• Vintage, Denver Center collaborate to bring 'Lady Day,' Mary Louise Lee, to stage

    by John Moore | Nov 20, 2017
    Lady Day Mary Louise Lee Adams Viscom Mary Louise Lee in the 2016 DCPA Theatre Company workshop of 'Lady Day at Emerson’s Bar & Grill.' Photo by  AdamsVisCom.

     

    From First Lady to Lady Day: Billie Holiday musical to open at Vintage, then move to Denver Center's Galleria Theatre

    By John Moore
    Senior Arts Journalist

    Mary Louise LeeWhen Mary Louise Lee revisited her signature role as Billie Holiday
    in a special workshop production of Lady Day at Emerson’s Bar & Grill last year, she dedicated the performance to Shadow Theatre Company founding Artistic Director Jeffrey Nickelson. Lee considers having played the jazz legend in 2002 to be the most meaningful performance of her storied career.

    It couldn't be more fitting, then, that when Vintage Theatre Productions brings the story to full stage life again this January with Lee in the title role, she will be be performing in the Jeffrey Nickelson Auditorium. 

    Nickelson, who died in 2009, was a graduate of the DCPA’s National Theatre Conservatory masters program. In 1997, he founded Shadow Theatre to present “stories from the heart of the African-American community,” as he liked to say. And the biggest hit in Shadow’s history was that 2002 production of Lady Day, with Nickelson directing and Lee starring as Holiday.

    Lady DayFor her haunting portrayal of a woman with a singular singing voice — and a lethal heroin habit  — Lee won a Westword Best of Denver Award for Best Actress in a Musical. The review said: “A stunning evening of theatre. Lee's singing is absolutely radiant. Her voice is smooth as glass. At times she sounds uncannily like Holiday, at others entirely like her full-throated self." She reprised the role for a special three-day workshop engagement in 2016 at the Denver Center's Jones Theatre. 

    After Nickelsen died of a heart attack in 2009, the theatre he opened at 1468 Dayton St. in Aurora was renamed the Jeffrey Nickelson Auditorium. Vintage took over operations there in 2011. 

    Berry HartToday, Vintage and the Denver Center announced an unprecedented collaboration. Vintage will introduce its new production of Lanie Robertson's Lady Day at Emerson’s Bar & Grill, starring Lee and directed by Betty Hart (pictured right), from Jan. 12 through Feb. 18. The production will then move to the Denver Center's Garner-Galleria Theatre on March 5 and perform there on Monday nights through April 23 — while the Denver Center's ongoing musical comedy First Date continues its run for the rest of the week.

    Lady Day at Emerson's Bar & Grill tells Holiday's troubled life story through the songs that made her famous, including "God Bless the Child," "What a Little Moonlight Can Do," "Strange Fruit" and "Taint Nobody's Biz-ness." Set in Philadelphia in 1959, Holiday's performance at Emerson's Bar & Grill was one of her last, and Lady Day is not just a memorable tribute to the singer, but also a moving portrait of her struggles with addiction, racism, and loss.

    "We're thrilled, of course," said Vintage Theatre Artistic Director Bernie Cardell. "This is an exciting event for Vintage and for the theatre community overall. If we are to thrive, collaboration is the key. While we certainly can survive on our own, we can reach bigger heights together. My hope is this is just the start of a new way of producing quality theatre for our community."

     Lady Day Mary Louise Lee. 2002Lee's performing career began at the Denver Center when she appeared in Beehive at what is now the Garner Galleria Theatre while only 18 years old and still a senior at Thomas Jefferson High School. In 2011, Lady Day also became the First Lady of Denver when her husband, Michael B. Hancock, was elected Mayor.

    (Pictured right: Mary Louise Lee in rehearsal for her award-winning turn in 'Lady Day at Emerson's Bar & Grill' for Shadow Theatre in 2002.)

    Lee has performing at many high profile events over the past two decades, including the 2004, 2008 and 2012 Democratic National Conventions. She performed with the Colorado Symphony at the 911 Remembrance Ceremony, and in the First Ladies of Jazz concert. She has sung the national anthem before 78,000 Denver Broncos fans, was featured vocalist at the grand opening of Union Station was a Season 9 contestant on America's Got Talent.  She has toured internationally performing for the troops of the U.S. Department of Defense. She returned to the DCPA in 2014 to sing with the cast of the national touring production of the Broadway musical Million Dollar Quartet onstage at the Buell Theatre. And last December, Lee won a 2015 True West Award for her performance in the new musical, Uncle Jed's Barbershop.  

    Read John Moore's Denver Post profile of Mary Louise Lee

    Mary Louise Lee The Wiz. AfterthoughtSome of Lee's other notable local theatre performances have included Vogue Theatre’s A Brief History of White Music, the Arvada Center’s The 1940s Radio Hour, Country Dinner Playhouse’s Ain’t Misbehavin', Denver Civic’s Menopause the Musical and Afterthought Theatre Company's The Wiz, as Glinda the Good Witch (pictured right). She took on that role just after Hancock was elected in 2011.

    From students to senior citizens, Lee is committed to being an ambassador for the arts to help expose and expand access to Denver’s vibrant arts and cultural communities. She is choir director at the New Hope Baptist Church and founder of “Bringin’ Back the Arts," a foundation that encourages arts education in the public schools.

    Betty Hart, the director, recently moved to Denver from Atlanta, where she was a Teaching Artist at the Alliance Theatre. She is the Special Projects Coordinator for Kaiser Permanente Arts Integrated Resources program and recently joined the board of directors for the Colorado Theatre Guild.

    The Music Director will be Trent Hines. He was most recently Music Director for the DCPA's The Wild Party at the Stanley Marketplace, and he also performed in the show.


    A Lady Day Westword

    Lady Day at Emerson’s Bar & Grill: At Vintage Theatre

  • Jan. 12-Feb 18, 2018 (Note: The Feb. 3 show will be performed by Shandra Duncan)
  • 1468 Dayton St., Aurora
  • Tickets $15-$34
  • Call 303-856-7830 or BUY ONLINE


  • Lady Day at Emerson’s Bar & Grill: At the Garner-Galleria Theatre

  • March 5-April 23, 2018
  • Denver Performing Arts Complex
  • Tickets start at $42
  • Call 303-893-4100 or BUY ONLINE
  • The show runs approximately 90 minutes without intermission
  • Adult language and content
  • Age Recommendation: 17 and over
  •  

    More Colorado theatre coverage on the DCPA NewsCenter

    Video: Mary Louise Lee sings with Million Dollar Quartet:

    Video: Watch Mary Louise Lee sing 'Fools Fall in Love' with the cast of  the national touring production of 'Million Dollar Quartet' at the Buell Theatre in 2014.

  • November 2017: Applause Magazine puzzle solution

    by John Moore | Nov 18, 2017
    With each new issue of Applause Magazine, we offer readers a puzzle related to our current shows. Here is the most recent word challenge, covering RENT, Chicago, Mannheim Steamroller, Elf, Waitress and A Christmas Carol.

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

    Word Search Applause Puzzle
    Word Search Applause Puzzle

    A Word Search Applause 4Brent Barrett stars in 'Chicago,' coming to the Buell Theatre from Nov. 28-Dec. 3. Photo by Catherine Ashmore.

    Word Search Applause Puzzle

      RENT clues
    • Lyric: I have to go out ___ Tonight 
    • Lyric: Measure your life in ___ Love 
    • Last name of RENT creator who died just hours after the show's final dress rehearsal off
    • Broadway: Larson   

      Chicago clues
    • Longest-running revival in Broadway history, and it's coming to Denver: Chicago
    • Lyric: We both reached for it: Gun
    • Chicago writers are Kander, Ebb and ___ Fosse

      A Christmas Carol clues
    • Number of years Marley has been a ghost before visiting Scrooge: Seven 
    • Last name of the actor who is back to play Scrooge: Gregory
    • "This boy is Ignorance. This girl is ____" Want

      Mannheim Steamroller clues
    • Mannheim Steamroller is largely credited with establishing the genre of New ___ music: Age
    • Mannheim Steamroller has sold more albums than Billy Joel, Bon Jovi and Bruce ___ Springsteen
    • Last name of the Mannheim Steamroller founder: Davis

      Elf clues
    • Name of the orphan who mistakenly crawls into Santa’s sack: Buddy
    • Actress ____ Deschanel performs three songs in the Elf source film. Zooey

      Waitress clues
    • Last name of six-time Grammy nominee who wrote the music and lyrics to Waitress: Bareilles
    • Last name of Waitress director who also launched the national tour of Pippin in Denver:
      Paulus
    • What's inside of love? Sugar, butter, ___ Flour.


    Recent previous downloadable puzzles:

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

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

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

    Jersey Boys, Hedwig and the Angry Inch, Finding Neverland, A Christmas Carol and The Hip-Hop Nutcracker DOWNLOAD
  • Curious' 'The Body of An American' a snapshot into Coleman's vision

    by John Moore | Nov 17, 2017
    A Body of an American Michael Ensminger Sean Scrutchins, left, as playwright Dan O'Brien, and Michael McNeill as war photographer Paul Watson in Curious Theatre's 'The Body of an American,' playing through Dec. 9. Photo by Michael Ensminger.

    DCPA Theatre Company's new Artistic Director gave searing new war play its first life in Portland

    Playwright Dan O'Brien and celebrated war photographer Paul Watson are in Denver this weekend talking about how their friendship became the basis for a play.


    By John Moore
    Senior Arts Journalist

    The list of rising and established American playwrights new DCPA Theatre Company Artistic Director Chris Coleman has nurtured over the years is long and eclectic, but one name jumped out at his introduction this week for its current proximity to Denver: Dan O’Brien.  

    O’Brien (pictured at right) is the author of The Body of An American, a searing look at the psychological impact of post-traumatic stress currently being staged in its regional premiere by the Curious Theatre Company. And he is in town this weekend to talk about it.  

    A Dan OBrien Playwright 160 fullFor 17 years, Coleman was the Artistic Director at Portland Center Stage, which is known for its incubation of new American plays. Among the many rising playwrights Coleman has nurtured along their paths are Matthew Lopez and Lauren Yee, whose latest plays Zoey’s Perfect Wedding and The Great Leap, respectively, will be on the DCPA Theatre Company’s stages this winter. Coleman's roster also spans Jason Grote (DCPA’s 1001), Ntozake Shange, Luis Alfaro, Melanie Marnich, Constance Congdon, Dael Orlandersmith and many more.

    But Coleman cites developing and premiering The Body of An American as among his favorite accomplishments. And after arriving in Denver this week, he was tickled to learn the play is getting its regional premiere less than a mile from his new place of work.

    The Body of an American is a play that I love and I am very, very proud that we premiered,” Coleman said of the script, which won the PEN Center USA Award for Drama, the Edward M. Kennedy Prize for Drama and the Horton Foote Prize for New American Plays.

    This true story tells how one stark photograph in 1993 reshaped the course of global events. It shows the body of Staff Sergeant William David Cleveland as he was dragged from the wreckage of a Blackhawk helicopter and through the streets of Mogadishu. The famous image won celebrated Canadian war photographer Paul Watson the Pulitzer Prize. But Watson was haunted, not only by that single shutter click, but from bearing witness to 30 years of devastating scenes around the world. And in Somalia, the ghosts of all those accumulated tragedies were bearing down on him.

    “Just as he was taking that picture, Paul heard a voice say, ‘If you do this, I will own you forever,’ ” O’Brien said. “And he believes it was the voice of this dead soldier.”

    O’Brien, who was struggling with personal ghosts of his own at the time, reached out to Watson after hearing his story on NPR. In the unlikely friendship they forged, the two men found a way to reckon with the traumas consuming their lives. And that is what O’Brien’s intimate play is really all about, he says: “True friendship.”

    Coleman introduced the play at Portland Center Stage’s 2011 new-play festival and gave it a full production the next year as part of the company’s 25th anniversary season. It was soon snatched up by the Gate Theatre in London, Hartford Stage and Primary Stages in New York City.

    “That play has been successful all across the country now, but I will tell you, we had a hell of a time finding an audience for it at first,” Coleman said. “It’s brilliant writing, but it is tough subject matter, especially when you describe the premise to someone.”

    Coleman said one of his hardest jobs in developing topical, resonant and relevant stories is also navigating the audience’s capacity to absorb it. “It’s a fine line,” Coleman said, “especially in the moment we are living in politically today.”

    In her review of Curious Theatre’s new production, Denver Post Theatre Critic Joanne Ostrow said current events make this the perfect time to be staging The Body of an American, which she says is being given a "muscular and thoroughly haunting" staging by director Chip Walton and actors Sean Scrutchins and Michael McNeill. It continues through Dec. 9.

    The Body of an American: Weekend events with Dan O’Brien and Paul Watson

    • Performances at 8 p.m. tonight and Saturday, 2 p.m. Sunday, at Curious Theatre Company, 1080 Acoma St.
    • Playwright Dan O’Brien and photographer Paul Watson will participate in the audience talkback following tonight’s (Nov. 17) performance.
    • Inside the Artists’ Mind: Director Chip Walton will interview O’Brien and Watson at 7:30 p.m. Saturday (Nov. 18) at Venue 221, 221 Detroit St., in Cherry Creek. Tickets $25. Click here.
    • Note: The Body of an American continues in performance through Dec. 9. Call 303-623-0524 or go to curioustheatre.org

     A Body of an American Chris Coleman 800 John Moore

     

  • Video, photos: Your first look at 'First Date'

    by John Moore | Nov 16, 2017

    Video by David Lenk.

    Here is your first chance to see video and photos from the new musical comedy opening Friday at the Galleria Theatre

    Here is your first look in video (above) and photos (below) at the Denver Center for the Performing Arts' new staging of First Date, opening Friday, Nov. 17,  and running through April 22, 2018, in The Garner Galleria Theatre.

