK

THE ENSEMBLESAM DOWLING, CODY RYAN,

CHRIS SAMS, TIM SHEA, LEAH ZAHNER

UNDERSTUDIESUnderstudies never substitute for listed players unless a specific announcement

is made at the time of the performance.

for Drew / Stacee Jaxx – SAM DOWLINGfor Lonny / Dennis / Hertz – TIM SHEA

for Franz / Joey Primo / Mayor / Stacee Jaxx – CODY RYANfor Sherrie — JESSICA PUCEK

for Regina / Waitress #1 / Young Groupie / Constance – LEAH ZAHNERfor Justice / Mother — ASHLEY McMANUS

Please be advised that a strobe light is used in this production.

ROCK OF AGES BANDConductor/Piano – MARSHALL KEATING

Guitar 1 – PAUL WILEYGuitar 2 – MADDOX

Drums – BONES ELIASBass – RIGO FLORES

Cast(in order of appearance)

THE VIDEOTAPING OR OTHER RECORDING OF THIS PRODUCTION IS A VIOLATION OF THE COPYRIGHT LAW AND AN ACTIONABLE FEDERAL OFFENSE.

rock

of

agesWho’s Who in the Cast

DOMINIQUE SCOTT (Drew) is searching for the craziest audiences across the country. Is this you? To participate, please clap loudly, scream and throw your panties at us onstage. No, seriously. And follow me on Twitter (@domscottrocks) and Facebook (/domscottrocks) RIGHT NOW for live backstage updates, free music and other fun things. Oh, and grab my album from the merch booth on your way out! Forever grateful to Phoenix, ROA cast and crew, KMA and the Staz family. For more info, visit domscott.com.

SHANNON MULLEN (Sherrie) couldn’t think of a better way to spend her nights than rocking out with this cast, crew, band and YOU! National tours: Le-gally Blonde (Brooke Wyndham/Dance Captain), Hairspray (Tammy!) BFA SUNY Buffalo ’09. Love and Thanks to Phoenix Entertainment and her fam-ily, friends and teachers who are con-stant reminders to never stop believin’. www.theshannonmullen.com

ANDREW SKLAR (Lonny Barnett) is ecstatic to be on the road as Lonny Bar-nett. This is a dream come true. When not touring, Sklar fronts the heavy metal band, Exit Existence. Thank you to my friends, Mom and Dad for letting me pur-sue endlessly, Ronnie James for teaching me what it is to rock, and to Noel for help-ing me to find my way. “Ain’t it wonderful to be alive when the rock ‘ n’ roll plays!”

JOSHUA HOBBS (Stacee Jaxx) Origi-nally from Anderson, Indiana, Josh is excited to be rejoining this amazing cast of Rock of Ages. It is truly a dream to be on stage rocking out to the 80’s every night with you all. National/International tours: Burn the Floor (Male Singer), Rock of Ages (Drew, Swing). Regional: Rocky Horror (Rocky), Royal Caribbean (Guest Entertainer). Josh would like to thank God, his family, Mariah, Phoenix Enter-tainment and this totally RAD cast and crew of Rock of Ages for supporting his dream! GO COLTS! Twitter: @joshobbs

TANNER HUSSAR (Franz) is thrilled to be making Rock of Ages his first national tour! Proud recent Ithaca College theatre graduate, Go Bombers! Favorite credits include Chicago and The Rocky Horror Picture Show (Hangar Theatre). Thanks to Phoenix Entertainment and everyone at ATB Talent for everything! Love to my incredible family, especially my parents

- this show is dedicated to ZOLL. Don’t stop believin’! @jtannerthanyou

BRIAN ASHTON MILLER (Dennis) is freakin’ pumped to extend his pointer and pinky fingers at the same time as much as needed! After both national tours of Rent (Roger) and Grease! (Roger), he is very excited to finally have a new name on stage. Although he’s been in a few mov-ies like Across the Universe and The Good Shepherd, he prefers to talk about his love of Bourbon, which seems to be appropri-ate. As a born and bred West Virginian who now calls Charlotte, NC his home with his beautiful wife, Brianna, many thanks to all who have supported me on this journey. A proud graduate of Marshall University...GO HERD! And as always, this one’s for you Mommy.

KADEJAH ONÉ (Justice) A native of New Orleans and graduate of Bowie State University, Kadejah is a singer/songwrit-er/actress and the CEO of KOSH, LLC. She’s also the winner of the 2002 Helen Hayes Award for Supporting Actress, Residential musical. Kadejah performed in the 2010-2012 National tour of The Color Purple (Church Soloist u/s Sophia, Church Lady Doris), Dreamgirls (Effie White) and Ain’t Misbehavin’. She re-cently starred in the documentary It Has Begun directed by Billy Badd of New Im-age Films. She attributes her success to God, her angel (son) David Jr. and thanks her mom Dr. Betty Brown and her close friends and family. www.youtube.com/anointed1one

PHILIP PETERSON (Hertz) is happy to be part of the national tour of Rock of Ages. Philip performed throughout the country and Canada with National Tours of Cats (Old Deut) and Evita (Peron) and spent this past summer at West Virginia Public Theatre as Billy Flynn (Chicago), Fagin (Oliver), and Old Deuteronomy (Cats). Regional credits include title roles in Jekyll & Hyde, Man of La Mancha, The King and I, Petrucchio / Fred Graham in Kiss Me Kate, Julian Marsh in 42nd Street, and Henry Higgins in My Fair Lady in Phoenix, Arizona.

JESSICA PUCEK (Regina/Candi) is so excited to be making her national tour debut with Rock of Ages! She earned a B.A. in Theatre Performance and a B.S. in Anthropology from Wagner College. Some of her favorite roles include: Little

Women (Meg), Tommy (Hawker), West Side Story (Maria), Into the Woods (Cin-derella). Film/TV credits include: “Skins” (Club Girl), The Grasslands (Dancer). She’d like to thank her family and friends for all their love and support, and Danny, for making everything shiny!

SAM DOWLING (Joey Primo/Ensem-ble) is thrilled to be rocking out in the Bourbon Room again after playing Drew in Rock of Ages on Norwegian Cruise-line’s Breakaway! Oklahoma City Uni-versity graduate (Bachelor of Music in Musical Theatre 2012). Regional: Jesus Christ Superstar (Jesus), Chess (Freddie), The Light in the Piazza (Fabrizio) and The Wedding Singer (Glen). Follow him on instagram: @Samdowling12! Love and thanks to everyone who has helped in the journey of his pursuit of the dream, but a very special thank you to the woman who has backed his every failure and success, love you mom! “If you feel your dream is dying, hold tight, you’ve got the music in you, don’t let go.” - New Radicals.

GELSEY LAURIE (Constance/Ensem-ble), originally from Southern California, moved to NYC to perfect her shimmy ball change. She has danced for Disney and Celebrity Cruises, and can also be found as an aerialist in cabarets and circus shows. Gelsey is more than ecstatic for Rock of Ages to be her first national tour! Much love and thanks to all friends and family who always believed in her!

ASHLEY McMANUS (Waitress #1/En-semble) is extremely excited to join the rocking cast of ROA! Born and raised in the Nation’s Capital, Washington, DC! National tour: Dreamgirls ‘13 (Dance Captain, Swing, Lorrell U/S). Favorite credits include: Hairspray and Dreamgirls at the Arts Center of Coastal Carolina. She sends lots of hugs and kisses to her family, friends, and supporters. “You’ve always said I Rock, Now let’s Rock!”

CODY RYAN (Ensemble) It’s his first national tour, and Cody couldn’t be more stoked that it’s Rock of Ages! With a BFA from The Hartt School of Music ‘10, he’s rocked out in The Who’s Tommy (Tommy), shook it in Footloose (Ren) and played the fool in Monty Python’s Spamalot. To Phoenix, the cast, family, boys, the scare-crow and the cow - Smooches.

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CHRIS SAMS (Mayor, Ja’Keith/En-semble), native Houstonian, is living to bring energy and 80’s life across North America in Rock of Ages. Off-Broadway premier: Mother Devine (Arnold). Fa-vorite national touring credits include: 50 Shades: The Musical Parody (Taylor), The Color Purple (Buster) The Will Rog-ers Follies (Wrangler) and Smokey Joe’s Café (Ken). Endless thanks and gratitude to the Lowery-Hart family for the lessons and the love. To Mr. Mr., always my best. Your patience is my honor...just a little while longer yet!

