Applause -- Somewhere, May 1-31, 2026

APPLAUSE

JUNE 25 - AUGUST 6, 2026 GET TICKETS NOW

SEASON NO. 39

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

DALLAS SYMPHONY ORCHESTRA • JULY 2 - 8, 2026

THE PHILADELPHIA ORCHESTRA • JULY 10 - 17, 2026

NEW YORK PHILHARMONIC • JULY 22 - 29, 2026

IMMERSIVE SERIES • JULY 13 - 14, 2026

CHAMBER MUSIC SERIES • JUNE 30 - JULY 27, 2026

CLASSICALLY UNCORKED • AUGUST 5 - 6, 2026

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BY JANICE SINDEN

WWelcome to the theatre!

We’re delighted you’re joining us for the return engagements of MJ and Hadestown, which together earned 24 Tony Award nominations and 12 wins. Our Theatre Company also presents Sanaz Toossi’s Pulitzer Prizewinning English and Matthew López’s heartfelt family drama Somewhere, from the playwright behind our 2014 world premiere of The Legend of Georgia McBride

Staging a world premiere is no small feat, but seeing one go on to subsequent productions affirms how essential new work is to the future of American theatre. In 2025, our Theatre Company launched the world premiere of The Reservoir by Jake Brasch. After three subsequent regional productions, I’m delighted to share it has just completed a seven-week Off-Broadway run.

Next season, we’ll debut two more new works — How to Conquer America: A Mostly True History of Yogurt by David Myers and bogfriends by jose sebastian alberdi. We’re also proud to offer a co-production of Destiny of Desire with LA’s Center Theatre Group. Be sure to explore pages 18–19 for the full 2026/27 season.

Whether this is your first visit or you’ve been with us since 1979, we hope you’ll return for more stories, more joy, and more memories during the coming season.

Vladimir Script

Warm regards,

Janice Sinden

Janice Sinden, President & CEO

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.

APPLAUSE MAGAZINE

VOLUME XXXVI • NUMBER 5 • APR – MAY 2026

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER: Paul Koob

CONTRIBUTING DESIGNERS: Lucas Kreitler, Kyle Malone

CONTRIBUTING WRITERS: Lisa Bornstein, Collin Van Son

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.

Applause magazine is funded in part by

Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com

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

Hassan Salem, Immediate Past Chair

Jerome Davis, Vice Chair

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

Richard M. Sapkin

Martin Semple

William Dean Singleton

Sylvia Young

HONORARY TRUSTEES

Navin Dimond

Margot Gilbert Frank

Jeannie Fuller

Robert C. Newman

Cleo Parker Robinson

Robert Slosky

Dr. Reginald L. Washington

Judi Wolf

pg 1 4

pg 1 6 FOR A

HELEN G. BONFILS

FOUNDATION BOARD OF TRUSTEES

Martin Semple, President

William Dean Singleton, Vice President

Kevin Kilstrom, Secretary/Treasurer

Nicole Ament

Marco D. Chayet

David Jacques Farahi

Ruth Krebs

Susan Fox Pinkowitz

Hassan Salem

EXECUTIVE MANAGEMENT

Janice Sinden, President & CEO

Jamie Clements, Vice President, Development

Chris Coleman, Artistic Director, Theatre Company

John Ekeberg, Executive Director, Broadway & Cabaret

Angela Lakin, Vice President, Marketing & Sales

Glen Lucero, Vice President, Venue Operations

Laura Maresca, Chief People & Culture Officer

Lisa Roebuck, Vice President, Information Technology

Charles Varin, Managing Director, Theatre Company

Allison Watrous, Executive Director, Education & Community Engagement

Jane Williams, Chief Financial & Administrative Officer

Fall Theatre Tour • Oct 24 - Nov 1, 2026

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• Daily breakfast

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• St. Paul’s Cathedral

• Royal Albert Hall

• Kensington Palace

• Theatre Royal Drury Lane

• National Theatre

• Eltham Palace

• Parliament

• Tate Modern Museum

• Guided walking tours

• Theatre talk and tea

For more information contact 1-800-962-7325 info@break-awaytours.com

$6,995 per person based on Double Room without Airfare

WORD BY WORD LEARNING TO SPEAK, AND LISTEN, IN ENGLISH

BY COLLIN VAN SON

EEnglish Only. It’s a simple rule, but sometimes the simplest rules are the hardest ones to follow. For the students enrolled in Marjan’s advanced English course, the temptation to switch to their native tongue, Farsi, is often too great to resist. But in this particular classroom in Karaj, Iran, the magic of theatre means that English is indeed the only language the audience hears.

In Sanaz Toossi’s Pulitzer Prize-winning play English, the titular language manifests in two forms. When the characters practice their English aloud, they do so with a Persian accent. That accent may be light, as in the case of star pupil Omid, or it may be thick, as in the case of Elham, five-time taker of the TOEFL (Test of English as a Foreign Language) exam. But in every case the accent is present, a reminder to the audience — and the characters themselves — that English is not their first language. When they switch to Farsi, however, we hear them as they hear themselves: unaccented, with an ease of expression that some members of the class can only dream of attaining in English.

There are many plays — not all of them bad — in which accents are treated like costume pieces, as a means to imbue an otherwise forgettable character with a little extra “flavor.” At the risk of stating the obvious, English is no such play. “Changing the accent is a very important theat-

rical tool in this play,” explains director Hamid Dehghani. “It’s part of the plot, the motivations for characters, what’s happening between the characters.”

Because of how quickly the dialogue shifts between English and Farsi, Dehghani says the characters on stage are not the only ones learning a new language. “It’s very important to teach that language, that theatrical language, to the audience at the very beginning of the play,” he says. “The play itself introduces us to that feature early on, but for [the] performers and actors, if you are not able to stick to that set of rules, I think often the audience will get so confused.”

To prevent such confusion, Dehghani and the rest of the artistic team have to pay painstaking attention, not only to the mechanics of language — for example, which sounds give Farsi speakers the hardest time in English — but also to the characters’ motivations for switching between languages. What internal conflict might compel a character to abruptly switch to English, or to purposefully defy the class’s English Only rule? “We tracked all of those moments,” says Dehghani. “Beat by beat, word by word, letter by letter.”