    When blind-date newbie Aaron is set up with serial-dater Casey, a casual drink at a busy New York restaurant turns into a comically high-stakes dinner. As the date unfolds in real time, the couple quickly finds they are not alone on this unpredictable evening.

    The director is Ray Roderick, and the all-local cast includes Adriane Leigh Robinson, Seth Dhonau, Steven J. Burge, Aaron Vega, Jordan Leigh, Lauren Shealy, Barret Harper and Cashelle Butler. (Vega plays the "Man 2" role from Nov. 11-Dec. 3. Leigh plays Man 2 from Dec. 5-April 22.)

    The Denver Center for the Performing Arts has announced that it is dedicating the opening performance and the entire run of First Date, opening Friday, as well as the entire run of A Christmas Carol, to Daniel Langhoff, who died last week from cancer. Read more here.

    Meet the cast: More fun to read than any dating profile!


    Full photo gallery: First Date production photos


    First Date

    Photos from the making of 'First Date.' To see more, click on the image above to be taken to our full gallery of photos. Photos by Emily Lozow for the DCPA NewsCenter.


    First Date: Ticket information
    First DateNov. 11, 2017, through through April 22, 2018
    Tickets : Call 303-893-4100 or BUY ONLINE
    Garner Galleria Theatre

    The book is written by by Austin Winberg. Music and Lyrics by Alan Zachary and Michael Weiner. Orchestrations by August Eriksmoen. Vocal and Incidental Music Arrangements by Dominick Amendum.

    More Colorado theatre coverage on the DCPA NewsCenter

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

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

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

    By John Moore
    Senior Arts Journalist

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    ‘He sure can pick em’

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

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

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

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

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

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

    More Colorado theatre coverage on the DCPA NewsCenter

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

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

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

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

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

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

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

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

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

    7 QUICK QUESTIONS WITH CHRIS COLEMAN:

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

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


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

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

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

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

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

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

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

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

  • What a wonderful world it was with Daniel Langhoff

    by John Moore | Nov 12, 2017

    Video above: Daniel Langhoff sings 'What a Wonderful World' at an April benefit concert for the Denver Actors Fund. Video provided by Eden Lane and Sleeping Dog Media.

    The busy actor, husband and father fought cancer like the errant knight he played in Man of La Mancha. He was 42.

    By John Moore
    Senior Arts Journalist

    When award-winning Denver actor Daniel Langhoff was diagnosed with Stage 3 colon cancer in 2015, the first-time father dreamed what most every doctor told him was an impossible dream: To beat an unbeatable foe. And yet, over the next rocky and remarkable two and a half years, he reached star after unreachable star.

    Daniel LanghoffThe cancer was discovered just a few months after Langhoff and wife Rebecca Joseph welcomed daughter Clara into the world. Langhoff then fought the disease with the same earnest fortitude and blind optimism as Cervantes, the playwright who defends his life through storytelling in the classic Broadway musical Man of La Mancha. That's a bucket-list role Langhoff somehow found the mettle to play last year during a brief cease-fire with his disease, which would make a raging comeback only a few months later.

    In April, doctors discovered a second, more virulent form of cancer in Langhoff’s abdomen, and it was everywhere. The Langhoffs were told it would be a matter of months. Not that the diagnosis changed Langhoff’s attitude one bit. He fought on with grit, optimism and no small share of Quixotic delusion.

    “Dying never entered his mindset,” said Langhoff’s best friend, Brian Murray. “He always thought he would beat it.” It was only recently in the hospital, when Langhoff was no longer able to eat and fluid was filling his lungs that the impossible dreamer offered Murray this one slight concession to his adversary: “The prognosis is not good,” he told Murray.

    DanielLanghoffFacebook“Daniel fought the cancer by trivializing it — like it was just this little thing to be taken care of,” Murray said.

    Rebecca Joseph, known as R.J. to friends, gave birth to a second daughter, Naomi, on Nov. 2. It happened that day because Joseph made it happen that day. She had doctors induce labor to make certain Langhoff would be alive to see Naomi born. A few days later, Langhoff was admitted to Denver Hospice, where he again defied experts' expectations by fighting on for days until there was no fight left in him.  

    Langhoff died at precisely midnight today, peacefully and as his wife held his hand. He was 42.

    When he left, he was different from the man who married R.J. in 2015. During the ensuing years, as cancer gradually robbed his life, life in turn gave him everything to live for: A wife, two daughters, and the seminal roles of his acting career.

    (Story continues below the photo.)

    Daniel Langhoff Find an extensive gallery of Daniel Langhoff photos at the bottom of this report.


    A punctilious punster

    Langhoff was born in Denver on Nov. 8, 1975, and has been a performer since the third grade. He graduated from Cherry Creek High School and the University of Northern Colorado, and has been working steadily at theatres all over Colorado since 1999.

    He was known as a consummate actor with a quirky sense of humor; a way with a guitar, a song and a terrible pun; a geeky affinity for sci-fi films ...  and a massive collection of inappropriate T-Shirts.

    One of his favorites said: “When I die, I am going to haunt the (bleep) out of you.”

    "That was Daniel," his wife said.

    "Daniel was into weird science fiction, David Bowie, Pink Floyd, anything counter-culture and all manner of useless knowledge," said his frequent co-star and sometimes director, Robert Michael Sanders. "We had a shared love for underrated big-hair metal bands and Alien movies." 

    In the dressing room, Langhoff was a serial punster who was known for running exasperated castmates out of the room with his wit. But on stage, Sanders describes Langhoff as an intelligent, steady actor who could only be distracted from his task by perhaps, say … a random reference to Ridley Scott (maker of Alien).

    He was also one of the most dependable and pragmatic friends you could ever have, said Murray, who has been friends with Langhoff since appearing in Company together at the Town Hall Arts Center in 2008. 

    “I always called him my Vulcan,” said Murray, currently starring in Town Hall’s Seussical. “He was Spock, and I was Kirk. I was the emotional one, and he was the logical one."

    Ironically, Langhoff was the human being Murray turned to when he needed one most.

    "When I was going through a divorce in 2009, the only thing that helped me get by was playing video games with Daniel until 3 in the morning and telling him the same stories all over again," Murray said. "He would say to me, 'Brian, this thing happened. It was outside of your control. Now what you have to do is move through it and move on from that." 

    Perhaps the greatest testament to any man's character, Murray said: "Daniel was kind to everyone — even to the people who annoyed him." (Although, to be fair, Langhoff also loved to quote Tom Waits' life philosophy: "Champagne for my real friends ... and real pain for my sham friends.")

    Traci J. Kern was a real friend. For 22 years, Langhoff has been her constant. "Soon after our meeting, Daniel proclaimed himself the little brother I never wanted," she said. "Anytime I needed him, he was there. No questions asked, because it didn’t matter. Dan lived his life full of passion. Whether it was talking about music, theatre, movies, Stephen King novels, sports, his family, his babies or his wife — he spoke with such enthusiasm, you couldn’t help but be drawn in."

    A life on every stage

    Daniel Langhoff was, simply put, “the most consistent actor ever,” said Sanders. He was also just about the most consistently working Denver actor ever. The list of area theatre companies Langhoff has performed with reads essentially like the list of all area theatre companies. You would be hard-pressed to find a person or company whose path has not, at some point, crossed with Langhoff's on a Colorado stage.

    Dan Langhoff DCPA Love Perfect Change Shanna Steele Robert Michael Sanders Lauren Shealy“Once Daniel got it right, he went out and nailed it at that level every night," Sanders said. "You never had to worry what he was going to do, whether it was for one person or 100. Even for dumb stuff like Guys on Ice – he would find moments that mattered.”

    Langhoff made his Denver Center debut in 2010 in the musical comedy Five Course Love at the Galleria Theatre, followed by a stint in a revival of the longest-running musical in Denver history, I Love You, You’re Perfect, Now Change. He also performed in the DCPA Theatre Company’s seasonal stagings of A Christmas Carol in 2014 and 2015. The latter staging was right when Langhoff was starting his cancer fight. He had surgery to remove the tumor and surrounding lymph nodes – then immediately joined the cast, fitting rounds of chemo into 10-show weeks at the Stage Theatre.

    Langhoff’s substance and versatility put him in an elevated class among local performers: He was a nuanced dramatic actor with a rich singing voice — and an uncommon knack for comedy and children’s theatre. He could glide from playing the conflicted pastor fomenting the Salem witch trials in Firehouse’s The Crucible, to Coolroy in the Arvada Center’s children’s production of Schoolhouse Rock Live, to the long-suffering husband of a bipolar housewife in Town Hall’s Next to Normal.

    Langhoff’s breakout year was 2016, which began in triumph and ended in terror. It started with Performance Now's Ragtime. As Langhoff was continuing his initial chemotherapy, when he called Director Kelly Van Oosbree to express his interest in playing Tateh.

    “I remember thinking, ‘How in the hell is this going to happen?’ ” Van Oosbree said. “I couldn’t wrap my brain around it because if were in the same situation, I wonder how I would even cope. But Daniel did not let cancer stop him from doing anything.”

    More Colorado theatre coverage on the DCPA NewsCenter

    Langhoff had strong sentimental and professional reasons for wanting to play Tateh. He had played the homegrown terrorist known as “Younger Brother” in a remarkable production of Ragtime for the Arvada Center in 2011, and he wanted to complete the circle by playing Tateh — also a dreamer, also a new father — for Performance Now. “Tateh was a role that spoke to him,” said Van Oosbree said.

    Dan Langhoff Sunglasses project. Photo by John MooreIn the summer of 2016, doctors declared Langhoff cancer-free. He celebrated by performing for the Arvada Center (40th anniversary concert), Firehouse (The Crucible) and Boulder Ensemble Theatre Company (Every Christmas Story Ever Told). He began 2017 by reuniting with Van Oosbree to play the chivalrous and insistent dreamer in Man of La Mancha. These were perfect bookend roles, said Van Osbree: Both Tateh and Cervantes are kind, inventive men who see the world not as it is, but how it should — or could — be. “They are both Daniel,” she said.

    But just as Man of La Mancha was to begin rehearsals, Langhoff noticed another abnormality in his abdomen, and doctors soon discovered a new, more prevalent and more vicious strain of cancer in his abdominal walls. Langhoff began a second round of chemo just as he had been cast to perform in Jesus Christ Superstar at the Arvada Center, followed by Ring of Fire at Vintage Theatre. This time, he would not be well enough to play either role. And he again downplayed the challenge. “I am just more physically compromised than I was before,” he conceded at the time.

    The great work of helping others

    Langhoff was known for helping out any company or cause that needed a hand — or a voice. Back in 2010, he joined the volunteer cast of Magic Moments' The Child. That's an annual musical revue where up to 200 disabled and able-bodied performers perform together, many for the first time. Langhoff played a war veteran opposite a devil character played by Drew Frady, his castmate back in the Arvada Center's 2008 staging of Les Miserables. Langhoff had been recruited as a late replacement for another actor. On his first day, the stage manager ended her introduction of Langhoff by saying, to his horror, “He loves hugs.” And, he later said with a laugh, “I didn’t really have the heart to correct her.”

    Over the next few months, Langhoff said, he learned to love hugs.

    “This is the kind of place where you can still be 5 minutes late for rehearsal, even if you show up on time, because there is a 5-minute gantlet of hugs to navigate,” he said.

    Daniel Langhoff, Laura Mathew Siebert and Nate Siebert. Photo by John Moore. Throughout his cancer ordeal, Langhoff was both a beneficiary of, and great champion of, The Denver Actors Fund, which in three years has made $133,000 available to Colorado theatre artists in situational need. Between direct aid and targeted donations, the theatre community has so far made more than $14,000 available to help the Langhoff family with medical bills, along with practical volunteer assistance. And Langhoff has given back at every opportunity, performing at five DAF fundraising events over the past three years.

    In April, a weakening Langhoff made a galvanizing appearance at United in Love, a benefit concert staged by Ebner-Page Productions that raised $40,000 for the Denver Actors Fund at the Lone Tree Arts Center. (See video at the top of this page.) 

    Dan Langhoff. Annaleigh Ashford. RDG PhotographyLanghoff sang a heart-rending version of What a Wonderful World to acknowledge the support and love he has received from the theatre community throughout his medical ordeal. “All of these performers, this stunning audience, all of these donors make me feel like my fight ahead is just a matter of logistics,” he said.

    (Photos at right, top: Photographer Laura Mathew Siebert, with son Nate Siebert, raised money for Langhoff's cancer fight in 2016 by taking portraits and donating the proceeds. Photo by John Moore. At right: Broadway's Annaleigh Ashford with Langhoff at Klint Rudolph at the April 'United in Love' concert for the Denver Actors Fund. RDG Photography.)

    His final performance was on Sept. 25 at Miscast, a popular annual fundraiser for The Denver Actors Fund, and it was one for the ages. Langhoff, Jona Alonzo and Norrell Moore, all actors in the midst of their own cancer journeys, performed a variation of the song Tonight, from West Side Story, that was written by Langhoff and his (pregnant) wife, who also choreographed. It was essentially a rousing declaration of war against cancer, and it brought the Town Hall Arts Center audience to their feet. The trio were immediately dubbed "The Cancer Warriors."

    (Story continues below the video.)

    Daniel Langhoff, Jona Alonzo and Norrell Moore perform Sept. 25 at 'Miscast,' a benefit for The Denver Actors Fund, at the Town Hall Arts Center.


    The impact of family


    Everyone close to Langhoff says the courage and unyielding optimism he has shown since his diagnosis can be explained in three simple words: Rebecca, Clara and Naomi. "Those three were everything to him," Murray said. "They were his life."