TIM SHEA (Ensemble) is honored to be a part of this production having re-cently played the role of Lonny in Rock of Ages on the Norwegian Breakaway. Previous appearances include Best Little Whorehouse… (Melvin P. Thorpe) at Triarts Sharon Playhouse, Sweet Smell of Success (Sidney) and Fantasy Foot-ball: The Musical (Stoner) at NYU, The Joe Iconis Christmas Spectacular (Ars Nova), Sondheim Unplugged and NYMF 2010’s If It Only Runs A Minute 4. He also has performed at Ogunquit Play-house, Prescott Park Arts Festival and Seacoast Rep. Special thanks to his fam-ily for their unwavering support and love. www.timshea.me Go Sox!

MADISON TURNER (Young Groupie/Ensemble) is thrilled to again be a part of Rock of Ages! She just finished hav-ing a good time at the Bourbon Room on Norwegian Cruise Line’s Rock of Ages as Constance Sack. Past credits in-clude Hairspray (Westchester Broadway Theatre) Jesse in Barney Live! (national tour), A Chorus Line, Seussical (Forest-burgh Playhouse). Madison received her BFA in Musical Theatre at Sam Houston State University. She sends much love and gratitude to Panda, family and friends. For Johnny.

LEAH ZAHNER (Ensemble, Dance Captain), originally from Pittsburgh, PA, is pumped to rock out with this awesome cast every night! BA Mercyhurst Univer-sity. Regional: Legally Blonde (Brooke Wyndham), Cats (Demeter/Dance Capt.), Chicago (Annie/Dance Capt.), Beauty and the Beast (Belle). Many thanks to Phoe-nix Entertainment and the ROA crew, the world’s best family and friends, and God – Don’t Stop Believin’! leahzahner.com

CHRIS D’ARIENZO (Book) adapted and directed the motion picture Barry Munday starring Patrick Wilson, Judy Greer, Chloë Sevigny, Jean Smart, Mal-colm McDowell, Cybill Shepherd and Billy Dee Williams (www.barrymunday-film.com). Chris also recently completed the adaptation of Rock of Ages for New Line Cinema and his band, Saint America, is releasing their self-titled debut album this fall. Chris would like to thank his family for supporting his love of theatre...and also thank those three stoners in high school who threw his Trapper Keeper in the urinal for introducing him to Guns N’ Roses. Peace!

KRISTIN HANGGI (Director) was nominated for a 2009 Tony for Best Direction of a musical for Rock of Ages. She helmed the Toronto, Off-Broadway, Australia, First National Tour, and West End productions. She directed the LA and NY productions of the hit musical Bare (Ovation, L.A. Weekly Award); Pussycat Dolls Live At The Roxy with Gwen Stefani, Christina Aguilera and Charlize Theron. Partial credits include: And the Curtain Rises (Signature Theater), Catch the Fish (NY Fringe Best Play), Twelfth Premise (LA Times Critics Choice), Crane, Mississippi (LA Times Critic’s Choice, Backstage West Critic’s Pick) LA Premiere of Corpus Christi (Ticketholder Award). As a film director, Hanggi is preparing Dear Dumb Diary for Zucker Productions, Naomi + Ely’s No Kiss List with Hayden Panettiere, and Shopping For Boys for Paramount. MA from USC and BA from UCLA. Kristin is proud to be the creator of www.thecreativegym.com. She won’t stop believin’…

KELLY DEVINE (Choreographer) is an internationally recognized choreographer whose work includes film, television and live performance. Broadway: Rock of Ages; Rock of Ages 1st National Tour, London, Australia (Helpman/Green Room Award), Toronto (Dora Award nom.), Las Vegas; Jersey Boys (Assoc. Choreographer); Memphis (Assoc. Choreographer); Rocky (Germany). Opera: Faust (Metropolitan Opera House/London Coliseum). Off-Broadway: Rock of Ages; Fat Camp (American Theater of Actors); Frankenstein; Anne Wrecksick. La Jolla Playhouse: Peter and the Starcatcher; Zhivago (Australia; Helpman Nomination); Private Fittings.

Stratford Shakespeare Festival: Cabaret; Romeo & Juliet. Regional: Getting the Band Back Together (George Street Playhouse); Toxic Avenger (The Alley Theater); A Christmas Story (Kansas City Rep./5th Avenue Theatre); Bloody Bloody Andrew Jackson (Kirk Douglas Theatre); Sneaux (L.A. Weekly Theater Award for Best Choreography); Wozzeck (San Diego Opera); The Wiz (Assoc. Choreographer). Film/Television: Dear Dumb Diary; Happy Texas; Zombie Prom; So Little Time. Commercials: Cingular Wireless; American Idol Promo; Oldsmobile. Upcoming: Director/Choreographer Bliss, Toxic Avenger, and on Broadway: Rocky; Zhivago.

ADAM JOHN HUNTER (Re-created Direction) has been the Associate Director on six previous stagings of Rock of Ages and is glad to make this the seventh. He staged both tours of John Doyle’s production of Sweeney Todd. Broadway: A Catered Affair, Sweeney Todd, Company, Little Shop of Horrors, Dinner at Eight, 42nd Street, Swing!. Off Broadway: Road Show, Encores!, Gypsy with Patti LuPone.

MATTHEW DiCARLO (Assistant Director) has been on the Rock of Ages team since its Off-Broadway premiere in 2008 and is currently the Production Stage Manager for the Broadway company. He has also stage managed numerous productions at Paper Mill Playhouse including The Sound of Music and the world premiere of Honeymoon in Vegas. As a director, Matt has helmed lots of musicals. Favorites include Little Women, Forever Plaid and Oliver at Bucks County Playhouse and The Wizard of Oz at Downtown Performing Arts Center. Don’t stop believin’.

MARCOS SANTANA (Re-created Choreography) has worked with distinguished choreographers and directors such as Diane Paulus, Franco Dragone, Sergio Trujillo, Andy Blankenbuehler, Des McAnuf, Hal Prince, among others. Credits: Rock of Ages (West End), Fortress Of Solitude (Assoc. Choreographer), Guys & Dolls (Peter Flynn), White Noise (Assoc. Choeographer) Oklahomo: The Adventures of Dave and Gary (NYMF), My Fair Lady (JWET), The Capeman (The Public Theater), Guys and Dolls (2008 Revival), The Wiz (La Jolla Playhouse), Carmen The Musical, Tarzan (Europe). Other credits: Broadway After

Who’s Who in the Cast

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Dark, Broadway Underground, Ballet Hispanico, Danza Jazz P.R. Performance credits: Tony Award Winning show In The Heights, Guys & Dolls, Mambo Kings, Evita, West Side Story, The Wiz, Contact. He has performed with artists such as Missy Elliot, Paulina Rubio, Anastacia, Mary J Blige, Chayanne, and Jon Secada, among others.

MELANIE L. GASKINS (Dance Supervisor) graduated with a BFA in dance from Temple University, was the dance captain for the National Tour of Rock of Ages and performed as a member of the NJ Nets NBA dance team and Danco II. National Tours: The Color Purple (dance captain) and Joseph...Dreamcoat (Mrs. Potiphar). Regional: Legally Blonde (Pilar), All Shook Up (Lorraine), A Chorus Line (Sheila), The Wedding Singer (Crystal/Tina Turner), Showchoir! The Musical - 2007 NY Fringe Festival (Sabrina Turner), and Black Nativity (Mary). Melanie thanks Tucker for pushing her to work harder and dance harder everyday.

BEOWULF BORITT (Set Design) Broadway: Rock of Ages, Sondheim on Sondheim, The 25th Annual Putnam County Spelling Bee, LoveMusik, The Two and Only. Off-Broadway: More than 50 shows, including The Scottsboro Boys, The Last Five Years, The Toxic Avenger, Hank Williams: Lost Highway, Miss Ju-lie, Roundabout Theatre, Public Theatre, MTC, 2nd Stage, MCC, New Group. Other designs: Paradise Found in London, Reel To Real in Beijing, and two editions of The Ringling Bros. Circus.

