Applause Magazine, December 7, 2013

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 ■ NUMBER 4

NOVEMBER – DECEMBER 2013

ALSO PLAYING… JACKIE & ME • A CHRISTMAS CAROL • CIRQUE DREAMS HOLIDAZE

THREE ACTS, TWO DANCERS, ONE RADIO HOST: IRA GLASS

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Redefining State-of-the-ArtAt Colorado State University’s Center for the Arts students create, perform, and learn in the state’s premier arts education facility. Modern performance venues and plentiful studios define the spaces of the remodeled building in the heart of Fort Collins. Best of all, while the performances soar, the cost does not, putting a first-class arts education within reach of all Coloradoans.

Redefining State-of-the-ArtAt Colorado State University’s Center for the Arts students create, perform, and learn in the state’s premier arts education facility. Modern performance venues and plentiful studios define the spaces of the remodeled building in the heart of Fort Collins. Best of all, while the performances soar, the cost does not, putting a first-class arts education within reach of all Coloradoans.

APPLAUSE denvercenter.org 4

APPLAUSEM A G A Z I N EVOLUME XXV ■ NUMBER 4 ■ NOVEMBER – DECEMBER 2013

For advertising information call The Publishing House 303.428.9529.

7380 Lowell Blvd., Westminster, CO 80030Angie Flachman, Publisher

Editor: Sylvie Drake Associate Editor: Suzanne YoeDesigners: Kim Conner, Brenda Elliott, Austin Grutze, Kyle Malone

Applause is published eight times a year by The Denver Center for the Performing Arts in conjunction with The Publishing House. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Applause magazine is funded in part by

The Denver Center for the Performing Arts1101 13th St., Denver, CO 80204

303.893.4000 • denvercenter.org The Denver Center for the Performing Arts is a not-for-profit organization serving the public through the performing arts.

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 ChairDr. Patricia Baca Joy S. BurnsIsabelle ClarkNavin DimondMargot Gilbert FrankThomas W. HonigMary Pat Link Robert C. NewmanRichard M. Sapkin Martin SempleJim SteinbergPeter SwinburnKen TuchmanLester L. Ward

Dr. Reginald L. WashingtonJudi WolfSylvia Young_______________________Carolyn Foster,

Executive Assistant to Daniel L. Ritchie

Kim Schouten, Executive Assistant to Daniel L. Ritchie

HONORARY MEMBERSJeannie Fuller Glenn R. JonesM. Ann PadillaCleo Parker Robinson

HELEN G. BONFILSFOUNDATION BOARD OF TRUSTEESLester L. Ward, PresidentMartin Semple,

Vice President Judi Wolf, Sec’y/TreasurerDonald R. Seawell,

President Emeritus

W. Leo Kiely IIIDaniel L. RitchieWilliam Dean SingletonRobert SloskyJim SteinbergDr. Reginald L. Washington

SENIOR MANAGEMENT STAFFRandy 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

In an effort to better serve you, our patrons, friends and family, The Denver Center recently conducted some research. We spoke to people who come to the theatre all the time, those who see an occasional show, and those who have never been here. We learned a lot. Most gratifying was the overwhelm-ing confidence you have in us. You told us: “It’s magic. It’s on a par with New York and London. It’s a reason to live in Denver.” We couldn’t elicit a negative response—and we tried. One item in our survey results caught me by surprise. Many of our audience members, even long-time subscribers, were unaware that we are a not-for-profit organization. The IRS defines a not-for-profit as an organization that puts any surplus revenues back into the

mission of the organization, rather than paying dividends. I like to think of it as having stakeholders, not shareholders. So who are our stakeholders? They are audience members, artists, students, teachers, parents, Colorado businesses and residents… They are all of you. What should our stakeholders expect from us? First-rate touring productions, the creation of exciting new work along with perceptive, invigorating classic and contemporary plays, and the education of the next generation of theatre lovers. Great entertainment, good company and animated conversation. A first-rate ex-perience from beginning to end—that’s what you should expect. My personal commitment to you is that, as a not-for-profit organization, we will use the ticket revenues and the donations you make to The Denver Center to offer unforgettable shared experiences worthy of a place in your memory book. ■

Daniel L. Ritchie Chairman and CEOThe Denver Center for the Performing Arts

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Set t ing th e s t age f or inspired events .

DENVERCENTEREVENTS.ORGat The Denver Center for the Performing Arts

303.572.4466Gorgeous Photos - Studio JK, The Happy Couple - Josephine and Jason

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JACKIE & MEAdaptor and director of this play share thoughts about why this morality tale about sports and the racial divide holds such appeal. One guess: it’s about baseball—and the player who made a difference. by Steven Dietz and Stephen Weitz

CIRQUE DREAMS HOLIDAZEThe creator of Cirque Dreams continues to make good on a promise to expand the Cirque genre—this time ringing in the Holidaze.by Sylvie Drake

A CHRISTMAS CAROLAs inspired as it is inspiring, this novellamade an adjective of the word Dickensian. On stage this story never loses its redemptive power, its scariness, its luster or its joys. by Marilynne Scott Mason

THEATRE THREADSA report on these sumptuous doings.

www.swlaw.com

In the law, as in the arts, creativity matters. Snell & Wilmer is a proud supporter of the Denver arts community.

Tamara Kaida: Desert Paint, 1987

Denver | laS vegaS | loS angeleS | loS caboS | orange counTy | phoenIx | reno | SalT laKe cITy | TucSon

Snell & WIlmer l.l.p. | Tabor cenTer | 1200 SevenTeenTh STreeT | SuITe 1900 | Denver, coloraDo 80202

40Years of Song

Colorado Children’s Chorale

Christmas with the Children’s ChoraleSaturday, December 14 at 2 pmSunday, December 15 at 7 pmBoettcher Concert Hall • Denver Performing Arts Complex

Hear the angels sing (and see Santa dance!) at this uplift ing holiday traditi on featuring Samuel Lancaster’s iconic Christmas in Colorado and Children Go Where I Send Thee! Experience sacred music of the season, sing along to holiday favorites and see what Santa has planned for us this Christmas! Appropriate for ages 4 to 100 Tickets available at ChildrensChorale.org/xmas13 For more informati on: 303.892.5600


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3 0 3 . 8 9 3 . 4 1 0 0TTY: 303.893.9582 • denvercenter.orgAUDIO-DESCRIPTION, ASL INTERPRETATION AND OPEN CAPTIONING AVAILABLE

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

World PremiereThe Most Deserving

Now – Nov 17Ricketson Theatre

The Book of MormonNow – Nov 24Buell Theatre

Jackie & MeNow – Dec 22Space Theatre

A Christmas CarolNov 29 – Dec 29

Stage Theatre

The SantaLand DiariesNov 29 – Dec 24

Garner Galleria Theatre

Mannheim Steamroller Christmas

Nov 30 & Dec 1Buell Theatre

Three Acts, Two Dancers, One Radio Host:

Ira GlassDec 7

Buell Theatre

Cirque Dreams Holidaze

Dec 10 – 22Buell Theatre

World PremiereThe Legend of

Georgia McBrideJan 10 – Feb 23

Ricketson Theatre

EvitaJan 15 – 26

Buell Theatre

Girls OnlyJan 16 – March 9

Garner Galleria Theatre

World Premiereblack odyssey

Jan 17 – Feb 16Space Theatre

HamletJan 24 – Feb 23Stage Theatre

Mamma Mia!Jan 28 – Feb 2Buell Theatre

Alton Brown Live!Feb 3

Ellie CaulkinsOpera House

Colorado New Play Summit

Feb 7 – 9Helen Bonfils

Theatre Complex

Million Dollar QuartetFeb 25 – March 9

Buell Theatre

ChicagoMarch 18 – 23Buell Theatre

ShadowlandsMarch 28 –

April 27Space Theatre

Animal CrackersApril 4 – May 11

Stage Theatre

Celtic WomanApril 19

Buell Theatre

Rock of AgesApril 25 – 27Buell Theatre

onceMay 6 – 18

Buell Theatre

American IdiotMay 23 – 25Buell Theatre

ALL SHOWS ON SALE NOW!

