Applause Magazine Sep-Nov2012

Volume XXIV n Number 3

September - NoVember 2012

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BoArd of TrUSTEESDaniel L. Ritchie,

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Hello. We’re so glad you joined us today. Alongside the two rousing Denver Center Attractions presentations of Memphis and STOMP, which should fill the Buell theatre with plenty of inspired rock’n’roll and inspired rowdy clatter (did you see the STOMP performance that was part of the closing ceremonies of the London Olympics?), the Denver Center theatre Company is happy to offer its annual family show. this yearly tradition of a fea-tured production for middle school students, teachers and families con-tinues with a vivid stage adaptation of Lois Lowry’s Newbery Medal-winning book, The Giver. Many of us have read the novel, which has been widely taught by middle schools across the country since its publication nearly 20 years ago. The Giver matches our goals for our Middle School/Family Series: bringing stories and issues of serious interest yet great appeal and high quality to students, parents and teachers in a theatrical way. But

its appeal reaches well beyond the schools to all of us. My expectation is that this production will stimulate all audiences and lead to discussion and debate—in the living room, the kitchen, the family car, as well as on the school bus and in the classroom. Lowry’s book touches on the very conduct of our lives and what we should and should not expect from society at large and from the rules we put in place to govern ourselves. I think you’ll agree that playwright Eric Coble has done an excellent job of adapting this provocative novel that is so justly celebrated in its directness and simplicity for mak-ing us think and for igniting our imagination. It is emblematic of what we constantly strive to achieve as a not-for-profit organization—and we do not forget that your attendance, contributions and all around part-nership are what make it possible for us do so. Welcome to the fall shows of the Denver Center for the performing Arts. n

Kent ThompsonArtistic Director Denver Center Theatre Company

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X10 THE GIVERAcclaimed author Lois Lowry talks about her creative process and what inspired this 20-year-old celebrated

novel, now a play by Eric Coble.by J. Bourge Hathaway

MEMPHISRock music and race came

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STOMPYou gotta love those British noisemakers from Brighton who make percussion out of anything that’s handy—around the house and anywhere.

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As she strides out the front door of her 18th century northern New England farmhouse, it is impossible not to notice the woman’s welcoming smile, eclipsed only by her piercing blue eyes. Lois Lowry, author of nearly 40 children’s books—including two Newbery Medal-winners—does most of her writing here, in a quiet nook snuggled between the garage and the old hand-hewn timber barn that straddles the hill like a fortress, keeping its own watchful eye over the mists rising from the lakes in the valley below. It seems a sure echo of The Giver’s bucolic agrarian landscape. But the genesis of what would become the first of an entire genre of dystopian novels for young people lies, as with all of her books, somewhere deep inside her.

“You know,” she said, “I do a book like The Willoughbys, which is almost silly, and the next time I sit down to write what comes into my mind is something with far deeper ramifications. But I don’t begin with that. I tend to be a very visual person, I started out as a photographer, and so I begin with seeing in my mind the character, the setting, a set of circumstances and out of that grows the story. I’m weak on plot. Really. that’s not my forte.

“I’m always aware when it’s time to start a book,” she continues. “With The Giver it was a time

when my father’s memory was fading and so the topic of memory was much on my mind. Young writers today seem to think they should write a dystopian novel

because that’s what sells. A few years ago it was vampires. Now there are too many vampires and too many dystopias and one wonders what will come next. “I’ve never come at writing a book from the standpoint of what will sell, what will become popular. I just tend to use what wells up inside me as material, and at the time I was dealing with my father’s loss of memory and specifically with the fact that he had forgotten [the death of] my sister.” But when Lowry sat down and began to create a character that would be living in a world where memory had been suppressed, she realized that it would have to be set in the future. “Now that was a problem,” she said, “because I don’t read science fiction and it doesn’t appeal to me much, and yet it

Photo by J. boUrGE hAthAwAy

Lois Lowry, author of The Giver, talks about creativity, process

and letting it all go.