    He met his R.J.  in a theatre, but Langhoff wasn't on the stage; he was a member of the audience. Joseph caught Langhoff's eye after a performance of Vintage Theatre’s Avenue Q. Langhoff noticed the assistant stage manager — usually one of the most invisible jobs in all of theatre. She eventually agreed to a late-night date at the Rock Bottom Brewery that almost didn’t happen because she was running late. Langhoff was appearing in, ironically, the dating comedy I Love You, You're Perfect, Now Change at the Denver Center's Galleria Theatre. She was attending Red at the Curious Theatre, which ran longer than she was expecting. Luckily, he waited. Sanders later married the couple in a ceremony at the Town Hall Arts Center.

    Langhoff recently helped Sanders in a profound creative way when the singer-songwriter went into production on his second solo album (under the name Robert Michael). In 2013, Sanders was the victim of a botched shoulder surgery that partially paralyzed his arms and left him unable to play the guitar. Sanders now writes new music through the help of friends who act as his fingers. Langhoff co-wrote the lyrics and music to a track called Forever that Sanders says is informed in part by their own personal experiences:

    You found your forever. You put your hand in his.
    He pulled you close to him, gave you that forever kiss.
    You found your forever, now you'll wake up every day.

    With him smiling back at you, and you have no words to say.

    And that's OK.
    You found your forever. 

    (To listen to 'Forever' on Spotify, click here. Backing vocals by Daniel Langhoff and Norrell Moore.)

    As the theatre community struggles to process the news that Langhoff is gone, his friend Murray was asked what Langhoff himself might say to bring comfort to those he leaves behind. His response:

    "I think the Vulcan in Daniel would say to us exactly what he said to me: 'This thing happened. It was outside of everyone's control. I did everything I could to make it not happen, but it still happened. Now what you have to do is move through that and try to move on from that.' "

    In addition to his wife and daughters, Langhoff is survived by his parents, Jeannie and Charlie Langhoff, and his sister, Amy Langhoff Busch.

    After an intimate family service later this week, a larger celebration of Daniel Langhoff's life will be announced in the coming weeks.

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

    Here's how to help Daniel Langhoff's family:
    The Denver Actors Fund is accepting targeted donations that will go 100 percent to Rebecca Joseph to help with medical, funeral and expenses. Any eventual excess funds will go toward the future educational needs of daughters Clara and Naomi. Here's how it works: Click here. When prompted, "Where do you want your donation directed?" choose from the pulldown: "For the family of Daniel Langhoff." The Denver Actors Fund will absorb all transactional fees.) If you prefer to mail a check, the address is P.O. Box 11182, Denver , CO 80211. Separately, if you are motivated to start your own campaign to proactively raise additional funds for the Langhoffs, you can create your own personalized fundraising page on the Langhoffs' behalf. To do that, just click on this (different) link. Choose "Start a fundraiser." Follow the instructions from there.

    Photo gallery: A look back at the life of Daniel Langhoff

    Daniel LanghoffTo see more photos, click on the photo above to be taken to our full Flickr album.


    Daniel Langhoff/Selected shows and companies

    • High School: Cherry Creek
    • College: Bachelor of Music in Vocal Performance from the University of Northern Colorado in Greeley
    • Denver Center for the Performing Arts: I Love You, You’re Perfect, Now Change and Five Course Love at the Galleria Theatre; A Christmas Carol for the DCPA Theatre Company
    • Arvada Center: A Man of No Importance (Breton Beret), Ragtime (Younger Brother), A Man for All Seasons, A Wonderful Life, The Crucible, Man of La Mancha, Miracle On 34th Street Les Miserables. Children's shows: Charlotte's Web, Lyle the Crocodile, Schoolhouse Rock
    • Town Hall Arts Center: Next To Normal (Dan), Annie (Daddy Warbucks), 25th Annual Putnam County Spelling Bee, Company, Batboy! The Musical
    • Boulder Ensemble Theatre Company: Every Christmas Story Ever Told
    • Firehouse Theatre Compay: The Crucible (Rev. Hale)
    • Miners Alley Playhouse: Pump Boys and Dinettes
    • Performance Now: Man of La Mancha (Cervantes), Ragtime (Tateh)
    • Aurora Fox: Spamalot (King Arthur)
    • Vintage Theatre: Hamlet, Prince of Pork, 18 Holes (Lyle)
    • Next Stage: Assassins (The Balladeer)
    • Magic Moments: The Child
    • Hunger Artists
    • Film: Bouquet of Consequence, Why There Are Rainbows

    Video: Daniel Langhoff presents Community Impact Award to Denver Actors Fund:

  • The wait is over to find Denver's two little Lulus for 'Waitress'

    by John Moore | Nov 07, 2017
    Waitress in Denver 2017
    Photos from today's announcement of Molly Scotto, left, and Hazel Thompson as the the two young Denver actors who will perform the role of Lulu in 'Waitress' for the duration of the hit Broadway musical's upcoming Denver engagement. To see more, click anywhere on the photo above. Photos by Emily Lozow and John Moore for the DCPA NewsCenter.

    Two local girls win the thrill of their very young lifetimes when hit Broadway musical visits Denver in December

    The Denver Center for the Performing Arts announced today that young Molly Scotto and Hazel Thompson will perform the role of Lulu in Waitress for the duration of the hit Broadway musical's upcoming Denver engagement. Each young actress will perform four shows per week through the show, which runs Dec. 19-31 at the Buell Theatre.

    A Waitress 400The character of Lulu is a sweet and carefree young girl aged 4 or 5 who appears in the production’s finale. The role will be cast locally in every city Waitress visits — and the auditions and casting decisions were conducted entirely by Waitress' Broadway creative team. Local auditions were held Oct. 5.

    Thompson, of Denver (pictured on the left), and Scotto, of Boulder (right), had the opportunity to step onto the Buell stage for the first time today at a press gathering to announce their selections. The young actors were presented with their very own “Congratulations Molly” and “Congratulations Hazel” pies from Centerplate to coincide with the unique names of the pies in the show.

    Watch the announcement as it played out on Facebook live

    Scotto is 4½ and has experience in yoga and ballet. She performed on the field for a University of Colorado football game through their Cheer Camp. She also plays soccer. 

    Thompson is 5 and has ballet and tap experience from the Dance Institute of Denver as well as participating in DCPA Education classes. She also does Brazilian Jiu-Jitsu and speaks a little Japanese.

    Waitress is the new Broadway musical inspired by Adrienne Shelly's 2007 motion picture. Brought to life by a groundbreaking, all-female creative team, Waitress features original music and lyrics by six-time Grammy nominee Sara Bareilles (“Brave,” “Love Song”), a book by acclaimed screenwriter Jessie Nelson (I Am Sam), and direction by Tony Award winner Diane Paulus (Hair, Finding Neverland). Paulus launched the national tour of Pippin in Denver. (Finding Neverland, Pippin, Hair).

    Waitress tells the story of Jenna, a waitress and expert pie-maker who dreams of a way out of her small town and loveless marriage. A baking contest in a nearby county, and the town's new doctor, may offer her a chance at a fresh start as her fellow waitresses offer their own recipes for happiness. But Jenna must summon the strength and courage to rebuild her own life. 

    Waitress cast includes local favorite Lenne Klingamann

    "It's an empowering musical of the highest order," said the Chicago Tribune.

    The national tour of Waitress premieres in Cleveland, on Oct. 17. It visits Denver's Buell Theatre from Dec. 19-31. Single tickets are on sale at denvercenter.org.


    Waitress in Denver: Ticket information

    • National touring production
    • Performances Dec. 19-31
    • Buell Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here


    Waitress. Lulu. Denver Center. Photo by Emily Lozow. Photo by Emily Lozow.

    dcpa.org



    Video: Watch the announcement live

    Video above: Watch as DCPA Broadway Executive Director John Ekeberg announces Molly Scotto and Hazel Thompson as the two young Denver actors who will perform the role of Lulu in 'Waitress' for the duration of the hit Broadway musical's upcoming Denver engagement. Check back soon for our interviews with the girls and their families.

    More Colorado theatre coverage on the DCPA NewsCenter

  • Robert Lee Hardy of 'The Snowy Day' on living with joyous goodwill

    by John Moore | Nov 07, 2017
    Cast of The Snowy Day. Adams Viscom

    The cast of DCPA Education's 'The Snowy Day Other Stories,' from left: Rachel Kae Taylor, Robert Lee Hardy and Zak Reynolds. Age recommendation: Pre-school to 3rd grade, with adult supervision. Photo by Adams VisCom for the DCPA NewsCenter.


    MEET ROBERT LEE HARDY
    Robert Lee Hardy QuotePeter in The Snowy Day, playing through Nov. 18 in the Conservatory Theatre. Recent stage credits include A Time To Kill at the Vintage Theatre in Aurora; Flyin’ West, The Three Sisters and Home. TV and film credits include Jazz in the Diamond District, Jamesy Boy and HBO’s The Wire.

    • Hometown: Baltimore
    • Home now: Denver
    • Training: I have a Bachelor of Fine Arts degree in acting from SUNY Purchase Conservatory of Theatre Arts and Film
    • What's your handle? @RobertLeeHardy on Twitter and Instagram
    • What was the role that changed your life? The role was Cephus Miles from the play Home by Samm-Art Williams. I had to learn eight monologues, the production only had three characters — and it was over two hours long with no intermission! I understood Cephus. He was my grandfather, my uncle and my father. Cephus lost his home, was thrown in jail for not wanting to fight in the Vietnam War and became addicted to drugs. During the run of the show, I was going through a really rough point in my life, and Cephus inspired me. Despite all, he never lost his joyous goodwill or his indomitable spirit. He held onto to his faith in himself and ended up with a life filled with love and happiness.
    • Why are you an actor? I love suspending reality. I have the power to use this gift bestowed upon me, to take people's level of consciousness to a higher level.
    • What do you be doing if you were not an actor? I would be a news anchor. I love the words, I love the camera and I love storytelling.
    • RobertLeeHardyJeffreyWrightIdeal scene partner: Jeffrey Wright (pictured right) and Heath Ledger. They literally know how to put on someone else's shoes, and walk in them.
    • Why does The Snowy Day matter? When I was a child I didn't often see people who looked like me onstage, film or TV. The Snowy Day allows children to see that actors and artists come in all colors, shapes and sizes.
    • What do you hope the audience gets out of this play? I want them to leave the show feeling inspired. Whether you can't whistle or write well. If you believe in yourself, the possibilities are endless.
    • Complete this sentence: “All I want is … “
      "... for the world to know that a career as an artist is realistic and ideal.”

    More Colorado theatre coverage on the DCPA NewsCenter

    Robert Lee Hardy A Time to Kill. Vintage

    Robert Lee Hardy, right, starred as Carl Lee Hailey with Drew Hirschboeck as Jake Brigance in Vintage Theatre's regional premiere production of 'A Time to Kill' in April. He has since joined DCPA Education's 'The Snowy Day.'   


    The Snowy Day and Other Stories: Ticket information
    Snowy DayFrom the joys of a first snowfall and learning how to whistle to thrilling encounters delivering a precious invitation, the delightful moments of childhood are perfectly captured in this medley of simple, sweet stories.

    • Written by Ezra Jack Keats; adapted for the stage by Jerome Hairston
    • Performances through Nov. 18
    • School performances: Weekdays 9:30 and 11:30 a.m. (except Thursdays are at 10 a.m. and 1 p.m.)
    • Public performances: 1:30 p.m. Saturdays
    • Conservatory Theatre, located in the Robert and Judi Newman Center for Theatre Education, 1101 13th St.
    • Tickets $10 (discounts and scholarships available)
    • Best suited for: Pre-K through third grade
    • Call 303-893-4100 or BUY ONLINE
    • Teachers: Inquire by clicking here or calling 303-446-4829
    Previous NewsCenter coverage of The Snowy Day and Other Stories



  • DCPA's 25th 'A Christmas Carol' brims with mistletoe and milestones

    by John Moore | Nov 06, 2017
    Making of 'A Christmas Carol' 2017

    Above: Photos from the first day of rehearsal for the DCPA Theatre Company's 'A Christmas Carol' last week. To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.

    Favorite Sam Gregory is back as Scrooge and, for the first time in Denver, a young girl has been cast to play Tiny Tim.

    By John Moore
    Senior Arts Journalist

    When the DCPA Theatre Company presents the seasonal favorite A Christmas Carol later this month, it will be an offering filled with mistletoe and milestones. Check out the five things we learned at first rehearsal below.

    A Christmas Carol. Sam Gregory. The cast is again headed by Sam Gregory in his second season playing the miserly Scrooge. The most veteran member of the cast is Leslie O'Carroll, who has appeared in 19 of the Denver Center's 25 stagings, most as Mrs. Fezziwig.

    Back for her second year as director is Melissa Rain Anderson. She will again be staging the version adapted by Richard Hellesen, with music by the late David de Berry, as has been the DCPA tradition since 2006. "This is by far my favorite version," said Anderson, who has herself performed in this version of the story four times as an actor at theatres around the country. "I think it's the most Dickensian." Music Director Gregg Coffin has helmed this version of the show 22 times around the country.

    NUMBER 1LOOK WHO'S TWENTY-FIVE! A Christmas Carol is, no surprise, far and away the DCPA Theatre Company's most-produced show. This holiday season marks the company’s 25th presentation of the story dating to 1990 — having taken two years off along the way in favor of Irving Berlin's White Christmas. "That is a huge milestone," Anderson said. "It's a privilege to be a part of that legacy here at the Denver Center. With everything that is happening in the world, I am so happy to be in this room with all of these people and to be a part of telling this tale again as a true ensemble."

    NUMBER 2 A Christmas Carol. Tiny Tim. Melissa Rain Anderson. Peyton Goosen.GOD BLESS THE GIRL. There have been 18 young Tiny Tims over the DCPA's first 24 years of A Christmas Carols. This year, for the first time, the role of the feeble boy whose death is imminent if Scrooge doesn't break down and finally offer his employee some health insurance, will be played by a girl. Anderson she credits DCPA Artistic Associate Grady Soapes with the idea to cast young Peyton Goosen. "I am always open to more females on the stage, so I was very for it," Anderson said. "Peyton is really smart, she is absolutely adorable and she is precocious. But most important, she was the best actor for the role."

