Applause -- A Christmas Carol, November 21-December 28, 2025

APPLAUSE

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SIGHTLINE

BY JANICE SINDEN

WWelcome to the holiday issue of Applause.

Whether you are celebrating love, family, Christmas, or even Halloween (yes, you read that right!), we’ve got something to fill your activity list.

First up is the return of Goodnight Moon. The beloved children’s classic comes to the stage in a fully produced musical perfect for PreK through third grade students and their caregivers. Other family favorites include our Theatre Company’s traditional production of A Christmas Carol and everyone’s favorite green grump in Dr. Seuss’ How the Grinch Stole Christmas! The Musical

The Broadway touring engagement of The Notebook, based on the best-selling novel by Nicholas Sparks, will fill hearts to overflowing with its tender story of love that survives even when memories fade. And the 30th anniversary of STOMP makes some noise in the Buell Theatre when it creates music out of brooms, hubcaps, zippo lighters, and trashcans.

Finally, if stores can decorate for Christmas in September, then Dracula: A Comedy of Terrors can take a bite out of the holidays alongside Charles Dickens’ little ghost story.

Half of these productions are original works designed, built, assembled, and rehearsed right here in Denver. Many of your neighbors, friends, and family are part of the incredible artistry that you see before you, so as part of your year-end giving, consider a donation to the DCPA. The return on your investment is more than an economic boon to our community. It is reflected in the memories that you and your loved ones will cherish for a lifetime.

Vladimir Script

Warm regards,

Janice Sinden

Janice Sinden, President & CEO

H O N O R I N G O U R E L D E R S

The Denver Center for the Performing Arts honors and acknowledges that it resides on the traditional and unceded territories of the Ute, Cheyenne, and Arapaho Peoples. We also recognize the 48 contemporary Indigenous Tribes and Nations who have historically called Colorado home.

IN THIS ISSUE

A Christmas Carol pg 10

The Notebook pg 16

STOMP pg 22

Goodnight Moon ......................... pg 24

FOR A COMPLETE LIST OF UPCOMING SHOWS:

APPLAUSE

VOLUME XXXVI • NUMBER 2 • NOV – DEC 2025

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER: Paul Koob

CONTRIBUTING DESIGNERS: Lucas Kreitler, Kyle Malone

CONTRIBUTING WRITERS: Lisa Bornstein, Lisa Kennedy, Dan Sullivan

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

Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com Applause magazine is funded in part by

Denver Center for the Performing Arts is a non-profit organization that engages and inspires through the transformative power of live theatre.

BOARD OF TRUSTEES

Ruth Krebs, Chair

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David Jacques Farahi, Secretary/Treasurer

Nicole Ament

Marco D. Chayet

Yosh Eisbart

Christopher Hayes

Elizabeth Hioe

Deb Kelly

Robert Kenney

Kevin Kilstrom

Lynn McDonald

Susan Fox Pinkowitz

Manny Rodriguez

Alan Salazar

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Martin Semple

William Dean Singleton

Sylvia Young

HONORARY TRUSTEES

Navin Dimond

Margot Gilbert Frank

Jeannie Fuller

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Judi Wolf

HELEN G. BONFILS

FOUNDATION BOARD OF TRUSTEES

Martin Semple, President

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Nicole Ament

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EXECUTIVE MANAGEMENT

Janice Sinden, President & CEO

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LEARN MORE

SEASON NO. 39

JUNE 25 - AUGUST 6, 2026

ACADEMY OF ST MARTIN IN THE FIELDS • JUNE 25 - 28, 2026

DALLAS SYMPHONY ORCHESTRA • JULY 2 - 8, 2026

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CHAMBER MUSIC SERIES • JUNE 30 - JULY 27, 2026

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303.446.4840

Pissarro’s Impressionism

THROUGH FEBRUARY 8, 2026

A LITTLE BOOK FOR THE CHRISTMAS TRADE

BY DAN SULLIVAN

HHe wrote it for the money. Not just for the money, of course: Charles Dickens was no Grub Street hack. Still, his family was growing, he was behind on his bills and his latest novel, Martin Chuzzlewit, wasn’t selling as expected. “A little book for the Christmas trade” might be just the ticket.

He already had a point of departure: a vignette in The Pickwick Papers about a jittery gravedigger who spends a drunken Christmas Eve spooked by goblins. What if Dickens were to turn him into a cold-hearted financier named... Ebenezer Scrooge? What sort of midnight ghosts would he entertain?

He dashed off the story in six weeks. Rather, it dashed off with him. “I don’t invent, but see it, and write it down.” Mornings, he strode around his study acting out the roles — now the flinty old miser, now the angelic little boy on crutches. Evenings, he roamed the streets, wiping away a tear or a smile as a new scene came to him. And when the thing was done — November 1843 — “I broke out like a Madman.”

Published in mid-December, A Christmas Carol swept the town. Alas, it didn’t clear up his cash-flow problem; but only because Dickens had pressured his publisher into selling it for a mere five shillings — a price even Bob Cratchit could afford.

But everyone went mad for it. Even the Americans. Even his archrival, William Makepeace Thackeray, who called it a more powerful Christmas sermon than all the clerics in England could have devised.

The din was so loud that by February no fewer than eight London theatres had slapped bootlegged stage versions of A Christmas Carol onto their stages, none of them written by Dickens. “O heaven, if ever this was in my mind!” he moaned. Why then did he allow them to continue? Perhaps to keep the title before the public? There was no need. More than 180 years later, A Christmas Carol remains the bestselling Christmas book of all time and the most-performed Christmas play.

Strangely it’s less of a favorite on the English stage, where it’s up against that peculiar theatrical form, the Christmas

pantomime: camped-up versions of Aladdin and Cinderella. But in the colonies Scrooge rules. Is there a major American resident theatre where A Christmas Carol hasn’t been an “annual family tradition,” for the last 20 or 30 years? Sure but, trust me, they were tempted.

It’s the one show of the season that a box-office manager can reasonably trust to put bums on seats, as the Brits say. Ibsen may fail, Albee may falter, but Dickens will pull you through.

A tradition must be maintained, but does it stand up to the test of time? Take it down from the shelf and see for yourself. Consider, for example:

1. ITS THEME. “Redemption,” we used to say, but “recovery” would better suit the Age of Oprah. Using guided imagery, Scrooge’s ghosts lead him through his past, force him to confront his hang-ups and give him the necessary tools to get on with the rest of his life. Instant intervention — and without a co-pay! Will he stay with the program? One can only hope.

2. ITS SUBJECT. “Greed” if you insist, but “the economy” would be even more timely. As a spokesman for free market capitalism, Scrooge has had his defenders in the past. G.K. Chesterton suggested that he was supporting a dozen charities on the sly. Ed Meese of the Reagan administration thought that he paid Bob Cratchit a good salary.

Another 1980s commentator noted Scrooge’s impeccable reputation in the financial community. Ouch, we say; just like Bernie Madoff. The comparison would please Mr. Dickens no end.

3. ITS TACT. What is A Christmas Carol not about? Religion, thank God. Wearied by America’s annual Christmas Wars — the First Amendment crowd versus the churchgoers — we’re grateful to Dickens for a cheerful holiday sermon that consigns no one to the outer darkness. “God bless us every one” may be the most sensible prayer ever written.

I don’t invent, but see it, and write it down

— CHARLES DICKENS, PLAYWRIGHT

As noted, Dickens himself never turned his book into a play. The nearest thing we have to a script is the text he used for his sensationally popular public readings, which continued for 20 years, to his own delight.

Every other telling of the story is an adaptation — skillful, clumsy or just there. My first Scrooge was Lionel Barrymore on the radio, a warm-up for his mean old banker in It’s A Wonderful Life. You may remember George C. Scott’s Scrooge — boldly drawn and beautifully detailed. Or Alistair Sim in an earlier British film, all jangled nerves.

Those are two of the more respectable adaptations. It’s also been a starring vehicle for Mister Magoo and a Little Golden Book featuring Scrooge McDuck.

It’s been sliced, diced, chopped, camped, cartooned, transplanted to Harlem and the Old West, and even turned into a Disney movie starring Jim Carey. Having been put through the wash so often, there ought to be nothing left of it.

But there it stands, pretty much as Dickens conceived it. Perhaps what we’re really dealing with here (which may explain why Dickens only considered himself its foster father) is a myth — not a lie, but a truth embodied in a fiction.

Dickens described his little book best: a ghost story aimed at raising “the ghost of a thought.”

And a parable for our times, however you slice it.

Dan Sullivan (1935–2022) directed the National Critics Institute at the O’Neill Theater Center in Waterford, CT, taught journalism at the University of Minnesota and was a theatre critic for the Los Angeles Times. This article was originally published in Applause magazine in 2009 and has been edited for length.

A CHRISTMAS CAROL

NOV 21 – DEC 28 • WOLF THEATRE

ASL Interpreted, Audio Described, Open Captioned production: Dec 7 at 1:30pm

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FINDING THE HEARTBEAT IN THE NOTEBOOK

BY LISA KENNEDY

SSentimentality is often scrutinized. Rightly so — let the teary among us admit. Yet, in the hands of people who appreciate its power but also believe it has integrity, the sentimental can be more than merely moving or easily nostalgic. Enter singer-songwriter Ingrid Michaelson and writer Bekah Brunstetter, the tag team responsible for the musical adaptation of one of the more unabashedly sentimental projects to come down the pike, The Notebook.

A story of young lovers that gives ample time to their aged selves began as a novel by bestselling author Nicholas Sparks before becoming one of those guilty pleasure movies you stop to watch if you come across it on cable.