GREGORY GALE (Costume Design) Broadway: Rock of Ages, Tony and Hen-ry Hewes Design award nominations; Cyrano de Bergerac with Kevin Kline and Jennifer Garner, Tony and Henry Hewes Design Award nominations; The Wedding Singer, Drama Desk nomination; Urinet-own, Lucille Lortel nomination; Band In Berlin. Off-Broadway: The Voysey Inheri-tance, Lucille Lortel Award (Atlantic); The Milliner, Lucille Lortel nomination (CSC); The Third Story, Henry Hewes Design Award nomination; The Coun-try Club, Drama Desk nomination; The Torch-Bearers; Uncle Tom’s Cabin; As Thousands Cheer (Drama Dept.); The Third Story (MCC); Pig Farm and The Dazzle (Roundabout); Rope (Zipper); Mary Stuart, The Infernal Machine, Night

of the Tribades and The Prince of Hom-burg (Jean Cocteau). U.S. tours: Urinet-own (and Toronto); Oh, Figaro! (National Theater of the Deaf). Regional: Rich and Famous (ACT); The Man Who Came to Dinner (Alley Theater, Houston); A Flea In Her Ear (Williamstown); High But-ton Shoes, Seven Brides for Seven Broth-ers and The Pajama Game (Goodspeed). Irene Sharaff Young Master Award. www.gregorygale.com

JASON LYONS (Lighting Design) Broadway: Rock of Ages, The Threepenny Opera, Barefoot in the Park, Good Vibra-tions. Recent: Golden Age (Kennedy Cen-ter), A Christmas Story, The Musical (KC Rep), Broke-ology (LCT), White Noise, A Flea In Her Ear (KC Rep), Inked Baby (Playwrights), Uncle Vanya (CSC), Clay (LCT), Mindgame, Fault Lines (Naked Angels), Body Awareness, Scarcity (At-lantic), Sive (Irish Rep), The Piano Teach-er (South Coast Rep), Vigils (Goodman), Evil Dead The Musical (NYC and Toron-to), The Field (Irish Rep), Once Around The Sun, Kiki & Herb: Coup de Theatre. At The New Group: The Starry Messen-ger, Groundswell, Mourning Becomes Electra, Rafta Rafta, Two Thousand Years, The Prime of Miss Jean Brodie, A Spald-ing Gray Matter, Abigail’s Party, Hurly-burly, ROAR, Aunt Dan and Lemon, Co-medians, The Women of Lockerbie.

CRAIG CASSIDY (Sound Design) has been providing sound reinforcement for the theater for 25 years designing sound for productions in the USA and around the world. Recent productions include A Cho-rus Line, Spamalot, The Color Purple, Cirque Dreams Jungle Fantasy, Ring Of Fire, Gypsy, Man of La Mancha, Grease, The Will Rogers Follies, Smokey Joe’s Cafe, Fame and Phantom. When he is not behind a sound console you can find him sailing the Long Island Sound with his wife Dina & daughter Kealy.

ZAK BOROVAY (Projection Design) is thrilled to continue rocking America and the rest of the world with Chris, Kristin, Kelly and the rest of the ROA gang! Re-cent: Lombardi (Broadway), Rock of Ages (Broadway, Toronto, off-Broadway), Let Me Down Easy (off-Broadway, national tour), To Be or Not To Be (Broadway), A Catered Affair (Broadway, Drama Desk nomination), Xanadu (Broadway, Japan, national tour), The Radio City Music Hall Christmas Spectacular, Nickelodeon’s

Storytime Live! (national tour), Voyage De La Vie (Sentosa, Singapore), Peepshow (Planet Hollywood Resort Casino, Las Vegas) and The Creature From The Black Lagoon (Universal Studios Hollywood). Zak was the first projection designer to join United Scenic Artists Local 829.

TOM WATSON (Hair & Wig Designer) is head of the wig and makeup depart-ment at the Metropolitan Opera. He has designed wigs for more than 45 Broadway productions. Current and recent Broad-way designs include The Addams Fam-ily; Promises, Promises; Million Dollar Quartet; Wicked; South Pacific; Sondheim on Sondheim; A View from the Bridge; and Sunday in the Park with George.

ANGELINA AVALLONE (Makeup De-signer) Broadway credits include A Little Night Music, The Addams Family, A Be-handing in Spokane, The Royal Family, The Little Mermaid, Guys and Dolls, West Side Story, 33 Variations, Young Franken-stein, Gypsy, Curtains, The Color Purple, Sunday in the Park With George, Sweeney Todd, Company, Grey Gardens, Dr. Seuss’ How the Grinch Stole Christmas, Chitty Chitty Bang Bang, The Light in the Piazza and the pre-Broadway production of Min-sky’s (Ahmanson Theatre, L.A.).

ETHAN POPP (Music Supervisor/Or-chestrations/Arrangements). 2013 “Best Orchestrations” Tony Award Nomina-tion for Motown The Musical and 2014 Grammy Nomination as producer of the Original Cast Recording of Motown The Musical. Television: “Smash” (music su-pervisor, music producer, arranger, orches-trator,) “A Capitol Fourth” (PBS), “The 2013 Tony Awards” (CBS), “The 64th Pri-metime Emmy Awards” (FOX), “The To-night Show With Jay Leno” (NBC), “The 2009 Tony Awards” (CBS), “Late Night With Conan O’Brien” (NBC). Broadway/theatre: Upcoming: Hedwig and the Angry Inch starring Neil Patrick Harris, Rock of Ages (Broadway, U.S. Tour, Toronto, Australia, and London productions as music supervisor, arranger, and orchestra-tor), Disney’s Tarzan (Broadway), Glory Days (Broadway), We Will Rock You (Ger-man premiere), Disney’s Aida (German Premiere/European Tour), Mamma Mia! (German premiere), Disney’s The Lion King (German premiere), Forever Plaid (U.S. Tour), The Radio City Christmas Spectacular (Mexico City), Fame! (U.S. Tour), amongst countless others. He has


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also orchestrated for the National Sym-phony Orchestra. Much love to his wife Vanessa and his entire family for their endless support.

DAVID GIBBS (Original Orchestra-tions) served as the co-music director and arranger for the original Los Angeles run of Rock of Ages. He has written music for film and TV, including Josie and The Pussycats, That Thing You Do, Dumb and Dumber and many others. He co-wrote the movie Freeloaders, produced by Broken Lizard (Super Troopers), and is a member of Street Sweeper Social Club.

DARREN LEDBETTER (Music Direc-tor) Broadway: Motown: The Musical (Production Music Associate). As Musi-cal Supervisor/Director/Arranger: Count-less productions including Rock of Ages (North American Tour), Grease (North American Tour with Frankie Avalon & Istanbul, Turkey), Dreamgirls (30th An-niversary with Jennifer Holliday at The MUNY, Theatre of the Stars, Gateway Playhouse), Chicago (Sacramento Music Circus), Almost Heaven: The Songs of John Denver (Barter Theatre), The Last 5 Years, Pippin, Footloose. Numerous con-certs throughout the US involving Carly Jibson, Natalie Weiss, Miranda Sings!, and 80’s pop sensation Tiffany, among countless others.

SCOTT ORLESKY (Technical Super-visor) Technical Supervision on Inter-national tours of Spamalot, The Color Purple, Fame, Grease, Peter Pan, The Na-tional Ballet of the Ukraine’s Nutcracker, A Ballet Fantasy, What’s Done In the Dark, Unforgettable: The Nat King Cole Story and Big Comfy Couch, to name a few. His work has garnered him a Dora Mavor Moore award for theatrical design, an IALD award for architectural lighting, and an ISES award for large scale special events.

MARK MINNICK (Casting) has cast exceptional talent in more than 25 touring productions including The Color Purple, Gypsy, The Pajama Game, Monty Py-thon’s Spamalot and The Addams Fam-ily. International : Fame (2009/10 China tour), and Grease (Asian tour, Macau, China and Istanbul, Turkey).

MARSHALL KEATING (Conductor/Keyboards) couldn’t be happier join-ing the team of ROA. Originally from a small town in MN he’s spent the past eight

years music directing, teaching and play-ing piano in NYC. Aside from cabarets at 54below, his favorite MD credits are: Thoroughly Modern Millie, Hello Again, Merrily We Roll Along, A Little Night Mu-sic and Andrew Lippa’s The Wild Party. Along with the folks behind and associ-ated with the ROA tour, Marshall would like to thank his friends, family and espe-cially Vernon.

PAUL WILEY (Guitar 1) started his musical career in Chicago playing clubs as early as thirteen years of age. By his early 20s he was headlining shows in Chi-cago in such bands as Egostatic, Jupiter Blue, and Royal. Throughout his career he has toured as support for such bands as Disturbed, and Plain White Tees. At the same time he was a highly recommended session guitarist on numerous recordings. He currently resides in Los Angeles where he composes music for film and lends his guitar skills to pop diva, Dirty Little Billy.

MADDOX (Guitar 2) is proud to con-tinue his Rock of Ages journey with the 2nd national touring production. Maddox has worked with bands such as Kill Han-nah, Smashing Pumpkins, Jet and Papa Roach, in addition to producing his own solo music. Maddox would like to thank his family for their support over the years.