    NUMBER 3KNOCK KNOCK. WHO'S THERE? A Christmas Carol has drawn 820,000 audience members since 1990, so if you live in Denver, chances are, you have seen it. But with 10,000 new residents moving into the city every month, it's become clear that thousands of audience members each year are experiencing A Christmas Carol for the first time "So many people love this production and count on it as a family tradition, but 40 percent of our A Christmas Carol audiences are new every year," said DCPA Associate Artistic Director Charlie Miller.

    NUMBER 4 SHE'S MIXING THINGS UP. Anderson introduced several changes last year, including, for example, introducing a grander sleigh for the Ghost of Christmas Present to ride in on. This year, she says audiences should keep an eye on the phantoms. "Their costumes are a little sleeker this year," Anderson said. "We are going to be able to see their bodies a little more, which I really like, because we have a really good dancers in our cast. I would like for people to see that they were once human."

    NUMBER 5WHO KNEW? Speaking of the creative vision, one of the most reliable aspects of the DCPA's production from year to year is the look of the set, originally designed by veteran Vicki Smith. We learned at first rehearsal that Smith's original inspiration was a Victorian Christmas card she came across.

    More Colorado theatre coverage on the DCPA NewsCenter

    A Christmas Carol: Cast list

    • Hadley Brown (DCPA debut) as Belinda Cratchit/Ensemble
    • Latoya Cameron (DCPA’s A Christmas Carol) as Mrs. Cratchit/Ghost of Christmas Past
    • Kevin Curtis (DCPA’s Sweeney Todd, A Christmas Carol) as Dick Wilkins/Peter Cratchit/Ensemble
    • Michael Fitzpatrick (DCPA’s Animal Crackers, A Christmas Carol) as Mr. Fezziwig/Ensemble
    • Peyton Goosen (DCPA debut) as Tiny Tim/Ensemble
    • Sam Gregory (DCPA’s Vanya and Sonia and Masha and Spike, Hamlet, All The Way, A Christmas Carol) as Ebenezer Scrooge
    • Darrell T. Joe (DCPA debut) as Ghost of Christmas Yet to Come/Ensemble
    • Chas Lederer (DCPA debut) as Swing
    • Kyra Lindsay (DCPA’s A Christmas Carol) as Martha Cratchit/Ensemble
    • Brody Lineweaver (DCPA’s A Christmas Carol) as Ensemble
    • Chloe McLeod (DCPA’s A Christmas Carol) as Swing
    • Timothy McCracken (DCPA’s Smart People, A Christmas Carol) as Ebenezer Scrooge understudy
    • Chris Mixon (DCPA’s A Christmas Carol) as Old Joe/Ensemble
    • Grace Morgan (The Phantom of the Opera, DCPA A Christmas Carol) as Belle/Fred’s Wife/Ensemble
    • Leslie O’Carroll (DCPA’s Benediction, A Christmas Carol) as Mrs. Fezziwig/Ensemble
    • Erik Pinnick (DCPA debut) as Ghost of Christmas Present/Ensemble
    • Daniel Plimpton (DCPA’s The Secret Garden) as Ensemble
    • Jim Poulos (Broadway’s Rent, The Adventures of Tom Sawyer, DCPA A Christmas Carol) as Fred/Young Ebenezer/Ensemble
    • Max Raabe (DCPA’s A Christmas Carol) as Ensemble
    • Tristan Champion Regini (DCPA debut) as Boy Ebeneezer/ Ensemble.
    • Augie Reichert (DCPA’s A Christmas Carol) as Ensemble
    • Helen Reichert (DCPA’s A Christmas Carol) as Fan/Ensemble
    • Jeffrey Roark (DCPA’s Sweeney Todd, All The Way, A Christmas Carol) as Jacob Marley/Ensemble
    • Marco Robinson (Off-Center’s The Wild Party) as Ensemble
    • Christine Rowan (DCPA’s Sweeney Todd, Animal Crackers, A Christmas Carol) as Ensemble
    • Shannan Steele (DCPA’s Sweeney Todd, A Christmas Carol) as Ensemble
    • Jackie Vanderbeck (DCPA’s A Christmas Carol) as Charwoman/Ensemble
    • Brian Vaughn (DCPA’s A Christmas Carol) as Bob Cratchit/Ensemble
    • Owen Zitek (DCPA’s A Christmas Carol) as Edward Cratchit/Ensemble
    A Christmas Carol. Photo by John Moore.



    A Christmas Carol:
    Ticket information
    A Christmas CarolAt a glance: Based on Charles Dickens’ classic novel, this joyous and opulent musical adaptation traces money-hoarding skinflint Ebenezer Scrooge’s triumphant overnight journey to redemption. A Christmas Carol illuminates the meaning of the holiday season in a way that has resonated for generations.

    • Presented by the DCPA Theatre Company
    • Performances through Nov. 24-Dec. 24
    • Stage Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here


    The SantaLand Diaries:
    Back for Year 9

    SantaLand Diaries 2016. Michael Bouchard. Photo by Adams VisComAround the corner in the Jones Theatre, Off-Center’s seasonal co-production of The SantaLand Diaries again will be staged in partnership with the Boulder Ensemble Theatre Company. The production will be essentially unchanged for 2017, with Michael Bouchard again donning the caustic candy-striped socks for a third time in David Sedaris’ comic monologue recounting his real-life experience working as a Macy’s Department store elf.

    Bouchard is a Denver Post Ovation Award-winning actor best-known to Colorado audiences from his time at the Arvada Center, the Creede Repertory Theatre and the Boulder Ensemble Theatre Company. Luke Sorge will again serve as "Other David."

    This will be Boulder Ensemble Theatre Company's ninth annual holiday staging of The SantaLand Diaries, and the fourth since it moved to the DCPA's Jones Theatre. The director is again Stephen Weitz, who directed the DCPA Theatre Company's Tribes.

    The SantaLand Diaries: Ticket information
    The SantaLand DiariesAt a glance: David Sedaris' off-beat tales from his stint as a Macy's elf in New York City is the sure cure for the common Christmas show.

    • Presented by the DCPA Theatre Company
    • Performances Nov. 24-Dec. 24
    • Jones Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here
  • Breakin' Convention workshop spreads message of hip-hop and hope

    by John Moore | Nov 03, 2017
    Breakin' Convention in Denver

    To see more photos, hover your cursor over the image above and click the forward arrow that appears. All photos by John Moore for the DCPA NewsCenter

    Breakin' Convention's French hip-hop stars work up a sweat with local breakers at Denver's Bboy Factory

    By John Moore
    Senior Arts Journalist

    The aptly named French hip-hop star Salah stood before two dozen breathless breakdancers on Wednesday night practicing what he preaches: Joy. Taking just a one-minute break from an aerobic 90-minute workout worthy of a gleeful boot camp, Salah smiled widely through his sweat.

    The featured performer at this weekend's Breakin' Convention international festival of hip-hop dance theatre at the Buell Theatre told the assembled dancers of widely varying ages, genders and skin colors that, yes, technique and precision are just as important in hip-hop dancing as they are in Broadway or ballet. But hip-hop not only allows for a dancer's individuality to make itself known, he said — it demands it. 

    "You know what makes you a memorable dancer is having fun moments while you are also showing your abilities," he told the dancers who flocked to Denver's Bboy Factory dance studio in Globeville for a first hand-look at the longtime French star of Moroccan and Algerian descent whose last U.S. appearance was eight years ago. His name means "Muslim prayer," but not just any prayer — Salah refers to a physical, mental and spiritual act of worship. Not unlike his dancing.

    "I am an Arab man," said Salah, who won the fourth season of a hit TV show in France literally called Arabs Got Talent. He says letting his infectious joy for dance shine through has helped him to eradicate preconceived ideas some people might have about Muslims.

    (Story continues below the photo)

    Breakin Convention. Lisa Engelken. Photo by John Moore.


    That point hit home with workshop dancer Lisa Engelken, who has been studying Saleh's dancing for many years. "Now I get it," she said. "He's goofy. And he's really being himself when he dances. From now on, when I watch him dance, I'll know exactly why he dances like that."

    Salah. Breakin Convention. Photo by John Moore. Though Engelken proudly rocked her "Ladies of Hip-Hop" T-Shirt, she grew up taking classes at Denver's internationally renowned Cleo Parker Robinson Dance, where she now teaches. And while relatively new to what she calls the world of street dance, she's part of two crews that will be featured this weekend at Breakin' Convention, the world's biggest annual festival of hip-hop dance theatre.

    She's appearing with Nasty Kidz at Saturday's 303 Jam — a full afternoon of free performances and activities in and around the Buell Theatre featuring live DJs, workshops and demonstrations. Then on Sunday, Engelken will take to the Buell Theatre mainstage with Malika — three women whose like-minded intention "is to bring good energy to the masses."

    Salah's workput was followed by another 90-minute aerobic whirlwind led by Bee D, co-founder of France's multidisciplinary dance group Yeah Yellow, another Breakin' Convention headliner along with Protocol (U.K.), Soweto Skeleton Movers (South Africa) and Popin’ Pete (U.S). In all, five members of Yeah Yellow burned through Bee D's workout, right alongside Bboy Factory's breakers in training.

    Click here for more coverage of the Colorado theatre community

    Teaching dance combinations to the students made Wednesday's calorie-incinerating master classes look not all that different from a Broadway rehearsal, with two key differences: The fashion — and the individuality. "The thing I really like about hip-hop is you can create your own moves," Bee D told his dancers. "It's not like classic dance. In hip-hop, it's very important that you NOT look like the person next to you. You have to be you."

    Ian Flaws has hosted many of hip-hop's greatest icons since opening  Bboy Factory in 2012 with a stated mission of preserving traditional hip-hop culture. He said other forms of dance, from Broadway to ballet to modern, could stand to take a cue from hip-hop, which is much less constricted in its rules. "Hip-hop allows for so much range of movement and expression and exploration and creativity," said Flaws, whose clientele ranges from children to adults, from beginners to high-level artists,who come from as far away as Boulder and Aurora.

    He said Breakin' Convention is a unique opportunity for the larger metro population to get a taste of what hip-hop is all about — especially if for the first time.
       
    "It will be a great introduction to hip-hop," said Flaws. "And when I say hip-hop, that usually brings an automatic assumption that we are only talking about rap music. Hip-hop is really a big, vibrant culture that includes dance, art, food and music. And this weekend, all of that is going to be represented on one of Denver's biggest stages. Hip-hop is a culture that comes from the street, and I think Breakin' Convention will be a beautiful introduction to everything that is positive in hip-hop culture."

    Engelken first saw Breakin' Convention at the famed Apollo Theatre in Harlem, and she still can't quite believe Denver was chosen to be just the fifth North American city to host it. So she feels it is especially important for a wide swath of Denverites to come out and represent.

    "I hope people just come out and experience the true spirit of hip-hop, which is childlike play and just having fun," she said. "I think Breakin' Convention will be a good tool to demystify some stereotypes. I think people will be happily surprised. Just come and try it out."

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

    Breakin’ Convention 2017 International Festival of Hip Hop Dance Theatre

    Breakin' Convention: Ticket Information

    • Nov. 4-5
    • The Buell Theatre and surrounding areas
    • Tickets: 303-893-4100 or BUY ONLINE
    • Groups: Call 303-446-4829
    • Special student performance at 11 a.m. Friday, Nov. 3
    • Breakin’ Convention officially kicks off with the free 303 Jam from 1-5 p.m. Saturday, Nov 4 at The Buell Theatre. Enjoy free activities and performances including live DJs, workshops, free demonstrations and performances by DJ Cavem, The Reminders and more. Free fun for the whole family.

    Breakin' Convention: The international lineup

    • Yeah Yellow (France) - An explosive b-boy crew from France, YY brings agility, creativity and invention to the BC stage. Bodies create orifices to dive through, and reform physical shapes with muscular alchemy. Recently performed at BOTY16.
    • Protocol (U.K.) - Lanre Malouda directs as well as performs in this duet that explores racial dynamics. Popping and tutting techniques, as well as text and physical theatre is used to present ideas that reflect the tensions in our community today.
    • Salah (France) - A living legend in the world of hip-hop dance, Salah returns to the Breakin’ Convention stage after an eight year hiatus. This consummate performer is a master popper, locker, b-boy, clown and all around entertainer. Known for his amazing battle abilities, Salah will present his theatre piece The Sickness.
    • Soweto Skeleton Movers (South Africa) - From the most notorious township on the African continent comes the Soweto Skeleton Movers. The audience highlight of Breakin’ Convention 2016 returns with a brand new show. Experts in a particular form of pantsula dance developed by Skeleton Mover pioneer Jabulani, the crew use comedic contortionism, frenetic footwork, and magical hat tricks. 
    • Popin’ Pete (U.S.) - Also known as Timothy Earl Solomon, Popin' Pete is an American dancer, choreographer, innovator, one of the originators of the "popping" dance style and member of the Electric Boogaloos. His career has spanned 30 years developing funk culture as a whole.

    Previous NewsCenter coverage of Breakin' Convention:

    • Breakin' Convention to bring largest festival of hip-hop dance theatre to Denver
    • Breakin' Convention promises to bring authenticity, local artists to DCPA
    • Video: Our talk with the one and only Jonzi D of Breakin' Convention
    • Denver's DJ CaveM: Saving lives one healthy beat, and bite, at a time
    • Video: Denver Arts Week is off to a hip-hop start
  • Video: Denver Arts Week is off to a hip-hop start

    by John Moore | Nov 02, 2017

    Video by DCPA Video Producer David Lenk.