The 2004 film launched the careers of Ryan Gosling and Rachel McAdams who played Noah and Allie, the pair at the center of a story of love and loss — both actual separation and the loss incurred by Alzheimer’s. It also introduced a new generation to the storied actors portraying them in their later years: Gena Rowlands and James Garner. He attentively visits her, reading to her from the volume of the title and hoping for glimmers of recognition in the haze of her dementia.

Like many a romantic couple, Noah and Allie “meet cute.” And Michaelson’s own way to writing the music and lyrics for The Notebook is similarly charming. Her partner of 10 years, Will Chase, performs on Broadway and television. Chase knew that Michaelson loved Broadway; she studied musical theater in college before pursuing a different route. At an after party circa 2017, Chase introduced Michaelson to Kevin McCollum, producer of the Broadway shows In the Heights, SIX, and Mrs. Doubtfire among others.

Chase brought her over to McCollum. “Ingrid wants to write a musical,” she recalls Chase saying by way of introduction. “Kevin, you’re a Broadway producer, why don’t you guys have a chat?” They did. And somewhere in this nascent intro, McCollum told Michaelson she’d “be

good for The Notebook,” the rights of which he and his partners were acquiring.

“I thought that meant ‘you’re hired,’” she recalled, with a smile and reclining on her bed before going to audio only on the video chat. It didn’t, quite. No matter. McCollum has been quoted saying that Michaelson went home that night and wrote a slew of songs for a show for which she had yet to be hired. “It might have been that night,” Michaelson offered.

“But I know. I thought the job was mine to lose,” she said, smiling perhaps at the power-of-positive-thinking audacity of her assumption.

When they spoke next, McCollum told her she was the only one on the list — “for now,” Michaelson said. “And I was like, the list? There’s gonna be a list? And then I just doubled down, and I wrote more and more songs.”

Meanwhile, while Michealson was churning out songs for and about Noah and Allie, Brunstetter got wind of a possible adaptation of The Notebook. “My lawyer heard that it was being developed and that they were looking for a book writer,” she recalled. “And I’m actually from North Carolina, close to where the book takes place.” She’s also “a sap,” she confesses. “I love hopeful stories. I love intergenerational stories. And my lawyer, thankfully, knows all these things about me. So, when he heard about it, his ears kind of perked up.”

Once she tossed her hat in the ring, the producers sent her some demos of Michaelson’s early songs, said Brunstetter. “I just fell in love and just knew that it was going to be beautiful and that I had to be a part of it.”

“When you’re adapting something, you have a roadmap. Bekah and I, we followed that roadmap, but we did not want to slap the movie on stage,” said Michaelson. “We wanted to create something that had its own life, its own heartbeat.”

Both creatives know their way around a sentimental note and a heart-tweaking gesture. Michaelson’s career began to sing when her songs “Without You” and “Keep Breathing,” among others, were featured on that iconic melodrama-in-scrubs: “Grey’s Anatomy.” As for Brunstetter, in addition to being a playwright, she worked on and wrote for the ever-weepier series: “This Is Us.”

When you’re adapting something, you have a roadmap.… [W]e followed that roadmap, but we did not want to slap the movie on stage. We wanted to create something that had its own life, its own heartbeat.

— INGRID MICHAELSON, COMPOSER

“I get it,” Brunstetter replied when asked about the disdain sentimentality can arouse in critics. “I’m a sentimental person and I’m also the kind of person who’s always empathizing with everyone, regardless of their point of view.

“So, you know, the easy answer to that question is, oh, people don’t want to be vulnerable, right? People don’t want to be made to feel,” she said. “I don’t think it’s really that. It’s more like people resist the feeling of being manipulated. And that is subjective. It just depends on where they’re at in their life and what their lived experience is.”

While Michaelson has no plans to peek in on the Denver stop of The Notebook tour, she will be performing in her singer-songwriter guise at Boettcher Hall with the Colorado Symphony in late Novem ber. Still it’s clear, she has no plans for her first musical to be her last.

“I’ve had a great time writing music for myself. I’ve gone on the road. I’ve performed, and I love it. But there’s another side of me that really loves writing for people, writing songs that I could never sing, writing songs with notes that I could never reach,” she shared.

“Seeing other people take in your words and your melodies and making it their own,” she has come to think of as a kind of “metab olizing” she said. “Sort of metabolizing your art and then making it their own art or a little hybrid of mine and theirs together.”

That’s not a bad description of the work of Michaelson and Brun stetter did to bring The Notebook to vivid, melodic life.

THE NOTEBOOK

DEC 16 – 28

BUELL THEATRE

ASL Interpreted,

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Chris Coleman, Artistic Director

Charles Varin, Managing Director

presents

A CHRISTMAS CAROL

BY Richard Hellesen

ADAPTED FROM Charles Dickens’ Story

ORIGINAL MUSIC AND LYRICS WRITTEN OR ADAPTED FROM TRADITIONAL SOURCES BY David De Berry With

Cierra Banks, Brian Bohlender, Caleb Brummel, Aidan Cole*, Cordell Cole*, Aston Martin Chung, Vi Van Dang*, Elise Frances Daniells*, Jacob Dresch*, Jess D’Souza*, Topher Embrey*, Shabazz Green*, Elizabeth Harlen, Nathan Karnik*, Briggs Kelley, Geoffrey Kent*, Courtney Kofoed, Sean Johnson, Moses Lyman, Stephanie Lynne Mason*, Chloe McLeod, Alia Munsch*, Quinn Murphy, Diva Pillai, Jason Rexx, Mirabelle Sloan, David Studwell*, Felix Torrez-Ponce*, Justin Walvoord*, John Wascavage*, Olivia Wilson

Stage Managers: Malia Stoner*, Sage Hughes*, Nick Nyquist*

SCENIC DESIGN BY Vicki Smith

COSTUME DESIGN BY Kevin Copenhaver

ORCHESTRATION BY Gregg Coffin

VOICE AND DIALECT BY Jeffrey Parker

LIGHTING DESIGN BY Wen-Ling Liao

MUSIC DIRECTION BY Dan Graeber

CASTING BY Grady Soapes, CSA

SOUND DESIGN BY Melanie Chen Cole

CHOREOGRAPHY BY Grady Soapes

PRODUCTION MANAGEMENT BY Matthew Campbell

DIRECTED BY ANTHONY POWELL

The video and/or audio recording of this performance by any means whatsoever is strictly prohibited.

THE WOLF THEATRE • NOV 21 – DEC 28, 2025

A CHRISTMAS CAROL is presented through special arrangement with TRW PLAYS 1180 Avenue of the Americas, Suite 640, New York, NY 10036. http://www.trwplays.com.

PREMIERE SPONSORS

SEASON SPONSORS

CAST

(In order of appearance)

Street Singer Elise Frances Daniells*

Ebenezer Scrooge

Bob Cratchit

David Studwell*

Geoffrey Kent*

Fred Aidan Cole*

Subscription Gentlemen Cordell Cole*, Shabazz Green*

A Beggar Child ...............................................................................................................................................................................Cierra Banks

Maid Elizabeth Harlen, Chloe McLeod

Ghost of Jacob Marley Jacob Dresch*

Ghost of Christmas Past Alia Munsch*

Schoolmaster Topher Embrey*

School Boys Cierra Banks, Aston Martin Chung, Briggs Kelley, Moses Lyman, Diva Pillai, Mirabelle Sloan

Ebenezer the Child Caleb Brummel

Fan Quinn Murphy

Ebenezer the Young Man .................................................................................................................................................... Nathan Karnik*

Dick Wilkins Cordell Cole*

Fezziwig Shabazz Green*

Mrs. Fezziwig

Stephanie Lynne Mason*

The Fiddler Aidan Cole*

Fezziwig Daughters Vi Van Dang*, Elise Frances Daniells*, Elizabeth Harlen

Their Suitors Brian Bohlender, Felix Torrez-Ponce*, John Wascavage*

Belle Chloe McLeod

Belle’s Husband ...................................................................................................................................................................... Brian Bohlender

Belle’s Daughter Mirabelle Sloan

Ghost Of Christmas Present Topher Embrey*

Chestnut Seller Briggs Kelley

Mrs. Cratchit Jess D’Souza*

Martha Cratchit Elizabeth Harlen

Peter Cratchit Felix Torrez-Ponce*

Belinda Cratchit Mirabelle Sloan

Edward Cratchit Moses Lyman

Tiny Tim Diva Pillai

Fred’s Wife Vi Van Dang* Topper John Wascavage*

The Wife’s Sister Chloe McLeod

Fred’s Party Guests Elise Frances Daniells*, Jacob Dresch*

Ghost Of Christmas Yet to Come Nathan Karnik* Want Quinn Murphy

Ignorance Caleb Brummel

Old Joe Shabazz Green*

The Undertaker’s Man Cordell Cole*

The Laundress............................................................................................................................................................................... Vi Van Dang*

The Charwoman Stephanie Lynne Mason* Debtors Brian Bohlender, Alia Munsch*

Boy in the Street Aston Martin Chung

ENSEMBLE

Laborer, Londoners, Carolers, Fezziwig Party Guests, Phantoms, and Parents

Cierra Banks, Brian Bohlender, Caleb Brummel, Aston Martin Chung, Vi Van Dang*, Elise Frances Daniells*, Jacob Dresch*, Jess D’Souza*, Topher Embrey*, Shabazz Green*, Elizabeth Harlen, Nathan Karnik*, Briggs Kelley, Stephanie Lynne Mason*, Chloe McLeod, Quinn Murphy, Alia Munsch*, Felix Torrez-Ponce*, John Wascavage*