Judi Wolf’s Costume CollectionThe Denver Center’s holiday tradi-

tion, A Christmas Carol, returns to the stage for Denver Center Theatre

Company’s 35th season with its signature opulence. Designed by resident costume designer Kevin Copenhaver, the large ensemble production is filled with lavish period pieces denoting an unmatched Victo-rian elegance. The style of the era can be seen in both the men’s and the women’s costumes. Dresses of the time were adorned with increased sleeve detail and included layers of starched petticoats creating full, heavy skirts. These would later lead to the devel-opment of the crinoline. Ever dashing, the men’s fashion, particu-larly that of upper class gentlemen, fol-lowed the trend of earlier decades with full shoulders and chest, and tightly cinched waist. Shirts of linen or cotton were worn with wide cravats or neckties that offered several different looks. Color, fabric and style all played a part in distinguishing the upper classes from the lower ones, which is particularly evident in the festive Fezziwig party, full of ornate details, lush fabrics and rich colors. Just watching this vivid and colorful merriment on stage will put you in the right mood and fill you with holiday cheer. This Denver Center beloved holiday clas-sic runs from November 29 – December 29. Don’t miss the thrill. n

A Christmas Carol

The Encore Society honors those who have remembered The Denver Center in their estate plans. These gifts help ensure excellent theatre productions for future generations. For more information about joining the Encore Society, please contact David Zupancic at 303.446.4811 or [email protected].

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MICHAEL FITZPATRICK & LESLIE O’CARROLL

1111 14th Street, Denver, CO 80202

Dine Greatand you won’t be late.Our Sport & Stage menu is specifically designed for you to enjoy a fantastic dinner and make it on time for the show. Three-courses available pre-theatre, only offered during 5pm - 6:30pm reservations.

EDGE Restaurant 5pm - 6:30pm$55 per person

Complimentary Valet ParkingComplimentary Valet Parking

*Come to EDGE anytime and mention “EDGE of your seats” to receive a complimentary glass of bubbly. Good for one glass only.

For Reservations Call 303-389-3050 or visit www.edgerestaurantdenver.com

JAPPLAUSE denvercenter.org 10

Jackie & Me is a stage adaptation of Dan Gutman’s book of the same name that traces the unplanned emotional journey of young Joey Stoshack, as he tries to research a difficult class assignment. Joey may not be the best player on his Little League team, but a rare baseball card buys him the ability to go back in time and meet Jackie Robinson on the day he was signed by the Brooklyn Dodgers. Thrust into a racial pressure-cooker, Joey learns a lot—about patience, about courage, about grace from one of America’s legends. Applause thought you might like to hear what the story means to Steven Dietz, who adapted it, and Stephen Weitz, who staged it.

PLAY BY PLAY

“… before Jackie Robinson, you couldn’t dream.”

A playwright and a director talk about their intimate experiences with baseball and the stain of racism. Fortunately, there was Jackie Robinson—and now, Jackie & Me.

More than any other sport, baseball has a magic, a

mythology, a tradition that pervades our society.

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FIRST THE PLAYWRIGHT’S NOTE…

I am standing outside a room where my son and daughter are talking about base-ball and race. I am eavesdropping.

My daughter is seven; my son is six. My daughter is white. My son is black—and has just arrived via adoption from Ethiopia six months earlier. We have introduced him to a sport called baseball, and he has started playing it. My daughter, the baseball histo-rian in our family, is telling him all about Jackie Robinson. As she speaks, I realize that our family is having its first conversa-tion about race.

“Jackie liked to play baseball, and he was black like you,” my daugh-ter is telling my son. “But if you

were black, you couldn’t play.” My son—who is only learning to speak English and knows nothing whatsoever about American history or professional baseball—stands his ground: “Why not? I play. I play ball.” “No, not in the majors,” my daughter says again, trying to teach him. “Before Jackie Robinson, you couldn’t play if you were black.” “I could play. I have mitt. I have bat. They not stop me,” says my son in his new language. Exasperated, my daughter finally says: “Yes, you could play the game. But before Jackie Robinson, you couldn’t dream.” After Dan Gutman saw Chicago Chil-dren’s Theatre’s beautiful and memorable production of Honus and Me, he was kind enough to offer me my choice of his other books [to adapt]. Since Jackie Robinson had long been a hero around my house,

Jackie & Me was an obvious choice. I am honored to tell this story. Robinson is an important historical figure—situated at the crossroads of sport, culture, politics and race—but he also was a man playing a game. A game that raised many of us. A game that connects us with our fathers and grandfathers. A game that puts history at our fingertips.

My own father never got to meet his African American grandson or see him play ball. But baseball con-

tinues to connect generations, across time. And because of pioneers like Jackie and Rachel Robinson, Branch Rickey, Larry Doby and others, baseball—well before Selma and Birmingham and the March on Washington—enabled (and forced) America to talk about race. Jackie Robinson’s courage enabled many boys and girls to dream. Including my own.

—Steven Dietz, Playwright

PLAY BY PLAY

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

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I’ve been a baseball fan for as long as I can remember. As a boy, I sat in front of the TV writing letters to my favorite

Phillies players. I was thrilled when I got a return letter from Mike Schmidt and an autographed baseball card. They both hung on my bedroom wall through high school. Between the time of the old, gorgeous fields like Ebbets and Fenway and the new palaces like Coors Field, there was a generation of concrete cylinders they played baseball in—the ugliest stadiums ever. I grew up going to these ballparks such as Veteran’s Stadium in Philadelphia and Three Rivers in Pittsburgh. You could hardly see the field from inside the concourses of the stadium, so there was always an excitement as you came up your ramp to your section and looked down onto the field for the first time. This was always a magic moment for me as a child. I still relish the moment of

arriving at the ballpark. Looking out over the fresh cut grass, smelling the food, hearing the fans. This kind of magic is captured in Dan Gutman’s book and this dramatic adapta-tion. More than any other sport, baseball has a magic, a mythology, a tradition that pervades our society. Ruth, Mays, Mantle, DiMaggio, Griffey. The names are legend-ary, even for those who aren’t fans. As an ingrained part of our culture, sports have tremendous power, both good and bad, to affect how we perceive the world around us. It’s impossible to overstate what a transformative moment Jackie Robinson’s major league debut was for our country. One man stepping across the white chalk line of a baseball diamond forever altered the percep-tions of race. As we well know, Jackie Robinson didn’t end racism or racial tension, but his bravery opened a door for thousands of others to walk through.

This play allows us not only to meet this iconic figure, but also to experi-ence the moment through the eyes of

a young boy only beginning to understand how Jackie’s example applies to his own life. Jackie & Me is a delightful journey. In the literal sense, it documents Joey’s journey through time to meet one of his idols—a monumental figure in American history. At the same time, it’s also a journey of growth and understanding and empathy. The play opens with Joey not being able to get on

base and ends with him coming home, and that journey around the baseball diamond is a perfect symbol of the whole play. We have had a wonderful journey of our own, explor-ing these people and this story. Thank you for coming to share it with us.