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seemed that this would have to be a sci-fi book. I think it turned out not to be because I didn’t deal at all with the technology.” And yet The Giver, though quite compact, is a logistically complex book. “Kids write to me,” Lowry goes on, “and want to know exactly how something was done—how the colors disappeared, what allowed them to control the weather—and they want me to come up with the backstory that involves the technology. I just didn’t want to deal with that because that’s not the point, and so I write them back about suspension of disbelief and that they’re just going to have to accept that this is how it was. If they want an explanation they’ll have to dream it up themselves.” this notion of the importance of imagination, of the journey, and of the joy and responsibility of discovery, runs deep in Lowry’s work. “I never make an outline or have a book fully plotted when I start writing, so it’s inevitable that the characters will do things I hadn’t envisioned. I sometimes have an end in mind or obstacles they have to overcome, so then there are for me some wonderful surprises along the way as they move toward that.”

Her almost childlike sense of wonder about what will come next makes it easier to understand Lowry’s

attitude toward the many adaptations of her work to other media. The Giver alone has been adapted at least twice for the stage and performed in dozens of different productions around the country. It’s been reimagined as a musical and, just last January, as an opera. there’s a screenplay in the works. Yet Lowry doesn’t collaborate on these adaptations nor feel the need to. Nor does she try to control the meaning her work has for others. “As the writer of it, I never saw The Giver as having religious or political overtones. Apparently many people do. But while some see religious significance, a lot of other people ask me to sign the book as a Bar Mitzvah gift because they see it as a right of passage, of taking on the responsibilities of adulthood. Of course we all, myself included, bring our own politics or religion (or lack of it) to the book we’re reading, but the writer didn’t necessarily put it there.” Lowry’s fondest hope is that people will end up taking away from Eric Coble’s theatrical version of The Giver the same things they might take away from the book. Nearly 20 years after it was written, it remains one of the few works of its kind that so thoroughly and imaginatively

explores young adult themes of emotional security, individuality and human connection. “One of the wonderful things the book does is allow the reader to bring his or her own imagination to it. I often tell kids that the book they read is not the same book that I wrote. that’s because I saw something in my head and now they have created their own vision and in doing so they’re a participant in a process. “Of course, when you turn it into a visual medium like theatre, you’re taking away a little of that but at the same time you’re also exposing them to something so wonderful that you can hardly fault it. Movies on the other hand, and to an even greater degree television, feed it to them, controlling the visual aspect to the extent that there is very little left to imagine. that’s partly why the producers continue to have so much trouble making a movie of The Giver. So much of it is interior; it takes place inside someone. Recent popular dystopian novels like The Hunger Games are very heavy on violence, action and plot, which The Giver decidedly is not.”

Sometimes, however, the pendulum swings in exactly the opposite direction, with no lack of theatrical

inventiveness. Lowry recounts the time she received an email from an English teacher who was very excited because he had adapted The Giver and they’d had a performance that had been a great success and he wanted to tell her all about it. “I gulped when I began to read his email because of course he hadn’t gotten permission and had violated the copyright,” Lowry says a bit sternly, though her eyes are filled with mirth. “He enclosed

a glowing review from the little local town newspaper, wherever it was, and the remarks of the reviewer included what a wonderful, hilarious reception the dancing hamburgers got!

“I have absolutely no idea what that was about. He must have included the visions Jonas has

and there must have been one about food and he found in that a marvelous theatrical moment in which food could dance past us on stage wearing hamburger costumes.” She smiles graciously, and with an imperceptible shrug looks out at the far horizon. “I feel like once I’ve written a book and put it out there, I’m finished. I’ve gone on to something else. I’ve put it in someone else’s hands and sometimes it will be wonderful and sometimes less so, but I don’t worry about it. Everyone does their best with it. Eric absolutely did. No one can ask for more.” Some gifts really do keep on giving. n

J. Bourge Hathaway is a writer and sculptor and the author of Quiet pride — Ageless Wisdom of the American West.

Sept 28 – Nov 18 • Ricketson Theatreproducing partners: Keith & Kathie fingerSponsored by Ashford University and Jeppesen – A Boeing CompanySigned & Audio Described • Nov 11, 1:30pm

“I often tell kids that the book they read is not the same book that I wrote. That’s because I saw something in my head and now they have created their own vision and in doing so they’re a participant in a process.”

