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APPLAUSE VOLUME XXXVII NUMBER 2 SEP – NOV 2026

OCTOBER 4, 2026–JANUARY 31, 2027 DIVA is created by the V&A - touring the world. The Denver Art Museum presentation is made possible by premier sponsors Joy and Chris Dinsdale. Generous funding also comes from the Avenir Foundation Endowment. Presenting support is provided by Jana and Fred Bartlit and Bridget and John Grier, with additional funds from Kathie and Keith Finger, Jen and Alex Hardie, Sheila O’Brien, Tina Walls, U.S. Bank, UOVO: Art, Fashion, Wine, the donors to the Annual Fund Leadership Campaign and the residents who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by CBS Colorado.

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BOARD OF TRUSTEES Ruth Krebs, Chair Alan Salazar, Vice Chair David Jacques Farahi, Secretary/Treasurer Nicole Ament Marco D. Chayet Jennifer Dechtman Yosh Eisbart Marike Fitzgerald Christopher Hayes Elizabeth Hioe Deb Kelly Robert Kenney Kevin Kilstrom Lynn McDonald Hillary Morgridge Emily Hammad Mrig, PhD Susan Fox Pinkowitz Manny Rodriguez Hassan Salem Martin Semple William Dean Singleton Sylvia Young

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IN THIS ISSUE FOR A COMPLETE LIST OF UPCOMING SHOWS:

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Marco D. Chayet David Jacques Farahi Ruth Krebs Susan Fox Pinkowitz Hassan Salem

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Janice Sinden, President & CEO

EDITOR: Suzanne Yoe DESIGN DIRECTOR: Kyle Malone DESIGNER: Paul Koob CONTRIBUTING DESIGNER: Kyle Malone CONTRIBUTING WRITERS: Amanda L. Andrei, Lisa Bornstein, Lisa Kennedy, Jeff Kurtti, Madison Stout

Hello and welcome to another season of theatre! Over the next two months, we will present seven shows on our stages, while another eight are waiting in the wings to round out the year. How lucky are we that our metro area is bursting with incredible entertainment options! We recognize you have many events from which to choose and are so appreciative that you are here with us today. I’d like to draw your attention to our annual donor listing on pages 30–35. As a non-profit organization, the DCPA depends on its donors to deliver locally produced theatre created right here in Denver, bring the biggest tours direct from Broadway, introduce young audiences to the joy of live theatre, with the goal of creating 1 million engagements each year. Individual and corporate contributions together with your support of the Scientific and Cultural Facilities District (SCFD) ensure that live theatre continues to thrive in our community. As you turn your attention to The Outsiders, Disney’s Beauty and the Beast, Destiny of Desire, The Tempest or The Who’s TOMMY, we invite you to consider deepening your connection to the artistry before you. Join our family of donors to ensure that what you are seeing today continues for generations to come. And for those of you who are already members of our giving family, thank you. Your gift will ensure that your legacy, and ours, continues long into the future

The Tempest...................................pg 10 The Outsiders.................................pg 14 The Who’s TOMMY......................pg 16 Disney’s Beauty and the Beast .......................................... pg 22 Destiny of Desire .......................... pg 24

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HONORARY TRUSTEES Navin Dimond Margot Gilbert Frank Jeannie Fuller Robert C. Newman Cleo Parker Robinson Robert Slosky Dr. Reginald L. Washington HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES Martin Semple, President William Dean Singleton, Vice President Kevin Kilstrom, Secretary/Treasurer Nicole Ament

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MUSIC, MAGIC, AND FORGIVENESS:

THE TEMPEST

Near an unnamed island, a storm rages. But this is no ordinary gale — it’s 12 years in the making, the rain and fury of Prospero, an exiled duke who seizes the chance to punish his enemies when their ship draws near his barren isle. And Prospero is no ordinary duke. He’s also a powerful magician who commands the island’s spirits to enact his plans against his shipwrecked foes, as well as a loving yet controlling father to his 15-year-old daughter, Miranda. Written around 1610-11 and considered by many scholars to be Shakespeare’s final play, The Tempest offers a potent brew of supernatural spectacle, family dynamics, rich language and music, and contemplation of revenge and forgiveness. And while those qualities might sound typical for Shakespeare, they manifest quite differently on the enchanted water-locked landscape. For instance, two spirits — Caliban and Ariel — are under control of a human. Unlike the mysterious ghost of Hamlet, the witches of Macbeth, or the mischievous sprites of A Midsummer Night’s Dream, the mystical inhabitants of The Tempest must follow the agenda of a person whose magical powers come not from divine right or an esoteric source, but from books and learning. Half-human, half-spirit, Caliban is the son of a witch from the island who died before Prospero and Miranda arrived, while Ariel was imprisoned in a tree by this same