—Stephen Weitz, Director

Nov 15 – Dec 22 • Space TheatreProducing Partners: The Corley Legacy Foundation and Keith & Kathie Finger

Special thanks to the following donors supporting Jackie & Me Student Matinees: Dr. & Mrs. Barry Berlin, Boeing, Tom & Noel Congdon, Mr. & Mrs. James W. Espy, Margot & Allan Frank, Mr. & Mrs. Duke Hartman, Walt Imhoff, The Blanche and Irving Laurie Foundation, Thomas Lookabaugh Foundation, Ms. Brigid O’Connor and Mr. Kevin Vollmer, Mr. & Mrs. Jeffrey Peotter, June Travis, United Airlines

ASL interpreted & Audio Described • Dec 8, 1:30pmPerspective on the play: Nov 15, 6pm, Jones Theatre**Attend a moderated discussion with the DCTC’s creative team about the play you are about to see. FREE to the public

Stephen Weitz, Director

Steven Dietz, Playwright

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W When Neil Goldberg was seven, his Mom took him to see The Miracle Worker on Broadway. What fascinated him most was not the play, but the three-dimensional design of Helen Keller’s house revolving on stage. “I came home and did two things,” Goldberg said on the line from his Florida headquarters. “I decided I wanted to learn more about set design—and I wrote my first Tony Award acceptance speech—which I still have to this day.” That conversation happened a few years ago, when Goldberg was touring Cirque Dreams Jungle Fantasy, which was a hit in Denver and later on Broadway. Now Goldberg is back—as promised—with a different edition called Cirque Dreams Holidaze. With its dazzling costumes and a score that runs the gamut from jazz and ballroom to pop, Holidaze is described as an urban theatrical innovation that turns the ordinary on its head. Its one-of-a-kind artists breathe acrobatic energy into a “magical metropolis,” reinvent familiar objects, balance on wires and leap over tall buildings. Goldberg had been doing entertainment events for American companies since the late 1980s when IBM hired him to travel the world and find different talent to put together for an international conference. “The vocabulary was just supposed to be visual,” he explained. “Pure talent on stage. That’s when I became exposed to this whole Cirque genre.” The event, European in inspiration and highly diversified, was a success that made Goldberg realize he was on to something. His clients would give the show a name of their choosing, while his job was to deliver the goods. When staging one of these in Washington, DC, he was approached by the Bally’s Hotel chain. They hired his Cirque Ingénieux for the Bally’s casino showroom in At-lantic City. It wasn’t long before Goldberg moved from the boardroom to the greenroom. From his family’s background in textile produc-tion, he had acquired a knowledge and love of fabric and design. “By the age of 13 or 14 I knew the difference between yarn dyes, woven fab-rics, polyesters and cottons and how things are printed,” he said. Since then his 20,000-square-foot production facility in Pompano Beach, FL, has kept busy. It includes wardrobe and design shops, a gym and a studio “the size of any pro-

scenium stage, so we can block and train artists here…” He remains very hands on, not just in the scenic aspects of each show, but in all manner of design, which, he said, has been “my passion my entire life.” These Cirques have lots of action, no animals, no plot, plenty of music, singing, and lots of aerialists and contortionists from all corners of the globe. If your first thought is that this sounds a lot like Canada’s Cirque du Soleil, Goldberg insists it was not in his consciousness when he selected the Cirque moniker and style in 1991, even though Cirque du Soleil had made its first splash in the US as the surprise hit of the 1987 Los Angeles Arts Festival. How does Goldberg dispel comparisons? “We’ve stayed very true to the vision I created from the inception of this thing and that was to combine the European variety cirque talent with American Broadway theatrics—taking these shows and putting them into the format of tradi-tional Broadway musical theatre, with a prosce-nium, two acts and an intermission. “In a theatre with a proscenium stage you have the ability to become very engaged with the audi-ence. We always have kept the human element very real to the audience and to the experience. It’s not disguised with an overwhelming amount of technology and smoke and mirrors. I think audiences want to see and believe what they’re ex-periencing up close and personal. You don’t want to lose sight of what the artists really do.” n



Dec 10 – 22 • Buell TheatreSponsored by: Comcast

Presenting Partners: L. Roger and Meredith Hutson, Rick & Shelly Sapkin

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The creator of Cirque Dreams Holidaze makes good on a promise to expand the Cirque genre.

B Y S Y LV I E D R A K E

“We’ve stayed very true to the vision

I created from the inception of this

thing and that was to combine the

European variety Cirque talent with

American Broadway theatrics—taking these shows and putting them into the format of tra-

ditional Broadway musical theatre,

with a proscenium, two acts and an

intermission.”

—Neil Goldberg,Creator

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It is said that Charles Dickens invent-ed Christmas—the way we celebrate it today, that is. That claim may be a trifle exaggerated, but surely in the English-speaking world the second most beloved story of Yuletide has to be A Christmas Carol. A tale for all seasons and a special joy in mid-winter.

Why are we here today, in this theatre, to watch this particu-lar drama, if not to celebrate

the season together, regardless of our creeds or cultures? For many of us, en-joying this inspired parable is a seasonal tradition. Whether we read it aloud to the family, view one or more film and TV version or, better yet, leave our homes to watch it unfold on a stage in the company of strangers (neighbors), the story holds a universal and timeless appeal. Dickens himself reached every heart in the theatre when he read it aloud to audiences in England and America. And he always did. Americans especially adored him. There are many anecdotes about people changing their lives upon reading or hearing this story—factory owners giving their workers better

working conditions and time off at Christmas, and even young people redi-recting their lives to the greater good. A Christmas Carol mirrors Dickens’ own passion for the season, his own enlightened religious convictions and his lucid social conscience. Most of all it reflects his profound humanity and his heroic confidence in the ability of a human being to change for the better. While Dickens was writing the Carol, there were nights when he couldn’t sleep. It’s been said that he wandered the bad by-ways of his smoky city all night, gesticulating wildly and mutter-ing to himself as he took on each of the characters’ parts. The next morning he wrote down what he had worked out the night before. It’s clear enough why these characters leap from the page—their author imagined them so vividly he seems to be alive in each.

A Christmas Carol pulsates with energy, wit and cleverly evoked tingles. The aptly named Scrooge

(an old-fashioned vulgarization of “squeeze”) may be a shrewd business-man, but he’s allowed his heart to shrivel up so tightly that all impulses

of joy and mercy have dried to a gray paste, turning his whole existence gray. “Oh! But he was a tight-fisted hand at the grindstone. Scrooge! A squeez-ing, wrenching, grasping, scraping, clutching, covetous, old sinner,” writes Dickens. Even his physical features have frozen into a mask of avarice and bitterness.

But Dickens does not give up on him. Having all but sold his soul to Mammon, Scrooge is not be-

yond the saving reach of Dickens’ kind and scary spirits. These ghosts mock him with his own words, dazzle him with their light and evoke the ghastly loneliness of his misspent life. This unworthy old buzzard has one chance at reclamation—secured for him by his long-dead business partner, Jacob Marley. A ghost awash in the purga-torial pains of remorse, Marley ap-pears to Scrooge on Christmas Eve and foretells that three spirits will follow his visitation. He as much as says that these phantoms will rub Scrooge’s face in the truth until he confronts what he has become and determines to change. Why tell a ghost story at Christmas?

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UNDERSTANDINGCHARITY

OF SPIRITS,

As inspired as it is inspiring, A Christmas Carol never seems to lose its perennial appeal, its scariness, its burnished wonders or its joys.

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Partly because, to Dickens, a life spent merely in the pursuit of money—without generosity

toward others—was a shadow life. After all, Scrooge spends most of the narrative invisible to the other characters, past, present and future. And then it would take an extreme visitation to shake up a man like Scrooge. Marley’s long, dense chains, his alarming pallor and his anguished screams and sighs frighten Scrooge out of his smugness, rendering him open to instruction. The ghosts who follow Mar-ley reveal to Scrooge the sum total of his life in the only ways he understands: his

past, just who he is and how he got that way; his present, in contrast to the happy lives of others he knows; his future, a death hopeless and unwept—the inevi-table end of an utterly futile life. The ghosts also are the metaphorical means of introducing a spiritual dimen-sion into the story. There’s more to life than meets the eye. The message might have been merely materialistic—about sharing material means. Instead, the ghostly presences represent the spirit in humankind that needs to love and be loved. Much is made of charity in the novella, but the word means more than just the giving of alms. “Charity,” from the Latin, caritas, means esteem, affection and, translated from the Greek agape, means disinterested and therefore selfless love. That is the foundation of Dickens’ thought.