UNDERSTUDIES

Understudies never substitute for the listed players unless a specific announcement for the appearance is made at the time of the performance. Justin Walvoord* (Ebenezer Scrooge, Jacob Marley); Jacob Dresch*, Nathan Karnik* (Bob Cratchit); Jason Rexx, Felix Torrez-Ponce* (Subscription Gentleman, Dick Wilkins, Undertaker’s Man); Cordell Cole*, Topher Embrey* (Subscription Gentleman, Fezziwig, Old Joe); Brian Bohlender, Sean Johnson (Fred/Fiddler); Aidan Cole*, Shabazz Green* (Ghost Of Christmas Present, Schoolmaster); Sean Johnson, Jason Rexx (Ghost Of Christmas Yet To Come, Ebenezer the Young Man, Peter Cratchit, Suitor, Topper); Sean Johnson, John Wascavage* (Belle’s Husband, Suitor, Debtor); Courtney Kofoed, Chloe McLeod (Street Singer, Fezziwig Daughter, Fred’s Party Guest); Vi Van Dang*, Alia Munsch* (Mrs. Cratchit); Elise Frances Daniells*, Courtney Kofoed (Ghost Of Christmas Past, Debtor); Courtney Kofoed, Olivia Wilson (Martha Cratchit, Maid, Fezziwig Daughter, Mrs. Fezziwig, Charwoman, Laundress, Fred’s Wife); Elizabeth Harlen, Olivia Wilson (Belle, Maid, Wife’s Sister); Mirabelle Sloan (Fan, Londoner); Cierra Banks (Belinda Cratchit, School Boy, Belle’s Daughter); Quinn Murphy (Beggar Child, School Boy); Moses Lyman (Turkey Boy, School Boy); Briggs Kelley (Ebenezer the Child, Laborer, Ignorance); Caleb Brummel (Edward Cratchit/ School Boy); Aston Martin Chung (Tiny Tim, School Boy)

Stage Managers

Malia Stoner*, Sage Hughes*, Nick Nyquist*

Associate Lighting Designer Lily Bradford

Stage Management Apprentices Dylan Hudson, Casey Pitts Youth Performer Supervisor .................................................................................................. Iliana Lucero Barron, Kailey Buttrick Dance Captain Jason Rexx

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SETTING: London, 1840s

There will be one 15-minute intermission.

ACTING COMPANY

(In order of appearance)

ELISE FRANCES

DANIELLS (Street Singer/Fezziwig Daughter/Fred’s Party Guest) (She/ Her) is excited to be back at the DCPA again! She is a classically trained opera and musical theatre artist, loving both worlds equally. Elise has lived and performed internationally in London, Chicago, Pennsylvania, Indiana, and France. Before moving to NYC in 2022, she spent her time in Arizona while obtaining her master’s degree in music during the pandemic. At the DCPA: The Color Purple. Other recent credits: Harmony: A New Musical (Off-Broadway), Beautiful (Arvada Center), Southern Crossing (Gerald W. Lynch Theatre — NYC premiere), Dreamgirls (Arrow Rock Lyceum Theatre), and Carmen (AZ Opera). Follow her projects via Pantera/Murphy the Agency and @elisedaniellsmusic.

DAVID STUDWELL (Ebenezer Scrooge) (He/Him). At the DCPA: Little Shop of Horrors (Mushnik), A Christmas Carol (Scrooge). National tour: The Band’s Visit (Avrum). Off-Broadway: Encores: Applause! Regional: The Lehman Trilogy (The Maltz, Jupiter), Mary Stuart (Chicago Shakespeare), 1776 (Engeman Theatre), Sweeney Todd (Sweeney, Theatreworks Silicon Valley), Man of La Mancha (Quixote, PCPA Theatrefest - Santa Barbara Indy Awards), Fiddler On The Roof (Tevye, Portland Center Stage — Drammy Award), Titanic (Westchester Broadway Theatre), RED (Hangar Theatre), Little Women (Caleb Brummel, Aston Martin Chung, Syracuse Stage), The Fantasticks (Indiana Repertory), As You Like It (Goodman Theatre), Falsettos (Alliance Theatre), Chess (Anatoly) and South Pacific (Emile — Joseph Jefferson nominated) (Marriott’s Lincolnshire). BFA, SUNY Fredonia, MFA, Purdue University. More info davidstudwell.com

WHO’S WHO

GEOFFREY KENT (Bob Cratchit) (He/They). At the DCPA: Rubicon, A Christmas Carol, Much Ado About Nothing, Hamlet, Richard III, Romeo and Juliet, and As You Like It. Arvada Center (8 seasons): Beautiful, Our Town, All My Sons, A Midsummer Night’s Dream and Small Mouth Sounds. Colorado Shakespeare Festival (14 seasons): Macbeth, Three Musketeers, Othello and Comedy of Errors. American Shakespeare Center: Antony and Cleopatra and Julius Caesar. Utah Shakespeare Festival: Antony & Cleopatra, Winter’s Tale, Merry Wives of Windsor, Henry VI Part I and Treasure Island. Orlando Shakespeare Theatre: Romeo and Juliet, Cymbeline, and Titus Andronicus. geoffreykent.com IG: @geoffreykent

AIDAN COLE (Fred/ The Fiddler) is thrilled to make his DCPA Debut! Recent credits include: The Hello Girls (Syracuse Stage), Gerry Goffin in Beautiful (Axelrod Performing Arts), Bob Gaudio in Jersey Boys  (North Shore, Weston Theater Company), Prince Topher in Cinderella (TBTS),  Titanic (Milwaukee Rep), and Sky in  Mamma Mia! (Argyle Theater). BFA: The Pennsylvania State University with the Schreyer Honors College Designation. He would like to thank HAA, his mentors, and most importantly, Mom, Dad, and Gabe for all of their help along the way. Aidan-Cole.com. @acole6363

SHABAZZ GREEN (Fezziwig/ Subscription Gentleman/Old Joe) (He/Him). At the DCPA: Oklahoma! and A Christmas Carol. Notable New York productions: Bars and Measures (Urban Stages), and Philosophy for Gangsters (Beckett Theatre).

Favorite Colorado credits: Nice Work If You Can Get It (Lone Tree), A Gentleman’s Guide to Love and Murder (Arvada Center), Cinderella and In the Heights (Colorado Springs Fine Arts Center), Topdog/Underdog (Theatre SilCo). Regional productions: Murder on the Orient Express (Syracuse Stage), The Mountaintop (New Stage Theatre), and Mamma

Mia! (Village Theatre). FEAR NOT! @shabazzgreen shabazzgreen.com.

CORDELL COLE (Dick Wilkins/ Subscription Gentleman/The Undertaker’s Man) (He/Him) is super excited to return to this incredible company, team, and show. At the DCPA: A Christmas Carol Some favorite past credits include: Twelfth Night and Three Musketeers (Oregon Shakespeare Festival); Blues for an Alabama Sky and Nick’s Flamingo Grill (world premiere) (Alliance Theater); The Play that Goes Wrong, Side by Side by Sondheim, and Spamalot (Northern Stage); Ragtime, Macbeth, Every Brilliant Thing, Julius Caesar, Pericles, and Richard III (Utah Shakespeare Festival); Something Rotten, Beauty and the Beast, Waitress, The Agitators, and Much Ado About Nothing (PCPA); The Importance of Being Earnest, Romeo and Juliet, A Christmas Carol, Two Gentleman of Verona, Henry V, and Goodnight Desdemona/Good Morning Juliet (American Shakespeare Center); Something Rotten (Florida Studio Theatre), Macbeth (Alabama Shakespeare Festival); The Seagull, Romeo and Juliet, and Much Ado About Nothing (American Players Theatre); The Jungle Book, The Tempest, Much Ado About Nothing, and Antony and Cleopatra (Georgia Shakespeare). All glory to God and love to my family. IG: cordellcole33.

CIERRA BANKS (A Beggar Child/ Schoolboy) (She/ Her) is thrilled to return for DCPA’s production of A Christmas Carol Other stage credits include: Annie Jr. (Belmar School of Integrated Arts/Addenbrooke Classical Academy), The Music Man Jr. (BelArts), Castles and Dragons (Lakewood Culture Center), and Beauty and the Beast (ACC). She worked on stage crew for productions of Mary Poppins Jr. and Wonka Jr. and has participated in several piano and voice recitals with KariJoy Studios. Cierra is in eighth grade, participates in honors choir, and loves all things Christmas, singing, acting, dancing, cooking, wilderness, skiing, and adventuring with her family. She is small, but MIGHTY!

ELIZABETH

HARLEN (Martha Cratchit/Maid/ Fezziwig Daughter) (She/Her) is overjoyed to be making her DCPA debut. Recent stage credits include: Once Upon a Mattress (Arvada Center), The Sound of Music, Clue (Utah Shakespeare Festival), originating the role of Rosetta Tharpe in the West Coast premiere of Elvis the Musical (Sierra Repertory Theatre), Head Over Heels (Theater Silco), The Human Comedy (New York City Center), Stephen Schwartz’ Birthday Gala (Broadway’s Hudson Theater), and the Drama League Gala Honoring Sutton Foster (The Plaza). Training: Bachelor of Music, Manhattan School of Music. IG: @elizabethharlen.

CHLOE MCLEOD

(Belle/Maid/The Wife’s Sister) (She/ Her). At the DCPA: The Suffragette’s Murder, Anna Karenina, and This is Modern Art. Other Theatres: The Taming of the Shrew, The Winter’s Tale, and Henry VIII (Utah Shakespeare Festival); The Two Gentlemen of Verona, The Book of Will, The Alchemist, A Midsummer Night’s Dream, The Odyssey, and You Can’t Take It With You (Colorado Shakespeare Festival); Macbeth, A Midsummer Night’s Dream, and Romeo and Juliet (DCPA Shakespeare in the Parking Lot); Fun Home (Miners Alley). Proud graduate of AMDA, NYC.