It’s a demanding task, but one that Dehghani is amply prepared for — both professionally and personally. In addition to directing a previous co-production of English at

the Goodman Theatre and the Guthrie Theater, Dehghani grew up in Iran and built his theatrical career there before coming to the U.S. “I had the same experience of all of these characters in the play,” he says. “I was 30-something years old when I started learning English. So I could feel and relate to these characters so much.”

English is what Dehghani calls “a political play in a very non-political way.” It is set in 2008, at a time in Iran when, as Dehghani recalls, “there was some hope that it’s going to change, we are going to be free more, and that energy was in the air.” And while the intervening years have brought some changes — Dehghani notes how common it has become for Iranian women to go out in public without a hijab — there is no escaping the present-day realities of repression.

This past January, shortly after Dehghani’s most recent visit to Iran, the government responded to nationwide protests with a brutal crackdown that left thousands dead. For Dehghani, the violence has raised new questions as he prepares to bring English to the Denver Center stage. “Should I bring something that is more immediate that people can see outside, that is connected to the present moment? Or should I just look at this production as its own, without looking at the context or what’s happening outside in the world?”

Ultimately, Dehghani says his artistic choices are guided by the humanizing power of theatre. “You see cellphone footage of people protesting or getting shot on the street,” he says, “but you don’t know them. Seeing a play like English as itself, as authentic, as true to the life of these characters, I think in a very honest and deep way connects you to people on the street.”

As Dehghani sees it, that sense of connection isn’t limited to people half a world away — it also extends to those who have recently arrived in one’s own community. “This is an immigration story,” he says. “It’s like the first chapter of an immigrant’s story.” Whereas most immigrant stories open at the moment of arrival, English is in many ways a story of departure, of the struggle and self-doubt that comes with deciding to leave one’s home — and hopefully, somehow, find a new one.

I had the same experience of all of these characters in the play. I was 30-something years old when I started learning English. So I could feel and relate to these characters so much.

— HAMID DEHGHANI, DIRECTOR

“I still feel that duality,” says Dehghani, “of being both Persian and living in an English culture and country.” And while he acknowledges that duality can be a source of challenge, it is also, in his telling, a gift. “Producing this play here, in the U.S., for me…feels like home. Bringing a piece of home on a stage.”

Editor’s Note: This interview took place before the recent U.S. and Israeli actions in Iran and were not part of the conversation.

HARRY POTTER AND THE CURSED CHILD

For the first time, Denver audiences will have the chance to experience Harry Potter and the Cursed Child, the internationally acclaimed stage production playing the Buell Theatre May 30–June 21. The play, which earned six Tony Awards including Best Play, has been praised for its imaginative storytelling and theatrical innovation. Forbes called it “one of the most defining pop culture events of the decade.”

Set years after the final chapter of the original saga, the play invites fans into an all new adventure in the wizarding world. At its heart is Albus Potter, whose unexpected friendship with Scorpius Malfoy leads them on a journey that explores family legacy, responsibility, and the delicate boundaries of time. Their story brings fresh dimension to beloved characters while offering a contemporary perspective on the world audiences know.

Critics have noted the production’s blend of emotional storytelling and inventive stagecraft. The New York Times described it as a “marvel of imagination,” while People remarked that the illusions leave audiences wondering “how’d they do that?” long after the curtain falls.

For Denver theatergoers, the engagement offers a rare opportunity to experience a landmark piece of modern theatre — and a new chapter of magic — up close.

ENGLISH

APRIL 17 – MAY 31 • SINGLETON THEATRE

ASL Interpreted and Audio Described performance: May 3 at 1:30pm Stay for a post-show discussion on May 12, 20 & 28

HADESTOWN : A Primer on Greek Mythology

If you’ve forgotten your Greek mythology (and who can blame you…it only dates back 2,500+ years), rest assured our primer will have you ready for the show.

Orpheus was a legendary musician who could charm all living things — even stones and the gods. He fell deeply in love with Eurydice, a beautiful nymph. But on their wedding day, she was bitten by a snake and died.

Devastated, Orpheus took her to the Underworld to plea for her life. His music softened the hearts of Hades (God of the Underworld) and Persephone (Queen of the Underworld), who agreed to let Eurydice return to the land of the living — on one condition: Orpheus must not look back at her until they reached the surface.

So as not to spoil the ending, we won’t say more but suffice it to say that the Greeks weren’t especially known for their comedies. (The tale of Thesmophoriazusae doesn’t exactly spring to mind, does it?)

This myth explores themes of love, trust, loss, and the power of art, and has inspired countless retellings including the Tony- and Grammy-winning Hadestown. Here are the key players in order of appearance.

HADESTOWN

MAY 5 – 10, 2026 • BUELL THEATRE

ASL Interpreted, Audio-Described, and Open-Captioned performance: May 9 at 2pm

HERMES

[HUR’-MEEZ]

In Greek mythology, fleet-footed guide, messenger of the gods, and conductor of souls to the Underworld. In this account, he is a worldly-wise narrator and mentor to Orpheus.

FATES [FEYTS]

Three goddesses who together determined the destinies of mortals, measuring their lifespans and apportioning their suffering. Here they sow the seeds of doubt in the minds of some.

ORPHEUS [AWR’-FEE-UHS]

Son of the muse of epic poetry, engaged to marry Eurydice. With his golden voice and lyre, Orpheus charmed all living things, even rocks and stones.

EURYDICE [YOO-RID’-UH-SEE]

A tree nymph engaged to marry Orpheus who is bitten by a snake and dies on their wedding day. In this story, she is a runaway whose hardships cause her to be distrustful of others.

PERSEPHONE

[PER-SEF’-UH-NEE]

Goddess of the seasons, she spent half the year in the Underworld, causing fall and winter above before returning to her mother to bring spring and summer. Here, she plays a party girl to dull her disenchantment with said arrangement.

HADES [HEY’-DEEZ]

God of the dead, sometimes called “the Wealthy One.” He fell in love with and married Persephone. In this version of the story, he is a greedy and zealous industrialist.