It follows, then, that fellowship with others is another important spiritual issue for Dickens—as it is in all the

great religions. As the unhappy Marley puts it, “It is required of every man that the spirit within him should walk abroad among his fellow-men…” And we all know what happens in Dickens’ world view to those who fail that requirement.

Because Dickens re-envisioned the season in an age of vast and hopeless poverty, he emphasized abundance and what it could accomplish. He had his tough-minded, socio-political intentions: He determined to startle his readers awake to the injustices all around them in all his writings. In A Christmas Carol, the Ghost of Christmas Present shows Scrooge two ghastly children—Ignorance and

Want—whom Dickens believed (cor-rectly) would grow up to tear down the selfish hierarchies of English society. He wanted his countrymen to do something about those two offspring before they shredded the fabric of society and chaos descended. He didn’t want to overthrow his society; he wanted to rescue it from itself.

But if Dickens was a moralist, he was no Puritan. He took a generous delight in Christmas

merrymaking. His enjoyment of festivity sparkles in the Cratchits’ gin punch, the Fezziwigs’ ball, in the games at nephew Fred’s. He saw the humble “bounty” of the ebullient Cratchit family feast as an answer to the gloom and cold of winter as much as a rebuke to Scrooge’s and his ilk’s indifference to the poor. Feasting is celebrated throughout the story because, for Dickens, generosity and the merriment of the season were antidotes to the inward leanings of selfishness. They expanded the heart to include others and so were expressions

of inclusive cordiality and hospitality.

Finally, Dickens saw the innocent open-heartedness of merriment, gift-giving and hospitality as a

proper response to the original Christ-mas story. That is why the Ghost of Christmas Present takes Scrooge to see the poor miners who labor in the earth, “but know how to keep Christmas” in their jubilant carol singing. The Ghost shows Scrooge sailors on a freezing sea and two old weather-beaten lighthouse keepers alone on their island, all singing their Christmas hymns and songs with ardent affection for each other, for home and for the season.

Each other. Home. The season. That is why we are here today with Dickens, Scrooge, and his haunt of ghosts, waiting to see the familiar tale unfold upon this glistening stage in each other’s neighborly company. And then, as we leave, to set us humming a lively Christmas carol. n

Marilynne S. Mason is a Denver-based arts journalist and critic who has written for various publications, most notably on staff for The Christian Science Monitor.


Nov 29 – Dec 29 • Stage TheatreA HealthONE Family ProductionSponsored by: Macy’s Foundation

ASL interpreted & Audio Described • Dec 15, 1:30pm

A CHRISTMAS CAROL

Rich Black ink 70c, 40m, 40y, 100k

Black

White

Original Font

As the unhappy Marley puts it, “It is required of every man that the

spirit within him should walk abroad among his fellow-men…”

And we all know what happens in Dickens’ world view to those who fail that requirement.

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SINGLE TICKETS ON SALE NOW DENVERCENTER.ORG/SUBS • 303.893.6030

See all three shows starting at $97

SEASON PARTNERS

SPARK A SEASON OF ENTERTAINMENT

THE LEGEND OF GEORGIA MCBRIDE

By Matthew Lopez

World Premiere

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SPONSORED BY

PRODUCING PARTNERS

PRODUCING PARTNERS

PRODUCING PARTNERS

JAN 10 – FEB 23

BLACK ODYSSEYBy Marcus Gardley

A Denver Center commission

HAMLETBy William Shakespeare

JAN 17 – FEB 16

JAN 24 – FEB 23

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S BY

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ALON

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KatyATKINSON

Times Boldfirst name - 12ptlast name all caps -16pt (13pt leading)

FOX, Alan&Katie

Hamlet is part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in cooperation with Arts Midwest.

TICKETS START AT $35



This play is a recipient of an Edgerton

Foundation New American Plays Award.

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For tickets & our full winter lineup:

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Cirque Evolution at the VPAC.

Photo by Zach Mahone.

Experience the performing arts like never before. In Beaver Creek’s intimate,

500-seat VPAC, there’s not

a bad seat in the house!

ART

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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. 1013-05795

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 the team presented a check for $27,600 to Kevin Seggelke, President and CEO of Food Bank of the Rockies.

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.

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The Broadway division of The Denver Center for the Performing Arts

and Season Sponsors

and

Three Acts, Two Dancers, One Radio Host is supported by the Rockefeller Brothers Fund. It is also made possible with public funds from the National Endowment for the Arts and further supported by The Dianne and Daniel Vapnek Family Fund. This work was developed during a Choreographic Fellowship at the Maggie Allesee National Center for Choreography at Florida State University, and was also supported through the Media Fellowship Initiative at MANCC.

In Association with Rebek Productions

Words: Ira Glass

Choreography: Monica Bill Barnes

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Ira Glass is the host and creator of the public radio program This American Life. The show is heard on more than 500 public radio stations in the U.S., plus Canada and Australia. Most weeks, it’s the most popular podcast in America. Under Glass’s editorial direction, This American Life has won the highest honors for broadcasting and journalistic excellence, including several Peabody and DuPont-Columbia awards. The American Journalism Review declared that the show is “at the vanguard of a journalistic revolution.”

A television adaptation of This American Life ran on the Showtime

network for two seasons, winning three Emmy awards, including Outstanding Nonfiction Series. Glass co-wrote and co-produced a feature film Sleepwalk with Me in 2012 that won an Audience Award at the Sundance Film Festival. Half a dozen other stories from the radio show are in development to become movies or television series. The radio show has put out its own comic book, three greatest hits compilations, DVDs of live shows and other events, a “radio decoder” toy, temporary tattoos and a paint-by-numbers set.

Glass is married and owns a disturbingly allergic dog.

MonIca BIll Barnes is a New York City based choreographer and performer. Born and raised in Berkeley, California, Barnes moved to New York in 1995 after receiving her B.A. in Philosophy and Theater from the University of California at San Diego. She has created fourteen evening-length dance works, numerous site-specific events and multiple cabaret numbers for her company. Her work has been presented in a wide range of venues including The John F. Kennedy Center for the Performing Arts, The Joyce Theater, Upright Citizens Brigade, Symphony Space, New York City Center, The David Koch Theater and alongside the hot

About the ProgrAm:

Who’s Who

R a d i o h o s t I r a G l a s s a n d choreographer Monica Bi l l Barnes thought their work shared a sensibility, even though hers includes no talking and his involves no physical movement whatsoever.

“There’s something funny and intensely personal in her dances,” Glass says, “with these moments of awkwardness or self-consciousness or striving that I find so relatable.”

“Ira has a way of telling stories that makes me feel like I am playing a supporting role,” Barnes says. “I

will cringe, laugh and sometimes be heartbroken - basically I empathize, which is what I want an audience to do when we are dancing.”

In May 2012 they collaborated on three short dances that were part of a This American Life variety show that was beamed into movie theaters nationwide. It was such a success that they decided to do a full show that combines stories and dance. Some are performed together onstage by Glass, Barnes and dancer Anna

Bass. For a few, the dancers or the radio host take over for a while.

“People who like This American Life will probably like this,” says Glass “because it’s just like the radio show, um, if you picture dancers during all the stories.”

“I think it’s important that we put the phrase ‘risk taking’ into the press materials and show description,” adds Bass. “That’s important in the dance world.”

“Done,” says Glass. “Well done.”

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tub at The Standard Hotel. Barnes has been an invited Guest Artist at North Carolina School of The Arts, Vassar College, Virginia Commonwealth University, Connecticut College, The College at Brockport, Florida State University, James Madison University, University of Michigan and Emory University. She has choreographed for theater productions at The Signature Theater, The Atlantic Theater and Under the Radar Festival. Recent dance commissions include new works for Parsons Dance and The Juilliard School. Barnes was thrilled to be a part of “This American Life Live!” last May alongside her favorite radio host Ira Glass and for the wonderful opportunity to create a solo for David Rakoff for this event.

anna Bass began working with Monica Bill Barnes & Company in 2003. She has performed Barnes’ work all over the country and on stages ranging from public fountains and city parks, to New York City Center and Carnegie Hall. Bass and Barnes began their duet work in 2007 in Barnes’ “Suddenly Summer Somewhere” and have been side by side ever since. In addition to her performance work, Bass also teaches repertory workshops and master classes for the company. She assisted Barnes with dance works for Parsons Dance and Juilliard New Dances, with choreography for theater productions at The Atlantic Theater and The Public Theater, and in “This American Life Live!” with a solo for David Rakoff. Bass is also a certified yoga instructor and teaches in New York City. Her early dance training included studying ballet at Virginia School of the Arts and performing with her local studio in jazz and tap

competitions around the Southeast. Bass is originally from Forest, Virginia and holds a B.A. in Dance and Theater from James Madison University.