    The annual nine-day celebration of Denver’s creative community begins with the mayor getting hip-hop happy

    French hip-hop dancer Salah, who is in town for Breakin' Convention this weekend at the Buell Theatre, appeared with Denver Mayor Michael B. Hancock and DCPA President and CEO Janice Sinden today to launch the city's 11th annual Denver Arts Week, which will celebrate the Mile High City’s vibrant arts scene this year from Nov. 3-11.

    Breakin Convention Salah Photo by Btrent AndeckSalah (pictured at right), who is considered a living legend in the world of hip-hop dance, taught the dignitaries a few dance moves as part of the fun. Salah is a master popper, locker, b-boy, clown and all-around entertainer who is returning to the Breakin’ Convention stage after an eight-year hiatus.

    Breakin' Convention is the world’s largest festival of hip-hop dance theatre, and Denver is only the fifth North American city to host it. Salah will perform at the Buell Theatre along with international acts Yeah Yellow (France), Protocol (U.K.), Soweto Skeleton Movers (South Africa) and Popin’ Pete (U.S.), as well as a number of Denver hip-hop crews.

    Click here for more coverage of the Colorado theatre community

    For more than a decade, Denver Arts Week has been a nine-day citywide celebration of  Denver’s creative community. It consists of hundreds of events that involve thousands of people each year. Signature events this year will include the 40th annual Denver Film Festival; Breakin' Convention; Know Your Arts First Friday; free nights at area museums, and more than 400 events at galleries, museums and arts districts throughout the city. Denver Arts Week is presented by Visit Denver and the Convention and Visitors Bureau.

    Breakin’ Convention officially kicks off with the free "303 Jam" from 1-5 p.m. Saturday, Nov. 4 at The Buell Theatre. Enjoy free activities and performances including live DJs, workshops, free demonstrations and performances by DJ CaveM, The Reminders and more.

    Photo gallery: Denver Arts Week launches

    Denver Arts Week 2017

    To see more photos, hover your cursor over the image above and click the forward arrow that appears. All photos © Brent Andeck Photography, LLC.

    Breakin’ Convention 2017 International Festival of Hip Hop Dance Theatre

    Breakin' Convention: Ticket Information

    • Nov. 4-5
    • The Buell Theatre and surrounding areas
    • Tickets: 303-893-4100 or BUY ONLINE
    • Groups: Call 303-446-4829
    • Special student performance at 11 a.m. Friday, Nov. 3

    Previous NewsCenter coverage of Breakin' Convention:

    Breakin' Convention to bring largest festival of hip-hop dance theatre to Denver
    Breakin' Convention
    promises to bring authenticity, local artists to DCPA
    Video: Our talk with the one and only Jonzi D of Breakin' Convention
    Denver's DJ CaveM: Saving lives one healthy beat, and bite, at a time

     

  • November promises to be a 'Disaster' on at least one area stage

    by John Moore | Nov 01, 2017

    From left: Peter Henry Bussian, Adeline Mann and Erik Fellenstein in Local Theater Company's 'The Rape of the Sabine Women,' playing through Nov. 19 in Boulder. Photo by George Lange.

    Curious goes to war over a photograph, monthly cabaret at the Aurora Fox, and The Edge makes a final Resolution

    NOTE: At the start of each month, the DCPA NewsCenter offers an updated list of upcoming theatre openings, spotlighting work being presented on stages statewide. Companies are encouraged to submit listings and production photos at least two weeks in advance to the DCPA NewsCenter at jmoore@dcpa.org.


    By John Moore
    Senior Arts Journalist

    Five intriguing titles for November:

    NUMBER 1November Disaster Disaster! The Musical! This silly new Broadway musical farce has adventurous fun at the expense of disaster films such as Earthquake, Jaws and The Poseidon Adventure. It's 1979, and New York's A-listers are lining up for the opening of a floating casino and discotheque. B-listers include a fading disco star, a nightclub singer with 11-year-old twins, a pair of wild and crazy guys and a nun with a gambling addiction.The score includes familiar pop tunes of the era including "Knock on Wood," "Hooked on a Feeling" and "I Am Woman." Written by Seth Rudetsky and Jack Plotnick. The evening grows more giddily ridiculous with every scene. Presented Nov. 10-Dec. 2 by Equinox Theatre Company at the Bug Theatre, 3654 Navajo St., 720-984-0781 or equinox’s home page

    NUMBER 2Body of an American. Dan O'Brien's provocative new play, presented by Curious Theatre Company, speaks to a moment in recent history when the single, stark photograph of the body of an American being dragged from the wreck of a Blackhawk through the streets of Mogadishu reshaped the course of global events. O’Brien explores the ethical and personal consequences of this lone image and how it shines a light on deeply personal issues that are relevant to our time and culture. Nov. 4-Dec. 9: at 1080 Acoma St., 303-623-0524 or curioustheatre.org

    NUMBER 3Flowers in the Desert. And Toto Too, the only Colorado company dedicated exclusively to presenting new works by female playwrights, next presents Donna Hoke's story of a married couple who call it quits after 14 years. Cheater Joe is surprised when, three years later, Britt asks him to try again. But he goes along — until he realizes his ex-wife has a very specific agenda. Starring Libby Arnold and Michael Kennedy. Produced in partnership with the Denver Center at  The Commons on Champa, 1245 Champa St, 720-583-3975 or andtototoo.org.

    NUMBER 4Denver DollsAurora Fox monthly cabaret series. The Aurora Fox's continuing series of monthly cabaret offerings in its smaller studio theatre continues with The Denver Dolls presenting their USO/Andrews Sisters tribute, performed in the style of The Manhattan Transfer. The Dolls are led by frequent DCPA performer Heather Lacy. Nov. 17-18 at 9900 E. Colfax Ave., Aurora, 303-739-1970 or aurora fox.org

    NUMBER 5Resolutions. It's the end of an era for The Edge Theatre Company, which is going into a period of hibernation after the presentation of this world-premiere holiday play by Denver playwright Josh Hartwell, described as  "unique, hilarious, edgy, and terrifying." For the past eight years, three middle-aged couples have gathered, post-Christmas, at a plush, cozy Vail cabin. They exchange white-elephant gifts, make resolutions for the upcoming year and. of course, down a few cocktails.  But this year, something has changed.  Relationships have evolved, and an unexpected guest is an all-too familiar face. Resolutions plays Dec. 1-31 at 1560 Teller St., Lakewood, 303-232-0363 or theedgetheater.com. Benchmark Theatre will continue to present programming in The Edge's boutique theatre starting in 2018.

    Breakin Convention

    THIS MONTH'S THEATRE OPENINGS IN COLORADO:

    (Submit your listings to jmoore@dcpa.org)

    Cline and WynetteNov. 2-18: And Toto Too 's Flowers in the Desert
    At The Commons on Champa, 1245 Champa St, 720-583-3975 or andtototoo.org

    Nov. 3-Dec. 17: Vintage Theatre Productions' Honeymoon In Vegas
    1468 Dayton St., Aurora, 303-839-1361 or vintagetheatre.com

    Nov. 3-18: Cline and Wynette: One More For the Road featuring Chris Whyde and Darren Bell
    At Gladys: The Nosy Neighbor, 500 Santa Fe Drive, 303-893-6112 (tickets available at the door only)

    Nov 4-5: DCPA Broadway’s Breakin’ Convention 2017
    Buell Theatre, 14th and Curtis streets, 303-893-4100 or denvercenter.org READ MORE



    Nov. 4-Dec. 9: Curious Theatre's Body of an American (see video above)
    1080 Acoma St., 303-623-0524 or curioustheatre.org 

    Nov. 9-Dec. 10: Cherry Creek Theatre's Beau Jest
    At the Mizel Arts and Culture Center, 350 S. Dahlia St., Denver, 303-800-6578 or cherry creek theatre’s home page

    November DCPA. RentNov. 9-19: Lone Tree Arts Center's Love Letters starring Candy Brown and Mark Rubald
    10075 Commons St., just west of Interstate 25 and Lincoln Avenue, 720-509-1000, lone tree’s home page

    Nov. 9-26: Millibo Art Theatre's The Accidental Death of an Anarchist
    1626 S. Tejon St., Colorado Springs, 719-465-6321 or themat.org

    Nov. 10-Dec. 2: Equinox Theatre Company's Disaster!
    At the Bug Theatre, 3654 Navajo St., 720-984-0781 or equinox’s home page

    Nov. 10-19: Longmont Theatre Comany's Becky’s New Car
    513 Main St., Longmont, 303-772-5200 or longmonttheatre.org

    Nov. 10-Dec. 30: Town Hall Arts Center's Seussical
    2450 W. Main St., Littleton, 303-794-2787 or townhallartscenter.com

    Nov. 11, 2017-April 22, 2018: DCPA Cabaret’s First Date
    Garner Galleria Theatre, 14th and Curtis streets, 303-893-4100 or denvercenter.org READ MORE

    Nov. 14-19: National touring production of Rent 20th Anniversary Tour
    Buell Theatre, 14th and Curtis streets, 303-893-4100 or denvercenter.org

    Nov. 14-19: Fivers Inc.'s Dinner at Five
    PACE Center, 20000 Pikes Peak Ave., Parker, 303-805-6800 or parkerarts.org

    Candlelight Beauty Best Nov. 16-Feb. 14: Candlelight Dinner Playhouse's Beauty and the Beast
    4747 Marketplace Drive, Johnstown, 970-744-3747 or coloradocandlelight.com

    Nov. 17-Dec. 23: Arvada Center's Joseph and the Amazing Technicolor Dreamcoat
    6901 Wadsworth Blvd., 720-898-7200 or arvadacenter.org

    Nov. 17-Dec. 31: Midtown Arts Center's A Christmas Story
    3750 S. Mason St, Fort Collins, 970-225-2555 or midtownartscenter.com

    Nov. 18-Dec.17: Bas Bleu Theatre's Vanya and Sonia and Masha and Spike
    401 Pine St., Fort Collins, 970-498-8949 or basbleu.org

    Nov. 18-Feb. 24: BDT Stage's Annie
    5501 Arapahoe Ave., 303-449-6000 or bdtstage.com

    Nov. 24-Dec. 24: Boulder Ensemble Theatre Company and DCPA Off-Center's The SantaLand Diaries
    Jones Theatre, 14th and Curtis streets, 303-893-4100 or denvercenter.org

    Nov. 24-Dec. 24: DCPA Theatre Company's A Christmas Carol
    Stage Theatre, 14th and Curtis streets, 303-893-4100 or denvercenter.org




    Nov. 24-Dec. 23: Aurora Fox's Hi-Hat Hattie (see video above)
    9900 E. Colfax Ave., Aurora, 303-739-1970 or aurorafox.org READ MORE

    Nov. 24-Dec. 24: The Avenue Theater's Santa’s Big Red Sack
    417 E. 17th Ave., 303-321-5925 or avenuetheater.com

    Nov. 24-Dec. 23: Miners Alley Playhouse's A Christmas Carol
    1224 Washington St., Golden, 303-935-3044 or minersalley.com

    Nov. 24-Dec. 17: Lake Dillon Theatre Company's Murder for Two
    Silverthorne Performing Arts Center, 460 Blue River Pkwy, 970-513-9386 or lakedillontheatre.org

    Nov. 24-Dec. 30: Thin Air Theatre Company's Angel of the Christmas Mine
    Butte Theatre, 139 E. Bennett Ave., Cripple Creek, 719-689-3247 or thinairtheatre.com

    Nov. 25-Dec. 23: Miners Alley Playhouse's The Story of the Nutcracker (children’s)
    1224 Washington St., Golden, 303-935-3044 or minersalley.com

    Nov. 25, 2017-Jan. 14, 2018: Vintage Theatre Productions' Red
    1468 Dayton St., Aurora, 303-839-1361 or vintagetheatre.com

    Nov. 25-Dec. 23, 2017: Firehouse Theater Company’s The Miracle Worker
    John Hand Theatre, 7653 E. 1st Place, 303-562-3232 or firehousetheatercompany.com 

    Nov. 28-Dec. 3: National touring production of Chicago
    Buell Theatre, 14th and Curtis streets, 303-893-4100 or denvercenter.org

    Nov. 30-Dec. 23: TheatreWorks' The SantaLand Diaries
    At the Bon Vivant Theatre, 3955 Regent Circle, Colorado Springs, 719-255-3232 or theatreworkscs.org

    Dec. 1-31: Edge Theatre Company's Resolutions
    1560 Teller St., Lakewood, 303-232-0363 or theedgetheater.com

    Dec. 1-9: StageDoor Theatre's Cinderella
    27357 Conifer Road, Conifer, 303-886-2819 or stagedoortheatre.org

    Dec. 1-30: Jesters Dinner Theatre's Scrooge, Bah Humbug!
    224 Main St., Longmont, 303-682-9980 or jesterstheatre.com

    CONTINUING CURRENT PRODUCTIONS:

    Through Nov. 4: Coal Creek Theatre's Shining City
    At the Louisville Center for the Arts, 801 Grant St., 303-665-0955 or cctlouisville.org

    Through Nov. 4: Phamaly Theatre Company's Vox Phamilia
    At Community College of Aurora, Fine Arts Building, 16000 E. CentreTech Parkway, Aurora, 303-340-7529 or brownpapertickets.com

    Through Nov. 4: Iron Springs Chateau's Rocky Horror Picture Show
    444 Ruxton Ave., Manitou Springs, 719-685-5104 or ironspringschateau.com


    Through Nov. 5: The Edge Theater Company's A Delicate Balance (see video above)
    1560 Teller St., Lakewood, 303-232-0363 or theedgetheater.com READ MORE

    Through Nov. 5: TheatreWorks' Wild Honey
    At the Bon Vivant Theatre, 3955 Regent Circle, Colorado Springs, 719-255-3232 or theatreworkscs.org

    Through Nov. 5: Candlelight Dinner Playhouse's The Music Man
    4747 Marketplace Drive, Johnstown, 970-744-3747 or coloradocandlelight.com