— Lois Lowry, author, The Giver

In 2007, the Denver Center theatre Company (DCtC) established a family/youth series of productions with The Diary of Anne Frank. The Miracle Worker and last season’s The Adventures of Tom Sawyer soon

followed. In an effort to build audiences for the future and continue this strong tradition, DCtC is pleased to once again include productions that are appropriate for family and young adult audiences with The Giver based on the Newbery Medal-winning novel by Lois Lowry. With The Giver, literature comes to life with 39 Student Matinees as well as 24 additional matinee and evening performances. Given its place in the school curriculum, we believe this live performance of The Giver is of great interest to families, students, teachers and the general public. to prepare area teachers to integrate this remarkable theatre experience with curriculum, the Denver Center offered workshops, study guides and a lobby display to include background information about the book, the author and the playwright; thought-provoking questions related to the play’s themes; bibliographies for additional reading and reference, and teaching strategies related to The Giver as literature. n

Our appreciation to the many patrons who responded so generously to our request for support of this program. Special thanks to:

n Ashford Universityn Keith & Kathie Fingern Margot & Allan Frankn Jeppeson – A Boeing Companyn M.D.C./Richmond American Homesn Participants in the 2012 Swingtime Golf Tournamentn June Travis


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“The man that I named the Giver passed along to the boy knowledge, history, memories, color, pain, laughter, love, and truth. Every time you place a book in the hands of a child, you do the same thing. It is very risky. But each time a child opens a book, he pushes open the gate that separates him from Elsewhere. It gives him choices. It gives him freedom. Those are magnificent, wonderfully unsafe things.”

~ Lois LowryFrom her Newbery Medal acceptance speech

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the conventional wisdom on Broadway today is that you can’t have a hit without a star name or a tony winner headlining the cast. If it’s a musical, your best bet is a property with some built-in brand recognition, which helps to explain the trend toward jukebox musicals and adaptations of popular films. Memphis has been a blazing exception to all these rules since its opening in October of 2009. this original musical about the birth of rock’n’roll took the Best Musical tony the following spring and ran for 1,165 performances; it arguably made stars of its lead actors, Montego Glover and Chad Kimball, each also nominated for tonys. (Kimball was replaced midway through the run by Adam pascal, something of a name in musical theatre circles for his originating role in Rent, but hardly box-office gold by himself.) And as it neared the three-year finishing line this past summer, Memphis checked another box in the success column: It recouped its entire $12 million capital investment before closing in August.

“that was the final cherry on top,” says Joe Dipietro, who wrote the book and lyrics for the show. Director Christopher Ashley pointed to another Memphis milestone—the recent release by the tonner Doll Company of a pair of figurines based on the show’s lead characters, Felicia and Huey—as a personal highlight. “this is my first line of dolls,” Ashley deadpans.

Not that Memphis simply arrived out of the blue to open cold in the glare of Broadway. Instead,

its heartening success can be traced back through a long period of gestation and tryouts. the show began in the early 2000s as the brainchild of producer George W. George (son of cartoonist Rube Goldberg, incidentally), whose idea for a musical about the intersection of rock and race in the 1950s was inspired by the real-life stories of Memphis deejay Dewey phillips and his Cleveland counterpart Alan Freed—white men who helped integrate musical tastes at a time when actual racial integration was making significant if

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“David [Bryan] interpreted early rock’n’roll through his modern ears. The score is not rockabilly and there are chord progressions that may not have been happening at the time.”