WORKERS CHORUS

In ancient Greek theater, the Chorus sang, spoke, and danced in unison. Often representing the voice of citizens, the Chorus served as an emotional conduit for the audience.

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MMichael Jackson was not merely a singer, he also was an extraordinary dancer whose moves have become iconic in popular culture. His distinctive style of dance — a fusion of jazz, pop, and hip-hop — revolutionized music forever. Director and choreographer Christopher Wheeldon infuses the pop icon’s famous dance moves into the choreography of MJ

Exploring Michael Jackson’s Dance Style

Jackson’s signature dance style was a blend of technical skill, rhythm, and raw expression. While he fused numerous dance styles, he also developed iconic moves that have since become synonymous with his name — the Moonwalk, the Sidewalk, the Robot, the Spin, the Toe Stand. His movements on stage were as much a part of his performance as his vocals, adding a visual element that made his performances unlike anything else.

Christopher Wheeldon’s Choreography

A former ballet dancer and award-winning choreographer, Wheeldon is known for his work with London’s Royal Ballet and Chicago’s Joffrey Ballet. His goal for MJ was not simply to reproduce Jackson’s music videos and performances, but also to capture the essence of Jackson’s artistry and present it in a fresh light.

To achieve this, Wheeldon enlisted the help of brothers Rich and Tone Talauega along with the show’s associate choreographer, all of whom previously danced with Jackson. Their firsthand experience with Jackson’s dance style proved invaluable.

“I was just in awe of the articulation in his body,” Wheeldon shared when describing Jackson’s ability to isolate every bone, every muscle, bringing intensity to his movements, while his legs moved fluidly, like mercury. It was this dichotomy, this blend of precision and fluidity, that Wheeldon sought to capture.

Perfecting the Iconic Moves

For self-taught dancer Jordan Markus who plays MJ, living up to Jackson’s legacy was motivating. As Markus

MICHAEL’S MOVES: THE CHOREOGRAPHY OF MJ

told Dance Informa, “Michael’s obviously one of the most phenomenal dancers to ever grace the stage.” Having watched Jackson’s music videos as a kid, he recalls dancing around the living room in his socks, but, “Now doing some of the most rigorous choreography I’ve ever had to do in my life, it feels like a return to what I knew because as a child this is all I did, all I wanted to do. Now that I get to portray Michael onstage, it feels like a homecoming.”

I was just in awe of the articulation in his body.

— CHRISTOPHER WHEELDON, DIRECTOR AND CHOREOGRAPHER

This is Thriller Night

The choreography for “Thriller” is a perfect representation of Wheeldon’s vision, blending the familiar with the new. The music number incorporates the signature moves from the original “Thriller” video, as well as the dark, zombie-inspired aesthetic. However, the show adds its own touch, featuring three actors embodying Jackson at different stages of his life dancing together on stage.

The impact of Wheeldon’s approach combined with the innovative dance styles of the King of Pop combine to create what The Washington Post called “A riveting adrenaline rush of a show!”

MJ

MAY 13 – 17 • BUELL THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: May 16 at 2pm

APRIL 19 THROUGH JULY 26

Tiger Palpatja (Pitjantjatjara c. 1920–2012), Wati Wanampi Tjukurpa, 2010. Synthetic polymer paint on canvas. National Gallery of Victoria, Melbourne: Purchased in memory of Graeme Marshall with funds donated by Harriet and Richard England and Anne and Ian McLean, 2011 (2011.334). © Tiger Palpatja/Copyright Agency, 2024. Photo: Jeremy Dillon / NGV

The Stars We Do Not See: Australian Indigenous Art is organized by the National Gallery of Victoria, Melbourne and the National Gallery of Art, Washington, in association with the Denver Art Museum, the Portland Art Museum, and the Peabody Essex Museum.

Bank of America is the North America Tour Sponsor for the exhibition.

The presentation of this exhibition at the Denver Art Museum is supported by the Birnbaum Social Discourse Project, the donors to the Annual Fund Leadership Campaign, and the residents who support the Scientific and Cultural Facilities District (SCFD). All works are from the collection of the National Gallery of Victoria, Melbourne.

BY LISA BORNSTEIN

I IN PURSUIT OF THE AMERICAN DREAM IN SOMEWHERE

It was the summer of 1959. West Side Story was the biggest hit on Broadway and filming on the movie was just beginning. The neighborhood of San Juan Hill on the West Side of Manhattan was in the process of being demolished, so Director Robert Wise took advantage of the demolition to film scenes among half-destroyed buildings, using the rubble to suggest the hardscrabble world of the musical. It was a tough neighborhood – in the 1940s, the New York Housing Authority called it the worst slum in New York.

Perhaps that was in part reflecting the Authority’s opinions of those who lived there. In the early 20th century, San Juan Hill was the largest African-American community in New York and soon became the predominant Puerto Rican neighborhood as well. Thelonious Monk grew up there, as did pianist James P. Johnson and Barbara Hillary, the first Black woman to reach the North and the South Poles. For those people, and the 7,000 displaced by the construction of Lincoln Center, San Juan Hill was home. Playwright Matthew López chose it as the setting for Somewhere, in which a Puerto Rican family confronts artistic dreams and an entertainment industry that has no use for them.

“When you read about San Juan Hill, it was so rich culturally, it was this convergence of many communities who lived there. Thelonious Monk would stand on the street corner and listen to traffic and the sounds of the neighborhood, and they would find their way into the music that he created,” says director Laurie Woolery.

Somewhere tells the story of the Candelarias, a family with dreams of show business. The father, Pepe, is a bandleader who is frequently touring and away from home, while mother Inez looks out for the children and their futures. The siblings study dance and acting, while

the oldest, Alejandro, aspires to be cast in the film of West Side Story. A play filled with dance, it reflects the struggles of the family, whose apartment building is scheduled for demolition to make way for Lincoln Center.

“It’s a story about a mother’s love,” says Woolery, whose own mother immigrated to the United States from Central America. “She really did believe in the American dream when she came over, and she came during World War II. She worked in a factory preparing the rags that would clean the planes. It’s about immigration and pursuing the American dream.”