    Through Nov. 10: Denver's Dangerous Theatre's The Vagrant 2011 REVIEW
    2620 W. 2nd Ave, No. 1, Denver, 720-989-1764 or dangeroustheatre.com




    John Hauser. SpotlightThrough Nov. 11: BDT Stage's Rock of Ages (see video above)
    5501 Arapahoe Ave., 303-449-6000 or bdtstage.com READ MORE

    Through Nov. 11: Lowry's Spotlight Theatre and Theatre Or's Buyer & Cellar

    At the John Hand Theatre, 7653 E. First Place, 720-880-8727 or thisisspotlight.com

    Through Nov. 11: Denver's Dangerous Theatre's Medea
    2620 W. 2nd Ave, No. 1, Denver, 720-989-1764 or dangeroustheatre.com


     

    Through Nov. 11: Midtown Arts Center's Once
    3750 S. Mason St, Fort Collins, 970-225-2555 or midtownartscenter.com READ MORE

    Through Nov. 12: Boulder Ensemble Theatre Company's Birds of North America
    Dairy Center for the Arts, 2590 Walnut St., Boulder, 303-440-7826 or boulderensembletheatre.org READ MORE

    Through Nov. 12: Colorado Springs Fine Arts Center at Colorado College's Bunnicula  (children's)
    30 W. Dale St., Colorado Springs, 719-634-5581 or csfineartscenter.org

    Explorers ClubThrough Nov. 12: Evergreen Players' The Explorers Club
    At Center/Stage, 27608 Fireweed Drive, 303-674-4934 or evergreenplayers.org

    Through Nov. 18: Arvada Center's The Foreigner (black-box theatre)
    6901 Wadsworth Blvd., 720-898-7200 or arvadacenter.org

    Through Nov 18: DCPA Educaton and Theatre Company's The Snowy Day (children's) Conservatory Theatre, 14th and Curtis streets, 303-893-4100 or denvercenter.org READ MORE

    Through Nov. 18: Buntport Theater's Edgar Allan Poe Is Dead and So Is My Cat
    717 Lipan St., 720-946-1388 or buntport.com

    Through Nov. 18: Theater Company of Lafayette’s Return to the Twilight Zone, a Parody
    At the Mary Miller Theater, 300 E. Simpson, 720-209-2154 or tclstage.org




    Through Nov. 19: Local Theater Company's The Rape of the Sabine Women, by Grace B. Matthias
    At The Dairy Center, 2590 Walnut St., Boulder, 720-379-4470 or localtheatercompany.org READ MORE

    Through Nov. 19: DCPA Theatre Company's Smart People
    Ricketson Theatre, 14th and Curtis streets, 303-893-4100 or denvercenter.org READ MORE

    Through Nov. 25: OpenStage's Monty Python's Spamalot
    Lincoln Center, 417 W. Magnolia St., Fort Collins, 970-484-5237 or openstagetheatre.org

    Through Nov. 26: Jesters Dinner Theatre's Legally Blonde, The Musical
    224 Main St., Longmont, 303-682-9980 or jesterstheatre.com

    Through Dec. 17: Anansi: The Itsy BiTSY Spider Stories
    1137 S. Huron St., 720-328-5294 or bitsystage.com

    Through Dec. 29: Arvada Center's A Year With Frog and Toad (children’s) 
    6901 Wadsworth Blvd., 720-898-7200 or arvadacenter.org

    Through Dec. 31: Avenue Theater's Comedy Sportz (late nights through December)
    417 E. 17th Ave., 303-321-5925 or avenuetheater.com READ MORE

    Through May 2018: Buntport Theater's Siren Song (ongoing children's series, second Saturdays of every month)
    717 Lipan St., 720-946-1388 or buntport.com

    Edgar Allan Poe. Buntport
    Photo courtesy Buntport Theater.

    ONGOING, MONTHLY or ONE-TIME PROGRAMMING:

    ADAMS MYSTERY PLAYHOUSE

    AURORA FOX ARTS CENTER

    • Nov. 17-18: The Denver Dolls’ USO/Andrews Sisters tribute

    Studio Theatre, 9900 E. Colfax Ave., Aurora, 303-739-1970 or aurora fox.org

    BRECKENRIDGE BACKSTAGE THEATRE

    • Nov. 24 and 25: Wine and Song: A Broadway Cabaret

    Breckenridge, 970-453-0199 or backstagetheatre.org

    BUNTPORT THEATRE
    • Wednesday, Nov. 15: The Narrators (a monthly live storytelling show and podcast)
    • Tuesday, Nov. 21: The Great Debate (monthly)
    CHERRY CREEK THEATRE
    • Nov 17: O, Beautiful, with the Denver Philharmonic Orchestra
    At the Central Presbyterian Church, 1660 Sherman St., 303-800-6578 or cherry creek theatre’s home page

    COLORADO SPRINGS FINE ARTS CENTER AT COLORADO COLLEGE
    • Nov. 3: An Evening with Tom Papa
    30 W. Dale St., Colorado Springs, 719-634-5581 or csfineartscenter.org

    DENVER ACTORS FUND
      Gone_With_The_Wind_Anniversary-05081
    • Sunday, Nov. 19: Screening of the film Gone With the Wind, with live pre-screening entertainment from Anna Maria High, star of the Aurora Fox's upcoming  upcoming stage production of the stage musical Hi-Hat Hattie. Entertainment 5:30 p.m.; film at 6.
    At Alamo Drafthouse Sloans Lake. drafthouse.com

    LAKE DILLON THEATRE COMPANY

    • Nov. 10-11: Cabaret Series: Broadway Now and Then
      Featuring Kelly Renoux, Belen Moyano, Andrew Tebo and Jeffery Hyman. Musical Director: Drew Nichols
    Silverthorne Performing Arts Center, 460 Blue River Pkwy, 970-513-9386 or lakedillontheatre.org
       
    THE SOURCE THEATRE COMPANY
    • Every third Monday: Monday! Monday! Monday! Cabaret
    At Su Teatro Performing Arts Center, 721 Santa Fe Drive, 720-238-1323 or thesourcedenver.org 

    STORIES ON STAGE
    • Saturday, Nov. 11: On the Couch (1:30 p.m. and 6:30 p.m. at Su Teatro, 721 Santa Fe Drive, 303-494-0523 or storiesonstage.org)
    Stories on Stage has renowned actors bring stories to life by combining literature with theater. This month, Betty Hart reads from The Whole Truth, by Stephen McCauley; Jim Hunt reads from Steve Almond's Donkey Greedy, Donkey Gets Punched; Emily Paton Davies reads from Amy Bloom's Psychoanalysis.
  • Video: Take a deeper visual dive into Off-Center's 'The Wild Party'

    by John Moore | Nov 01, 2017

     

    We didn't want to give away too much of the visual surprise while the show was going on, but now that The Wild Party has ended, here's a closer video look at Off-Center's deep dive into immersive theatre at Stanley Marketplace.

    Much like last year's Sweet & Lucky, The Wild Party transported audience members to a different era as guests at a decadent, 360-degree party set in the Roaring Twenties. There they mingled with an unruly mix of vaudevillians, playboys, divas and ingénues in a Manhattan apartment lost in time. Amid all that, a scripted musical played out in which the debauchery turned disastrous as the alcohol set in, the evening wore on and the drama bubbled to the surface.

    More Colorado theatre coverage on the DCPA NewsCenter

    This unusual, jazz- and gin-soaked gathering afforded a completely new kind of experience for visitors to the former airplane hangar Stanley Marketplace, which was completely transformed by the Denver Center's creative teams.

    The Wild Party was directed by Amanda Berg Wilson. The all-local ensemble included Brett Ambler, Leonard Barrett Jr., Allison Caw, Laurence Curry, Diana Dresser, Katie Drinkard, Trent Hines, Drew Horwitz, Wayne Kennedy, Sheryl McCallum, Jenna Moll Reyes, Marco Robinson, Emily Van Fleet, Aaron Vega and Erin Willis. To explore more about the show, go wildpartydenver.com.

    Video above by DCPA Video Producer David Lenk.

    Previous NewsCenter coverage of The Wild Party:
    Meet the cast: Katie Drinkard

    First look at photos from The Wild Party
    2017 Colorado Fall Theatre Preview: Meet Emily Van Fleet
    Cast list: Look who's been invited to The Wild Party
    Off-Center throwing a Wild Party at Stanley Marketplace this fall
    The Wild Party: Five things we learned at first rehearsal
    Vast and visceral: 2017-18 Theatre Company, Off-Center seasons announced

    PHOTOS: THE MAKING OF THE WILD PARTY

    Making of 'The Wild Party'

    (New photos added!) Photos from the making of Off-Center's 'The Wild Party,' from the Opening Night party back to the first day of rehearsal. To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.


    OFFICIAL PRODUCTION PHOTOS:

    The Wild Party
    The official production photos for 'The Wild Party.' To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by Adams VisCom.

  • 5 things you don't know about Nataki Garrett

    by John Moore | Oct 26, 2017
    Nataki Garrett

     

    She's smart, in demand and making her Denver directorial debut with the Denver Center's Smart People.

    By John Moore
    Senior Arts Journalist

    What you might not know about new Associate Artistic Director Nataki Garrett, who makes her Denver — and Denver Center — directing debut with Lydia R. Diamond’s Smart People, playing through Nov. 19 in the Ricketson Theatre:

    NUMBER 1Macbeth. Nataki Garrett SHE'S SMART PEOPLE. Garrett attended California Institute of the Arts to study theatre and went on to become the associate dean and the co-head of the undergraduate acting program at CalArts’ School of Theater. She became the DCPA Theatre Company’s Associate Artistic Director in January. (She's pictured right at the recent opening of the DCPA's reimagined 'Macbeth.')

    NUMBER 2 SHE'S IN DEMAND. Garrett directed Branden Jacobs-Jenkins’ celebrated antebellum melodrama An Octoroon last year for the Woolly Mammoth Theatre Company, a run that was so celebrated it was remounted in August. After her DCPA Theatre Company directorial debut, she will helm Chicago’s Steppenwolf Theatre’s staging of Aziza Barnes’ BLKS followed by Jefferson’s Garden at Ford’s Theatre in Washington D.C. “These gigs confirm her status and the Denver Center’s place in the national conversation about theater’s future,” wrote Lisa Kennedy of The Denver Post.  

    NUMBER 3SHE'S ADMIRED. “She’s a breath of fresh air. I think she’s a strong, visionary artist and director,” DCPA CEO Janice Sinden told The Denver Post in February. “I think she’s going to inspire us. I think she has a great eye for how we can engage new and different audiences at the DCPA as well. I’m beyond excited.”

    NUMBER 4 SHE'S MIXING THINGS UP. Garrett has established close artistic relationship ties with some of the boldest new voices in the American theatre, including Jacobs-Jenkins (a MacArthur Fellow and Obie winner), Katori Hall (The Mountaintop), Timberlake Wertenbaker (Jefferson’s Garden), and Sigrid Gilmer. Who is Sigrid Gilmer? According to her own website, “she makes black comedies that are historically bent, totally perverse, joyfully irreverent and are concerned with issues of identity, pop culture and contemporary American society.”

    NUMBER 5SHE'S ON THE RISE. Garrett was highlighted in the November issue of American Theatre’s “Role Call: People To Watch.” In that feature, she was quoted as saying she’s attracted to “plays that seem impossible to stage, and to those which impact us in tremendous ways, chasing us out of our comfort zones. My mandate in the theatre is to give voice to the voiceless, and I am inspired by stories that expose the dark and discarded in the corners of our existence.”

    More Colorado theatre coverage on the DCPA NewsCenter

    Smart People: Ticket information
    SmartPeople_show_thumbnail_160x160Lydia R. Diamond. This acclaimed new play is a biting comedy that follows a quartet of Harvard intellectuals struggling to understand why the lives of so many people – including their own – continue to be undermined by race. No matter how hard they research, question and confront the issue, their own problems with self-awareness make it difficult to face the facts of life.

    • Presented by the DCPA Theatre Company
    • Performances through Nov. 19
    • Ricketson Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here
    Previous NewsCenter coverage of Smart People:
    In Smart People, the race is on from the start
    Perspectives: Could racism be filtered out through genetics?
    Cast announced for Smart People: Fresh and familiar
    Photos, story: Smart People opens rehearsals in full swing




  • 'Smart People': First-look video, Opening Night photos

    by John Moore | Oct 25, 2017
    Video:

    Video above: Your first look at the DCPA Theatre Company's Smart People, by Lydia R. Diamond. This acclaimed new play is a biting comedy that follows a quartet of Harvard intellectuals struggling to understand why the lives of so many people – including their own – continue to be undermined by race. The cast includes, below from left: Jason Veasey,  Esther Chen, Director Nataki Garrett, Tatiana Williams and Timothy McCracken. Smart People runs through Nov. 19 in the Ricketson Theatre. Video by David Lenk for the DCPA NewsCenter.


    Photo gallery: Smart People Opening Night and more:
    Making of 'Smart People'
    Photos above from the making of Smart People, including the Opening Night celebration on Oct. 20, 2017. To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.

    More Colorado theatre coverage on the DCPA NewsCenter

    Smart People: Ticket information
    SmartPeople_show_thumbnail_160x160Lydia R. Diamond. This acclaimed new play is a biting comedy that follows a quartet of Harvard intellectuals struggling to understand why the lives of so many people – including their own – continue to be undermined by race. No matter how hard they research, question and confront the issue, their own problems with self-awareness make it difficult to face the facts of life.

    • Presented by the DCPA Theatre Company
    • Performances through Nov. 19
    • Ricketson Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here
    Previous NewsCenter coverage of Smart People:
    In Smart People, the race is on from the start
    Perspectives: Could racism be filtered out through genetics?
    Cast announced for Smart People: Fresh and familiar
    Photos, story: Smart People opens rehearsals in full swing
  • 'Smart People': The race is on from the start

    by John Moore | Oct 24, 2017
    Smart People
    Production photos from the DCPA Theatre Company's 'Smart People,' directed by Nataki Garrett and featuring Tatiana Williams, Timothy McCracken, Jason Veasey and Esther Chen. To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by Adams Viscom for the DCPA NewsCenter.