Joe DiPietro

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pHISfitful strides. As soon as Dipietro (best known for the hit Off-Broadway musical I Love You, You’re Perfect, Now Change) heard George’s idea, he was hooked.

“It was a story I hadn’t heard before, and one I felt I had to tell,” says Dipietro, who was soon joined by

composer David Bryan, the keyboardist from popular 80s pop/rock band Bon Jovi. the true-life stories that inspired the show, though, stood some tweaking en route to the stage. “God isn’t a great dramatist,” Dipietro quips. “Dewey phillips was essentially the first shock jock; he talked crazy on the radio like no one had before. And he was the first guy to play rhythm and blues on the radio at a time when it was unheard of, even dangerous to an extent.” So far so good—but phillips also “was a big drinker. He had a very dark life and a very early rock’n’roll death. We wanted to tell a story with a broader scope—an epic story.” In a bid to simultaneously soften some of the character’s edges and heighten the significance of his boundary-breaking career, Dipietro created Huey Calhoun, a high-spirited hillbilly deejay in love with African-American music—and, before long, an actual African-American musician, in the person of singer Felicia Farrell. this across-the-tracks romance transpires at a time when anti-miscegenation is not only still the letter of the law, but very much the spirit of the majority white population as well. “that gave us a very human hook for our story,” Dipietro says, fully conceding that in this aspect he borrowed a page from some very non-rock’n’roll forebears. “Rodgers & Hammerstein also placed their stories in dramatic times and put a big love story in the center.” the biggest liberties taken, Dipietro admits, were less in the storytelling than in the music department. “David interpreted early rock’n’roll through his modern ears,” says Dipietro. “the score is not rockabilly, and there are chord progressions that may not have been happening at the time.” Indeed, Bryan’s songs evoke a whole range of rock and pop sounds from authentic 1950s rock to Motown soul and even funk. Director Ashley chimes in, “the clothes are very faithful to the era, and you can’t see a prop on stage that isn’t faithful to the time. But musically we really did decide that in capturing the essence of the music, we wanted to give ourselves permission to use chords and a musical vocabulary that were not strictly from that time.”

Dipietro makes another Rodgers & Hammerstein analogy. “It’s like in The King and I—that’s not actually Eastern music, but a Western interpretation of what it would have sounded like.” One period norm that couldn’t be fudged was segregation, which meant that the cast size grew a bit along the way, the better to accommodate scenes in which a clear separation between groups of white and black characters was an important story point. “In the early days of the show’s development, because it was practical, the onstage television scenes had a mixed black and white dance chorus,” says Ashley, referring to scenes involving an “American Bandstand”-style variety show hosted by Huey. It became clear that such corner-cutting wouldn’t do. “It would have been completely unacceptable for black and white people to dance together in that time; a black person touching a white person onscreen would have shut the show down.”

While the show’s vision of racial harmony is ultimately uplifting and forward-looking,

in restaging the racial divisions of the time, the creators had to navigate some awkward moments in rehearsal. “the language you use is very tricky,”

says Ashley. “In rehearsal, we played with a lot of different names—including some really offensive ones—for the two groups. We finally settled on ‘Beale Street’ for the black community and ‘Main Street’ for the white community.” After productions at North Shore Music theatre in Beverly, Massachusetts, and theatreWorks in palo Alto, California, in 2003 and 2004, Memphis had a pre-Broadway co-production. this took place at California’s La Jolla playhouse (2008), where Ashley is the Artistic Director, and at the 5th Avenue Musical theatre in Seattle (2009).

though its clear Broadway triumph clearly bucked some of Broadway’s trends toward stars

and adaptations, Memphis may in fact have been the beneficiary of a kind of brand recognition, after all. “the title was always Memphis,” Dipietro says. “It’s one of three American cities that when you hear the name you think of music—the others being Nashville and New Orleans.” Of course, the home of Graceland, Sun Records, and Beale Street blues also happens to be a historic site of America’s civil rights struggle, and the city where that movement’s most iconic warrior was slain. As Dipietro puts it, “A lot of people, when they hear the title, think it’s about Elvis presley or Martin Luther King Jr.” For a show about rock and race, those twin expectations aren’t very wide of the mark. “the musical’s not about either of them,” says Ashley of Memphis’ two fallen Kings. “But it couldn’t have happened without either of them.” n

Rob Weinert-Kendt is associate 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.