JACOB DRESCH

(Ghost of Jacob Marley/Fred’s Party Guest) is very excited to return for his fourth consecutive year as a wretched specter at the DCPA! At the DCPA: Hamlet, Little Shop of Horrors, and the 2024 Colorado New Play Summit. Selected credits include: School for Scandal (Off-Broadway, Red Bull Theatre), eight seasons with the Pennsylvania Shakespeare Festival, and two seasons with the Orlando Shakespeare Theater. Locally, you may have seen him in four seasons of repertory theater with the Colorado Shakespeare Festival, in 237 Virginia Avenue and The Unbuttoning (Local Theater Company), and in The Mousetrap (Arvada Center). MFA, UC Irvine.

ALIA MUNSCH

(Ghost of Christmas Past/Debtor) (She/ Her) is thrilled to be returning to DCPA! At the DCPA: Oklahoma!. Credits include: Motown the Musical (National Tour); Into the Woods, POTUS (Arden Theatre Company); Pippin (Weston Theatre Company); A Gentleman’s Guide (Hippodrome Theatre); In the Heights (Gateway Playhouse); Carousel (Riverside Theatre); West Side Story (IHI Stagearound Tokyo); Smokey Joe’s Café (Engeman Theatre). Education: Barnard College, BA Dance. NYU Steinhardt, Master’s Music. Aliamunsch.com @aliamunsch.

TOPHER EMBREY

(Ghost of Christmas Present/ Schoolmaster) (He/ Him). At the DCPA: A Christmas Carol (3 seasons). Recent credits include: Noises Off (Great Lakes Theater and Idaho Shakes), Henry VIII in Henry VIII and Bottom in A Midsummer Night’s Dream (Utah Shakespeare Festival – 2 seasons). Off-Broadway: Romeo and Juliet, Capulets and Montagues, and A King and No King (Red Bull Theater). Various productions (5 Seasons) at American Shakespeare Center; Coriolanus and All’s Well That Ends Well (Colorado Shakespeare Festival); Twelfth Night (Nashville Shakespeare Festival); The Liar and Animal Farm (Arvada Center), additional productions at Orlando Shakes (3 Seasons) and at Virginia Shakespeare Festival. BFAActing, Christopher Newport U. IG: @awktopher.

BRIGGS KELLEY

(Chestnut Seller/ School Boy) is in fourth grade and is excited to be back at the DCPA for a second season. At the DCPA: A Christmas Carol (2024 and 2025). Other regional credits include: Frozen Jr, Moana Jr, Aladdin, The Lion King, and Encanto (Youth Theatre in Greenwood Village, CO). When not on stage, Briggs enjoys swimming, playing with friends, and ski team in Breckenridge. Briggs enjoys entertaining his three older siblings and chasing his dog named Berri.

QUINN MURPHY (Fan/Want) (She/ Her) is thrilled to join the cast of A Christmas Carol for her third season with the DCPA! Quinn has had a variety of roles in community and youth productions at the Denver Center for the Performing Arts, The Arvada Center for Arts and Humanities, and The Curtain Playhouse. Offstage, Quinn is passionate about ballet, aerial silks, visual arts, and composing. She sends her warmest wishes for a happy holiday season to all!

CALEB BRUMMEL (Ebenezer the Child/Ignorance) (He/Him) is very excited and honored to make his DCPA debut. Professional credits: Michael Banks in Disney’s Mary Poppins (Give 5 Productions and Parker Arts Theatre). He has appeared in over 18 youth theatre productions including as Jack in Into The Woods, Les and Albert in Newsies, Jr., White Rabbit in Alice In Wonderland, Jr., Adam in Beetlejuice, Jr., Gomez in Addams Family, Jr., Sebastian in The Little Mermaid, Jr., the Lion in The Wizard of Oz, Jr., LeFou in Beauty and the Beast, Jr., and other lead roles. Caleb is grateful to the adult mentors with whom he has worked, especially the creative teams at the Performing Arts Academy.

NATHAN KARNIK (Ebenezer the Young Man/Ghost of Christmas Yet to Come) (He/Him). DCPA debut. He was recently seen in The Importance of Being Earnest and Into the Woods (Oregon Shakespeare Festival). Other regional credits include: Matchbox Magic Flute (Berkley Repertory Theatre/ Goodman Theatre/Shakespeare Theatre Company), A Christmas Carol (Indiana Repertory Theatre), and Sweeney Todd (Hangar Theatre). New York: Ghost Girls (MTC). Favorite Chicago credits: Peter and the Starcatcher (Paramount Theatre), Beauty and the Beast (Chicago Shakespeare Theatre), The Little Mermaid (Music Theatre Works). Training: Northwestern University. IG: @naykay13 | nathankarnik.com.

STEPHANIE LYNNE MASON (Mrs. Fezziwig/ Charwoman) (She/ Her). Broadway: Fiddler on the Roof Off-Broadway: Fiddler on the Roof in Yiddish directed by Joel Grey and featured as Hodl on the cast recording. National Tour: Million Dollar Quartet as Dyanne. Favorite regional credits include Carole King in Beautiful (The Engeman Theater), Louise in Gypsy (Virginia Musical Theater), Trina in Falsettos (Dezart Performs), Franca in The Light in the Piazza (Coachella Valley Rep); Guinevere in Camelot and Grace in Into the Breeches (The Barnstormers); Walk on the Moon (George Street Playhouse), and Mythic (Cincinnati Playhouse) directed by Kathleen Marshall. @stephanielynnemason.

VI VAN DANG (Fred’s Wife/ Fezziwig Daughter/ Laundress) (They/ She) is a performer, musician, and creative based in New York City. Originally a Denverite, they graduated from the University of Northern Colorado with a B.A. in Musical Theatre. She is also a part of the editorial team at Playbill, and her writing, graphic work, and photography has been published in Playbill, Time Out New York, and internationally in The Scotsman. As a queer first generation artist, she strives to spread Asian representation in theatre, as well as create art that elevates trans and non-binary voices. @vivacitynyc.

BRIAN BOHLENDER (Debtor/Suitor/ Belle’s Husband). At the DCPA: The Other Josh Cohen and A Christmas Carol Other credits: Hair (Miners Alley Playhouse); The Winter’s Tale and One Man, Two Guvnor’s (Colorado Shakespeare Festival); Three Musketeers and Wonderful Town (Davis Shakespeare Festival); Trevor (Big Idea Theatre). Training: Utah State University BFA, Pacific Conservatory of the Performing Arts.

JESS D’SOUZA (Mrs. Cratchit) (She/Her) is delighted to spend the holiday season at DCPA playing “Mrs. Cratchit” in A Christmas Carol She is a multi-hyphenate creative from Sydney, Australia and has performed on TV for artists including Jessie J, Mel B, LMFAO and Rick Astley. She has toured with shows including Flipside, Songs of the Northern Rivers and Orlando and choreographed for Beauty and the Beast and On the Town. She been featured in campaigns for Tourism Australia, Nissan and ANZ. Most recently, Jess led short films Masterpiece and Ding!. Jess’s real passion is for creating and sharing lesser told stories.

FELIX TORREZPONCE (Peter Cratchit/Suitor) (He/Him).

Broadway: Sweeney Todd: The Demon Barber of Fleet Street. Regional: She Loves Me (Long Wharf), The Light in the Piazza (American Gothic). TV/Film: “Daredevil: Born Again” (Disney Plus).

MIRABELLE SLOAN

(Belinda Cratchit/ School Boy/Belle’s Daughter) (She/ Her) is thrilled to make her professional debut with this remarkable cast! She is thankful to Stephen Bertles at St. Anne’s Episcopal School for opportunities to play Molly in Annie Jr., Prancer in North Pole Musical, and Little Roo in Seussical Jr., as well as to the Apex Performing Arts Collective for casting her as Amanda in Matilda Jr. Mirabelle has sung with the Colorado Children’s Chorale, performs violin with the Colorado Youth Symphony Orchestra, and trained with the Applause NYC summer program. She loves her family, friends, and cats!

MOSES LYMAN (Edward Cratchit/ School Boy) is honored to be making their return to the A Christmas Carol family, reprising their role from last year. Other Credits include: Snow White, Johnny Appleseed, and Princess and the Pea (Missoula

Children’s Theatre); Midnight Mischief (Palmer Elementary). They have trained in summer camps with DCPA over the years including: Musical Madness (x2), Improvaganza, and the world premiere of A Barnabus Project. When not on stage, Mo enjoys reading, playing the violin, and participating in various sports including soccer, baseball, and track.

DIVA PILLAI (Tiny Tim/School Boy) is a 7-year-old powerhouse who may wear a 2T but shines like a star twice her size. She loves singing, dancing, and any chance to be on the stage and in the spotlight. Diva has lit up the stage through her recitals at Parker Music Academy and with her dance performances at cultural events. She’s now learning the ukulele—her guitar dreams are waiting for her growth spurt. With a wit well beyond her years and a diet that firmly excludes fruits and veggies, she proves big personalities come in small packages.

JOHN WASCAVAGE (Topper/Suitor) (He/They). OffBroadway: Forbidden Broadway: Merrily We Stole a Song, Who Is Jimmy Pants?, and I Spy a Spy. National Tours: Dog Man: The Musical and Murder for Two. Regional credits include: Geffen Playhouse, Pittsburgh CLO, Utah Shakespeare Festival, Gulfshore Playhouse, Quantum Theatre, Stages St. Louis, Pittsburgh Irish and Classical Theatre, Sierra Repertory Theatre and many more. Endless gratitude to everyone at DCPA and the team at Avalon Artists Group. Johnwascavage.com.

ASTON MARTIN CHUNG (Boy in the Street/School Boy) (He/Him) is excited to make his DCPA debut in A Christmas Carol! He has appeared in community theatre productions, student films, commercials, and even worked as a hand model. He was recently part of a reading of La Llorona at The People’s Building, and some of his favorite roles include Sticky Washington in The Mysterious Benedict Society and the Owl in Winnie the Pooh. When he’s

not on stage, Aston loves singing, reading, playing baseball, and spending time with friends. He would like to thank his family, teachers, and friends for their support and encouragement.