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witch and recently set free by the exiled magician. Caliban is an earthy creature, deeply connected to the land and forced into physical labor. Ariel belongs to the air and uses sweet songs and spells to carry out Prospero’s bidding, while also seeking liberation from his master. Of the enemies washed up on the shore, one of them happens to be Antonio, Prospero’s younger brother who usurped him as the duke of Milan, as well as Alonso, King of Naples, who assisted Antonio in the deed. The treachery is not merely political, it’s personal. “In so many of his plays, Shakespeare is obsessed with betrayal and bastards,” notes director Chris Coleman. And while the ruling brothers are legitimate heirs, there is resonance in their struggle for the rightful place in a kingdom or a family. Coleman observes: “Over and over again, there’s a bastard who feels shunned, and pushed aside, and is seeking to be honored in a way that they deserve to be. And in Shakespeare’s plays, there’s usually a profound betrayal that causes disruption of the social order, and there’s revenge, and usually, someone dies.” Indeed, the bard’s other work often features an external crisis that changes everything: physical violence such as the fatal stabbing in Romeo and Juliet, a grab for the throne in Julius Caesar, a deception such as Iago whispering into Othello’s ear. But when time for the crisis

APPLAUSE • SEP – NOV 2026 • 303.893.4100 • DENVERCENTER.ORG

comes, The Tempest takes a turn toward self-reflection. “In this play, the turning point is a quiet conversation with Prospero and Ariel,” says Coleman. “That moment changes Prospero’s trajectory — it becomes about orchestrating forgiveness.” “At first I found it puzzling because it feels so strikingly different from all his other plays,” continues Coleman. “But in another way, it feels perfect because it’s really the awakening of empathy.” He also notes that this turning point feels apt for Shakespeare’s final play: “I think that is the central wish and gift of this art form. You step into somebody’s shoes that you might not get to spend time with in your working day life, and you get to experience their world through their eyes and feet. How amazing that at the end of his career, empathy is what’s on his mind.” The empathy is enriched by the music and songs within the play, most of it used to signify magic. As music wafts across the stage, characters are guided across the island, lulled into enchanted sleep, and reawakened. Ariel’s famous song, “Full Fathom Five,” consoles Ferdinand, the shipwrecked Prince of Naples, who mourns his supposedly drowned father. “Of his bones are coral made / Those are pearls that were his eyes,” intones Ariel, conjuring images of beauty and transformation in place of a grim death. The song eventually leads the prince to Miranda, sparking attraction between the two youths. Prospero masterminds them into a romantic relationship, but in spite of the elder’s tricks, they would have likely fallen in love anyway. As the new generation of royalty, their shared, genuine love offers the hope of reconciliation for a torn kingdom and kin.

Jacqueline Antaramian

15-year Denver Center Theatre Company veteran returns as Prospera, in this reimagined twist on the classic tale.

With its jazz influences, this production leans into the theme of music as magic — a dream, even — and its ability to enchant, console, and lead to forgiveness. Even if the island is anonymous, with hints of an ancient Mediterranean civilization, and even if the costumes look like 16th century Italian attire, the jazz standards enhance this production’s tone by harmonizing it with both the contemporary world and the dream world. It’s an experience that raises a question for the audience: What kind of magic do you want to see in the world? For Coleman, the value of The Tempest comes in its themes of forgiveness, empathy, and restoration, even in the face of revenge and anger. “In the world, I want to see peace,” he muses. “I want to see us as a force for peace in the larger world, and I want leadership with moral clarity — that’s the magic I long for in the world.” As for the world of this production of Shakespeare’s final play, the director notes, “Hopefully the magic will be the discovery of this story coming to you — the music making it feel more accessible, and the play allowing you to find the compassion in your own heart. That’s something we can all benefit from.”

COME FOR THE PLAY. STAY FOR THE DISCUSSION. Each season, the Denver Center Theatre Company offers a lineup of post-show discussions — or Talkbacks — that address thought-provoking topics and themes raised in the shows on our stages. Talkbacks are professionally moderated and generally include members of the cast, artistic team, and/or subject matter experts. These discussions offer a two-way dialogue in which the audience has an opportunity to pose questions and opinions as they engage with the artists and experts. Held after the 7pm show, these conversations often last 30 minutes and are an excellent opportunity to explore a play firsthand. We invite you to join us for any of these Talkbacks following select 2026/27 Denver Center Theatre Company productions; free with a ticket.