BONES ELIAS (Drums) has been described as one of the best rock drummers in his time! Bones has performed on Letterman, Kimmel, MTV. He has worked with Linkin Park’s Chester Bennington, Dead By Sunrise, Julien-K, DJ Ashba & Nikki Sixx (Sixx A.M.), Phil Anselmo (Pantera), John 5, Max Cavalera, Robbie Merrill, Steve Stevens. Bones is also a child abuse advocate for Children Without A Voice, USA. Bones sends love to Cenci, Jake, Beau and all his fam/friends. www.facebook.com/oneseliasofficialpage

RIGO FLORES (Bass) has been a prom-inent figure in the Las Vegas music scene for many years as both bassist and Musi-cal Director, with first call status in varied production and award shows including the annual Latin Grammys. He has per-formed with top musicians ranging from members of the Stevie Wonder and San-tana bands to those of Flotsam and Jetsam and Armored Saint. Rigo is active in the tribute band market, including the thrill-ing AC/DC tribute act High Voltage.

HOPE VILLANUEVA (Production Stage Manager) is thrilled to be join-ing Rock of Ages, having been a part of several national tours, including My Fair Lady, Young Frankenstein and Ringling Bros and Barnum & Bailey’s Bellobra-tion. Previously, she spent two years as the resident and touring stage manager for Honolulu Theatre for Youth and has stage managed at The Studio Theatre and Imagination Stage in Washington, DC, The Theatre @ Boston Court, The Zephyr Theatre, and The Fountain The-atre in Los Angeles, among others. Some of her favorite projects have included The Big Meal, Theory of Mind, Courting Vampires, Into the Woods and SHOUT the Mod Musical. For Keldon for his never ending support and love.

ARTHUR J. M. CALLAHAN (Compa-ny Manager) is excited to join the Rock of Ages tour and rock the country city by city. He has toured extensively throughout the US, Canada, Europe, and Asia as an Ac-tor and Company Manger. Most recently he was Company Manager for The Color Purple tour with Phoenix Entertainment. He thanks his Family and Friends for en-during the never ending question “Where in the world is Arthur?”

STEPHEN B. KANE (Executive Pro-ducer) enjoys an open ended run in the theatrical touring industry that has now spanned some 35 years. He has produced and managed over 100 touring Broadway musicals on four continents. Current col-laborations include Rock of Ages, Peter and the Starcatcher, The Addams Fam-ily, Grease and Camelot. He is CEO for Baker Park Associates, a theatrical man-agement and consulting firm, and co-founder of both Phoenix Productions in North America and Phoenix Asia Group. For real adventure he happily shares post-production time with partner Joe in sunny south Florida raising their 9-year old sons, Aidan and Andrew.

MICHAEL McFADDEN (Artistic Pro-ducer) is the co-founder and Artistic Di-rector of Phoenix Entertainment. He has guided more than 100 major productions as Producer and/or Director on both the national and international stage. Produc-tions include Rock of Ages, Peter and the Starcatcher, The Addams Family, Monty Python’s Spamalot, The Color Purple, Camelot, Godspell, The Will Rogers Fol-lies, Grease, Man of La Mancha, Gypsy,


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and The 25th Annual Putnam County Spelling Bee. Directing credits include Smokey Joe’s Café, The Pajama Game (U.S. National tours), Fame (Korea and China tours), Grease (China tour, Repub-lic of Singapore, Malaysia, Macau and Istanbul, Turkey) and Sing Along Santa (Korea and U.S. tours). Mr. McFadden is a partner in Baker Park Associates, Inc. and founding member of both Phoenix Pro-ductions and Phoenix Asia Group. When not traveling, he shares his quiet time with his wife, LeAnne, and their sons, Sam and Liam.

PHOENIX ENTERTAINMENT (Producer) is an independent theatrical producing and management enterprise founded and helmed by long time col-leagues Stephen Kane and Michael Mc-Fadden. Its primary mission is to develop, produce, manage and present the very finest in touring Broadway musicals and family entertainment worldwide. Over the past three decades the Phoenix team has produced and/or supervised over 100 live productions on four continents. Current and recent touring projects include Rock of Ages, Peter and the Starcatcher, The Addams Family, Monty Python’s Spama-lot, The Color Purple, Camelot and the long-running Korean language production of Grease. Its overseas affiliate, Phoenix Asia Group, brings international book-ing, producing, presenting, classical artist representation and theatrical investment to the collective production and manage-ment capabilities of Phoenix Entertain-ment. www.phoenix-ent.com.


DENVER CENTER ATTRACTIONS STAFFD. Randall Weeks . . . . . . . . . . . . .Executive Director/President

Jeff Hovorka . . . . . . . . . . . . . Director of Media and Marketing

John Ekeberg . . . . . . . Director of Programming & Operations

Heidi Bosk . . . . . . . . . . . . . . . . . . .PR & Promotions Manager

Alicia Giersch . . . . . . . . . . . . . . . . . . . . . . . . Business Manager

Emily Lozow . . . . . . . . . . . . . . . . . . . . Marketing Coordinator

DCPA MARKETING STAFFJennifer Nealson . . . . . . . . . . . . . . . . Chief Marketing Officer

Sylvie Drake . . . . . . . . . . . . . . . . . . . . Director of Publications

Brianna Firestone . . . . . . . . . . . .Director of Marketing, DCTC

Janet Flesch . . . . . . . . . . . . . . Director of Strategy and Insights

Suzanne Yoe . . . . . . . . . . . . . Director of Creative Services and Cultural Affairs

Jessica Bergin . . . . . . . . . . . . . . . . . . . . . Box Office Manager

Nick Brown . . . . . . . . . . . . . . . . . . . . . Account Sales Manager

Nathan Brunetti . . . . . . . . . . . . . . . . . . . . . . . . Digital Manager

Kim Conner . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic Designer

FloraJane DiRienzo . . . . . . . . . . . . Business Relations Manager

Anita Edwards . . . . . . . . . . . . . . . . . . . . Web Services Manager

Brenda Elliott . . . . . . . . . . . . . . . . . . .Senior Graphic Designer

Simone Gordon . . . . . . . . . . . . . . . . . . . . . . . . Project Manager

Alexandra Griesmer . . . . . PR & Promotions Manager, DCTC

Tristan Jungferman . . . . . . . . . . . . . . . . . . Box Office Manager

Jennifer Kemps . . . . . . . . . Groups Sales Business Coordinator

Laura Kirby . . . . . . . . . . . . . . . . . . . . . . . . Box Office Manager

Carol Krueger . . . . . . . . . . . . . . . . . .Theatre Services Manager

David Lenk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Videographer

Jennifer Lopez . . .Assoc. Director of Ticket Services/Operations

Kyle Malone . . . . . . . . . . . . . . . . . . . .Senior Graphic Designer

Jane McDonald . . . . . . . . . . . . . Marketing Coordinator, DCTC

John Moore . . . . . . . . . . . . Assoc. Director of Content Strategy

Mark Onderdonk . . . . . . . . . . . . . . . . . . . . . . Business Manager

Kirk Petersen . . . Assoc. Director of Ticket Services/Patron Relations

Tina Risch . . . . . . . . . . . . . . . . . Community Services Manager

Anthoney Sandoval . . . . . . . . . . . . . . . . . . Box Office Manager

Joe Schurwonn . . . . . . . . . . . . . . .Marketing Financial Analyst

Jill Schwager . . . . Student Matinee and Group Tours Associate

David Smith . . . . . . . Assoc. Director of Subscription Services

Emily Zeck . . . . . . . . . . . . . . . . . . . . . . . Subscription Manager

INFORMATION SERVICESBruce Montgomery . . . . . . . . . Director of Information Services

Jim Hipp . . . . . . . . . Associate Director of Information Services

Bobby Jiminez . . . . . . . . . . . . Senior Audience View Specialist

DEVELOPMENT DEPARTMENTDorothy Denny . . . . . . . . . . . . . . . . . . Executive Vice President

Tiffany Grady . . . . . . . . . . . . . . . . . . . . . . . . Associate Director

Linda Mitchell . . . . . . . . . . . . . . . . . . . . . . . Associate Director

David Zupancic . . . . . . . . . . . . . . . . . . . . . . Associate Director

Jeremy P. Anderson . . . . . . . . . . . . . . . . . . . . Associate Director

Mary Mosher . . . . . . Manager, Membership Groups/Major Gifts

Megan Fevurly . . . . . . . . . . . . . . . . . . . . . . . Business Manager

Chelley Canales . . . . . . . . . . . . . . . . . . . Development Assistant

The Denver Center for the Performing Arts

Denver Center Attractions gratefully acknowledges the following support

in its 2013/14 season

THE BUELL THEATRE is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and

Venues.