JUSTIN WALVOORD (Ebenezer Scrooge/ Jacob Marley Understudy) (He/ Him). At the DCPA: A Flea in Her Ear, Jackie and Me, Measure for Measure, A Christmas Carol (Denver Center Theatre Company); Sweet and Lucky, Travelers of the Lost Dimension, and Between Us (DCPA Off Center). New York credits: The Apartment (Queens Theatre in the Park) and 5 O’clock (Algonquin Theatre). Regional credits: True West (Vermont Stage Company), Expedition 6 (Magic Theatre), A Question of Mercy (Artist Repertory Theatre), The 39 Steps (Theatreworks), The Intelligent Homosexuals Guide… (Curious Theatre Company); Every Christmas Story Ever Told and, Bloomsday (BETC); Metamorphoses (Aurora Fox). TV/Film: Hoax, Looking for Sunday, “Law & Order: CI”. Training: BA, CSUF, MFA, National Theatre Conservatory.

SEAN JOHNSON (Understudy) (He/ Him) is thrilled to be making his DCPA debut in A Christmas Carol this holiday season. Other credits include: The Mousetrap and A Year with Frog and Toad (Arvada Center); The Mousetrap and Baskerville (Lone Tree Arts Center); The Quest for Don Quixote, and All Shook Up! (Little Theatre of the Rockies); The Lightning Thief (Aurora Fox), The Little Mermaid (Fine Arts Center). He sends his love to his family and friends for their endless support. Training: B.F.A Musical Theatre; University of Northern Colorado. @sean.m.john.

COURTNEY KOFOED (Understudy) (She/ Her) is thrilled to be making her DCPA debut! Recent credits include: A Gentleman’s Guide to Love and Murder (Arvada Center), Little Miss Sunshine (Aurora Fox Arts Center), School of Rock (Miners Alley Performing Arts Center), Sweeney Todd (Off Square Theatre

Company), Big Fish (Lincoln Center, FC). Thanks to her family, both here in CO and far, far away on the East Coast! Love you, B (promise promise). Training: B.F.A Musical Theatre, Pace University. @courtmk.

JASON REXX (Understudy/Dance Captain) (He/Him). This is Jason’s first production with the DCPA, and he couldn’t be more excited. Recent local credits include: Merrily We Roll Along (Vintage Theatre), Something Rotten (StageDoor Theatre), A Gentleman’s Guide to Love and Murder (Arvada Center), The Rocky Horror Show (Beehive Productions), Joseph/Dreamcoat (Performance Now Theatre Company), and Putting It Together (Town Hall Arts Center). When not rehearsing or performing, Jason loves to travel — 15 countries down, only 180ish to go! He thanks his family and friends for their support, and the theatre community in Denver for creating safe spaces to play and grow. @jasonrexxmusic.

OLIVIA WILSON (Understudy) (She/ Her) is delighted to be making her DCPA debut covering the same roles previously played by her mother, Leslie O’Carroll. She is a recent musical theatre graduate from the University of Northern Colorado (UNC). Credits include: The Little Mermaid (Performance Now Theatre Company); Spelling Bee, The Quest for Don Quixote, Pippin (Little Theatre of the Rockies); High School Musical On Stage! (Candlelight Dinner Playhouse), The Family Tree (Arvada Center). UNC Credits: 42nd Street, Cinderella, Seussical, and Something Rotten. She wants to thank her family, cast, and crew for all their love and support! Follow her on Instagram at @olivia.mae.wilson.

PLAYWRIGHT

RICHARD HELLESEN (Playwright/ Adaptor) is the author of numerous plays and musicals for adult and young audiences. In addition to the DCPA, his work has been seen at South Coast Repertory, Geva, Florida Stage, Gretna Theatre, Los Angeles Repertory Company, Sacramento Theatre Company, Sundance Children’s Theatre, Imagination Stage, City Theatre in Miami, and

Ford’s Theatre in Washington DC, where he is an Associate Artist. He is the recipient of writing awards from PEN USA-West, the Philadelphia Festival Theatre for New Plays, and the National Theatre Conference for his play Kingdom, which premiered at the DCPA. His most recent project, the solo play Eisenhower: This Piece of Ground starring Tony-winner John Rubinstein, recently premiered at Theatre West in Los Angeles.

DIRECTOR

ANTHONY POWELL proudly began his professional career on a bus, touring the US as a performer with John Houseman’s The Acting Company. As an Associate Artist at the DCPA Theatre Company for 18 seasons, Anthony directed more than 25 productions, including The Pillowman, Wit, The Dresser, Racing Demon, The Leenane Trilogy, Hamlet, Blue/Orange, Misalliance, Macbeth, Death of a Salesman, and Lord of the Flies. He directed The Moors at The Arvada Center, and more recently, Coriolanus for the Colorado Shakespeare Festival. Anthony has served as Artistic Director of Denver’s Stories on Stage since 2010.

CREATIVE TEAM

MATTHEW CAMPBELL (Production Manager) is grateful and honored to support, collaborate, and work with our brilliant and outstanding production team, shops, crews, artisans and guest artists to create extraordinary theatre. Previously a stage manager at a few stops in the mid-west as well as numerous Colorado theatres and Assistant Professor of Theatre at Brooklyn College in New York. Joined the DCPA stage management team in 2010 and after several years moved over to the production management team. Every show along the way is a favorite, but some DCPA and Off-Center highlights have been  Sweet & Lucky, The 12, Lord of the Flies, Animal Crackers, Frankenstein, Book of Will, Rattlesnake Kate, The Chinese Lady and Wild Fire

MELANIE CHEN COLE (Sound Design) (she/her) is a San Diego based sound designer. At the DCPA: The Hot Wing King, Cebollas, and A Christmas Carol (2024, 2023, 2022). Regional theatre credits: Alabama Shakespeare Festival, Alley Theatre, Alliance Theatre, Cincinnati

Playhouse in the Park, Cleveland Play House, Dallas Theater Center, Geffen Playhouse, Goodman Theatre, Huntington Theatre Company, Indiana Rep, La Jolla Playhouse, the McCarter, Milwaukee Rep, Northern Stage, The Old Globe, PlayMakers Rep, South Coast Rep, Studio Theatre, and the Utah Shakespeare Festival. Education: MFA in Theatre and Dance from UC San Diego. melaniesound.com, @melaniechencole

GREGG COFFIN (Orchestrations). Off-Broadway: Composer/Lyricist: Five Course Love (Minetta Lane Theatre). Regional: Alley Theatre, American Players Theatre, Arizona Theatre Company, Arena Stage, Asolo Rep, Berkeley Rep, Dallas Theatre Center, DCPA Theatre Company, Geva Theatre Center, Guthrie Theater, Human Race Theatre, Indiana Rep, Oregon Cabaret Theatre, PCPA TheatreFest, Pioneer Theatre Company, South Coast Rep, Unicorn Theatre, and the Alabama, Georgia, Oregon, Santa Cruz, Santa Fe, St. Louis and Utah Shakespeare Festivals. International: (Canada) Stratford Festival, Tarragon Theatre, National Arts Centre, Manitoba Theatre Center, CanStage, (Seoul) ChungMu Art Hall. Affiliations: Dramatists Guild, Society of Composers and Lyricists, American Federation of Musicians.

KEVIN COPENHAVER (Costume Designer). At the DCPA (30+ seasons): Cat on a Hot Tin Roof, A Little Night Music, Much Ado About Nothing, Wild Fire, Twelfth Night, Goodnight Moon, Sweat, Corduroy, The Who’s Tommy, The Snowy Day, Sweeney Todd, Frankenstein, The Christians, Lord of the Flies, Animal Crackers, Just Like Us, Ring of Fire: The Music of Johnny Cash, The Whale, Dracula, Mama Hated Diesels, A Christmas Carol, and many others. Other Theatres: Gentleman’s Guide to Love and Murder (Arvada Center), Hair (Geva Theatre Center); Sylvia, The Explorer’s Club, Passing Strange, Hairspray, Young Frankenstein, Smokey Joe’s Cafe, Hedwig and the Angry Inch, The Divine Sister, Tommy, Dream a Little Dream, 12th Night, Titus Andronicus, regional premiere of Peter and the Starcatcher and Love, Janis (USF). Training: BA in Theatre Design, University of Cincinnati College Conservatory of Music, Centro Maschere e Strutture Gestuali, Padua, Italy.

DAVID DE BERRY (Composer/ Lyricist). A Cappella, Sisters: A Legend, original scores for Twelfth Night, The Good Person of Setzuan, All My Sons, The Tempest, The

Taming of the Shrew, Night Mother, The Time of Your Life (Sacramento Theatre Company). Composer: The Merry Wives of Windsor, The Comedy of Errors, The Glass Menagerie, King Lear, Betrayal, Our Country’s Good, The Recruiting Officer, Terra Nova, The Miser (Oregon Shakespeare Festival); Romeo and Juliet (San Francisco Shakespeare Festival); M. Butterfly (Arizona Theatre Company). Actor: Oregon Shakespeare Festival, Arizona Theatre Company, PCPA, Pennsylvania State Theatre, Charles Playhouse, Sacramento Theatre Company.