MonIca BIll Barnes & coMpany is a contemporary American dance company with the mission to celebrate individuality, humor and the innate theatricality of everyday life. MBB & Co. has performed in over twenty venues in New York City ranging from Joe’s Pub to Carnegie Hall and including three seasons at The Joyce Theater. The company has been presented in more than forty cities throughout the United States and has been commissioned and presented by The American Dance Festival, Bates Dance Festival, Fire Island Dance Festival and Jacob’s Pillow Dance Festival. MBB & Co. has received support from The National Endowment for The Arts, the Rockefeller Brothers Fund, New England Foundation for the Arts - National Dance Project, Doris Duke Charitable Foundation, New York State Council on the Arts, The Greenwall Foundation, Bossak/Heilbron Charitable Foundation and New York City Department of Cultural Affairs. In 2012 MBB & Co. performed in “This American Life Live!” as a part of the public radio show’s cinema event shown in more than 600 movie theaters across the US, Canada and Australia. Recent highlights include performances at The John F. Kennedy Center for the Performing Arts, The David H. Koch Theater at Lincoln Center, Upright Citizens Brigade, The Mayor’s Awards for Arts and Culture at New York City Center and at Carnegie Hall alongside Ira. www.monicabillbarnes.com

Jane cox (Lighting Designer) has designed with Monica for more than a decade, and her collaboration with the company is central to her creative life. Jane’s other projects for the 2012-2013 season include designing Lucia Di Lammermoor at Sydney Opera House, Picnic on Broadway, Passion at CSC, and The Whale and Flick at Playwrights Horizons. New York theater includes Broadway and designs for MTC, Roundabout, Public Theatre, B.A.M., Playwrights Horizons, Second Stage, Signature Theatre. Jane also has a long-term collaboration with choreographer Doug Varone, with whom she was awarded a Bessie, and has been teaching theater design at Princeton University since 2007.

Kelly Hanson (Set/Costume Designer) is a New York based designer and director/creator of new performance works. She has collaborated with Monica Bill Barnes on dozens of shows over the past decade. Additional scenic design credits include Bill Irwin’s The Happiness Lecture at Philadelphia Theatre Company, John Clancy’s Fatboy in NYC and the Edinburgh Fringe Festival (Fringe First Award), Flags (Off-Broadway) and King Stag at Seattle Rep. Kelly currently spends her days art directing at NBC for Late Night with Jimmy Fallon. She is also Co-Artistic Director of Human Company, which is devoted to the creation of new physical theatre works. With Human Company, she has developed and directed Orpheus and Eurydice (2007), Is It True What They Say About Dixie? (2009) and Against the Dying of the Light (2010).

Who’s Who in the CAst

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There are many individuals and organizations that have supported the making of Three Acts, Two Dancers, One Radio Host. We would like to acknowledge our incredible creative team – Kelly Hanson, Jane Cox, Robert Saenz de Viteri, and Mary Ellen Stebbins. We would also like to thank Katelijne De Backer, Carol Fisler, Melanie Aceto, Kim Dooley, Dawn Nadeau, Royd Climenhaga, Trey Lyford, and Seth Lind, as well

as our wonderful team of artists who have built our props and costumes: Joanie Schlaffer, Rachel Navarro, Pat Murphy and Jeremy Lydic. In addition, we are grateful for production support from Rosebrand, Daedalus Design and Production, The Crew at Late Night with Jimmy Fallon, Ellen Waggett and Heather Wolensky. Lastly, this work would not be possible without the generous support of private patrons and we offer them our heartfelt thanks.

I’LL NEVER FALL IN LOVE AGAIN (Burt Bacharach, Hal David) performed by Dionne Warwick. (C) 1968 (Renewed) New Hidden Valley Music Company (ASCAP) and Casa David Music (ASCAP). All rights on behalf of New Hidden Valley Music Company. Administered by WP Music Corporation. All rights reserved. Used by permission.

LET IT BE ME (Gilbert Becaud, Manny Kurtz, Pierre Leroyer) performed by Nina Simone courtesy of RCA Records/Sony label group. Rights courtesy of Universal Music.

GET UP (I FEEL LIKE BEING A SEX MACHINE) (James Brown, Bobby Byrd, Ronald R. Lenhoff) performed by James Brown. 100% interest. (C) 1970 (Renewed) Dynatone Publishing

Company (BMI) All rights administered by Unichappell Music Inc. All rights reserved. Used by permission.

DEEP BLUE DAY (Brian Peter George Eno, Roger Paul Eugene Eno, Daniel Roland Lanois) Rights courtesy of Opal Music PRS.

WHAT’LL I DO (Irving Berlin) performed by Nat King Cole. Published by Irvin Berlin Music. Rights courtesy of Virgin Records.

UNDAN HULU (Ólafur Arnalds) Rights courtesy of Nettwerk One B Music US (BMI).

ONE (Marvin Hamlisch, Lawrence Kleban) Rights courtesy of Sony/ATV Harmony Publishing.

thAnk You:

ProduCtion stAff:

musiC rights informAtion:

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,

Denver Center Theatre Company

Janet Flesch . . . . . . . . . . . . . . . . . . . . . . Director of Marketing,

Denver Center for the Performing Arts

Suzanne Yoe . . . . . . . . . . . . . .Director of Marketing Services

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

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

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

Simone Gordon . . . . . . . . . . . . . . . . . . . Marketing Coordinator

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

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

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

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

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

Ken Mostek . . . . . . . . . . . . . . . Videographer/Cinematographer

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

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

Patron Relations

Adam Quinney . . . . . . . . . . . . . . . . . . . . . Box Office Manager

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InforMatIon servIcesBruce Montgomery . . . . . . . . . Director of Information Services

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

DevelopMent DepartMentDorothy Denny . . . . . . . . . . . . . . . . . . Executive Vice President

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

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

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

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

the Denver center for the performing arts

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

Denver center attractions gratefully acknowledges the following support

in its 2013/14 seasonProduction Director/Stage Manager:

Robert Saenz de Viteri

Lighting Director/Stage Manager: Mary Ellen Stebbins

Lighting Supervisor: Tess James

Set/Costume Assistant: Aaron Ethan Green

Music Clearance: Anthony Roman

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A SALUTE TO OUR DONORS

We are proud of the fact that nearly 7,000 people make up our donor family. There are so many different ways that donors lend their support to The Denver Center. We would like to share a few of them…

Years ago I had the free-dom to choose where I wanted to live in the United States. One of the many factors I considered

in my decision was the importance, quality and

availability of live theatre. The DCPA met that require-ment for me and was a big reason that I chose to move to Denver. Because theatre is still something that I value highly, I feel it is important to support that through my attendance and a yearly donation.

I have enjoyed the DCPA for a long time, but until I joined the Marquee Club, I just didn’t seem to find the time to go to perfor-mances very often. My participa-tion in the Marquee Club not only

gets me great seats to a show, but it includes a donation to

support the theatre, and I am happy to provide that support. The DCPA and the Marquee Club have really expanded my horizons and introduced

me to many wonderful people who have become

close friends.

Because I volunteer as a Tour Ambassador, I see the skill and pride the DCTC craftspeople bring to our productions. As a long-time subscriber, I know the quality of the onstage productions, so to keep our theatre at the top, I am happy to add a little to my ticket prices as a donor.