“The son (Alejandro) has to step in and defer his dreams, and you see this a lot with immigrant families, with the parents, because they’ve sacrificed to fulfill that dream,” Woolery says. While the Candelaria parents and their eldest child were not born in New York, neither are they quite immigrants.

“They’re not immigrants, but they’re treated as immigrants,” Woolery continues, noting that Puerto Rico is a U.S. territory. “Alejandro was born in Puerto Rico, but his other siblings were born here, so he does have the homeland still in him, so he and his mother shared that. Puerto Rico has always just had a very complicated relationship with all the rest of the states. You’re a citizen, but you can’t vote.”

As in most families, there is generational conflict. Alejandro posits himself as a realist, but his mother insists that her dreams for the family are not native.

“I live in the world too. I see what you see,” Inez responds. “But unlike you, I also see the future. And that gives me power to shape my destiny. I don’t imagine the world away — I imagine it better. You call my dreams foolish but I say that having no dreams is the most foolish of all.”

“To pragmatic people, that’s very head in the sand, but to me, that’s visionary thinking,” Woolery feels.

Dance isn’t just a passion for the characters; it’s a major element of the play itself. The cast had to be able to dance in a variety of styles, from Caribbean cha cha and mambo to Broadway styles. All of it is performed to original music by sound designer Paul James Prendergast. In the world of the play, Alejandro speaks about the pain he feels when he can’t dance.

Whatever the [art] form is you partake in, you can be anyone and go anywhere and expand your existence and transcend your labels. Art allows us to be able to see outside of the box society and our families and ourselves place us in. — LAURIE WOOLERY, DIRECTOR

“I think about artists who really have a passion, and who really feel like ‘this is all I know how to do’, like there’s a liberation in the arts that opens up your soul and your spirit,” Woolery says. “Whatever the form is you partake in, you can be anyone and go anywhere and expand your existence and transcend your labels. Art allows us to be able to see outside of the box society and our families and ourselves place us in. I have my guesses of why Matthew chose dance; I think it’s connected to his aunt, and I think it’s connected to West Side Story. Words and music are no longer enough to express the emotion that is being felt.”

As she spoke, Woolery was in tech rehearsals for the Oregon Shakespeare Festival production of Come From Away. The two plays combined felt particularly meaningful in the year following her own mother’s death and a conflicted nation.

“It’s very emotional to be doing theater right now,” she says. “I find it very challenging because you’re just trying to figure out: How should I be serving my community, my neighbors, my country? And then I get into the rehearsal room and I’m reminded, we are reflections of the world that we are in, and we get to show our humanity to each other.”

SOMEWHERE

MAY 1 – 31 • KILSTROM THEATRE

ASL Interpreted and Audio Described performance: May 17 at 1:30pm Stay for a post-show discussion: May 21 & 27

CHILDREN, TEENS & ADULTS

WHERE STORIES COME ALIVE

The magic of live theatre awakens something inside us—it stirs wonder, ignites empathy, and propels us toward new possibilities. Next season, we invite you to experience stories that sweep you away and transport you to unexpected worlds. Stories that come alive right before your eyes.

From Shakespeare’s swirling storm of sorcery to a telenovela of swapped destinies; from a crime gone deliciously awry to a love preserved in ancient peat, these are stories that surprise us, move us, and remind us what it means to be human. As they spring to life on stage, they ask us to laugh together, open our hearts, and see the world a little differently than before.

Dive into this new season and discover what happens when a story comes alive.

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Chris Coleman, Artistic Director

Charles Varin, Managing Director

presents

SOMEWHERE

BY Matthew López

WITH

Danny Gómez, Ángel Lozada, Keaton Miller, Bella Serrano, Adriana Sevan

STAGE MANAGERS: Anne M. Jude, Nick Nyquist

SCENIC DESIGN BY Efren Delgadillo, Jr.

MUSIC AND SOUND DESIGN BY Paul James Prendergast

COSTUME DESIGN BY Kevin Copenhaver

DRAMATURGY BY Liza Ann Acosta

CASTING BY Grady Soapes, CSA and Gama Valle – Bass/Valle Casting

LIGHTING DESIGN BY Pablo Santiago

VOICE AND DIALECT COACHING BY Micha Espinosa

PRODUCTION MANAGEMENT BY Jeff Gifford

CHOREOGRAPHY BY Mayte Natalio

DIRECTED BY

Laurie Woolery

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

THE KILSTROM THEATRE • MAY 1 – 31, 2026

Previously produced by Hartford Stage Company, Hartford, CT

SOMEWHERE is presented through special arrangement with and all authorized performance materials are supplied by TRW PLAYS 1180 Avenue of the Americas, Suite 640, New York, NY 10036. www.theatricalrights.com

Material from

WEST SIDE STORY

Book by Arthur Laurents

Music by Leonard Bernstein

Lyrics by Stephen Sondheim

Original Direction and Choreography by Jerome Robbins

Concept by Jerome Robbins

GYPSY

Book by Arthur Laurents

Music by Jule Styne and Lyrics by Stephen Sondheim

Original Direction and Choreography by Jerome Robbins

Suggested by the memoirs of Gypsy Rose Lee

is used by permission. The author gratefully acknowledges the kind cooperation of The Leonard Bernstein Office, Inc., and the estates of Arthur Laurents, Jerome Robbins, Stephen Sondheim, and Jule Styne.

CAST

(In order of appearance)

Alejandro Ángel Lozada

Francisco

Rebecca

Inez

Jamie

Danny Gómez

Bella Serrano

Adriana Sevan

Keaton Miller

SETTING

New York City. Summer, 1959.

SOMEWHERE will be performed with one 15-minute intermission.