    Playwright Lydia R. Diamond refutes the notion that bigotry is owned only by certain people. No one is exempt.

    By Sylvie Drake
    For the DCPA NewsCenter

    Smart People is a loaded title for a loaded play. 

    It opens with projected images: diverse people, young, old, rich, poor, engaged in various activities. When I asked the play’s author, Lydia R. Diamond, what these images meant, she thought for a moment.  

    Lydia_R._Diamond“I wanted to open with a sense of the diversity of the characters,” she said with gravitas. “I wanted to inspire the director in a certain direction. I write from a very visual place, particularly when it’s about race.” 

    And yes, Smart People is about race. 

    Diamond is meticulous when it comes to intent. Her talents now include writing for film and television as well as theatre, and she was in the middle of writing for Showtime’s The Affair when we spoke on the phone. This required that she pull her mind off that project to discuss her 2014 play. 

    Four complicated people vie for our attention in Smart People: Brian, a white, tenured Harvard professor of neuropsychiatry with an entitlement issue who’s pursuing a controversial project; Valerie, a young African-American struggling to break through as a professional actress; Ginny, a Chinese-Japanese-American professor of psychology at Harvard with a serious shopping habit who focuses on identity issues among Asian-American women; and Jackson, an African-American medical resident with an attitude, fresh out of Harvard Med and eyeing a career as a surgeon. 

    If these thumbnail descriptions sound rooted in academia, they are. 

    “My mother was a college professor,” Diamond offered. “I grew up in a family of academics.” 

    Her own career has included stints as a professor and, although they are now divorced, she was married to a Harvard professor with whom she has a son. “I was very aware of that self-congratulatory world,” she added, “and what shapes it.”

    Smart People was triggered by a Princeton study about how we, as a species, tend to dehumanize the lowest of the low. When the study’s focus group was confronted by images of indigent, homeless people, the group registered no reaction. That detail got Diamond’s attention. It confirmed for her that our preconceptions — how we see others — are where prejudice begins. 

    Nataki Garrett, who joined the DCPA Theatre Company as Associate Artistic Director in January, chose Smart People for her Denver directorial debut because she could relate, she said. Like Diamond, Garrett comes from an African-American family of academics. Except that she grew up in Oakland, Calif., in the 1980s. 

    More Colorado theatre coverage on the DCPA NewsCenter

    “It was the middle of the Reagan scourge, the drug scene, the killings down the street from my house. That was my life,” Garrett said. With President Obama’s ascension to the presidency, “I was living in an extreme dichotomy with my sweet liberal friends because they were saying ‘racism is over,’ except it wasn’t. They weren’t listening to the wider world; they were listening to the sound of their own voice. Their sense of entitlement determined how the world was meant to be: my existence defined by your privilege. 

    SMART PEOPLE ADAMS_VISCOM“I wasn’t shocked by the (Trump) election and needed to ask myself why,” she continued. “Why wasn’t I…? And then I read Smart People and remembered how self-congratulatory my sweet liberal friends had been. This belief that you and I are alike just because we’re really good friends is an illusion. We’re not (alike). ‘Liberal’ does not protect you from bias; you have to go back to the beginning to understand how we got to here.”

    (Pictured right: Timothy McCracken and Tatiana Williams in 'Smart People.' Photo by Adams VisCom for the DCPA NewsCenter.)

    Before coming to Denver, Garrett racked up solid credits working in various capacities with a broad range of the country’s best resident theatre companies and schools, most recently California’s CalArts. She was highlighted in American Theatre magazine last year as a person to watch and admits she favors doing cutting edge work by emerging artists. 

    “My mandate in the theatre is to give voice to the voiceless. I’m attracted to plays that seem impossible to stage and that chase us out of our comfort zones,”  she said.

    Garrett selected Efren Delgadillo Jr. to design the sets for Smart People because, she said, “he favors clean lines and uncluttered spaces. Nothing’s hidden. A neutral place, so we can hear the words.”  

    And Diamond’s words do demand to be heard, because Diamond is an equal-opportunity indicter. She refutes the notion that bigotry is owned only by certain people. As demonstrated by her stark 2008 play Stick Fly, racism cuts all ways. No one is exempt. 

    Her “smart people” have issues with the wider world, but they also have a hard time talking to each other. Their anger simmers under a fragile surface that erupts easily. As the world’s playwrights all know, communication is mainly miscommunication — a human failing, regardless of the color of one’s skin, yet made worse by it.

    “I knew Brian had to be a white man,” said Diamond, whose protagonist is “a neuroscientist out to prove that white people are biologically racist. No, that’s not what I believe,” she added quickly. 

    It was a way to jump-start the discussion.

    “I didn’t know what or who the characters around this man would be,” she said. “Creating characters is part of a process that’s purposeful, but also organic. It has a spiritual component. I discover things as I go along.” 

    That the play takes place in the weeks leading up to President Obama’s inauguration is a component that wasn’t there when she started thinking about Smart People. Yet when his presidency became reality, it played into her premise, helping to shape it.  

    As for the steady stream of controversial statements regarding race that have come from  Obama’s successor, Diamond said only: “I always thought that I would rather people be outspoken about their ideas — but I find it frightening."

    Sylvie Drake is a translator, former theatre critic and columnist for the Los Angeles Times, contributor to culturalweekly.com, American Theatre magazine, the Los Angeles Times, and is the DCPA's former Director of Media Relations and Publications.

    Lydia_R._Diamond SMART PEOPLE ADAMS_VISCOM

    Clockwise from top left: Esther Chen, Timothy McCracken, Tatiana Williams and Jason Veasey in 'Smart People.' Photo by Adams VisCom for the DCPA NewsCenter.


    Smart People
    : Ticket information
    SmartPeople_show_thumbnail_160x160This acclaimed new play is a biting comedy that follows a quartet of Harvard intellectuals struggling to understand why the lives of so many people – including their own – continue to be undermined by race. No matter how hard they research, question and confront the issue, their own problems with self-awareness make it difficult to face the facts of life.

    • Written by Lydia R Diamond
    • Presented by the DCPA Theatre Company
    • Performances through Nov. 19
    • Ricketson Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here
    Previous NewsCenter coverage of Smart People:
    Perspectives: Could racism be filtered out through genetics?
    Cast announced for Smart People: Fresh and familiar
    Photos, story: Smart People opens rehearsals in full swing

    Photo gallery: The making of Smart People

    Making of 'Smart People' Photos from the making of the DCPA Theatre Company's 'Smart People,' directed by Nataki Garrett and featuring Tatiana Williams, Timothy McCracken, Jason Veasey and Esther Chen. To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.

  • Perspectives: 'Smart People' and the constant search for 'yes'

    by John Moore | Oct 18, 2017
    Making of 'Smart People' Photos from the making of the DCPA Theatre Company's 'Smart People,' directed by Nataki Garrett and featuring Tatiana Williams, Timothy McCracken, Jason Veasey and Esther Chen. To see more, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.

     

    Five things we learned about the Theatre Company’s new comedy at our ongoing series of free conversations.

    By John Moore
    Senior Arts Journalist

    Lydia R. Diamond’s Smart People, opening Friday in the Ricketson Theatre, is a play that takes its premise from an idealistic, real-life Princeton University neuropsychologist named whose research led her to believe that there is an identifiable gene in the bodies of white people that causes them to be racist. “Idealistic” because, in this emerging era of gene manipulation, the possibility might then exist that racism could one day be filtered out of human existence.

    It’s also a funny comedy about four impossibly smart and impossibly beautiful young people embroiled in America's often comically self-deluded conversations about gender and race at the hopeful dawn of the first Obama administration.

    When Diamond read the article about Fiske's quest to solve the problem of racism by locating that elusive gene, she knew she wanted to write a play about it. In an interview with the Huntington Theatre Company, Diamond said: "The genesis was a paper by Susan Fiske, who studies the roots of stereotyping based on race, gender and age. My husband, a sociologist, happened upon the article and said, 'You may want to look at this.' It kind of jolted me and made me think, 'What would be the ramifications of that line of inquiry? I started to see that across disciplines, studies about race aggressively worked to talk around race; I imagine because it’s such a powder keg."

    Here are five things we learned about the DCPA Theatre Company’s production of Smart People at Perspectives, an ongoing series of free conversations with audiences held before the first preview performance of most every Theatre Company offering. The panel featured Garrett and her entire four-actor cast of Tatiana Williams, Timothy McCracken, Jason Veasey and Esther Chen, as well as Lighting Designer Jeanette Oi-Suk Yew.

    Join moderator Douglas Langworthy next at 6 p.m. on Friday, Jan. 19 in the Jones Theatre for a talk on Matthew Lopez’s world-premiere comedy Zoey’s Perfect Wedding.    

    NUMBER 1Jurassic-ParkHow did this play come about? “It’s a real study,” Smart People Director Nataki Garrett said of Fiske's research. “You can download that article on the internet right now.” And if you read it, she said, “What you will find is this person's earnest desire to create change. That is a symptom of this idealistic time we were in just after Barack Obama was elected. The character in our play who is pursuing this idea really does want to help humanity.” But Colorado Springs native Jason Veasey (pictured below right), who plays a different character in the play, says beware of the story’s Frankenstein overtones. “The problem with human beings' pursuit of knowledge to the furthest extremes, even with the best intentions, is that there will always be other human beings who want to take that knowledge and do something bad with it,” Veasay said, “whether it be trying to identify a gene that makes people racist — or creating a park with real live dinosaurs. Look what happened when they did that!

    NUMBER 2 Smart People. Jason Veasey. Photo by John MooreHigh hopes and high I.Qs. The play is intentionally set just as the country was electing its first African-American president, said Garrett, also the Theatre Company’s Associate Artistic Director. “That was a very optimistic time in our county — for some people,” she said. “There was this revelry around the idea that we were participating in something that was happening for the first time. Because whenever you embark on something for the first time, then what you are probably doing is changing the world. These people meet at a time when they, too, are embarking on something new — with the election, with each other and with their ideas. What they are looking to discover is something about who we are as a nation."

    NUMBER 3Double vision: It is believed that Smart People is the first time the Denver Center's tiny Ricketson Theatre has ever accommodated a double-decker set. That means it has two floors, courtesy of Scenic Designer Efren Delgadillo Jr., with input from Garrett, who initially was told the Ricketson had never been bisected horizontally because the former movie theatre just doesn't have the height. Which set Garrett’s curiosity on a quest to find out if it could be done. That didn't surprise her actors, who call working with Garrett what they call “The Search for Yes.” “I Iike to be told what I can't do, and then ... I just have to see for myself,” Garrett said to laughter. “We jigsaw-puzzled ideas for days looking for ways to make is happen” – and with help from the DCPA design team, they did. The result, Garrett said, is an intentionally spare set made up of extremely clean and efficient lines. “I needed a space where the playwright’s words are most prominent, unfettered by other scenic elements,” she said.


    Smart People. Photo by John Moore

    NUMBER 4 What is ‘The Search for Yes’? When design artists come to Denver, one thing they quickly discover, Garrett said, “is that the team from the Denver Center can do anything. If you say to the people who put their hands on the stages here that you have this really crazy idea, the answer is almost always, exclusively, going to be ‘yes.’ They will do whatever it takes to make it happen." As an example, she asked those in attendance to pay particular attention to the use of projections in Smart People. “How they did what they did in that teeny space is amazing to me,” Garrett said. Added Veasey: “It feels like you are on the inside of a TV.”

    NUMBER 5What is ‘color-blind casting’? Diamond’s script very specifically calls for an  African-American woman who in turn plays an aspiring actor. At one point in the story, she is asked about her current role in a production of Julius Caesar, and specifically whether her casting in the traditionally white Shakespeare play is the result of “color-blind casting” — one of the most polarizing issues among real-life actors. Garrett was asked to define the term, and say whether she advocates for it. After a deep breath, she accepted the challenge:

    “So … ‘color-blind casting’ is an idea that is born out of the age of multiculturalism, where you might take a play that historically was connected to just one culture and cast it instead in a way that is inclusive of several cultures or identities,” she said. “Color-blind casting sometimes works and sometimes it doesn't. I believe that when it doesn't work, it is because of an earnest desire to create a world in which color does not exist — as opposed to creating a world in which color and race and identity are actually tangible things that we hold dear. Where it is important for us to have and embrace difference, as opposed to homogeny. Often, color-blind casting can further marginalize people of color because the question usually comes with the inference that, ‘You were not supposed to be doing this.’ That means you were given an opportunity that doesn't actually belong to you. I believe in casting that allows for people to be considered for roles based on their skills and for their density and for their ability and depth and knowledge — not based primarily on their identity. So I am not a ‘color-blind caster.’ I would say that I am a ‘color-conscious caster.’ I am very aware of the people in the bodies of the people I work with, and I honor them in their bodies, and I need them to be who they are."

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

    More Colorado theatre coverage on the DCPA NewsCenter

    Smart People: Ticket information
    SmartPeople_show_thumbnail_160x160Lydia R. Diamond. This acclaimed new play is a biting comedy that follows a quartet of Harvard intellectuals struggling to understand why the lives of so many people – including their own – continue to be undermined by race. No matter how hard they research, question and confront the issue, their own problems with self-awareness make it difficult to face the facts of life.

    • Presented by the DCPA Theatre Company
    • Performances through Nov. 19
    • Ricketson Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here
    Previous NewsCenter coverage of Smart People:
    Cast announced for Smart People: Fresh and familiar
    Photos, story: Smart People opens rehearsals in full swing

  • Something old, something new, something borrowed and 'Something Rotten!'

    by John Moore | Oct 17, 2017
    something-rotten_cast-of-the-national-tour_jeremy-daniel_33063145961_o

     

    Cast of the national touring production of 'Something Rotten,' opening tonight (Oct. 17) at the Buell Theatre. Photo by Jeremy Daniel. 