CITY & COUNTY OF DENVER Michael Hancock, Mayor

ARTS AND VENUES Kent Rice, Director

For information call: 720.865.4220

303.893.4100 • denvercenter.org • GROUPS: 303.446.4829 • TTY: 303.893.9582

andwith

may 23 – 25 buell theatre

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MUSIC CREDITSAnyway You Want It written by Steve Perry and Neal Schon. © Published by Lacey Boulevard Music and Weed High Nightmare Music. Beaver Hunt written by David Gibbs and Chris Hardwick. © Published by Feed the Pony Songs and Fish Ladder, Inc. (BMI). Can’t Fight This Feeling written by Kevin Cronin. © Published by Fate Music (ASCAP). Cum On Feel The Noise written by Neville Holder and James Lea. © Barn Publishing (Slade), Ltd. Don’t Stop Believin’ written by Jonathan Cain, Stephen Ray Perry, Neal J. Schon. © Published by Weed High Nightmare Music and Lacey Boulevard Music. Every Rose Has Its Thorn written by Bobby Dall, Bruce Anthony Johanesson, Bret Michaels, Rikki Rocket. © All rights owned or administered by Universal Music-Z Songs on behalf of Cyanide Publ./BMI. Used by permission. The Final Countdown written by Joey Tempest. © Screen Gems-EMI Music, Inc. Harden My Heart written by Marvin Webster Ross. © 1980 WB Music Corp (ASCAP), Narrow Dude Music (ASCAP) and Bonnie Bee Good Music. All rights administered by WB Music Corp. All rights reserved. Used by permission. Heat Of The Moment written by Geoffrey Downes and John K. Wetton. © 1982 WB Music Corp (ASCAP), Almond Legg Music Corp (ASCAP) and Pallan Music. All rights on behalf of itself and Almond Legg Music Corp administered by WB Music Corp. All rights reserved. Used by permission. Heaven written by Jani Lane, Erik Turner, Jerry Dixon, Steven Sweet and Joey Allen ©. Here I Go Again written by David Coverdale and Bernard Marsden. © 1982 CC Songs, Ltd. (PRS) and Seabreeze Music. Ltd. Administered by WB Music Corp. (ASCAP). All rights reserved. Used by permission. High Enough written by Jack Blades, Ted Nugent and Tommy R. Shaw. © Published by Bicycle Music Company, Broadhead Music and Wixen Music. Hit Me With Your Best Shot written by E. Schwartz. © Sony/ATV Tunes LLC/ASCAP. I Hate Myself For Loving You written by Desmond Child and Joan Jett. © All rights owned or administered by Universal Polygram Int. Publ. Inc./ASCAP. Used by permission. I Wanna Rock written by Daniel Dee Snyder. © All rights owned or administered by Universal Music-Z Melodies on behalf of Snidest Music/SESAC. Used by permission. I Want To Know What Love Is written by Michael Leslie Jones. © Published by Somerset Songs Publishing, Inc. Just Like Paradise written by David Lee Roth and Brett Tuggle. © Diamond Dave Music c/o RS Plane Music. Keep On Lovin’ You written by Kevin Cronin. © Published by Fate Music (ASCAP). Kiss Me Deadly written by Mick Smiley. © Published by The Twin Towers Co, and Mike Chapman Publishing Enterprises. More Than Words written by Nuno Bettencourt and Gary F. Cherone. © All rights owned or administered by Almo Music Corp. on behalf of Color Me Blind Music/ASCAP. Used by permission. Nothin’ But A Good Time written by Bobby Dall, Bruce Anthony Johanesson, Bret Michaels, Rikki Rocket. © All rights owned or administered by Universal Music-Z Songs on behalf of Cyanide Publ./BMI. Used by permission. Oh Sherrie written by Steve Perry, Randy Goodrum, Bill Cuomo, Craig Kampf. © Published by Street Talk Tunes, April Music Inc. & Random Notes, Pants Down Music and Phosphene Music. Renegade written by Tommy Shaw. © All rights owned or administered by Almo Music Corp. on behalf of itself and Stygian Songs/ASCAP. Used by permission. The Search Is Over written by Frank Sullivan and Jim Peterik. Published by Ensign Music LLC (BMI). Used by permission. All rights reserved. Shadows Of The Night written by D.L. Byron. © Zen.Archer/ASCAP. Sister Christian written by Kelly Keagy. © Published by Bicycle Music Co. To Be With You written by David

Graham and Eric Martin. © EMI April Music, Inc., obo itself, Dog Turner Music and Eric Martin Songa (ASCAP). Too Much Time On My Hands written by Tommy Shaw. © Stygian Songs/ASCAP. Waiting For A Girl Like You written by Michael Leslie Jones and Louis Gramattico. © Published by Somerset Songs Publishing, Inc. Wanted Dead Or Alive written by Jon Bon Jovi and Richard S. Sambora. © All rights owned or administered by Universal-Polygram Int. Publ. Inc. on behalf of itself and Bon Jovi Publishing/ASCAP. Used by permission. We Built This City written by Dennis Lambert, Martin George Page, Bernie Taupin and Peter Wolf. © All rights owned or administered by Universal-Polygram Int. Publ. Inc. on behalf of Little Mole Music/ASCAP. Used by permission. We’re Not Gonna Take It written by Daniel Dee Snyder. © All rights owned or administered by Universal Music-Z Melodies on behalf of SnidestMusic/SESAC. Used by permission.

Guitars Supplied by

Drums provided by Mapex Drums / Joe Hibbs, artist relations

Cymbals provided by Sabian / Christian Stankee

Sticks provided by Vic Firth Drumsticks / Ben Davies

EXCLUSIVE TOUR DIRECTION THE ROAD COMPANY

165 West 46th Street, Suite 1101 New York, NY 10036

(212) 302-5200 • www.theroadcompany.com

Souvenir Merchandise designed and created by:THE ARACA GROUP

www.araca.com or (212) 869-0070

CREDITSScenery and Scenic Effects built, painted and electrified by Virginia Scenic. Additional scenery fabrication by Scenic Solutions LLC. Lighting equipment provided by Christie Lites. Audio equipment provided by Masque Sound. Video Screens supplied by Pete’s Big TV’s. Costumes constructed by Jennifer Love Costumes. Custom leatherwear by www.rawhides.com. Fabric painting and costume crafts by Jeff Fender. Custom footwear by TO Dey and Worldtone. Hosiery and under-garments by Bra*Tenders. Custom knitting and Dennis Angel Wings by Seamless Costumes. Props by: Tom Carroll Scenery. Special thanks to the management and staff at the University of Florida Performing Arts Curtis M. Phillips Center, Gainsville, FL.

PRODUCERS PHOENIX ENTERTAINMENT

www.phoenix-ent.com

MANAGING PRODUCER ..........STEPHEN B. KANEARTISTIC PRODUCER .........MICHAEL McFADDENASSOCIATE PRODUCER ..............MARK MINNICK

STAFF FOR ROCK OF AGES

COMPANY MANAGER ....ARTHUR J.M. CALLAHANPRODUCTION STAGE MANAGER .............HOPE VILLANUEVADIRECTOR OF OPERATIONS ............LISA MATTIACASTING DIRECTOR ...................MARK MINNICKTECHNICAL SUPERVISOR ........SCOTT ORLESKYPRODUCTION ACCOUNTANT ................ DEBORAH HARMONASSOCIATE GENERAL MANAGER ......RICH HIXON

TOUR MARKETING CONSULTANTS ANITA DLONIAK AND ASSOCIATES, INC.

Anita Dloniak, Diane Rodes, Melissa A. Hazek

Asstistant Director....................Matthew’ DiCarloDance Supervisor ..................Melanie L. GaskinsAsst. Lighting Designer ...................Driscoll OttoAutomated Lighting Programmer .....................Timothy F. RogersProduction Electrician ........................ Todd DrgaProduction Wardrobe ............... Brendan VanSteeHead Carpenter ............................Addison GristAsst. Carpenter ............................... Noah SmithHead Electrician ........................... Avianna MeckAsst. Electrician .................................Dan VottaHead Audio ............................ Michael J. SkladelAsst. Audio ..................................... Emery RothAsst. Audio ............................. Shane BourgeoisHead Props .................................... Randy Paun Wardrobe Supervisor ..............Marianne VanSteeHair/Wig Supervisor ......................... Olivia CashInsurance .....................DeWitt Stern Group, Inc.Legal ....................................... Brooks & DistlerAccounting/US ............Gordon & Company, LLC.Accounting/Canada ............... Fruitman Kates CAHuman Resources .................. Catherine GouldinPayroll ........................................ Bushra TirmiziFinancial Services .................... Bank of AmericaIT Manager .................................... Wells CondoOffice Manager ..........................Stephanie GilesReception .................................... Ruth Braswell Customs Broker ...............B. Zee Brokerage Ltd.Print Creative ..........................Steven M. BishopVideography... .......................The Image FactoryProduction Photography .............Scott SuchmanTrucking ..........................................Janco, Ltd.Buses ...............Hemphill Entertainment ServicesWebsite Design ..............................Wood StreetMerchandising ...............................Araca GroupTransportation and Accommodations ........................Road Rebel

Entertainment Travel

Backstage and Front of the House Employees are represented by the INTERNATIONAL ALLIANCE OF THEATRICAL STAGE EMPLOyEES (or I.A.T.S.E.).