Every Christmas my grandparents give their grandchildren $100 to donate to something that is important to us. I decided to donate to the DCPA because the arts hold a very special place in my heart. I am a dancer and I aspire to perform at the DCPA someday.

My mother shared her love of the theatre with me at an early age. After she passed, I wanted to find a unique way to honor her memory, so when I learned about the opportunity to “Name a Seat” at The Ricketson Theatre, I was delighted. Growing up close to Manhattan I was exposed to a cultural feast. The Denver Center for the Performing Arts provides the same wonderful opportunities that I now can share with my children and grandchildren. To this day, when I hear the conductor’s first tap, I remember my mother’s throaty, conta-gious laughter and feel her warm embrace. I am thrilled that my donation honors my memories of our time together at the theatre.

Mary Ellen

MILLER

Colin

WALKER

Catalin

VARELA

Barbara

THORNGREN

Leslie

GALLUZZO

DONORS

303.893.4100 APPLAUSE 21

VIP nights are our favor-ite evenings of the year. During the wonderful pre-show dinner, art-loving audience members get a chance to meet and converse, before seeing

wonderful Broadways shows. These events offer

not only an evening of great entertainment, but also include a donation to one of our commu-nity’s most precious assets: the DCPA.

We became Encore Society members by including DCPA in our Stansbury Family Trust with the goal of giving back to the Denver metro com-munity. This is our way of

“paying it forward” so that future generations will

have the experience of great theatre as we have had for many years.

A favorite quote I like is by none other than MLK...“Life’s most persistent and urgent

question is, ‘What are you doing for oth-

ers?’” I have supported the Women’s Voices Fund for

over seven years. I love the mis-sion and the work. My mother, a single parent raising my brother and me, was the nucleus of our family. I want to be that to my family and the community and bestow the goodwill and compassion I was taught.

We have enjoyed the DCPA since we moved to the Denver area more than 20 years ago. We find the performances inspiring, enlightening and thoroughly entertaining. What we have re-ceived from the performances in our ten plus years as season ticket-holders is priceless, and it is our pleasure to give back as we realize the theatre cannot survive on ticket sales alone.

The DCPA has some fantastic educational programs for children and teens. My daughter Katie has enjoyed be-ing a part of the DCPA for several years. The teachers do a great job of making the students feel like they are a part of something special, and I am pleased to give

back to a program that gives so much.

Loretta

ROBINSON

Michael

ROCHE

Roger and Michelle

STANSBURY

Dave and Mary

BETKER

Mike and Elisa

FERRARI

With your help The Denver Center will continue to be a place where Broadway tours begin, a place where new plays and new musicals get their start, and a place where young people experience the magic of theatre at an early age and hold onto it for a lifetime.The DCPA is a not-for-profit orga-nization. Please join our donor family today.

3 easy ways to donate:

Mail:Denver Center for the Performing Arts

Attn: Development Office1101 13th Street, Denver, CO 80204

Online: denvercenter.org/donatePhone: 303.446.4802

ANDWITH P R E S E N T

303.893.4100GROUPS: 303.446.4829 TTY: 303.893.9582

DEC 10 – 22, 2013BUELL THEATRE

JAN 15 – 26, 2014BUELL THEATRE

FEB 25 – MAR 9, 2014BUELL THEATRE

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NOV 29–DEC 24GARNER GALLERIA THEATRE

NOV 30–DEC 1BUELL THEATRE

DEC 7BUELL THEATRE

JAN 16–MARCH 9GARNER GALLERIA THEATRE

The SantaLand Diaries

By David Sedaris Adapted by Joe Mantello

Give the gift of theatre this holiday season

Gift certificates and subscriptions available

APRIL 25–27BUELL THEATRE

MARCH 18–23BUELL THEATRE

MAY 23–25BUELL THEATRE

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THREE ACTS,TWO DANCERS,

ONE RADIO HOST:IRA GLASS, MONICA BILL BARNES, ANNA BASS

Photos: Ebru Yildiz

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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

Your gift helps ensure that Denver is a place where young people have the opportunity to experience the magic of theatre and become the next genera-tion of theatre lovers. We will provide a card you can present to your loved one. Gifts of any size are greatly appreciated. Name a seat in The Ricketson TheatreHonor someone by putting their name on a seat in The Ricketson Theatre for $1,000. Payment plans are available and gifts support our new play fund.

Marquee Club member for a nightTreat them to a special night at the theatre with a dynamic group of active professionals that make up our Marquee Club. $250 gets you two tickets to an April 17 performance of Animal Crackers, open bar and hors d’oeuvres before the show, and a “Meet the Cast” party at Ocean Prime in Larimer following the show.

Treat them to a VIP eventWho doesn’t want to see Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins? You can see them all at our VIP event for Million Dollar Quartet on Sunday, March 9 at 12:30pm. Guests will enjoy a mimosa bar and brunch in the Seawell Grand Ballroom, followed by the performance in The Buell Theatre. VIPs will have the best seats in the house. $225 each.

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Make a DONATION in honor of your special someone.

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Traditional Worship for Contemporary PeopleContemporary PeopleCandlelight Christmas ServicesCandlelight Christmas ServicesAdvent Organ RecitalsAdvent Organ RecitalsChristmas Concertswww.trinityumc.org

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Winter blooms with a million glittering lights!Sparkling passages & brand new displays

Twinkle, Twinkle Little Bar* &strolling choirs (select evenings)

*21 & over

Trail ofLIGHTS

C-470 & WADSWORTH BLVD.

In the trail, winter is glistening!Sleigh bells ring (on select evenings)

Kettle corn & hot drinks • Toasty fire pitHistorical homestead decorated

for Christmas

SUPPORTING SPONSORS

New Experiences. Classic Space.

Colfax and Bannock StreetsArtsandVenuesDenver.com

Cultural Performances.Special Events.Receptions.

Come Sing With Us!www.youngvoices.org

Informational meetings and friendly auditions fall, spring and summer

Membership information: offi [email protected]

303.797.SING

Octaves … Above The RestTM

D. U. Newman Center Concerts December 8 - May 4 - June 29

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CCostumes from the Denver Center Theatre Company collection took to the runway October 23rd as volunteers and community leaders modeled the treasures at Theatre Threads, A Costume Runway Show. Event chairs John Farnam and Denise Bellucci announced net proceeds of $20,000 benefiting the Denver Center Theatre Company. Three hundred guests enjoyed the luncheon in the Seawell Grand Ballroom followed by the runway show featuring 20 costumes, all designed and hand-created by Theatre Company craftsmen. Participating models included: Jeremy Anderson. Jamie Angelich, Fiona Baldwin, Murri Bishop, Keri Christiansen, Sharon Cooper, BJ Dyer, Terri Fisher, Adrienne Ruston Fitzgibbons, Alice Foster, Roger Hutson, Carmel Koeltzow, Gayle Novak, Stacy Ohlsson, Loretta Robinson, Jackie Rotole, Judi Wolf. n

RUNWAY FUN ATTHEATRE THREADS

Event Chairs John Farnam

and Denise Bellucci

Terri Fisher in her costume from Room Service, a 1995/96 season production.

Roger Hutson tips his hat to the 300 guests in attendance.

Jackie Rotole gets a

finishing touch to her

Romeo & Juliet costume

from DCTC wig master Diana Ben-Kiki.

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The gang’s all here!

303.893.4100 APPLAUSE 27

Jamie Angelich showcased

an Andrew Yelusich-designed

costume from Twelfth Night.

Daniel Ritchie, aka Lady Givesmore, took the opportunity to promote the upcoming world premiere of The Legend of Georgia McBride. He also announced a gift to the Women’s Voice Fund. “I appreciate women more than I ever have before!”

Loretta Robinson in a princely costume from 1001, a 2006/07 season production.

Loretta Robinson, Stacy

Ohlsson, Gayle Novak Fiona

Baldwin and Murri Bishop

relax backstage before the show

Carmel Koeltzow on the catwalk, er, runway.