Dance Captain

Stage Manager

Assistant Stage Manager

Stage Management Apprentice

ACTING COMPANY

(In order of appearance)

ÁNGEL LOZADA (Alejandro). Previous credits include: In the Heights (Usnavi, Signature Theater). Broadway: Bad Cinderella (Ensemble: u/s Prince Sebastian, Imperial Theatre). Regional: Frozen (Kristoff, Ogunquit Playhouse), On Your Feet! (Emilio Estefan, Riverside Theatre), Hair (Woof, Old Globe), In the Heights (Usnavi Standby, The Muny), West Side Story (Bernardo, Maltz Jupiter), Evita (Che, Riverside Theatre), Les Misérables (Ensemble, The Muny). TV: “FBI: Most Wanted” (CBS) and Jesus Christ Superstar Live (NBC). Special Awards: Lucille Lortel Award Winner for Best Ensemble in Oratorio for Living Things Gratitude and love to my community, esto es para mi gente!

DANNY GÓMEZ (Francisco) (He/Him) is a Colombian‑ American performer from Queens, New York. Off‑Broadway: SPREAD (INTAR). Other New York credits include: A Boy Called Lobo, With Deepest Regrets, Lupe Vélez, and Sonnets For An Old Century (INTAR); Bargaining Chip (New Perspectives), How to Feel Without Touching (Chain), Ogallala (Under St. Marks), But Soft (Barrow Group), and Aliens of Extraordinary Abilities (The Tank). Film: Somewhere

WHO’S WHO

Together, Royals, POKENO, and The Shot. Training: LaGuardia, Neighbor hood Playhouse, Shakespeare & Company Intensive. To those who made this possible, my deepest thanks: to my family, whose love and sacrifices allowed me to dream, and to Bass/ Valle, DCPA, and Bret Adams, Ltd. for their belief. @dannygomezz

BELLA SERRANO (Rebecca) (She/Her). New York: Retraction (Gillian/Karina, The Sheen Center). Regional: When Elvis Met the Beatles (Priscilla Beaulieu, Ogunquit Playhouse), Noises Off (Brooke Ashton/Vicki, Beck Center for the Arts), Kinky Boots (Nicola, Forestburgh Playhouse), B.A.R.S. (MC Bell Bottoms, Playhouse Square). Bella sends her love and thanks to Bass/Valle, The Talent House, Abby, and all her friends and family. BWMT. @bellamserrano

ADRIANA SEVAN (Inez). NY Theatre: Two Sisters and a Piano (Public Theater), Macbeth (HERE), Derek Walcott’s Odyssey (St. Clement’s Church), Another Part of the House (CSC), A Royal Affair (Intar), Popol Vuh (Lincoln Center). Regional: El Huracan (Yale Rep, GableStage), Destiny of Desire (Oregon Shakespeare Festival), The Conduct of Life (Rosenthal Theater), The Clean House (SCR), Taking Flight (Goodman), Caucasian Chalk Circle (SCR), Las

Keaton Miller

Anne M. Jude

Nick Nyquist

Hannah Iverson

Mujeres Del Mar (Atwater Village), Anna in the Tropics (SCR), Henry V (Shakespeare & Co). TV/Film: “Grey’s Anatomy,” “9 1 1,” “Sex & the City,” “Law & Order,” “Law & Order: Criminal Intent,” Namaslay, LOCO, Harvest, and What Anna Knew. For my dream carriers...Mom, Papi and my beloved, Jonathan.

KEATON MILLER (Jamie/Dance Captain) is thrilled to be making his DCPA debut. Recent credits include: Dracula: A Comedy of Terrors (Dracula Straz Center), Grease (Danny Zuko Buck’s County Playhouse), and his feature film debut in The Legend of Juan Jose Mundo (dir. Michael Walker). Other regional credits include performances at the New London Barn Playhouse, Timberlake Playhouse, and Broadway Palm Theatre. Keaton is a proud graduate of Baldwin Wallace University’s Music Theatre program. Many thanks to CGF Talent, Rochel Saks, and his family and friends for their continued support. @keatonmiller321 www.keatonbmiller.com

PLAYWRIGHT

MATTHEW LÓPEZ is an American playwright and filmmaker. His play The Inheritance, which premiered in 2018 at London’s Young Vic Theatre, is the most honored American play in a generation, sweeping the Best Play awards in both London and New York, including the Tony Award, Olivier Award, Drama Desk Award, Evening

Standard Award, London Critics Circle Award, Outer Critics Circle Honors, and Drama League Award. He is the first Latine writer to win the Tony Award for Best Play. He was nominated again two years later for the musical adapta tion of Some Like It Hot, which he co wrote with Amber Ruffin with a score by Marc Shaiman and Scott Wittman. His other works for theatre include The Whipping Man, Somewhere, Reverberation, The Legend of Georgia McBride, The Sentinels, and Zoey’s Perfect Wedding. He wrote and directed the film adaptation of the bestselling novel Red, White, and Royal Blue, which premiered in 2023. He co wrote and produced the sequel: Red, White, and Royal Wedding, which is slated for release in 2027.

DIRECTOR

LAURIE WOOLERY is an OBIE award winning director and playwright work ing at the intersection of theater and civic engagement having collaborated with Public Theater, National Theatre, Weiwuying National Kaohsiung Center (selected). World premiere plays include Manahatta (OSF/Yale/ Public); The Tenth Muse and The River Bride (OSF); El Huracan and Imogen Says Nothing (Yale), Promenade (NY City Center), etc. Laurie’s musi cal adaptations of As You Like It and The Tempest had premieres at the Delacorte Theater. Laurie served as Director of Public Works/Public Theater, Associate Artistic Director of Cornerstone Theater Company and Conservatory Director at South Coast Repertory, founding member of The Sol Project, 2020 United States Artist recipient, 2021 Americans for the Arts Johnson Fellow and named 2022 National Theatre Conference’s Person of the Year.

CREATIVE TEAM

LIZA ANN ACOSTA (Dramaturg) is a writer, translator, devisor, and drama turg with an extensive body of work in Latiné theatre. As a longtime collabo rator with Teatro Luna, she has writing and devising credits spanning over a decade, including The Times (Studio Luna, 2019), Lovesick (Victory Gardens, 2017), Generation Sex (Los Angeles Theater Center, 2015); and Lunáticas, Machos, and Sex-Oh (Chicago Dramatists). Her dramaturgy work with Urban Theater Company includes productions by Migdalia Cruz, Carmen Rivera, José Rivera, and Richard Montoya, among others. Acosta’s work centers Latiné voices, stories, and experience on the American stage.