Oct 9 – 21 • Buell TheatreSponsored by HealthoNE and Comcast/NBC Universal

Signed & Audio Described • Oct 21, 2pm

“The clothes are very faithful to the era, and you can’t see a prop on stage that isn’t faithful to the time. But musically we really did decide that in capturing the essence of the music, we wanted to give ourselves permission to use chords and a musical vocabulary that were not strictly from that time.”

Christopher Ashley

Bet you saw that “largest STOMP cast ever assembled” if you happened to watch the closing ceremonies of the fabulous

London Olympics this summer, live or on tV. But it’s been a while since you heard those clomping, clanging racket makers—

racketeers?—right here in your own back yard. Yes, STOMP is back in Denver in all its explosive, syncopated glory with those incredible percussionists who treasure the old adage about one man’s trash… the troupe still doesn’t look at everyday objects the way the rest of the world does. In their hands, brooms, garbage cans, Zippo lighters (we’re not sure about Grouchos and Harpos) and the general detritus of the 21st century takes on a life of its own. STOMP, created and directed by Luke Cresswell and Steve McNicholas, is an exploration of the outer limits of rhythmic invention. It’s a pipe (read drain pipe) and Drum (read anything) Corps for our age. And speaking of age, it has not withered STOMP’s clatter—or fun. STOMP, that concatenation of sound and skill, is back with its rhythms and drumbeats intact.

the same goes for its nonstop movement of bodies, objects, sound—even abstract ideas. there’s no dialogue, speech or plot. But music? Absolutely. Uncommon music, created in

nontraditional ways—with every day objects ranging from matchbooks to every household item you can imagine. You’re bombarded by a caterwauling noise that under any other circumstances you would choose to shut out. But not here.

Here all is syncopated and choreographed with the precision of an army bugle corps (minus the bugles) and by the fertile imagination of buskers or street performers from the streets of Brighton—the spot where STOMP’s creators hail from and where they dream up versions of this utterly inventive, unexpected, whacked-out show.

So sit back, relax, tap your feet, clap your hands. there’s only fun to be had here—no political statements, no dialogue to misconstrue, nothing beyond the sheer, surprising sights and sounds of

the moment, from the ringing of hollow pipes to clashing metal weaving its spell, and industrial strength dance routines involving a lot of supremely well coordinated bodies. Yep, better hold on fast to those hubcaps as you zip yourself downtown to swing along with STOMP! n

iS BAAAAAAACK!hooooooold on to your hubcaps!


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Sept 25 – 30 • Buell Theatre A HealthoNE family production

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When First Lady Michelle Obama visited with physicians, nurses and staff at the Medical Center of Aurora following July’s mass shooting tragedy, she reminded those who took care of patients

to also take time to heal themselves. Whether facing tragedy or everyday challenges, her message is a good reminder that we all need to take time to recover and revitalize. that’s why we are especially fortunate to live in a community that offers such vibrant arts and cultural programs. At HealthONE, we’ve seen first-hand the positive impacts the arts have on our health and well-being: the soothing effect of music on people in pain; the regaining of muscle strength through drawing or painting; the stress-relieving enjoyment of live performances after a hard or emotional day. For more than 16 years, we have proudly partnered with the Denver Center for the performing Arts (DCpA), one of the largest performing arts organizations in the nation right here in our community. Without the programs and resources the DCpA provides, we would not be able to enjoy incredible performances such as Memphis or STOMP. HealthONE is devoted to supporting a variety of programs that improve the quality of life across our communities for our patients, their families and our own 9,500 employees. In 2011, the people of HealthONE contributed more than $2 million in direct contributions and in-kind aid to dozens of organizations focused on children, health and wellness, the arts and other important causes. Additionally, our healthcare system invested nearly $20 million in community health improvement, health professionals’ education, research, and community building initiatives beyond our own campuses. Much like the production you are here to see, providing high-quality healthcare takes a team of experts—from the environmental services staff that keeps our hospitals, surgery centers and clinics clean, to the technicians and administrative staff that keep our advanced technologies operating precisely and on-schedule, to the nurses and doctors who provide the compassionate, specialized diagnoses and treatments our patients deserve. For all of these reasons, HealthONE and the DCpA are a great pairing. We are proud to sponsor this and many other productions, and we hope you take time to appreciate the benefits these great shows bring to your own life. In good health,