DAN GRAEBER (Music Director) (He/Him). Active Denver-based pianist, music director and arranger, passionate about crafting live music that connects people through the powers of song and story. At the DCPA: Little Shop of Horrors, A Little Night Music, The Color Purple, Rattlesnake Kate, Oklahoma!, The Who’s Tommy, and The Secret Garden. Arranger, orchestrator and music director for Colorado-grown That Parenting Musical, which opened Off-Broadway in September 2024. Active throughout the region’s vibrant theater scene: Arvada Center, Littleton Town Hall, Theatre SilCo, BDT Stage, Centerstage Theatre. Over 15 years’ experience as a church music director and organist. DanMakesMusic.com

WEN-LING LIAO (Lighting Designer) (She/Her). At the DCPA: A Christmas Carol. Off-Broadway: The Boy Who Danced on Air. Select regional credit: AW, Wilderness! (Hartford Stage); Quixote Nuevo, House of Joy and A Winter’s Tale (California Shakespeare Company); Are You There?, Nicole Clark is Having a Baby and Flex (Actors Theater of Louisville – 44th Humana Festival); Gloria and Vietgone (A.C.T.); The Catastrophist and The Wickhams Christmas at Pemberley (Marin Theater Company); White Pearl (Studio Theater).

Education: She earned her MFA from University of California, San Diego.

JEFFREY PARKER (Voice and Dialect Coach) (He/Him). At the DCPA: The Lehman Trilogy, A Little Night Music, The 39 Steps and A Christmas Carol. Jeffrey is a Professor of Theatre at MSU Denver, a Certified Teacher of both Fitzmaurice Voicework and Knight-Thompson Speechwork, and the Director of Voice and Text for the Colorado Shakespeare Festival. Jeffrey is also a Henry Awardwinning actor. Training: MFA, UC Irvine. BA, UCLA. Jeffrey is the coauthor of Experiencing Speech, a

book that helps develop speech and accent skills for any reader at any level. God Bless Us — Everyone.

VICKI SMITH (Scenic Designer). At the DCPA: The Christians, Animal Crackers, When We Are Married, Fences, and 54 others. Other Theatres: South Coast Repertory Theatre, Children’s Theatre Company, Arizona Theatre Company, Penumbra Theatre Company, Geva Theatre Center, IRT, and many others.

Awards: Bay Area Critics’ Awards

– Kite Runner, Execution of Justice; Dramalogue Award – Cyrano; Colorado Theatre Guild Henry Award

– Mariela in the Desert, Plainsong, Doubt; Denver Post Ovation Awards

– Mariela in the Desert, Pierre, I’m Not Rapaport; Prague Design Exposition 2007 – Pierre. Museum Exhibitions: “Penumbra Theatre at 40”, Minnesota History Center; “Scale Models in Theatre Set Design”, Museum of Miniatures, Tucson.

GRADY SOAPES, CSA (Casting/ Choreographer) (He/Him) is the Director of Casting and Artistic Producer with the Denver Center for the Performing Arts. Grady has cast over 50 DCPA productions including Rattlesnake Kate, Theater of the Mind, The Chinese Lady, The Who’s Tommy, and The Wild Party. Choreography credits include A Christmas Carol (4 seasons), Twelfth Night, Goodnight Moon, Anna Karenina, As You Like It, Drag Machine, Lord of the Butterflies, DragON (Denver Center); Natasha, Pierre and…, Into the Woods, The Liar (Arvada Center); Comedy of Errors (Colorado Shakespeare Festival). Grady also works as a Casting Director for Sylvia Gregory Casting where he has cast multiple commercials, TV, film, and video game projects.

STAGE MANAGEMENT

SAGE HUGHES (Assistant Stage Manager) (She/Her). Previously at the DCPA: The Happiest Man on Earth, The Suffragette’s Murder, Hamlet, Where Did We Sit on the Bus?, Emma, Cebollas, A Little Night Music, Theater of the Mind, Colorado New Play Summit, Choir Boy, Rattlesnake Kate, and A Christmas Carol. Other regional credits include UNDONE: The Lady M Project and Local Lab 12 (Local Theater Company); Kinky Boots, The Revolutionists, and The Phantom Tollbooth (Hangar Theatre Company); and Shoes for the Santo Niño (Santa Fe Opera) Production management credits: Sweeney Todd,

Queens Girl in the World, Lost Girl, and The Sun Serpent (Hangar) Sage holds a BA in Theatre and English from the University of New Mexico.

NICK NYQUIST (Assistant Stage Manager) (He/Him). At the DCPA: Somewhere, The Lehman Trilogy, The Color Purple, A Christmas Carol, and Indecent. Regional: Romeo and Juliet, Lady Day, A Gentleman’s Guide (Arvada Center); Casanova (Colorado Ballet), Meadows Production Manager, Don Giovanni, Falstaff (Aspen Music Festival); The Winter’s Tale, One Man Two Guvnors, Richard III, Edward III, You Can’t Take it With You (Colorado Shakespeare Festival); You Enjoy Myself (Local Theater Company). National: My Fair Lady (National Tour), Who’s Afraid of Virginia Woolf? (Pulse Theater); Machinal and Albert Herring (Boston Conservatory Theater), and many others. BFA in Stage Management from DePaul University.

MALIA STONER (Stage Manager) (She/Her). At the DCPA: Little Shop of Horrors, The Suffragette’s Murder, The Lehman Trilogy, Rubicon, The Color Purple, The Chinese Lady, Rattlesnake Kate, A Christmas Carol, A Doll’s House, The SantaLand Diaries, New Play Summit. Other theaters: Mousetrap, Waitress, I Do! I Do!, Million Dollar Quartet (Arvada Center); Aubergine, Small Mouth Sounds, Around the World in 80 Days (TheatreWorks); The Winter’s Tale, One Man, Two Guvnors (Colorado Shakespeare Festival); Beehive the 60’s Musical (Lone Tree Arts Center); Lab 11: You Enjoy Myself (Local Theatre Company); 2 Seasons at Candlelight Dinner Playhouse; Gypsy, Addams Family, Aida, Godspell (Little Theatre of the Rockies); Coppelia (Colorado Ballet Academy); Nutcracker (Colorado Dance Theatre).

THEATRE COMPANY LEADERSHIP TEAM

CHRIS COLEMAN (Artistic Director) is passionate about the connection between stories and community. He joined the DCPA Theatre Company as Artistic Director in November of 2017 and has directed Cat on a Hot Tin Roof, Hamlet, A Little Night Music, Hotter Than Egypt, Much Ado About Nothing, Rattlesnake Kate, Twelfth Night, A Doll’s House, Anna Karenina, and Oklahoma!. Previously, Chris served as Artistic Director for Portland Center Stage in Oregon for 18 years. Under his leadership, PCS renovated the city’s historic Armory

into a new home, saw annual attendance nearly double, workshopped 52 new plays that went on to productions at over 100 theaters around the US and UK, and became a national leader in how theaters engage with their community. In 1988, Chris founded Actor’s Express in Atlanta (in the basement of an old church), a company that continues to be a cultural force in the Southeast today. He has directed at major theaters across the country, including Oregon Shakespeare Festival, the Alliance Theater, Dallas Theater Center, Baltimore Center Stage, Actors Theatre of Louisville, ACT/Seattle, the Asolo, Pittsburgh Public, 59E59, and New York Theater Workshop. He and his husband, actor/writer Rodney Hicks, live in Reunion. Since moving to Colorado, he has hiked Dominguez Canyon, wandered the Cliff Dwellings of Mesa Verde, explored a working mine in Creede, and rafted down the Arkansas River.

CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial, and business operations for Theatre Company and Off-Center productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the artistic vision of the organization and facilitating the production of shows such as Sweet & Lucky, The Unsinkable Molly Brown, Sense & Sensibility the Musical, The 12, Sweeney Todd with DeVotchKa and many more. Charles is passionate about artistic innovation and firmly believes in DCPA’s long-standing commitment to new plays and new voices.

In addition to DCPA staff, the following crew worked on this production: Andy Bruening, Jason Bushey, Lisa Ehrle, Phi Le, Loren Martin, Nikki Mayer, Lisa Pedraza, Anna Sanchez, Christina Tracey, Jack Yoder.

PLEASE

BE ADVISED

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• CHILDREN 4+ are welcome in our theatres and must be ticketed.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to accessibility@dcpa.org

The Denver Center for the Performing Arts (DCPA) is one of the largest non-profit theatre organizations in the nation, presenting Broadway tours and producing theatre, cabaret, musicals, and immersive productions. In its 2022/23 season, the DCPA engaged with nearly 865,000 visitors, generating a $205.6 million economic impact.

TAKING PHOTOS AT THE THEATRE

We welcome you to take photos in the theatre before and after the performance. If you post on social media, please credit, and tag the DCPA and the design team:

@denvercenter

#AChristmasCarol

Director: Anthony Powell

Casting/Choreographer: Grady Soapes, CSA

@grayzvander

Scenic Designer: Vicki Smith

Costume Designer: Kevin Copenhaver @kevinovino

Lighting Designer: Wen-Ling Liao

Sound Designer: Melanie Chen Cole

Music Director: Dan Graeber

Orchestrations: Gregg Coffin

Voice and Dialect Coaching: Jeffrey Parker

Photos and the video and/or audio recording during any part of the performance by any means whatsoever are strictly prohibited

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Theatre Company is a division of the Denver Center for the Performing Arts, a non-profit organization serving the public through the performing arts.

The Director and Fight Director are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.)

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada.

The Theatre Company is constituent of Theatre Communications Group (TCG), the national organization for not-for-profit resident theatre companies.

The costumes, wigs, lighting, props, furniture,scenic construction, scenic painting, sound and special effects used in connection with this production were constructed and coordinated by the Theatre Company’s Production Staff.

SFROM POOKIESNACKENBURGER TO BEER TO TRASH: THE JOURNEY TO

Stomp is the product of the long-time collaboration between two men, Luke Cresswell and Steve McNicholas. Though the show group was developed in Brighton, England (1991), its history begins ten years earlier when the two first worked together.