BASS/VALLE CASTING (Casting). New York: Broadway’s Gem of the Ocean Off Broadway: Radio Golf, Jitney Public Theater’s: New Works Now, Minetta Lane, Women’s Project, La MaMa, Epic Theatre, Drama League, Jewish Repertory Theatre, Women in Film and Television. Regional: Hartford Stage, Mark Taper Forum, Arena

Stage, Trinity Rep, Syracuse Stage, Huntington Theatre, Portland Center Stage, Dallas Theatre Co., Berkeley Rep, Playmaker’s Rep, Alliance Theatre, Virginia Stage, Geva, CenterStage, Long Wharf Theatre, Arizona Theatre Co. Film: Pushing Hands, Gravesend, First We Take Manhattan. Audition Coach at many of the nation’s top uni versities and actor training programs.

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: A 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.

EFREN DELGADILLO, JR. (Scenic Designer) is a Mexican American Scenic Designer born and raised in East Los Angeles. His work spans regional theaters and experimental stages across the country. He is the recipient of two Henry Awards for his scenic designs in In the Upper Room and Quixote Nuevo at the DCPA. He received a LA Weekly Award for both Production and Lighting Design and has been nominated for an Ovation Award for Bordertown Now with Culture Clash at Pasadena Playhouse. Additional nomina tions include a Barrymore Award for Bienvenidos Blancos with Team Sunshine Performance Corporation and Mushroom at People’s Light. Delgadillo holds a BFA in Studio Arts from the University of California, Irvine, and an MFA in Scenic Design from California Institute of the Arts. He currently serves as Head of Scenic Design at UC Irvine. www.efrendelgadillojr.com

MICHA ESPINOSA (Voice and Dialect Coach) is a vocal coach, voice and text director, and Professor at the University of Wisconsin–Madison. Her coaching credits include Oregon Shakespeare Festival, Alley Theatre, Dallas Theater Center, Children’s Theatre Company, Milwaukee Repertory Theater, Arizona Theatre Company, The Old Globe, Mixed Blood, and many others. A nationally recog nized artist scholar, director, and edu cator, she bridges voice, performance,

and culturally inclusive pedagogy in her work. She is the award winning editor and co editor of Latinx Actor Training, Scenes for Latinx Actors, and Monologues for Latino Actors, and serves as Artistic Director of the Fitzmaurice Institute.

JEFF GIFFORD (Director of Production) is entering his fourteenth season at the DCPA and oversees everything you see on the stage except the actors. Working with this amazing team of artists and artisans is the highlight of his career. Guiding world premieres to their first opening night is especially gratifying and Jeff has worked on more than 50 of them. Among his favorites are The Book of Will, Dinner with Friends, The Violet Hour, The Beard of Avon, and the new musical Rattlesnake Kate. Jeff holds an MFA from California Institute of the Arts.

MAYTE NATALIO (Choreographer) is a Dominican American movement based artist from New York City. Broadway choreography credits include How to Dance in Ohio and Suffs. Off Broadway credits include: Urinetown (New York City Center Encores!). Select regional choreography include: The Winter’s Tale (Dallas Theater Center/Public Works), Into the Woods (Barrington Stage Company), Love in Hate Nation (Two River Theater), Hair (The Old Globe), Kiss My Aztec (Hartford Stage), and How to Dance in Ohio (Syracuse Stage). Fashion credits include: Pyer Moss, Wat U IZ, and Paris Fashion Week. Film credits include: Playland (Tribeca Film Festival). Mayte was a recipient of the 2024 Douglas & Ethel Watt Critic’s Choice Chita Rivera Award. maytenatalio.com

PAUL JAMES PRENDERGAST (Composer and Sound Designer). Broadway: All the Way and The Great Society. Off Broadway: Julius Caesar and Manahatta. Select Regional credits include: Oregon Shakespeare Festival (30 productions), Guthrie, Seattle Rep, Yale Rep, Mark Taper Forum, South Coast Rep, Long Wharf, Hartford Stage, Berkeley Rep, American Conservatory, American Repertory, La Jolla Playhouse, Alley, Alliance, Arena, McCarter. His commercial work includes extensive theme parks and museum installations. Paul’s accolades include Grammy and Drama Desk nom inations, Broadway World, Ovation, Drama Logue, Garland, Gregory, Footlight, and Gypsy awards. His work as a singer/songwriter has appeared in films, recordings, and in music venues nationwide.

PABLO SANTIAGO (Lighting Designer) (He/Him) returns to the Denver Center for the Performing Arts, where his luminous storytelling has shaped productions such as Quixote Nuevo (Henry Award Winner), A Little Night Music, and Where Did We Sit on the Bus?. Recently, his work has appeared

on stages across the country, includ ing Come From Away at Oregon Shakespeare Festival and Furlough’s Paradise at Geffen Playhouse. Additional highlights include Amadeus at Pasadena Playhouse and Shane at the Guthrie Theater and Oregon Shakespeare Festival. Through light, Pablo crafts atmospheres that breathe, revealing the emotional architecture beneath each story.

GRADY SOAPES, CSA (Casting) is the Director of Casting and Artistic Producer with the Denver Center for the Performing Arts. Grady has cast over 100 DCPA productions and work shops including Rattlesnake Kate, Theater of the Mind, The Chinese Lady, The Who’s Tommy, and The Wild Party. Choreography credits include A Christmas Carol (3 seasons), Twelfth Night, Goodnight Moon, Anna Karenina, As You Like It, Drag Machine, Lord of the Butterflies, DragON (Denver Center); A Gentleman’s Guide to Love and Murder, 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

ANNE M. JUDE (Stage Manager) (She/ Her) is finishing her second season as the Stage Management Supervisor at the DCPA and is thrilled to be back in the booth! At the DCPA: Emma, Little Red, Who’s Afraid of Virginia Woolf?. National Tours: Mary Poppins, Elf. Regional credits include: Kinky Boots (Maine State Music Theater), Rock of Ages - Hollywood (The Bourbon Room) and many shows at A Noise Within, Milwaukee Repertory Theater, First Stage Children’s Theater, Fulton Theatre, Goodspeed Musicals. Education: BFA Arts Administration Viterbo University, La Crosse, Wisconsin. Proud AEA Member.