—Sylvia Young president & CEO, HCA-HealthONE®

www.HealthONEcares.com1-877-HealthONE

HEALING MIND, BODY AND SOUL

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For more than 16 years, we have proudly partnered with

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“Too often wegive childrenanswers toremember rather than problems to solve.”

– Roger Lewin

A K-8 co-ed school for gifted children of all backgrounds.

Tours now through December 12Applications due by January 9, 2013

2012/13 season sponsors

ONliNe: DeNveRceNTeR.ORg/SuBS • cAll: 303.893.6030 or 303.893.4100 • TTY: 303.893.9582


2012/13 SeaSonSubscribe Today!

Choose from our 9-, 4- and 3-play packages or a power pass for the

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FencesnoW – oCt 14

The Three MusketeersnoW – oCt 21

When We Are Married nov 16 – DeC 16

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Grace, or The Art of climbingJan 18 – Feb 17

Romeo & JulietJan 25 – Feb 24

A Weekend with Pablo PicassoMarCh 22 – april 28

Other desert cities MarCh 29 – april 28

WoRLD PREMIERE

Sense & Sensibility The MusicalbaSed on The novel bY JANE AUSTENapril 5 – May 26

ADDeD ATTrACTiONSNot part of the season subscription packages

loiS lowrY’S

The Giversept 28 – nov 18

IRVING BERLIN’S

White christmasnov 23 – DeC 24


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The iconic song You’ve Got a Friend easily comes to mind when discussing L. Roger Hutson and his longtime support of the Denver Center for the performing Arts (DCpA). Whether it’s

encouraging potential members to join him in the Best of Broadway Society (see page 26) or persuading colleagues to sit at his platinum Sponsor table at our signature fundraiser, Saturday Night Alive, or simply telling friends there’s a show playing downtown right now they cannot miss, Roger is a major champion of the DCpA. As those who know him well will readily attest, with him it’s high energy all the time! Roger has been a member of the Best of Broadway Society since 1998 and has provided integral support for the recent Denver Center productions of Dracula, Ring of Fire: The Music of Johnny Cash and Traces as a “producing partner.” Most recently, Roger was the lead sponsor of the DCpA’s special event presented in conjunction with launching the first national tour of the blockbuster musical, The Book of Mormon. More than 600 guests enjoyed pre-theatre cocktails and dinner in the Seawell Grand Ballroom, along with a glamorous post-show party under the summer stars to celebrate the occasion. Once again, Roger was instrumental in assembling friends – and new donors – for this sponsorship, including: Enduring Resources, LLC; Welborn, Sullivan, Meck & tooley, p.C.; Collector’s Edge, and HRM Resources, LLC. Roger is president/CEO of HRM Resources, LLC, a private firm specializing in the acquisition, operation and development of producing oil and gas assets. In the community, Roger serves as a trustee for his alma mater, the Colorado School of Mines. He is a past president of the Colorado Oil and Gas Commission and is an active member of Colorado Concern, an alliance of Denver-area top executives. He is a gubernatorial appointee to the five-member Colorado Limited Gaming Control Commission and was recently elected as its Chairman. We are indeed fortunate to have Roger as a great friend of the DCpA. We thank him for putting his “high energy” to work so effectively on our side. n

Roger was the lead sponsor of

the DCPA’s special event presented in

conjunction with launching the first

national tour of the blockbuster musical,

The Book of Mormon.