Destiny of Desire: A Telenovela Play with Music SEP 17, 22 & 30 Wolf Theatre

The Tempest Oct 13 & 27 Kilstrom Theatre

bogfriends Jan 27, Feb 9 & 18 Singleton Theatre

How to Conquer America: A Mostly True History of Yogurt Feb 16 & 25 Kilstrom Theatre

Once Apr 13 & 27 Wolf Theatre

And So We Walked: An Artist’s Journey Along the Trail of Tears

THE TEMPEST

May 6, 11 & 19 Singleton Theatre

ASL Interpreted and Audio Described performance: Oct 11 at 1:30pm

Dial M for Murder

OCT 2–NOV 1 • KILSTROM THEATRE Stay for a free post-show discussion on Oct 13 and 27.

May 20 & 26 Kilstrom Theatre

2026/27 THEATRE COMPANY SEASON

WHERE STORIES

COME ALIVE

Bringing you stunning dramas, beloved musicals, never-before-seen world premieres, and new takes on classics — all rehearsed, constructed and staged right here in Denver

BUNDLE & SAVE! 3+ SHOWS STARTING AT $156* Shakespeare’s final masterpiece

Denver’s beloved holiday tradition

A delightful homage to telenovelas

A love story preserved in ancient peat

Sep 11 – Oct 4, 2026

Nov 25 – Dec 27, 2026

Oct 2 – Nov 1, 2026

A dairy-filled take on the American dream

Jan 15 – Feb 21, 2027

An artist’s journey along the Trail of Tears Hitchcock’s cat-andmouse thriller

The Tony-winning folk-rock musical

Feb 5 – 28, 2027

Apr 2 – May 2, 2027

Apr 16 – May 23, 2027

Apr 30 – May 30, 2027

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Storylines and visual elements from the MGM Motion Picture THE WIZARD OF OZ are provided by Warner Bros. Theatre Ventures.

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N OV. 2 8 - D E C . 2 7, 2026

M A RCH 5 - 1 4 , 202 7

C O L O R A D O B A L L E T. O R G Mackenzie Dessens Studinski, Christopher Mitchell, and Jessica Payne by Rachel Neville

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The Outsiders North American Tour Company Photo by Matthew Murphy

FROM DOG-EARED BOOK TO BEST MUSICAL: THE OUTSIDERS STAYS GOLD BY LISA BORNSTEIN

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Long before Twilight, Divergent, and The Hunger Games, a teenage girl in Tulsa, Oklahoma invented the young adult genre. Susie Hinton was 16 when she wrote The Outsiders, which she sold to Viking Press under the name S.E. Hinton, so she wouldn’t be dismissed as just another girl. “There was only a handful of books having teen-age protagonists: Mary Jane wants to go to the prom with the football hero and ends up with the boy next door and has a good time anyway,” Hinton told The New Yorker in 2014. “That didn’t ring true to my life. I was surrounded by teens, and I couldn’t see anything going on in those books that had anything to do with real life.” At first, the book was marketed as an adult trade paperback – and it went absolutely nowhere. Then her publisher noticed that it sold in a particular demographic. “Teachers were using it in classes,” Hinton said. “All of a sudden, they realized that there was a separate market for young adults.” Since its publication in 1967, The Outsiders has sold more than 15 million copies and continues to sell another half million each year. Those numbers don’t account for three generations of students who have read dog-eared classroom copies and library borrowings. Its fan base grew with Francis Ford Coppola’s 1983 movie rendition, and in 2024, the new musical based on the book won the Tony Award for Best Musical.

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Hinton told the story of opposing gangs in 1960s Tulsa, which was profiting from an oil boom, leading to growing socioeconomic divides. Ponyboy, the narrator of the story, lives with his older brothers Darry and Sodapop, after the recent deaths of their parents. Their family of choice is the Greasers, lower income boys who stick together, get in trouble, and frequently come to blows with the Socs (short for socials), the rich kids. The only prominent girl in the story is Cherry, a Soc who breaks through by forming a friendship with Ponyboy. Emma Hearn, who plays Cherry, has felt the impact of the novel through the passions of the audience. “Truly, it spans all age ranges,” she says. “I’ve never been a part of a show that has such a wide reach as this story. Whether it’s people who read it in school decades ago, or they saw the movie in the ’80s. I know there are people