NICK NYQUIST (Assistant Stage Manager). At the DCPA: The Lehman Trilogy, The Color Purple, Colorado New Play Summit, A Christmas Carol, Indecent. Regional: The Winter’s Tale, One Man Two Guvnors, Richard III, Edward III, You Can’t Take It With You (Colorado Shakespeare Festival); Don Giovanni, Falstaff, VocalARTS Showcases, Opera Encounters (Aspen Music Festival); You Enjoy Myself (Local Theater Company). National: My Fair Lady (Lincoln Center 1st National Tour); Who’s Afraid of Virginia Woolf? (Pulse Theater); Machinal, Albert Herring, Limitless series, First Voices (Boston Conservatory Theater); Peter Pan (Music Theater Works); A Midsummer Night’s Dream (Theatre Hikes); and many others. Nick holds a BFA in Stage Management from DePaul University and spends his free time in the mountains.

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 Cowboys and East Indians, 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, includ ing 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 Theater of the Mind, 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 com mitment to new plays and new voices.

In addition to DCPA staff, the following crew worked on this production: Andy Bruening, Jason Bushey, Chris Campbell, Lisa Ehrle, Christina HadleyDike, Phi Le, Katie Marting, Nikki Mayer, Lucas Moreno, Joe Motzkin, Brent Rolfson, Jack Yoder.

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, and musicals. In its 2024/25 season, the DCPA offered 988,930 guest experiences, generating a $390 million economic impact.

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 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 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.

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

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

Playwright: Matthew López

Director: Laurie Woolery @lauriewoolery

Choreographer: Mayte Natalio

Scenic Designer: Efren Delgadillo, Jr.

Costume Designer: Kevin Copenhaver

Lighting Designer: Pablo Santiago @psdesign

Composer and Sound Designer: Paul James Prendergast

Dramaturg: Liza Ann Acosta @liza.ann.acosta

Voice and Dialect Coach: Micha Espinosa

Casting: Grady Soapes, CSA @grayzvader and Gama Valle, Bass/Valle Casting

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

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

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

Jazzmin Bonner Yale Management Fellow

EDUCATION & COMMUNITY ENGAGEMENT

Allison Watrous Executive Director

Stuart Barr Technical Director

Dani Robb 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

Tara Miller Event Sales & Operations Director

Brook Nichols Event Technical Director

Aidan Gagner Video Engineer

Michael Harris Lighting Designer

Stori Heleen-O’Foley Event Technical Manager

Shane Hotle Audio Engineer

Kris Lawan, Savannah Singleton Event Captains

Danielle Levine, Blair Quiring Senior Sales & Event Managers

Jacob Noon, Phil Rohrbach Sales & Event Managers

Benjamin Peitzer Event Technical Lead

Kaden Richter Audio 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

Insight & Strategy

Emily Kent Director

Dan McNulty Analyst

Marketing

Claire Graves Director

Emily Lozow Associate Director

Maddie Lamb, Emmy VanLangevelde,

Julie Whelan Managers

Mikayla Woods Coordinator

Ticketing & Audience Services

Jennifer Lopez Director

Jessica Alverson*, Zeah Edmonds*,

Lauren Estes*, Jen Gray*, Noah Jungferman*, Oliver Knight*, Reagan Luchte*, Alix Maulitz*, Claudia Ruizesparza*, Holly Stigen*, Asheala Tasker*, Rob Warner* Ticket Agents

Kirsten Anderson*, Scott Lix*, Liz Sieroslawski*, Greg Swan* Subscription Agents

Jon Collins, D.J. Dennis Manager, Subscription

Amanda Foust*, Edmund Gurule*, Brett O’Neill*, Hayley Solano*, Andrew Sullivan*, Bronwen VanOrdstrand*, Alfonso Vazquez*, Max McCord* Counter/Show Leads

Billy Dutton Associate Director, Operations

Katie Davis, Claire Hayes, Ella Mann 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, Group Sales & Education

OPERATIONS

Sarah Arzberger,

Danielle Freeman Managers

Aaron Chavez Lead

Ruben Cruz, Jordan Latouche Engineers

Simone Gordon Director

Kyle Greufe Manager

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

Heather Sparling+ Supervising Stagehand

James Berman+, Will King, Dave Mazzeno+, Kyle Moore+, 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. Prop Carpenter

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

Elijah Ruddick Assistant

Stage Management

Anne Jude Supervisor

Chandra R.M. Anthenill, Wayne Breyer, Corin Davidson, 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

Ana Esparza, Saleem As-Saboor, Adriana Fuentes, Carmen Molina, Juan Loya Molina, Judith Primero Molina, Blanca Primero Custodians

Michael Kimbrough Manager, Engineering

Oscar Fraire Manager, Custodial

Brian McClain Supervisor, Custodial

Patron Experience

Kaylyn Kriaski Manager

LeiLani Lynch, Aaron McMullen, Stacy Norwood, Wendy Quintana, Kelci Rigsby, Valerie Schaefer, Ashli Townsend Managers on Duty

Kelly Breuer, Nora Caley, 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, Acura Holt, Ethan Kemberlin, Jack Leatherwood, Ian Nelson, Glenn Powell, Ashley Skillman, Zach Stemley, Tori Witherspoon Security Specialists

•Immediate Need or Pre-plan Services

•Available 24/7 Statewide

•On-Site Crematory

IN THE COMMUNITY

Join us for FREE public performances of SHAKESPEARE

IN THE PARKING LOT

Abridged versions of some of the Bard’s most beloved plays performed in and around a pickup truck “set”

Performances take place throughout the community on Saturdays Apr 11 – May 9.