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1• Roger Hutson and Meredith Black. 2• New Best of Broadway Society members Tim and Erin Brice with fellow member Kyle Portorff and guest Tamsen olson. 3• Trustee Rick Sapkin, pictured with Scott Miller and Tim Gill, hosted two tables at the benefit which raised more than $100,000 for DCPA programs. 4• Constellation Wines provided Simply Naked wines for the evening’s dinner and cocktail party. 5• The Book of Mormon wowed the 600 guests at the August 24th benefit. 6• Leslie and Bruce Alexander. Bruce is CEo at Vectra Bank Colorado, season sponsor of Denver Center Attractions. 7• Bob and Kathy Clark with friends Dawn and Kevin Collins. 8• DCPA Trustees Navin Dimond (l) and Ken Tuchman (c) with Rita Dimond and Natalie and Tyler Tisdale. 9• Michelle and Terry Taggert. 10• Trustee Peter Swinburn and his wife Janet were joined by Sally Roach and Geoff Cullen. 11• Mike and Becky Mason, David Flake, Laura Fiori, Jim Davis, Congressman Mike Coffman, Meredith Black, and Sean and Vicki Virnich joined event sponsor Roger Hutson (third from right). 12• Longtime Best of Broadway Society members Steve and Robin Chotin. 13• paulette and Ken Jones and Chuck and Kim Yates represented sponsor Welborn Sullivan Meck and Tooley. 14• Kathy and John Dunn.

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303.893.4100 APPLAUSE 25

12


SocietyThe

Best ofBroadway2013/14 SeaSoN

Sponsored by

Members of this exclusive club receive the ultimate theatre experience package:

V The Best Seats – Front and center orchestraV Personalized Ticketing and exchange optionsV Pre-Show Dinners at restaurant Kevin taylorV Private Intermission Service in the wolf roomV Special Event for the world Premiere of Sense & Sensibility The MusicalV Concierge ServiceV First opportunity to purchase excellent seats for all added attractions.

V and Much More!

Membership – $5,000 per person (a generous portion is tax deductible). For your convenience, payment may be made in four installments by automatic

charge. to join, please visit denvercenter.org/premium or contact david Zupancic at 303.446.4811 or [email protected]. Membership is limited.

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INSPIRED BY THE ELECTRIFYING TRUE STORY

THE BROADWAY MUSICAL

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When We Are MarriedNov 16 – Dec 16, Space theatre

think about it. What would you do if you discovered on your 25th wedding anniversary that you weren’t legally married? time to bail? time to scream? time to reaffirm everlasting love or is everlasting a little too lasting? We

won’t tell, but playwright J.B. priestley cranks up the tension by multiplying the idea times three as six spouses—all of them prominent citizens in a small (very small) English town—have to figure out how to protect their reputations as they struggle to resolve their new reality and newly unmarried status. n

Irving Berlin’s White Christmas Nov 23 – Dec 24, Buell theatre

No snow? If last year’s dry winter is any indicator, your best chance for some might be to catch the Denver Center’s White Christmas, stepping in this year for the perennial favorite, A Christmas Carol. this stage adaptation

of the beloved 1954 film (with Bing Crosby, Danny Kaye and gorgeous songs by Irving Berlin) tells the story of two WWII buddies who make it big on Broadway after the war. Looking for romance, they fall for a sister act and pair off. But the sisters are on the lam, and the boys have to lip-sync in drag to the girls’ signature number to give them time to make their getaway. they all end up at a Vermont inn owned by the guys’ wartime major where the lack of snow threatens to sink the holiday. What can these itinerant performers do but save the day by putting on a big show to lure in paying customers? this fun and mellow musical will take you back to a time when tunes were crooned, films were in technicolor and all your Christmases were white. n

AND COMING DOWN THE YELLOW BRICK ROAD….