APPLAUSE • SEP – NOV 2026 • 303.893.4100 • DENVERCENTER.ORG

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who still read it in middle school to this day. We have such a loyal fan base. They love this story, and people want to see every iteration.” Part of the immediacy of the stage musical comes from the youth of the performers, who aren’t far from their own teen years. Tyler Jordan Wesley was cast as Dallas (“Dally”) Winston – the most hardened of the Greasers – just a few weeks before graduating college at Texas State University. It is his first professional role. “Our touring cast is notably younger than what the original cast was on Broadway, and so I think that the creative team did have an interest in looking toward people who might be in college,” Wesley says. “I think that for some people, it makes them even more immersed in the show and they can really understand their perspective when they know how young these boys are. Regardless of what age, what race, what gender is happening in this story, I just think that S.E. Hinton wrote a piece that is so integral to the human experience that it sits with you wherever you are. What S.E. Hinton was saying at the age of 16 is really what draws people to the show.” In Hinton’s novel and the 1983 movie, all the characters are depicted as white. For the stage musical, however, the creators intentionally looked to a more diverse cast. It made sense, given the racial struggles of the 1960s, as well as Tulsa’s own history with racial violence. The Trail of Tears of the 19th century forced Native Americans on a decimating forced expulsion from the southeastern United States to Oklahoma. The character of Dallas is specifically written as a person of color; Wesley, who is Black, sees the connection between his own character’s traits and the Black history of Tulsa, where in 1921, whites destroyed one of the wealthiest Black neighborhoods in the nation.

I’ve never been a part of a show that has such a wide reach as this story. Whether it’s people who read it in school decades ago, or they saw the movie in the ’80s... They love this story, and people want to see every iteration — EMMA HEARN, ACTRESS

CREATIVITY

1. BELONGING

We build a respectful and empathetic culture through our active commitment to equity, diversity, inclusion and accessibility.

2. COLLABORATION

We produce our best possible work together by engaging people with diverse perspectives, lived experiences and talents around our shared goals.

3. COMMUNITY Wesley sees all that history in the character he plays, who after three years on the streets of New York came to Tulsa angry, violent, and fiercely loyal. “In the 1960s, this is the height of the civil rights movement, Dallas is from New York, so what things have I seen, what atrocities have I witnessed at the age of 19 to get me to where I am now?” Wesley says. “As malicious as I think people take Dally to be throughout the book, at the heart of this story we’re all human. We start out gold and it fades away throughout life. I get to share with America and Canada how I believe Dally’s gold is tarnished throughout life.” Including people of color in a classic American story stays true to Hinton’s depiction of divisions and connections, of innocence found and lost. “At its core, it’s saying, ‘Stay gold,’” Wesley says, echoing the classic line from the book. “It doesn’t say, ‘Stay gold, white American’ or ‘Stay gold, Black American. It says, ‘Stay gold.’”

THE OUTSIDERS

SEP 8–27, 2026 • BUELL THEATRE ASL Interpreted, Audio Described, and Open Captioned performance: Sep 20 at 1pm

We cultivate open, responsive, affirming relationships and partnerships for a greater collective impact.

4. CREATIVITY

We embrace innovation and imagination in our daily work to advance our mission.

5. INTEGRITY

We act responsibly, with honesty, accountability and transparency.

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Learn more about what drives the DCPA, and where we’re going, at denvercenter.org/plan

DES McANUFF SURE DIRECTS A MEAN MUSICAL IN THE WHO’S TOMMY BY LISA BORNSTEIN Nearly 60 years ago, The Who released its fourth studio album — and blew up the entire concept of an album with the first commercially successful rock opera, a song cycle tracing the life and experiences of a “deaf, dumb and blind kid” who goes from tortured childhood to godlike figure. At 34 years old, the stage musical The Who’s TOMMY is nearly as venerable. Des McAnuff, who wrote the musical with Pete Townshend while artistic director of the La Jolla Playhouse, reflected on the current tour, which he directed. Lisa Bornstein (LB): What is your favorite number and have you changed it for the tour? Des McAnuff (DM): From the time I first heard The Who’s album, I’ve loved every single cut. When staging the show for the first time, I always thought to myself, “Oh boy, here comes this one!” If there’s any kind of standout, it’s probably “Sensation,” the song in which we [and his parents] discover that Tommy is a savant…. I think many people find it really moving. I can’t say that we’ve changed the number as much as it’s evolved and hopefully deepened. LB: What are the qualities of TOMMY that have made it endure for nearly 60 years? DM: As one of our dramaturgs, Chad Sylvain, pointed out, “it’s about a boy who rejects existence as we know it. In Catcher in the Rye, Holden Caulfield turns his back on adulthood. In TOMMY, Tommy turns his back on life itself.” It’s Tommy’s commitment to his own inner journey, which is basically all he’s got, that seems to get people to project themselves onto his consciousness. He goes from not being there at all to becoming a most formidable entity.