Emcee Kirk Montgomery

from 9News gets a last

minute touch-up from

DCTC Costume Crafts

Director Kevin Copenhaver

Judi Wolf in the devil’s wife costume

from Pork Pie: A Mythic Jazz Fable.

Gayle Novak prepares for

her role as Richard III.

That’s Jeremy Anderson behind the

mask in a costume from 2004/05

season’s Dirty Story.

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Fidelity InvestmentsOutreach, Service and Philanthropy

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Fidelity Investments is a proud sponsor of the Denver Center Theatre Company

Student Matinee program where school groups see live, professional productions at The Denver Center for the Performing Arts (DCPA). During the 2013/14 season nearly 16,000 students will participate in 33 matinees. The company also is the presenting sponsor of The Den-ver Center’s popular VIP Evenings. Fidelity Investments is one of the world’s largest providers of financial services, with assets under administration of more than $4.2 trillion, including managed assets of more than $1.8 trillion, as of August 31, 2013. Founded in 1946, the firm is a leading provider of investment management, retire-ment planning, portfolio guidance, brokerage, benefits outsourcing and many other financial products and services to more than 20 mil-lion individuals and institutions, as well as through 5,000 financial intermediary firms. Fidelity continues to grow in the Denver area, recently celebrating the opening of its new customer contact center in Greenwood Vil-lage, which has the capacity to employ as many as 500 people in a range of roles that represent new jobs for the state. In addition, the firm’s five area investor centers are open to clients to come in and work one-on-one with Fidelity to address all of their financial needs.

Fidelity has a long history of community outreach and philan-thropic service in communities nationwide. Among its outreach initiatives, the company partners with numerous civic, charitable, arts and cultural organizations across the country, one of which is the DCPA, to support and strength-en arts education and appreciation. Sponsoring events such as VIP Evenings and the Student Matinee program gives Fidelity the oppor-tunity to give back to the Denver area community. Supporting both education and the arts is an ongoing commit-ment for Fidelity. To date, the firm has assisted more than 200 public schools across the country by helping update classrooms and other learning spaces, providing volunteer time, mentorship and special performance opportunities to students, and donating much needed resources including school supplies, computers and even new musical instruments. Fidelity looks forward to con-tinuing these efforts here in Denver and nationwide. n

For more information about Fidelity Investments,

visit www.fidelity.com.

Fidelity Brokerage Services,Member NYSE, SIPC, 900 Salem

Street, Smithfield, RI 02917

Sponsoring events such as

VIP Evenings and the Student

Matinee program gives Fidelity

the opportunity to give back to

the Denver area community.

A proud sponsor of the Denver Center Theatre

Company Student Matinee program and popular VIP Evenings

Free Tours!Info & group tour reservations: 303.581.1202

OPEN EVERY DAY except major holidays

4600 Sleepytime Drive, Boulder • celestialseasonings.com

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Take the FREE Celestial Seasonings tour – voted one of the Top Ten Free Tours in the country!

First Class Convenience for DIAFirst Class Convenience for DIA

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Your LOCAL Choice Since 1998! * Daily Price with Use of Coupon, does not include Access Fee.

DIA Covered Parking $23.00/dayUSAirport Covered Parking* $12.00/dayDIA Outerlying Shuttle Lots $8.00/dayDIA Economy Lots $12.00/dayUSAirport Open Parking* $7.00/day

Valet fees extra. Valid With Or Without Frequent Parker Card. Not Valid With Any Other Offer.

One Per Visit. Not Valid With Monthly Or Yearly Prepaid Rates. Rates & Offers Subject To

Change. Access fees do apply.

Expires 4/30/2014

Expires 4/30/2014

934 16TH ST. DENVER 80202 (303) 893.2233 RIALTOCAFE.COM VER 80202 (303) 893 2233 RIAVER 8VER 80202 (303)

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OLD WORLD FLAVORWITH ACONTEMPORARYTWIST

Pre-theatre3 course dinner$35 per person

Includes a glass of wine

1512 LARIMER #38(In the heart of Writer Square)

303.595.860Owww.redsquarebistro.com

The Cheesecake Factory features an extensive and creativemenu of more than 200 dishes made fresh from scratch,along with more than 50 low-calorie “SkinnyLicious™”

dishes and 50 signature cheesecakes & desserts.Enjoy lunch, dinner, late night dining

and Sunday Brunch.

1201 16th Street • Tabor Center • Denver(Just a short walk from the Performing Arts Complex,

at the corner of 16th & Larimer St.

303-595-0333www.thecheesecakefactory.com

Specializing in the fi nest extra-virgin olive oils and balsamic vinegars from around the world.

LoDo1338 15th Street

(15th at Market) in LoDo303-974-5784

Monday-Thursday: 11-6pmFriday-Saturday: 11-7pm

Sunday: 11-4pm

Bring in your program for 10% off your purchase.

Littleton2660 Main Street

(Next to Savory Spice Shop)720-328-4783Monday: 10-5pm

Tuesday-Friday: 10-6pmSaturday: 10-5pmSunday: 11-4pm

Tender, smoky, and unmatched - that’s our Smokehouse Beef & Cheddar Brisket.™USDA Choice Brisket, hickory-smoked 16+ hours in one of Texas’ best smokehouses,

melty cheddar, and Sweet Baby Ray’s® BBQ Sauce. Together, it’s so amazing, it’sguaranteed. Take one bite. Our way beats their way. If you don’t agree, it’s free ®.

Visit FirehouseSubs.com to order online and find your nearest location.

FREE Chips & Medium Fountain Drink when you buy any Sub.

The offer only valid at this tasty location:Lincoln Commons, 9992 Commons Street, Suite 120

Lone Tree, CO 80124 • 303-495-2218Centennial, CO, 9445 E. County Line Rd., Suite B • 303-792-3216

© 2010 Firehouse Subs. This offer valid with coupon at participating restaurants. Prices and participation may vary, see restaurant for details. Limit one per customer, per visit.

Not valid with any other offers. Exp. 05/14. COMBOSSUB

Tender, smoky, and unmatched - that’s our Smokehouse Beef & Cheddar Brisket.™ USDA Choice Brisket, hickory-smoked 16+ hours in one of Texas’ best smokehouses, melty cheddar, and Sweet Baby Ray’s® BBQ Sauce. Together, it’s so amazing, it’s guaranteed. Take one bite. Our way beats their way. If you don’t agree, it’s free ®.

Visit FirehouseSubs.com to order online and fi nd your nearest location.

Happy Hour

Sunday–FridayOpen–Close

Fresh Fish. Flown in Daily.

Across from Theatre14th & Arapahoe St. • (303)991-2277

theoceanaire.compizzarepublica.com

one of downtown denver’s best happy hours

Join us daily from 3:30-6:30 pm

Salute!

890 14th Street • 303.623.2811

Show your tickets and receivea free appetizer with yourpurchase of two entrées.

Offer good at both locations!

501 16th Streetmarlowesdenver.com

(303) 595-3700

519 16th Streetparamountcafe.com

(303) 893-2000

THINKDRINK

EATLOCAL

Japanese Steakhouse & Sushi Bar

Join us after the show!

Corner of 32nd & Lowell720.855.0888

sushihai.com

Just 3 blocks from the theater complex 909 17th Street at Champa

Call 303.296.3525 for reservations

Four Diamonds AAAFour Stars - 5280 magazine

Fine Wines.

DCPA patrons receive a free bottle of Canvas wine and a $10 hotel parking credit with the purchase of two dinner entrees.

Hyatt Regency Denver at Colorado Convention Center650 Fifteenth Street, Denver, CO 80202303 486 4434Offer valid thru May 31, 2014.

www.theloganschool.org303.340.2444

Engage. Explore.Empower.

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

Tours now through December 11

Applications due by January 8, 2014

Too often we give children answers to remember rather than problems to solve.