War HorseJan 8 – 20, Buell theatre

England, 1914. World War I erupts. Joey, young Albert’s beloved horse whom Albert’s trained since he was a skittish foal, is sold to the cavalry and shipped off to fight in France, breaking Albert’s heart. Joey’s soon caught up

in the heat of battle, serving on both sides before finding himself lost in a no-man’s-land of exploding shells and menacing barbed wire. Albert, not quite old enough to enlist, nonetheless embarks on a treacherous mission to find Joey and bring him home. Astonishing life-sized puppets, created by South Africa’s Handspring puppet Company, bring to life galloping, charging horses strong enough for men to ride. this is a production of spectacular inventiveness—and a remarkable saga of courage, friendship, loyalty and allegiances that you will not want to miss. n

NExt UpLooking ahead…

Tickets: 303.893.4100 Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829

denvercenter.org

303.893.4100 APPLAUSE 27


thE

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Jan 29 – FEB 10, 2013buell tHeatre

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I n Lois Lowry’s Newbery-winning novel The Giver, Lowry creates a community of what she calls “sameness.” this community is devoid of choice, difference and even color; yet one lone citizen is

selected to be the repository of the community’s memories, bringing with it periods of intense pain and unlimited joy. So the challenge before costume designer Meghan Anderson Doyle was to create identities for the characters while allowing none to stand out. Shades of white, gray and black are used to evoke the sameness of the community, while elements as basic as a doctor’s coat were added to convey a character’s appointed role within the society. Fabric textures were carefully considered in order to make characters contrast from an intentionally monotone background, with small accents such as buttons, jackets or glasses layered to create a differentiation that no amount of governance can erase. But 12-year-old Jonas—the newly appointed Receiver of Memories—begins to see sparks of color as the community’s past is conveyed to him. the sameness of what he once knew is altered forever, causing him to question: “If everything’s the same, then there aren’t any choices! I want to wake up in the morning and decide things! A blue tunic or a red one.” the audience is left to ponder: how does a costume designer convey these subtle but growing changes? Find out when you see the play. n

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their ambitions…and their accomplishments.

When Jeppesen founder, Capt. Elrey B. Jeppesen, took to the skies nearly 80 years ago, his passion for flying was matched only by his compassion for

others who love to fly. An avid aviator and keen navigator, he transformed his hand-drawn maps in his little black notebook into a global intelligent information and integrated service organization that continues to enable safe and efficient transportation around the world today. “the passion and commitment to safety that drove Capt. Jepp defines our mission today,” said Jeppesen president and CEO Mark Van tine. “Everything we do is geared toward helping our customers fulfill their journeys in the most optimal manner possible.” With that in mind, Jeppesen works to find innovative ways to connect the mission with the community. As part of the Boeing Global Corporate Citizenship program, Jeppesen proudly supports the Denver Center for the performing Arts’ Arts in Education program, helping connect local youth with artists and educators in a meaningful way. Locally, volunteer pilots and ground crew participate in CraigFlight Mission, a program providing patients from Craig Hospital’s therapeutic Recreation program an opportunity to get into the cockpit of a small airplane and soar around the Denver skyline. Craig Hospital, in Englewood, specializes in spinal cord and traumatic brain injuries. While the flight is pure fun for all involved, Craig patients also are indirectly educated on transportation issues, accessibility and caring for themselves in a variety of situations—important milestones toward their independence. “Jeppesen has incredible employees who are committed to being active participants in our community. Flying is one of the venues we can use to connect with people. When we buckle a Craig patient into the cockpit of an airplane, we take off hoping that we can share a bit of our passion for flying with them. But when we land, we realize they’ve shared their own sense of spirit, courage and determination with us. the experience is simply inspiring for everyone involved.” n

JEppESENConnecting the mission with the community

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Documents

Applause Magazine Sep-Nov2012