LEARN MORE

BRINGING SHAKESPEARE TO THE COMMUNITY

FFor the Denver Center for the Performing Arts, community connection is central to its mission. That commitment is vividly realized through Shakespeare in the Parking Lot, a program designed to bring free, high quality theatre directly into neighborhoods across the metro area. Performed outdoors in everyday public spaces, these lively productions make Shakespeare accessible, informal, and welcoming to audiences of all ages.

Launched in 2014/15, the program began as a high school initiative but quickly grew into a beloved resource across the Denver metro area. Its hallmark is accessibility: performances take place in parking lots, plazas, libraries, and parks, using a simple pickup truck “set” that allows the cast to bring Shakespearean classics to audiences who may not otherwise encounter live theatre. “There’s something beautiful in the accessibility of Shakespeare in the Parking Lot,” said Allison Watrous, DCPA Executive Director of Education & Community Engagement, noting how ordinary spaces become creative gathering points for all ages.

This community focus is reflected in the program’s reach. Last season alone, Shakespeare in the Parking Lot completed 80 school performances for nearly 13,000 students and nine free community performances serving more than 1,100 individuals — a demonstration of both widespread enthusiasm and the strong demand for high quality cultural programming. This expanded community access is supported by the Scientific and Cultural Facilities District (SCFD), which helps broaden access to the arts.

The spring 2026 tour continues this mission with a new round of free Saturday performances across the region. Audiences can enjoy A Midsummer Night’s Dream or Romeo and Juliet at locations including the Curtis Community Center (April 18), Aurora Public Library Central Library (April 25), Belmar Library (May 2), and Riverfront Plaza (May 9).

Each performance, running approximately 90 minutes, blends professional acting with nimble stagecraft on and around a pickup truck set.

As the program enters its twelfth year, it has already reached more than 11 1,000 people in schools and public settings, reinforcing DCPA’s vision of theatre as a shared civic experience. This spring, Denver area residents are once again invited to gather, connect, and enjoy Shakespeare the way it was meant to be: together.

Cherry Creek 250 Steele St., Suite 200, Denver

Financial Clarity & Direction From a Team You Can Trust Michael Mullen, CFP®, CRPS®, CRPC® Executive Financial Advisor Osaic Institutions, Inc. mmullen.bcu nancial@bellco.org 303-367-9768

Osaic Institutions financial professionals are located at select Bellco Credit Union branches. Convenient access to a variety of investment services located right at your local branch. Michael Mullen is located at the following branches: 120th & Huron, Clifton, Grand Junction, Thornton, and Erie

CHASE THE SPARK!

Experience the rush of Broadway’s biggest touring hits — from Tony Award-winning sensations to the season’s most electrifying new arrivals — as they burst to life with music, movement, and magnetic storytelling. Each performance delivers a spark worth chasing and a connection worth capturing. Your seat awaits.

Denver

Complete

&

IN DOWNTOWN DENVER

Just show your theatre tickets and

Complimentary Seasonal Dessert with purchase

Three-course Pre-Theatre Menu for $60 per person with an optional wine pairing for $30

range

Complimentary valet parking and dessert with purchase of entrée

— KEVIN CLASSEN, PNC REGIONAL PRESIDENT FOR COLORADO AND MOUNTAIN TERRITORY EXECUTIVE

PROUD SPONSOR OF DCPA EDUCATION’S BOOK STARS

PPNC aims to strengthen and enrich the lives of our neighbors in the communities where we live and work, and, with funding from PNC Foundation, we are pleased to once again support the Denver Center for the Performing Arts (DCPA) in this season’s Book Stars program. Since 2004, PNC Grow Up Great, our $500 million, bilingual early childhood education initiative, has helped prepare children from birth to age 5 for success in school and life by supporting programs, resources and experiences that plant the seeds for a lifetime of opportunities. DCPA Book Stars likewise supports early childhood educators to enhance early literacy in pre-K by working with Title I schools throughout metro Denver.

This innovative program encourages children to become characters and solve problems through creative play and theater-based learning, with teaching artists building relationships with students and teachers over time. By offering Book Stars to schools at no cost, in English and Spanish, we can increase accessibility and help eliminate achievement gaps before they start.

By focusing our support on high-quality early childhood education, we aim to positively impact school readiness, setting children on a path for success. We’re proud to help DCPA continue to grow this program and build more relationships with teachers, students, and families in our region.

Thank you for your continued support for the arts, and enjoy the show!

“ “

PNC is firmly committed to strengthening access to high-quality early childhood education in Colorado. Early literacy is a powerful driver of long-term community stability and economic growth, laying the foundation for a strong workforce and resilient local economies. Book Stars is a unique and engaging way to build these essential skills in our youngest learners, helping ensure every child has the opportunity to thrive and every community has the opportunity to succeed.

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.

A PROUD PARTNER OF THE DENVER CENTER FOR THE PERFORMING ARTS

CChevron has invested in Colorado for more than 90 years and today Chevron is the largest oil and gas producer in Colorado, with close to 1,000 employees. We know how to deliver affordable, reliable, and ever-cleaner energy and we are investing resources and time to find ways to drastically lower the carbon intensity of the energy we produce while maintaining the important pillars of affordability and reliability.

Our company and our employees take pride investing our time and talent into the many communities we call home. Chevron invests millions of dollars and volunteers thousands of hours with community organizations across the state. Our focus areas include meeting essential needs, promoting diversity and inclusion, enhancing education, providing arts experiences, and protecting the environment.

Through several different partners, Chevron supports science, technology, engineering, and math (STEM) subjects at universities, community colleges, K-12 schools, and career technical education centers on the Front Range and Western Slope.

We also work with non-profits whose programming encourages young boys and girls to explore STEM in various ways. Our support of robotics programs in several schools enables youth to have hands-on learning.

We have proudly supported the Denver Center for the Performing Arts for more than three years, believing in its vital contribution to the state’s creative energy. The arts are for everyone, and Chevron’s contribution enables DCPA’s educational programs, youth theater, budding teen playwrights, Denver’s own theater company, and Broadway productions.

Congratulations on another wonderful year bringing the performing arts to all the Front Range, and indeed, Colorado.

To learn more about Chevron and our community investments, please visit https://colorado.chevron.com/