Prior to Stomp, Luke and Steve met in 1981 when they were members of the street band Pookiesnackenburger and the theatre group known as Cliff Hanger. These two organizations produced musical comedies for the Edinburgh Festival. After experiencing success at the Festival throughout the 1980s, Pookiesnackenburger developed a commercial for Heinken, which would become the model of the notorious dustbin dance audiences recognize from the show.

In 1986, Luke and Steve produced a short, percussivebased movie for Bette Midler’s HBO special program “Mondo Beyondo” — it was a success! For the rest of the 1980s and early 1990, the duo staged several large-scale, outdoor events that demonstrated their talent for putting together percussive orchestrations.

In 1991, Luke and Steve financed and directed the original Stomp production. The show began a series of previews at the Bloomsbury Theatre in London followed by a premiere in Edinburgh where it was met with great success. With a cast of eight performers, the production toured around the world from 1991-1994 to critical acclaim. The show ended its three-year tour in London where it received an Olivier nomination for Best Entertainment Award.

In 1994, Stomp began its long-running production at the Orpheum Theatre in New York where it won an Obie and

Drama Desk Award for Most Unique Theatre Experience. With a new cast in place for the New York run, the original cast commenced a tour of North America which became so popular that in 1995, the group launched two more companies to tour the United States.

You’re probably thinking to yourself, “I must have seen this group somewhere!” Well you probably have! Stomp has appeared in numerous commercials, including ads for Coca-Cola, Target and Toyota. The group became so worldrenowned that in 1996 they performed at the Academy Awards. In 1997, Luke and Steve created and directed Stomp Out Loud — an HBO special that featured the group’s stage routines with new material made specifically for TV — which was nominated for four Emmys including Best Direction and Best Art Direction.

After 29 years on Broadway, Stomp lit a zippo lighter and swept up the dust for the final time. The long-running show closed in January 2023 after 13 previews and 11,475 performances. Despite its finale in New York, the tour continues to this day, performing to sold out audiences around the world and currently celebrating its thirtieth anniversary. Who knows how long the beat will go on?

STOMP

NOV 19 – 22 • BUELL THEATRE

Audio Described performance: Nov 22 at 2pm

GOODNIGHT MOON: DESIGNING THEATRE FOR YOUNG AUDIENCES

BY LISA BORNSTEIN

TThey come reaching up to hold the hands of giants, wearing their best dresses and bunny costumes. These children probably aren’t aware, however, that when they come to see Goodnight Moon, they are taking part in one of the Denver Center for the Performing Arts’ foundational outreach programs.

Goodnight Moon is a production by the DCPA’s Theatre for Young Audiences program, which pulls out all the stops to make theater meaningful for children.

“It is really made with them in mind,” says Allison Watrous, Executive Director for Education and Community Engagement.

As children enter the space, themed decor draws them in. Performers move through the aisles. Laughing and speaking are expected. “We encourage their engagement and response,” Watrous says.

Chad Henry wrote both the book and music for his adaptation of Margaret Wise Brown’s 1947 picture book (illustrated by Clement Hurd), which contains only 130 words. Henry transformed those words into a full theatrical event, in which the room comes to life, allowing children to explore what was previously a two-dimensional space.

“The magic is ever-present,” Watrous says. “It’s the power of wonder for a young person, that they can be in awe.”

“I really believe in honoring a young person at the highest level of their intelligence, so that’s what I look for [in a script],” Watrous says. “What I really love about Chad’s work on Goodnight Moon is the music is highly sophisticated.”

This season, the DCPA is providing 4,800 full and partial scholarships to Goodnight Moon, a value of $45,000. Scholarships are provided to Title 1 schools, and additional pricing is tiered based on a school’s percentage of students eligible for free and reduced lunch.

Every group is provided with a post-show workshop on-site or in their classroom. In the workshop, students step into the role of Bunny, following the character’s journey of saying goodnight and going to bed. “We make it very, very tactile,” Watrous says. “They also get to sing a song and step into one of the dances.”

All of these aspects are in service to the central pursuit of Theatre for Young Audiences. “For young people of any age...how do we instill in our young people curiosity about the world, and that happens both within and outside your classroom.”

As a mission-driven non-profit organization, the Denver Center for the Performing Arts knows firsthand how to craft memorable events that raise money for a cause — and work within your budget. Take advantage of our special non-profit rates for your organization’s next breakfast, luncheon, black-tie gala, or retreat. Partnering with our theatrically trained, in-house Event Services team, you can select from our spectacular spaces, including the Seawell Ballroom, Lobby Atrium, and Directors Room. Packages include professional labor plus your choice of:

• Seven caterers

• Customized bar package from Sodexo Live!

• Dramatic lighting, staging, and A/V technology

DCPA TEAM

DCPA

Janice Sinden President & CEO

Donna Hendricks Executive Assistant, President & CEO

Julie Schumaker Manager, Board Relations

ACCOUNTING & FINANCE

Jane Williams CFAO

Sara Brandenburg Director, Accounting Services

Jennifer Jeffrey Director, Financial Planning & Analysis

Kristina Monge Associate Accountant

Rachel Rodriguez Manager, Accounting

Jennifer Siemers Director, Accounting

BROADWAY & CABARET

John Ekeberg Executive Director

Administration

Ashley Brown Business Manager

Alicia Bruce General Manager

Lisa Prater Operations Manager

Garner Galleria Theatre

Abel Becerra Technical Director

Jason Begin+, Anna Hookana+ Core Stagehands

DEVELOPMENT

Jamie Clements Vice President

Sarah Darlene Manager, Grants & Reports

Julia Dunn Manager, Donor Engagement & Legacy Giving

Kara Erickson-Stiemke Manager, Annual Giving & Stewardship

Emily Kettlewell Director, Operations

Caitie Maxwell Senior Director, Major Gifts

Marc Ravenhill Director, Donor Relations

Sarah Smith Coordinator

Megan Stewart Associate Director, Special Events

EDUCATION & COMMUNITY ENGAGEMENT

Allison Watrous Executive Director

Stuart Barr Technical Director

Leslie Channell Director, Business Operations

Lyndsay Corbett Teaching Artist & Manager, Bobby G

María Corral Director, Community Engagement

Heather Curran Teaching Artist & Manager, Playwriting

Elliot Davis Evening Registrar & Office Coordinator

Rachel Ducat Executive Assistant & Business Manager

Rya Dyes Registrar & On-Site Class Manager

Gavin Juckette Teaching Artist & Manager, TYA Engagement & Music

Timothy McCracken Head of Acting

Rick Mireles Manager, Community Engagement

David Saphier Teaching Artist & Manager, In-School Programming

Charlotte Talbert Librarian

Rachel Taylor Teaching Artist & Manager, Literary Engagement & Resiliency

Justin Walvoord Teaching Artist & Manager, Shakespeare in the Parking Lot

Samuel Wood Director, Education & Curriculum Development

EVENT SERVICES

Danielle Levine, Blair Quiring Senior Sales & Event Managers

Stori Heleen-O’Foley Event Technical Manager

Shane Hotle

Audio Engineer

Phil Rohrbach, Jacob Noon Sales & Event Managers

Tara Miller

Event Sales & Operations Director

Brook Nichols Event Technical Director

Benjamin Peitzer Event Technical Lead

Savannah Singleton, Kris Lawan Event Captains

Michael Harris Lighting Designer

Kaden Richter Audio Engineer

Aidan Gagner Video Engineer

INFORMATION TECHNOLOGY

Lisa Roebuck Vice President For security purposes, the IT team has been omitted.

MARKETING & SALES

Angela Lakin Vice President

Whitney Testa Executive Assistant, Marketing & Broadway

Communications

Suzanne Yoe Director

Heidi Bosk,

Brittany Gutierrez Associate Directors

Todd Metcalf Media Producer

Creative Services

Kyle Malone Director, Sofia Contreras, Lucas Kreitler Graphic Designers

Paul Koob Senior Graphic Designer

Noelle Norris Traffic Coordinator

Digital

Michael Ryan Leuthner Director

Erin Bunyard Senior Strategist

Harper Anne Finch Manager, Social Media

Hannah Selwyn Manager, Email

Sergio von Kretschmann Manager, Web

Insights & Strategy

Emily Kent Director

Dan McNulty Analyst

Marketing

Claire Graves Director

Emily Lozow Associate Director

Emmy VanLangevelde, Julie Whelan, Maddie Young Managers

Mikayla Woods Coordinator

Ticketing & Audience Services

Jennifer Lopez Director

Jessica Alverson*, Zeah Edmonds*,

Lauren Estes*, Amanda Foust, Jen Gray*, Noah Jungferman*, Oliver Knight, Brett O’Neill, Claudia Ruiz, Holly Stigen*, Asheala Tasker*, Bronwen VanOrdstrand*, Rob Warner* Ticket Agents

Kirsten Anderson*, Scott Lix*,

Liz Sieroslawski*, Greg Swan* Subscription Agents

Jon Collins Manager, Subscription

D.J. Dennis*, Edmund Gurule*, Hayley Solano*, Sam Stump*, Andrew Sullivan*, Alfonso Vazquez*, Max McCord* Counter/Show Leads