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PRODUCERSPHOENIX ENTERTAINMENT

www.phoenix-ent.com

STAFF FOR THE COLOR PURPLE TOURASSOCIATE PRODUCER/CASTING...............................................................MARK MINNICKDIRECTOR OF OPERATIONS............................................................................LISA MATTIADIRECTOR OF ACCOUNTING....................................................MELODEE SNOKE-BULLOCKDIRECTOR OF PRODUCTION ....................................................................SCOTT ORLESKYGENERAL MANAGER.............................................................................STEPHEN KEARNSCOMPANY MANAGER ....................................................................ARTHUR JM CALLAHANPRODUCTION STAGE MANAGER .................................................CHRISTOPHER LOCKLEAR

Musical Supervisor..........................Joseph JoubertAssoc. Choreographer.......Stephanie Guiland-BrownAssistant to the Choreographer.............Jamal StoryAssistant Scenic Designer ................Kacie HultgrenAssistant Lighting Designer ...............Mark SimpsonProduction ASM............................Suzanne ApicellaAssistant Wig/Hair ..............................Leah LoukasProd. Electrician/Programmer ..........Jeremy WrableProd. Wardrobe ............................Debbie Cherutin,

Megan McGilveryHead Carpenter...........................Matthew R. BatesAssistant Carpenter..........................Brandon FullerHead Electrician ...........................Anna BirgenheierAssistant Electrician.........................Stephen AtwellHead Audio ................................Jens MuehlhausenAsst. Audio......................................Craig FreemanHead Props ....................................Andrew IversonWardrobe Supervisor ........................Terrah TrimbleHair/Wig Supervisor .............................Jeri NicolasInsurance ..........................DeWitt Stern Group, Inc.Legal............................................Brooks & DistlerAccounting/US ................Gordon and Company, PAAccounting/Canada....................Fruitman Kates CAHuman Resources .......................Catherine GouldinPayroll.........................Yolanda Gault, Farhiya OmarFinancial Services .........................Bank of America

The Director and Choreographer are members of theSociety of Stage Directors and Choreographers, Inc., anindependent national labor union.

United Scenic Artists represents the designers andscenic painters for the American Theatre.

Payroll .........................................C2 Portfolio, Inc.IT Manager .........................................Wells CondoOffice Manager...............................Stephanie GilesReception .........................................Ruth BraswellCustoms Broker ..................Livingston InternationalNational Advertising/Logo Creation ..............SpotcoProduction Videographer ............The Image FactoryProduction Photography ..................Scott SuchmanTrucking...............................................Janco, Ltd.Buses ...................Hemphill Entertainment ServicesWebsite Design .................Situation Marketing, LLCMerchandising .......................................DewyntersTransportation and Accommodations .....Road Rebel

Entertainment TravelCREDITS

Scenery for The Color Purple was fabricated andpainted by Virginia Scenic. Lighting provided byChristie Lites Ltd. Sound equipment provided byMasque Sound. Costumes based on an originaldesign by Paul Tazewell. Rehearsed at ChelseaStudios, NYC. Special thanks to Jim AustinOnline.com: Austin CO Real Estate Services Ft.Worth, TX; Andre Johnson, Next Level Enterprize inFt. Worth, TX; Cortez Bailey & Gloria Daniels; Ed &Patsy Edwards; Shady Grove Baptist Church in Tyler,TX; DeGalane Williams & Family.

EXCLUSIVE TOUR DIRECTIONTHE ROAD COMPANY

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Backstage and Front of the House Employees are repre-sented by the International Alliance of Theatrical StageEmployees (or I.A.T.S.E.).

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In 2007, the seductive, off-beat Irish film once opened to glowing reviews and quickly developed a fervent following. This lyrical musical tells the story of two down-on-their-luck musicians: an angst-ridden Dublin street singer/songwriter who works as a vacuum cleaner repairman, and a Czech immigrant who sells flowers to support herself and her family. Girl (as she is known) initiates a friendship with Guy (as he is known), and in the course of a week they make music together, fall in love and part, but not before changing each other’s lives. The movie’s stars—Glen Hansard and Marketa Irglova—also wrote much of the score and received an Oscar for their beautiful ballad, “Falling Slowly.” once is both graceful and gritty. It has a naturalism and intimacy that are generally best achieved in film, which explains why the Irish playwright Enda Walsh was less than enthusiastic when he was asked if he would write the book for a Broadway-style musical based on the movie. “I guffawed when my agent called and asked me to speak to the producers,” says Walsh. “I said, ‘What a stupid idea.’ It’s a two-hander with very little plot. It’s delicate. I called the producers and told them it wasn’t for me. There’s no tradition of musical theatre in Ireland. Then they told me John Tiffany was attached to it as director.” Walsh and Tiffany are longtime friends, and although Tiffany also had doubts at first as to the viability of the material as a musical, he convinced Walsh not to reject the idea outright. Says Walsh, “John said, ‘Let’s just take two days, and we can read the screenplay and listen to the songs and talk about it.’ I said, ‘Okay, we’ll do two days—and that’s all we’ll do.’ ” Well, not quite. “Those two days convinced us that we wanted to do this show,” says Tiffany.

The musical became such a critical and commercial success that it spawned a London production, a Broadway

show and a U.S. national tour—a journey that saw this modest undertaking win no fewer than eight 2012 Tony® Awards, including Best Musical, Best Book (Walsh), and Best Direction of a Musical (Tiffany). “I never think about adapting films for the stage. That’s not the way I work,” insists Tiffany. “When I was approached about once, I hadn’t even seen the film. But one of my best friends said, ‘You will love the music.’ So I downloaded the soundtrack—and I absolutely loved it. I’d never heard music like that. [It’s] the reason I wanted to do the show. Not just the music itself, but the fact that it’s a story about creating music, the healing power

of music. Immediately I thought, ‘We’re going to be able to see actors create that music in front of us.’ That’s really exciting. Actors have played instruments onstage for years, but not always in a show about making music.” In reading through John Carney’s screenplay, Walsh discovered there was much he could relate to. “I’m a big fan of the movie Brief Encounter, and I saw similarities,” he says. “There’s a bittersweet pang that really hurts. Very quickly I thought I was a good match for the material. I tend to write characters that are inarticulate and lonesome, and something comes into their life that changes them. From listening to the songs, I thought it might be good for me to do something about Ireland, which was so hurt in the recession. A little love letter to Dublin.

“That was my way in. You start by bringing two people together and getting them to talk to one another. The tone shows itself quickly, so you step out of the way and allow it to write itself. “I knew all along that there were markers. I just had to unlock a stage language that was right. As soon as the Girl started talking, I thought, ‘That’s the swagger of it.’ She became the style of it and the force of the piece—and the central storyteller.” The 12 adult members of the cast play at least one instrument and are onstage virtually throughout the show. “I didn’t want anyone on stage we didn’t get to know intimately,” says Tiffany. By individualizing each character, adds Walsh, “we built a community, and that became the heart of the piece. “They’re an ensemble of misshapen people who sing and tell the story. Watching them play the music and sing and find their voice is very beautiful and very strong. But in addition, we wanted the show to be hugely communal. So how do we do that? We allow the audience on stage.” Prior to the start of the show, the audience

is welcome to come up on stage, buy a drink at the bar, mingle with the cast. There’s a bit of a jam session going on. This bonding ritual obliterates the fourth wall. “We wanted the audience to own the experience,” says Walsh. As the show unfolds, the focus, of course, is on the relationship between Guy and Girl, but the audience also catches glimpses of the lives of the other characters.

“We needed to be sure that there are all these other love stories in the air. Each person is riffing

off a love that’s been lost, that got away. That was the key: for the audience to feel part of the experience, and look at the people on the stage and go, ‘They’re us.’ ” Casting the show wasn’t easy. “We needed actors who could act brilliantly, move and play instruments,” said Tiffany. They found them, “but it took ages,” he adds. “Casting the first production was easiest, because we arranged the music around the instruments the actors could play. We got used to having the bank manager play the cello, for instance, and a character named Baruska has to play the accordion because it fits who she is.” Because there are only a dozen performers on stage in once, they can’t hide. If they can’t play the piano, the guitar or the violin, they’re out. In addition, Walsh’s text is difficult to do and demands really good actors. Finally, Steven Hogget’s choreography may look easy, but it requires a great deal of skill. In the end, the material proved to be as powerful on stage as it is on film. “What’s very moving about the piece is how sometimes we meet people who we don’t necessarily stay with forever, but they give us the resources to move on to the next part of our life,” says Tiffany. “There’s something very truthful in that. People have said to me, ‘When I was sitting in the theatre watching once, I felt like I was watching it with everyone I’ve ever loved, whether or not they’re still in my life.’ ” n

Portions of this text were provided by the show’s production company.