    Something Rotten! is a cheeky new musical with its tongue planted firmly in the cheek of Broadway's past  

    Most Broadway newcomers don’t get their first show produced by Tony Award-winner Kevin McCollum, and they don’t typically land Tony-winner Casey Nicholaw as their director-choreographer. But brothers Karey and Wayne Kirkpatrick and British comedy writer John O’Farrell, the creators of the Tony Award-nominated Something Rotten!, aren’t like most Broadway first-timers.

    Growing up in Louisiana, the Kirkpatrick brothers fell in love with musical theater, appearing in high school shows and going to what’s now the Baton Rouge River Center to see touring productions of Broadway hits. In 1983, Karey Kirkpatrick saw his first show on Broadway, My One and Only, starring Tommy Tune and Twiggy, at the St. James Theatre – the theater that’s now home to Something Rotten!.

    Careers took the brothers and their Something Rotten! collaborator O’Farrell in different creative directions – Karey to success as a screenwriter, songwriter and director, with credits including The Rescuers Down Under, James and the Giant Peach and Chicken Run; Wayne to acclaim as a Grammy Award-winning songwriter (Eric Clapton’s Song of the Year Change the World and Garth BrooksWrapped Up in You are his); O’Farrell to multifaceted success in the U.K. as a comic novelist, columnist and TV and film writer.

    The seeds of Something Rotten! were sewn in the mid-1990s when Karey, who now lives in Los Angeles, and Wayne, who calls Nashville home, would get together for holidays or catch up by phone.

    “We were big history buffs. It started with, ‘Wouldn’t it be funny if Shakespeare’s London were a lot like what Broadway was in the 1930s?’” Karey says. “Then it was, ‘What would it be like to be writing plays in the shadow of William Shakespeare, after Romeo and Juliet just opened?’”

    “We thought of two writers,” Wayne says. “What if one went to a soothsayer? Then somewhere along the way it was, ‘What if the two writers were brothers? What if the soothsayer’s name was Nostradamus, but he wasn’t The Nostradamus? What if he was a senile, bad soothsayer, his nephew?’ Eventually it was, ‘If we’re going to do this, we should really get serious about it.’”

    The brothers buckled down, and in 2010, Karey reached out to McCollum, producer of Rent and Avenue Q.

    “We called Kevin and said, ‘What do you need?’ He said that Avenue Q was three songs and an idea,” Karey says. “He came to my house and we pitched him five songs and the idea. He said, ‘I think you’ve got something here.’ ”

    Karey brought in O’Farrell, whom he’d met on Chicken Run, to help write the show’s story. The brothers crafted the music and lyrics, eventually writing more than 50 songs. What they had, after plenty of revisions and a multi-year developmental process, is a buoyant musical set in Shakespeare’s day that imagines the creation of the very first musical.

    Something Rotten! centers around Nick and Nigel Bottom (the last name comes from A Midsummer Night’s Dream), brothers desperate for a hit in Elizabethan London, where William Shakespeare is a rock star-like god of the stage lately given to cribbing plots. 

    Nick’s wife, Bea, a can-do gal in the style of Shakespearean heroines who cross-dress to get things done, tries to help. Nigel falls for a pretty Puritan named Portia, whose daddy strongly disapproves. Unreliable soothsayer Thomas Nostradamus, nephew of the Nostradamus, looks into the future and tells Nick that theater’s next big thing will be – tahdah! – “musicals,” where people sing, dance and act all at the same time.

    Something Rotten! is laced throughout with humor for Shakespeare aficionados and musical theater geeks.

    “We were conscious of not wanting to be so inside that you could only get it if you had seen the most obscure musicals,” Wayne Kirkpatrick said. “We went broad, purposely. We referenced not only the musicals that inspired us, but also musicals people would know even if they hadn’t seen them, or maybe they’d only seen the movie. The same with Shakespeare. Everybody knows some Shakespeare lines. There are a lot of what we refer to as his ‘hits’ that everybody is going to know.” 

    More Colorado theatre coverage on the DCPA NewsCenter

    The end result is a show so that has been called fresh and funny and appeals to audiences of all backgrounds. “I think it doesn’t matter how much you know,” said Nicholaw, whose other current Broadway shows are Disney's Aladdin (coming to Denver April 6-28) and The Book of Mormon (returning to Denver from June 13 through July 1). “My nieces and nephews say it’s their favorite show that I’ve done, and they don’t know any of the references.”

    Added O’Farrell: “If it works as a musical for people who don’t know musicals or Shakespeare, then I’m happy. It’s about show business and putting on a show. The show works on many levels, but the main level it works on, I hope, is that it’s just a great fun night out.”

    For the no-longer-green creative team, Something Rotten! has been a challenge, an education and a joy, an experience they still savor as the touring production plays cities all over the United States.

    “This was by far the hardest thing I’ve ever done, but [it was] so rewarding to sit in a theater and watch all these amazing contributions from people who took it beyond our idea to create this magical, happy experience,” Wayne Kirkpatrick said.

    (The preceding article was provided by Something Rotten!)


    Bonus: Something Rotten! sings!


    AChorusLine

    'Something Rotten!'
    is brimming with references from some of the most beloved modern musicals throughout history. Jazz hands out! Below is a list of just some of our favorites from the show-stopping number 'A Musical':

    “I believe it’s called ‘Miser-ahh-bluh’”: This is directly referring to Les Misérables, with music by Claude-Michel Schönberg, original French lyrics by Alain Boubil and Jean-Marc Natel and an English libretto by Herbert Kretzmer.

    “Feel that fascinating rhythm move into your feet”: These lyrics are from George and Ira Gershwin’s Fascinating Rhythm, which was first included in the Broadway musical Lady Be Good in 1924 with Fred and Adele Astaire.

    “It’s a musical, a Seussical?”: Seussical was a musical that debuted on Broadway in 2000 and was based on the books of Dr. Seuss. Stephen Flaherty independently composed the music and co-wrote the book with Lynn Ahrens, who also wrote the lyrics.

    Sailor Hats: During A Musical, Nostradamus and the chorus men don sailor hats, which harkens to several nautical-themed musicals, including South Pacific, Anything Goes, On the Town and Dames at Sea.

    “All That Jazz” number: This number comes from the John Kander and Fred Ebb musical Chicago (returning to the Buell Theatre starting Nov. 28), featuring the iconic Broadway choreography of Bob Fosse.

    “525,600 Minutes” excerpt: This moment comes from the song Seasons of Love from Jonathan Larson’s Rent which won the Tony Award for Best Musical in 1996. The 20th anniversary tour of Rent comes to the Buell Theatre Nov. 14-21,

    Wash Buckets: The ensemble brings on cleaning buckets and emulates the iconic staging of the song It’s the Hard Knock Life from Charles Strouse and Martin Charnin’s Annie. BDT Stage will be presenting Annie in Boulder from Nov. 18-Feb. 24.

    Get in 'Line': The lyrics refer to the tradition of a chorus or ensemble dancing in a line in synchronized fashion. This can be seen with the world-famous Radio City Music Hall’s Rockettes and the musical A Chorus Line. At the end of the song, the entire company crosses to one line downstage with headshots (or rather head… sketches) in front of their faces. This is also replication of the iconic staging from the musical A Chorus Line.



    Fun photo gallery: A peek at the Playbills. Elizabethan style!

    Something Rotten! A Peek at the Playbills

    As a show about the "first" Broadway musical, there are naturally quite a few hilarious references to the Great White Way in Something Rotten! See how the titles of some famous shows would have changed if they were created at the turn of the 17th century. To see more, hover your cursor over the image above and click the forward arrow that appears.



    Something Rotten!: Ticket information
    Something Rotten!At a glance: Set in 1595, this hit musical comedy  tells the story of two brothers who set out to write the world's very first musical. It was called  'The Producers + Spamalot + The Book of Mormon. Squared,' by New York Magazine. The New York Post called Something Rotten! 'a big, fat hit.'

    • National touring production
    • Performances Oct. 17-29
    • Buell Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here
  • Rachel Kae Taylor of 'The Snowy Day' on the magic of being a kid

    by John Moore | Oct 11, 2017
    RachelKaeTaylor


    MEET RACHEL KAE TAYLOR
    Actor, Teaching Artist and Puppet Designer Rachel Kae Taylor is one of three ensemble members in DCPA Education's The Snowy Day and Other Stories, by Ezra Jack Keats, playing through Nov. 18 in the Conservatory Theatre. She plays Archie, Amy, Mom and other roles.

    At the Denver Center: The Servant of Two Masters, One Foot on the Floor and A Christmas Carol. Other theatres: Touch the Names (Ensemble Studio Theatre N.Y., Cleveland Play House); The Good Woman of Setzuan, 5th of July (National Theatre Conservatory).

    • Hometown: Denver
    • Training: University of Colorado, MFA from the Denver Center's National Theatre Conservatory (pictured below right with Patrick Goss in 'The Fifth of July'.)
    • Rachel Kae Taylor and Patrick Goss in The Fifth of JulyTwitter-sized bio: Mom of the coolest 14-year-old on the planet. Visual artist. Zombie fanatic. Ghost-story addict. Baseball lover. Doing my part to keep 80s alternative music alive. Undefeated at Tetris.
    • Web site? rkaetaylor.com and CupOfTwigs on ETSY
    • What was the role that changed your life? This is a tough one because I think every role changes your life in some way, and it should.
    • What would you be doing if you were not an actor? I actually have my dream career as a Teaching Artist and At-Risk Coordinator for DCPA Education. I have the privilege of teaching and developing theater arts programing for underserved communities and Title One schools across Colorado. If I hadn’t gone into the arts, I would have been an anthropologist or forensic sculptor. I am the biggest geek for all things science. Humans are endlessly fascinating.
    • RachelKaeTaylor Larry Hecht 160Ideal scene partner? Larry Hecht (pictured right), the former head of adult acting at the DCPA. He could literally wizard things out of you. Things you had no idea you could do or be.
    • Why does The Snowy Day matter? Ezra Jack Keats was such a groundbreaker in terms of social awareness in children’s literature, in a quiet and beautiful way.  For a child to be able to read a story and say “Hey, they look like me!’ is a very powerful thing. I remember the first time it happened to me to this day.
    • What do you hope the audience gets out of this play? I hope that for adults it is a reminder of how truly beautiful the simple things in a life are. Whether it is the wonder of a new snowfall, or having your heart flutter for the first time, or little acts of bravery, it’s easy to forget sometimes in our adult lives how magical these moments are. I hope that the kids find themselves within the characters and their discoveries about the world around them. If it is their first time at the theater, I hope they fall madly in love with it, like I did.
    • Finish this sentence: "All I want is ..."
      " ... to live my favorite quote, which I saw spray-painted on a door in Queens: “Art changes people, and people change the world.’ "

    More Colorado theatre coverage on the DCPA NewsCenter


    Rachel Kae Taylor. AdamsVisCom. The Smowy DayThe cast of 'The Snowy Day Other Stories,' from left: Rachel Kae Taylor, Robert Lee Hardy and Zak Reynolds. Photo by Adams VisCom for the DCPA NewsCenter.


    Previous NewsCenter coverage of The Snowy Day and Other Stories

    First rehearsal photos: Forecast calls for a Snowy Day at DCPA
    DCPA Education to launch Theatre for Young Audiences
    Meet Zak Reynolds of The Snowy Day, 'a fan of being happy'

    The Snowy Day and Other Stories: Ticket information
    Snowy DayFrom the joys of a first snowfall and learning how to whistle to thrilling encounters delivering a precious invitation, the delightful moments of childhood are perfectly captured in this medley of simple, sweet stories.

    • Written by Ezra Jack Keats; adapted for the stage by Jerome Hairston
    • Performances through Nov. 18
    • School performances: Weekdays 9:30 and 11:30 a.m. (except Thursdays are at 10 a.m. and 1 p.m.)
    • Public performances: 1:30 p.m. Saturdays
    • Conservatory Theatre, located in the Robert and Judi Newman Center for Theatre Education, 1101 13th St.
    • Tickets $10 (discounts and scholarships available)
    • Best suited for: Pre-K through third grade
    • Call 303-893-4100 or BUY ONLINE
    • Teachers: Inquire by clicking here or calling 303-446-4829
  • Coloradans urged to pledge we're amazin' to Amazon

    by John Moore | Oct 10, 2017
    ColoradoLoves1


    To lend support to Colorado’s bid to attract Amazon's second headquarters to the state, a grassroots group called “Colorado Loves” is asking everyone from natives to newcomers to share the many reasons they love Colorado on a new website called ColoradoLoves.com.

    The hope is that when officials from the tech giant read the entire collection of fawning anecdotes, they will collectively fall in love with Colorado, too. 

    Click here to share your story

    Amazon is receiving bids from communities angling to be the landing spot for the Seattle-based company’s second headquarters. Amazon is promising the winning city a mega-tech campus with tons of high-paying jobs.

    “The goal is to highlight all the things that are great about this region and why we can support 50,000 new jobs and tons of new innovation,” Stephanie Donner, who is leading the campaign, told The Denver Post. “If you’re inspired, we want you participate. There is no area where we have too much or too little. We need content and we want it to be user-generated.”

    Read the full Denver Post report

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    ABOUT THE EDITOR
    John Moore
    John Moore
    Award-winning arts journalist John Moore has recently taken a groundbreaking new position as the DCPA’s Senior Arts Journalist. With The Denver Post, he was named one of the 12 most influential theater critics in the US by American Theatre Magazine. He is the founder of the Denver Actors Fund, a nonprofit that raises money for local artists in medical need. John is a native of Arvada and attended Regis Jesuit High School and the University of Colorado at Boulder. Follow him on Twitter @moorejohn.

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