– Roger Lewin


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Larimer Square, recognized as Den-ver’s most “historic block,” also is popularly known as downtown

Denver’s premier shopping and dining district. Larimer Square and Larimer Associates, the Denver-based real estate investment and management firm that op-erates Larimer Square, takes great pride in supporting its neighbor, The Denver Center for the Performing Arts (DCPA). “Larimer Square has not only found a special organization to continue to sup-port, but it has found the perfect partner,” said Jeff Hermanson, Larimer Associates’ CEO. “It’s about creating a meaningful relationship on multiple levels with our different merchants and with all the dif-ferent programs and areas of The Denver Center.” Larimer Square and the DCPA share a strong commitment to the arts. The Square has distinguished itself from other districts by creating a place for indepen-dently minded shops and restaurants, giv-ing entrepreneurs the artistic freedom and support they need to make their business dreams a reality. At the same time, the Square offers a shopping and dining expe-rience that embodies and complements artistic and creative sensibilities.

“We are so honored to support the many talented, creative and entrepreneurial minds that fill the theatres of The Denver Center every night,” said Hermanson. “And I’d like to think that similarly we support the many artists on Larimer Square. Our chefs, cocktail mixologists and retail tenants are some of the most artistic in the city.” In addition to the DCPA, Larimer Square is a proud supporter of the Down-town Denver Partnership, the Larimer Arts Association, LoDo District, Art of Winter, Global Down Syndrome Founda-tion, We Don’t Waste, VOA and more. For the past 11 years, Larimer Square has hosted the Denver Chalk Art Festival, which benefits Larimer Arts in its mission to promote awareness and education in Denver. “Denver is in the middle of an entrepre-neurial and cultural transformation,”continued Hermanson. “It’s been amaz-ing to witness and an honor to be a part of this change with the Larimer Arts As-sociation and our partners at The Denver Center.” n

“It’s about creating a meaningful relationship on multiple levels with

our different merchants and with all the different

programs and areas of The Denver Center.”

—Jeff Hermanson,CEO, Larimer Associates

Downtown’s Go-To DestinationLarimer Square

A proud sponsor ofDenver Center Theatre Company’s

2013/14 Season

Jeff Hermanson,CEO, Larimer Associates

NEXT UP

303.893.4100 APPLAUSE 33

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

denvercenter.org

The Legend of Georgia McBrideJan 10 – Feb 23 Ricketson Theatre

Elvis impersonator Casey, on the verge of unemployment, learns a lot about show business—and himself—when an opportunity he never expected comes his way. This world premiere is a saucy comedy with music and a great big heart.

ASL interpreted and Audio Described performance Feb 2 @ 1:30pm.

EvitaJan 15 – 26 Buell Theatre

One of Andrew Lloyd Webber’s earliest and most enduring musicals traces the life and rise to power of Argentina’s Eva Perón.

ASL interpreted, Audio Described and Open Captioned performance Jan 26 @ 2pm.

Looking ahead…

black odysseyJan 17 – Feb 16 Space Theatre

Myth, humor and modernity re-verberate in this world premiere as ancient Greek archetypes and new world African American culture collide in this update of Homer’s epic, tracking a black soldier returning from the Gulf War.

ASL interpreted and Audio Described performance Feb 16 @ 1:30pm

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Mamma MiaJan 28 – Feb 2 Buell Theatre

Producer Judy Craymer had to sell her flat to pay for the rights to convert ABBA’s songs into a musical. She was handsomely re-paid when the musical became the surprise hit of the 1999 West End season—and a worldwide smash hit was born.

ASL interpreted, Audio Described and Open Captioned performance Feb 1 @ 2pm.

HamletJan 24 – Feb 23 Stage Theatre

Proclaimed the “greatest play in the English language,” this trifecta of revenge, deceit and moral corruption escalates as the need to avenge his father’s suspi-cious death prompts Hamlet to contemplate action, inaction and the meaning of life.

ASL interpreted and Audio Described performance Feb 23 @ 1:30pm

Spark a dialogue today by participating in our free CONNECT program. Designed to enhance your theatre experience, the CONNECT program offers a variety of opportunities, including moderated discussions with the cast and creative staff, educational resources, tours, and other special events. For more information visit www.denvercenter.org/CONNECT

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T he Denver Post is proud to support The Denver Center for the Performing Arts (DCPA), both through sponsorship of its acclaimed theatre productions as

well as with grant funding through Denver Post Community Foundation. Our partnership is founded on our mutual mission to improve and enrich the quality of life in our community. While the DCPA does that through the performing arts, The Denver Post does it through its Denver Post Community programs, which support nonprofit organizations and events in four focus areas: arts and culture, children and youth, literacy and education, and the provision of basic human services. During this season of giving, the Post focuses on basic human services by continuing its legacy of raising and distributing funds to local nonprofit agencies through Season To Share, a campaign of Denver Post Charities, a McCormick Foundation Fund. Did you know that right here in Denver there are:

• People who don’t have enough food to eat;• Children who lack the education to succeed in the future;• Families who have lost their homes and have nowhere to go;• Adults who can’t read well enough to find a job;• Folks who can’t afford basic healthcare?

Since 1992, more than $59 million has been distributed through Season To Share to help some of Colorado’s neediest citizens. All contributions are matched at 50% by the McCormick Foundation, and 100% of all donations (plus the match) go directly to Denver-area charities that help move people out of poverty. The Denver Post and the McCormick Foundation pay all administrative expenses. Last year, more than 6,400 generous donors contributed $1,850,000. With the match from the McCormick Foundation, grants totaling a record $2,775,000 were distributed to 67 local nonprofits including Boys & Girls Clubs of Metro Denver, Children’s Hospital Colorado Foundation, Colorado Coalition for the Homeless, Food Bank of the Rockies, Goodwill Industries of Denver, Inner City Health Center, Volunteers of America and many more. Thanks to the generosity of thousands of donors and the hard work of the recipient agencies, millions of meals were provided, hundreds of nights of shelter were used and thousands of medical visits were completed last year. n


ART

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MAKING A DIFFERENCE

The Denver Post

Thanks to the generosity of

thousands of donors and the

hard work of the recipient agencies,

millions of meals were provided,

hundreds of nights of shelter

were used and thousands of

medical visits were completed last year.

A proud sponsor of The Denver Center for the

Performing Arts

Many have been helped, but more remains to be done. A donation of any size can make a difference. Will you consider making a contribution after the show?

To learn more about Season To Share or to make a donation:• Look for the daily donation coupon in The Denver Post• Call 800.518.3972• Visit www.seasontoshare.com

HOLIDAYFAMILY MEMORIES

MACY’S • NEIMAN MARCUS • NORDSTROM

160 AMAZING STORES, OVER 40 EXCLUSIVE TO DENVER 3000 EAST F IRST AVENUE • DENVER, CO • SHOPCHERRYCREEK.COM

AT CHERRY CREEK SHOPPING CENTER

PHOTOS wITH SANTA AT THE ICE PALACE NOVEMBER 7 THROUGH DECEMBER 24 | GRAND COURT

Visit Santa and enjoy a magical snow and light show throughout

the holiday season at the Ice Palace.

TREE LIGHTING CEREMONY FRIDAY, NOVEMBER 29, 5:30 P.M. TO 7:30 P.M. | VALET CIRCLE

Join us for hot cocoa, kettle corn, entertainment by the Original Dickens Carolers

and more as we count down to the lighting of our 60-foot tree.

SANTA CLAwS & PAwS SUNDAY, DECEMBER 8, 7:00 P.M. TO 10:00 P.M. | GRAND COURT

we invite you and your four-legged friends for photos with Santa.

CELEBRATING THE BEST OF THE SEASON

www.WildAnimalSanctuary.org

A 720 acre non-profit refuge for over 300 Lions,Tigers, Bears, Wolves and other large carnivores thathave been rescued from illegal and abusive situations

Just 30 milesfrom Denver

OPENDaily

Please Help Support Our Mission!

Documents

Applause Magazine, December 7, 2013