May 6 – 18 • Buell TheatreSponsored by HealthONE and ComcastASL interpreted, Audio Described & Open Captioned • May 18, 2pm

‘‘Each person is riffing off a love that’s been lost, that got away. That was

the key: for the audience to feel part of the

experience, and look at the people on the stage and go, ‘They’re us.’ ’’

~ Enda Walsh, book writer


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THE

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Sept 6–20, 2014Buell Theatre

Feb 3–15, 2015Buell Theatre

March 31–April 19, 2015Buell Theatre

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TM & © 1957, 2014 Dr. Seuss Enterprises, LP

IMPACTCRE TIVITY

A

CURRENT CONTRIBUTORS List Complete August 2013

Impact Creativity is an urgent call to action to save theatre educa-tion programs in 19 of our largest cities. Impact Creativity brings together theatres, arts education experts and individuals to help over 500,000 children and youth, most of them disadvantaged, succeed through the arts by sus-taining the theatre arts education programs threatened by today’s fiscal climate. For more informa-tion on how “theatre education changes lives,” please visit: www.impactcreativity.org

($250,000 or more)The James S. and Lynne P. Turley Ernst & Young Fund for Impact CreativityClear Channel Outdoor*CMT/ABC*

($100,000 or more)The Hearst Foundations

($50,000 or more)AOL*

($10,000 or more)Christopher Campbell/ Palace Production Center*Lisa OrbergFrank and Bonnie OrlowskiThe Ralph and Luci Schey FoundationThe Schloss Family FoundationSouthwest Airlines*James S. TurleyJohn ThomopoulosWells Fargo

($5,000 or more)Steven and Joy BunsonPaula DominickChrist EconomosMariska Hargitay*Ogilvy & Mather*The Maurer Family Foundation

($1,000 or more)Nick AdamoMitchell J. AuslanderRyan DudleyBruce R. EwingJessica FarrSteve & Donna GartnerGlen GillenPeter HermannJanet and Howard KaganJohn MajorJonathan Maurer and Gretchen ShugartGeorge S. Smith, Jr.Florence Miller Memorial FundTheodore NixonCarol OstrowRBC Wealth ManagementIsabelle Winkles

*Includes In-kind support

V Front-and-Center orchestra seating on Opening Night or Opening Week Fridays

V Personalized ticketing and exchange services by our concierge staff

V Elegant pre-show dining at Kevin Taylor’s at the Opera House

V Intermission cocktails in the private Wolf Room

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V A generous tax deductionLimited ticket availability

The Unsinkable Molly BrownLyrics and Music by Meredith WillsonAdditional Lyrics and Book by Dick ScanlanBased on the Original Book by Richard MorrisDirected and Choreographed by Kathleen Marshall

JUST

ANNOUNCED!

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MAR 31 OR APR 3, 2015

OCT 29 OR NOV 7

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Once upon a time, composers and playwrights conceived musicals together, with some degree of simultaneity and shared understanding about the story they were striving to tell. From Daponte and Mozart to Rodgers & Hammerstein, teams teamed, toiling to marry music and theatre into a harmonious whole. That’s so last millennium, dude. Today’s rock and pop musicals might start instead with a catalogue of well-known songs, artfully woven into an evening of theatre (Mamma Mia!, Jersey Boys) or with a club-seasoned troubadour whose story/cabaret songs seem to want to grow into some-thing play-like (Passing Strange, Hedwig and the Angry Inch). Then there’s the concept-album-turned-Broadway-rock-opera, a unique hybrid form that began in 1969 with a pair of messianic double-LP extravaganzas, Jesus Christ Superstar and Tommy. Neither was written for the stage, though both were eventually theatricalized and filmed: Superstar on Broadway in 1971 and on film two years later, and The Who’s pinball allegory, first as a film in 1975 and then on Broadway in 1993. While the Superstar album looks in retrospect like an audition demo for its writers, Andrew Lloyd Webber and Tim Rice, The Who had no such ambitions, let alone theatri-cal know-how. Apart from its outré film adaptation by the late Ken Russell, Tommy seemed destined to be performed as a sort of rock oratorio—until the La Jolla Play-house’s Des McAnuff came along in the early 1990s. With the help of Pete Townshend, The Who’s lead songwriter, McAnuff rethought Tommy for the stage, turning it into the song-and-dance entertainment it didn’t know it was meant to be.

Director Michael Mayer played a similar role with American Idiot, the chart-busting 2004 album by the punk-pop band Green Day, which he helped shape into a Broadway show in 2010. But Mayer’s job proved a good deal more involved and

interpretive than McAnuff’s had been—not least because, while Green Day front man and main songwriter Billie Joe Armstrong proved open and cooperative, the narrative threads holding together the American Idiot album were more tenuous. “It’s not easy to follow,” Mayer admits of the record. “The story is deliberately am-biguous. It’s almost more an emotional narrative than it is a literal narrative.”

AMER

ICAN

IDIO

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B Y R O B W E I N E R T - K E N D T

THE MUSICALS

INTO

A BROADWAYSHOW

or how to turn an albumAmerican Idiot is yet another example of a strong collection of songs lending themselves to transformation into a powerful stage show.

GOOG

LE IM

AGES

“The amount of freedom I had to

dream and imagine was unprecedented.

For whatever reason, something alchemical

happened when I spent time with

these characters.”— Director Michael Mayer

Its rough outline follows a sad sack described in the song suite as “Jesus of Suburbia” as he travels into the depths of

a city nightlife, where he meets “punk-rock freedom fighter” St. Jimmy as well as an “Extraordinary Girl” later called simply “Whatshername.” “St. Jimmy is powerful and sexy and dangerous and possibly destructive,” Mayer explains, “and this girl, who’s a rebel, is someone with whom he has some real connection.” There’s not a lot else in terms of concrete story points, Mayer concedes. “What you glean from listening to the album a lot, and reading it in a particular way, is that Jesus returns home having experienced the suicide of St. Jimmy and the destruction of his relationship with the girl. It’s kind of a mock-heroic return. Billie Joe describes it as one step forward, two steps back.” That wouldn’t be enough to sustain an evening of theatre, in other words. Besides, Armstrong, though open to the idea of a stage version, wasn’t a playwright. That left Mayer—who had a background in shepherding both bracing new works and unlikely adaptations to the stage, from The Triumph of Love to Thoroughly Modern Millie to Spring Awakening—to embark on his first professional writing gig (he shares book-writing credit with Armstrong). “It was the conceit of the project that I would take the record and basically write a story onto it and from inside it,” Mayer says. “All the songs are intact and in order” (and there are a few bonus tracks, courtesy of Green Day’s follow-up album, 21st Cen-tury Breakdown). Though Armstrong’s lyr-ics are virtually the only text

of the show, Mayer did invent characters and situations. “Jesus of Suburbia,” a.k.a. Johnny, now has two friends: Will, who stays home to molder in the small town, and Tunny, who escapes with Johnny but grows disaffected, enlists in the army and ends up wounded in Iraq. “I had great anxiety with the liberties we were taking, dramatically as well as emo-tionally, and I kept thinking we would cross a line that would be intolerable,” Mayer confesses of the writing process. “But Bil-lie Joe kept encouraging me to go further. The amount of freedom I had to dream and imagine was unprecedented. For whatever reason, something alchemical happened when I spent time with these characters.” Such was the simpatico nature of this odd collaboration, Mayer says, that he recalls “the very cool feeling of hearing Billie Joe talk about characters I’d made up in a way that demonstrated his understanding of them—which he should, given that he’d written what they say.” So American Idiot may have enough narrative content to fill an evening. But it wouldn’t be a musical at all if the songs themselves hadn’t cried out for the stage.

“The music has such buoyancy and authenticity,” Mayer effuses. “That’s what got my heart racing when I

thought of putting it on stage and creating stories that would fulfill the promise of this rock opera they’d written. They play against the tragedy of the story. If the songs were all slow, mournful, dirge-like, minor-key hymns to destruction, you wouldn’t want to watch it at all.”