Billy Dutton Associate Director, Operations

Katie Davis, Claire Hayes, Ella Mann,

Lane Randall Managers, Box Office

Chris Leech VIP Ticketing Associate

Katie Spanos Associate Director, Subscriber Services

Group Sales

Jessica Bergin Associate Director

Elias Lopez, Valery Owen Associates

OFF-CENTER

Charlie Miller Executive Director & Curator

OPERATIONS

Sarah Arzberger,

Danielle Freeman Managers

Aaron Chavez Lead

Ruben Cruz, Jordan Latouche Engineers

Simone Gordon Director

Kyle Greufe Senior Analyst

Maria Herwagen Junior Analyst

Brandon LeMarr Associate Director

Alison Orthel, Tara Perticone Analysts

Joseph Reecher Senior Engineer

PEOPLE & CULTURE

Laura Maresca CPCO

Equity & Organization Culture

Seán Kroll Specialist

Human Resources

Brian Carter Senior Business Partner

Andrew Guilder Recruiter & HR Generalist

Michaela Johnson Mailroom Assistant

Paul Johnson Manager, Payroll & Compliance

Jocelyn Martinez Business Partner

Kinsey Scholl Manager, Operations

THEATRE COMPANY

Administration

Charles Varin Managing Director

Emily Diaz Business Admin./ Asst. Company Manager

Jessica Eckenrod Line Producer

Alex Koszewski Company Manager

Ann Marshall General Manager

Artistic

Chris Coleman Artistic Director

Grady Soapes Artistic Producer & Casting Director

Leean Kim Torske Director, Literary Programs

Madison Cook-Hines Literary Assistant

Costume Crafts

Kevin Copenhaver Director

Chris Campbell Assistant

Costume Shop

Janet MacLeod Director/Design Associate

Meghan Anderson Doyle Design Associate

Katarina Kosmopoulos First Hand

Ingrid Ludeke, Carolyn Plemitscher Drapers

House Crew

Douglas Taylor+ Supervisor

James Berman+, Dave Mazzeno+, Kyle Moore+, Heather Sparling+,

Matt Wagner+ Stagehands

Joseph Price+, Kelley Reznik+ Technicians

Lighting Design

Charles MacLeod Director

Connor Baker+ Production Electrician

Lily Bradford Assistant

Paint Shop

Kristin Hamer MacFarlane Charge Scenic Artist

Melanie Rentschler, Sasha Seaman Scenic Artists

Production

Jeff Gifford Director

Julie Brou Administrative Assistant/ Office Manager

Matthew Campbell Production Manager

Peggy Carey Production Manager

Prop Shop

Meghan Markiewicz Supervisor

Sara Pugh Associate Supervisor

Bennet Goldberg, Ashley Lawler Artisans

Adena Rice.

Scene Shop

Eric Moore Technical Director

Albert “Stub” Allison, Robert L. Orzolek, Josh Prues Associate Technical Directors

Jeremy Banthoff, Tyler D. Clark, Kyle Scoggins Scenic Technicians

Wynn Pastor Scenic Technician & Purchasing Agent

Louis Fernandez III Lead Scenic Technician

Brian “Marco” Markiewicz Lead Carpenter

Scenic Design

Lisa Orzolek Director

Nicholas Renaud Assistant

Sound Design & Technology

Alex Billman Supervisor

Meagan Holdeman+, Timothy Schoeberl+, Dimitri Soto+ Technicians

Stage Management

Anne Jude Supervisor

Chandra R.M. Anthenill, Wayne Breyer, Corin Davidson, Kristin Dwyer, Elizabeth Ann Goodman, Harper Hadley, Sage Hughes, Nick Mason, Melissa J. Michelson, Christine Rose Moore, Nick Nyquist, Brooke Redler, Malia Stoner Stage Managers

Sage Goetsch, Dylan Hudson, Hannah Iverson, Casey Pitts Apprentices

Wardrobe

Heidi Echtenkamp Supervisor

Robin Appleton^, Amber Krimbel^, Lauren LaCasse^, Lisa Parsons Wagner^, Nicole Watts^, Kami Williams^ Dressers

Wigs

Diana Ben-Kiki Supervisor

Abby Schmidt^, Marisa Sorce^ Hair/Wig Technicians

VENUE OPERATIONS

Glen Lucero Vice President

Kristi Horvath Director

Merry Davis Financial Manager

Jane Deegan Administrator

Samantha Egle Manager, Event Operations

Facilities

Craig Smith Director

Dwight Barela, Mark Dill, Bryan Faciane, John Howard, Iver Johnson Engineers

Saleem As-Saboor, Abraham Cervantes, Carmen Molina, Judith Primero Molina, Juan Loya Molina, Blanca Primero Custodians

Michael Kimbrough Manager, Engineering

Oscar Fraire Manager, Custodial

Brian McClain Supervisor, Custodial

Patron Experience

Kaylyn Kriaski Manager, Patron Experience

LeiLani Lynch, Aaron McMullen, Stacy Norwood, Wendy Quintana, Valerie Schaefer Managers on Duty

Kelly Breuer, Nora Caley, Amy Howard, Robin Lander, Melanie Mason, Barbara Pooler, Ayden Smith House Managers

Safety & Security

Quentin Crump Director

Timothy Allen, Jodi Benavides Lead Security Officers

David Bright, Ariana Cuevas, Ethan Kemberlin, Jack Leatherwood, Ian Nelson, Ashley Skillman, Zach Stemley, Pamela Winston, Tori Witherspoon Security Specialists

Prop Carpenter

T H E S H O W G O E S O N .

When creator/per former Todd Danielson was 44 years old, he had a seizure, the result of a tumor in his frontal lobe. Now, he’s taking on his second ac t

Learn more about Todd’s stor y at uchealth org/tomorrow

DENVER LANGUAGE SCHOOL

PROUD CORPORATE MEMBER OF THE DENVER CENTER FOR THE PERFORMING ARTS

DDenver Language School is the only Denver Public School K-8 charter school offering Spanish and Mandarin immersion (K-8) and French (6-8). DLS is committed to providing students with a diverse and globally oriented education, encouraging them to be curious, critical thinkers, and preparing them for the workforce of tomorrow. Its unique model enhances problem-solving and critical thinking; strengthens cognitive ability, flexibility, and creativity; and builds cultural understanding. The curriculum fosters empathy, adaptability, and open-mindedness, and DLS’s holistic approach combines academic rigor.

DLS is proud to be the number one charter school in Denver on the state School Performance Framework and 28th of 1,825 schools in Colorado, placing DLS in the top 1.5% of all Colorado schools.

“Choosing Denver Language School has been one of the best decisions we’ve made for our children,” said Monica W., parent of DLS students. “Not only are they becoming fluent in another language, but they are also developing a deep appreciation for different cultures. We see their confidence, curiosity, and problem-solving skills growing every day, and we know they are being prepared to thrive in a global world.”

The Denver Center for the Performing Arts (DCPA) provides Denver with access to world-class theatrical performances and arts programming. These experiences expand creativity, encourage selfexpression, and foster cultural awareness, offering opportunities to engage with the arts in meaningful ways. As a Denver community member, DLS is highly invested in supporting the arts and the DCPA, working to nurture a diverse and interconnected world.

We see [our children’s] confidence, curiosity, and problem-solving skills growing every day, and we know they are being prepared to thrive in a global world.

— MONICA W. PARENT

We believe that the arts have the power to connect and inspire our neighbors, and we are proud to support the DCPA.

— STEVE PEATE, VICE PRESIDENT AND GENERAL MANAGER OF AMERISTAR CASINO RESORT SPA

PROUD CORPORATE MEMBER OF THE DCPA

AAmeristar Casino Resort Spa in Black Hawk is proud to continue its partnership with the Denver Center for the Performing Arts. This collaboration highlights a dedication to supporting the arts and enriching the local community. Together, Ameristar and the DCPA aim to bring the magic of live theatre to the entire Denver community by offering the opportunity to experience world-class performances right in their backyard.

Steve Peate, Vice President and General Manager of Ameristar Casino Resort Spa, shared his excitement about the partnership: “Partnering with the Denver Center for the Performing Arts is another fantastic opportunity to positively impact the community. At Ameristar, whether through charitable or civic organizations, supporting our community is part of our culture. We believe that the arts have the power to connect and inspire our neighbors, and we are proud to support the DCPA.”

It’s about having a passion not only to entertain, but to also change lives. It’s about wanting to foster a vibrant community of giving and contribute to causes which seek to create a better tomorrow. When the curtain falls, Ameristar will be standing with the DCPA.

PROUD CORPORATE MEMBER OF THE DENVER CENTER FOR THE PERFORMING ARTS

Supporting the DCPA bonds the Turner Morris team by fostering a shared appreciation for creativity and innovation.

TTurner Morris Commercial Roofing is invested in Denver’s rich cultural identity. Stemming from a commitment to the diversity of its employees and the community, TMI appreciates the opportunity to partner in support of the Denver Center for the Performing Arts (DCPA). As an institution that elevates culture in our city, the DCPA’s unique perspectives and experiences represent values Turner Morris naturally aligns with as a company. Denver distinguishes itself as a city that values creativity and diversity by fostering a vibrant arts scene. TMI has been a business in the Denver community for over 30 years and is thankful to have partnered with the DCPA for the last decade.

Sponsorship of the DCPA is a community investment, and TMI believes that employees’ access to world-class theater is an asset. Turner Morris is proud to allow employees to engage in the theater world. As unexpected as a roofing company championing the arts may seem, TMI sees the partnership with the DCPA as a reflection of company values. It is important to balance hard work with cultural enrichment. Supporting the DCPA bonds the Turner Morris team by fostering a shared appreciation for creativity and innovation, qualities shared in arts and industry.

Turner Morris understands that a healthy and vibrant community throughout Denver is crucial to a company’s health. Art is not a luxury but essential to society. By partnering with the DCPA, TMI strives to do its part to ensure the arts thrive in Denver and keep the local community thriving. The magic of live theater is an essential cultural bastion that needs to be enjoyed by future generations.

Turner Morris is a family company that believes in exposing the younger generation to the arts. The quality of performances that the DCPA brings to Denver is impressive, and TMI  is committed to supporting it so that this level of excellence can continue to thrive for years to come. Turner Morris is honored to work closely with the DCPA, which aligns closely with the company’s core values of character, competence, and commitment.