This dramatic flair for contrast may be no coincidence; Armstrong had been a rosy-cheeked child performer before he became a spike-haired Berkeley punk rocker. “As far as I’m concerned, Billie Joe is a direct descendant of Al Jolson,” Mayer says. “Having seen him sing ‘Rockabye Your Baby With a Dixie Melody’ at the Bowery Ballroom, I can say it’s in his DNA. He’s a real entertainer, and that comes through.”

Ultimately, what comes through Ameri-can Idiot—and the thing that made this ad hoc adaptation process work

at all—is not only Green Day’s knack for show-stopping rock, but a sort of overarch-ing coherence of attitude and tone. This quality, in turn, may be traced to some of this concept musical’s antecedents. “He was thinking of Tommy and Rocky Horror Show,” Mayer says of Armstrong’s Idiot templates. “He also thought about West Side Story, and I think he thought a little bit about Sgt. Pepper’s Lonely Hearts Club Band.” That Green Day had a template in mind may have helped Mayer feel his way to a story. But don’t ask him to pin down the punk lightning he’s caught in this musical-theatre bottle. “I’ve been trying very hard not to define it for anyone, because it is unusual and it is its own thing,” Mayer says. “Is it a musical? Is it an opera? Is it a rock opera? Is it a punk-rock opera? Is Green Day even punk?” (A seemingly simple question that can start a long debate, if you’re up for it.) Mayer throws up his hands and says, “I’m just committed to calling it a show.”

Rob Weinert-Kendt is a senior editor at American Theatre and has written about theatre and the arts for The New York Times, The Los Angeles Times, Variety, The Guardian and The San Francisco Chronicle.

303.893.4100 APPLAUSE 41

AMERICAN IDIOT


May 23 – 25 • Buell TheatreASL interpreted, Audio Described & Open Captioned • May 24, 2pm

THE MUSICALSTH

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destinations in 103 countries. In the spirit of connecting people, countries and cultures, Lufthansa is a strong supporter of outstanding cultural events and institutions everywhere. The airline has sponsored The Denver Center for the Performing Arts (DCPA) for many years. It also supports the German Forum in New York City, another of the carrier’s important U.S. gateway cities. Among its cultural initiatives in Germany, Lufthansa was the first Global Partner of the Gürzenich Orchestra in the airline’s hometown of Cologne. It has presented Berlin’s annual Lufthansa New Year’s Concert for 17 years and this year will present London’s 30th Lufthansa Festival of Baroque Music. Lufthansa’s dedication to social responsibility also extends to humanitarian efforts. Social and philanthropic endeavors are centered around Lufthansa’s Help Alliance employee-founded charity and other humanitarian efforts around the world. n

For reservations or additional information, visit lufthansa.com.

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A proud sponsor of VIP Evenings

ART

PART

NERS BRUSHSTROKES STUDIO-GALLERY

Nationally noted as an exemplary artist-owned gallery, Den-ver’s Brushstrokes is the creative home of acclaimed paint-ers John Harrell, Kit Hevron Mahoney, Anita Mosher

and Kelly Berger. These artists can be found painting most days in the gallery’s gorgeous turn-of-the-century space where visitors are welcome to drop in and watch them work. The gallery’s owner/artists have garnered awards and media cov-erage and are well-represented in private and corporate collections worldwide. They have been longtime supporters of The Denver Center’s Arts in Education programs by contributing to Saturday Night Alive’s silent auction. They welcome commissions, corporate art consultation, giclée reproductions, pet portraits, original paintings and affordable miniatures—while continually displaying freshly created art on the gallery walls. Find them at 1487 S. Broadway, at Florida Ave., 303.871-.0800, Tue-Sat, 11am-5pm (or happily by appointment) www.brushstrokesstudio.com. n

Brushstrokes artists welcome visitors to their

relaxed gallery-studio setting.

“Street Musicians (Prague)” by Anita Mosher

“Traditional Girls” by John K. Harrell

Altar BoyzJune 12 - July 27

(in Repertory)

The MarvelousWonderettes

June 19 - 22

SylviaJune 26-July 25

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God of CarnageJuly 3-July 19

(in Repertory)

Swing!July 31-August 3

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Little Theatre of the Rockies80th Professional

Summer StockTheatre Season

Greeley, Colorado

The University of Northern Colorado’s

Where great theatre leaps off the page!

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SATU

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A sold-out crowd of 800 guests raised a record-breaking $842,000 in net proceeds for the DCPA’s Arts in Education programs at the March 1 Saturday Night Alive. The 34th annual black-tie fundraiser supports the

educational efforts serving 50,000 students each year. Song and dance man Matthew Morrison (who also stars in the hit TV series “Glee”) headlined the benefit, which was chaired by Susan and Leo Kiely.

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303.893.4100 APPLAUSE 45

IN REVIEW

And a big thank you to our contributing supporters:

1 Whitney Moehle, Event chair Susan Kiely, Matthew Morrison and Ju-lie Erlich 2 Patrons Claudia Miller, Jane Netzorg, Debi Tepper & Cindi Burge enjoyed the evening. 3 DCPA Trustee and Event Chair Leo Kiely welcomes the 800 guests. 4 Kat Wong & Matt Watkins 5 Matthew Morrison performs. 6 Beverlee Hackmeister (center) hosted Dina and Ed-die Altman at the JHL Constructors table. 7 Adrienne & Jack Fitzgibbons 8 Peter Swinburn, CEO of event sponsor MolsonCoors with Linda and Mike Rengel. 9 Patrons Al and Terri Fisher 10 Noreen Salah Burpee, executive director of the Salah Foundation, with her son Fred Churbuck. TheSalah Foundation granted matching funds for items in the silent auction. 11 Pa-

trons and past Saturday Night Alive chairs Steven and Ryta Sondergard 12 Ron & Chris Yaros with Sandi Hewins and Craig Fleishman 13 State Representative Rhonda Fields with donating artist Juliette Hemingway and her husband Paul Chase 14 Will Amerine & Andrea Ho 15 Patrons Denise & Ray Bellucci 16 Auction chair Susan Stiff, area director of PR for event sponsor Westin Down-town Denver, joined Danny Showers at the baby grand piano the Westin donated in addition to accommodations to the more than 60 Starwood Hotel & Resort Properties around the world. 17 Bill Sullivan, President of Colorado State Bank & Trust with his wife Tricia. CSBT returned as silent auction sponsor for the third year. Photos by Vicki Kerr & John Moore.

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ART

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Powering joy, fun and intellect through art

Many know Microsoft as the brand behind their favorite software, services and devices. But they

might not know that the company has a heart as big as its brand, committed to giving back in every region it serves. In fact, an official corporate giving program has been in place since the company went public in 1986. Microsoft believes a community is only as strong as its ability to nourish the mind and spirit through excellent, diverse and accessible programming in the visual and performing arts. It is within this vision that the company works with The Denver Center for the Performing Arts (DCPA). Since 1996, Microsoft has given the DCPA more than $2.3 million in software to present exceptional theatre, embrace classics, create new work and be a center for learning and civic engagement. Microsoft technology enables more than 300 DCPA employees to innovate and stay competitive in the industry as they pro-duce plays, present Broadway and cabaret musicals and provide arts education and school matinees for as many as 50,000 students each year. Through Microsoft’s software donation, the DCPA now has the latest desktop and server operating systems to provide operational improve-ment and the flexibility to meet patron and user needs.

“We are proud of the innovation and new ideas made possible through our work with the DCPA,” said J.P.Westwood, Microsoft General Manager overseeing Denver. “There are dynamic new works and musical collaborations in develop-ment that will benefit the community and inspire others to achieve greatness.” A significant portion of the Microsoft funding is directed through ArtsFund, a federated giving program for local corpo-rations, foundations and individuals. In addition to the arts, Microsoft is committed to serving Denver and other local communities in four key areas: em-powering youth, empowering nonprofits, empowering employees—and humanitar-ian and disaster response. With these pillars in mind, Microsoft do-nated more than $9.5 million to Colorado charities in the company’s most recent fiscal year. State employees also have utilized 2,792 volunteer hours to increase their community impact in a way above and beyond dollars and cents. n

Learn more about Microsoft corporate giving at http://www.microsoft.com/about/corporatecitizenship. Our stores host reg-ular events ranging from free educational workshops to community events with local nonprofit partners. To find your local store visit: content.microsoftstore.com.

A proud supporter ofThe Denver Center for

the Performing Arts

“We are proud of the innovation and new ideas

made possible through our work with the DCPA. There

are dynamic new works and musical collaborations

in development that will benefit the community

and inspire others to achieve greatness.”

—J.P.Westwood, Microsoft General Manager overseeing Denver.

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Documents

Applause Magazine, Apr. 25-27, 2014