LB: How did the recent Broadway production differ from earlier productions? DM: Technology has evolved so much since we started TOMMY, so we’ve had a much more elaborate paintbox on the Broadway production as well as the tour. Scenically, the show quite literally lights up. It makes the mystical part of Tommy’s voyage easier to portray vividly. TOMMY involves a great deal of visual storytelling. The libretto is poetic and advances the storyline thematically, but the staging has to take care of a good deal of the narration, which makes it challenging but also invigorating. LB: TOMMY began as a concept album then a film. What was your vision for translating the story to the stage? DM: The Ken Russell film is a completely separate entity to the theatrical version. The concept album was, of course, the foundation for the show in that the score was largely complete and many of the story points were suggested if not fleshed out from that extraordinary album. The first time I listened to it was after rehearsing with our garage band. We expected just to listen to a couple of selections and ended up playing the record cover to cover. I thought it was the most monumentally inspiring album I’d heard, eclipsing even “Sgt. Pepper.” Getting to work on the book and the direction with Pete Townshend has been a greatly significant part of my life.

THE WHO’S TOMMY

OCT 16–18 • BUELL THEATRE ASL Interpreted, Audio Described and Open Captioned performance: Oct 17 at 2pm

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presents

THE TEMPEST BY

William Shakespeare

WITH Jacqueline Antaramian*, Claire Blackwelder*, Rajesh Bose*, Ben Cherry*, Erik Fellenstein, Janiah-Camile François*, Anton Gillis-Adelman*, Tamarra Graham*, Timothy McCracken*, Rob Nagle*, Sean Scrutchins*, Erika Soto*, Sarah Statler*, Alistair Toovey*, Moses Villarama* STAGE MANAGERS: Corin Davidson*, Sage Hughes* SCENIC DESIGN BY Chika Shimizu

COSTUME DESIGN BY Kevin Copenhaver

LIGHTING DESIGN BY Charles R. MacLeod

ORIGINAL MUSIC AND SOUND DESIGN BY Lindsay Jones

DRAMATURGY BY Leean Kim Torske

PSYCHODRAMATURGY BY Barbara Hort, PhD

FIGHT DIRECTION BY Geoffrey Kent

VOICE AND TEXT BY Robert Ramirez

MUSIC DIRECTION BY Dan Graeber

CASTING BY Grady Soapes, CSA and Chad Eric Murnane, CSA Murnane Casting

PRODUCTION MANAGEMENT BY Peggy Carey

DIRECTED BY

Chris Coleman

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

THE KILSTROM THEATRE • OCT 2 – NOV 1, 2026 This project was supported by Arts Midwest, and in part by the National Endowment for the Arts.

SPOTLIGHT SPONSORS:

SEASON SPONSORS:

ADDITIONAL SUPPORT:

THE TEMPEST

Chris Coleman, Artistic Director Charles Varin, Managing Director

THE TEMPEST

CAST

(In order of appearance)

Prospera...........................................................................................................................Jacqueline Antaramian* The Singer/Pianist.............................................................................................................................Sarah Statler* Alonso...................................................................................................................................... Timothy McCracken* Antonio....................................................................................................................................................Rajesh Bose* Gonzala.......................................................................................................................................... Tamarra Graham* Sebastian.................................................................................................................................................. Ben Cherry* Miranda............................................................................................................................Janiah-Camile François* Ariel................................................................................................................................................................Erika Soto* Caliban/Mariner.......................................................................................................................... Moses Villarama* Ferdinand.......................................................................................................................................... Alistair Toovey* Adrian/Boatswain.......................................................................................................................... Erik Fellenstein Trinculo/Shipmaster.................................................................................................................. Sean Scrutchins* Stephano/Mariner..................................................................................................................................Rob Nagle* Understudy..............................................................................................................................Claire Blackwelder* Understudy........................................................................................................................ Anton Gillis-Adelman* UNDERSTUDIES Understudies never substitute for the listed players unless a specific announcement for the appearance is made at the time of the performance. Claire Blackwelder* (Miranda, Ariel/Mariner, The Singer/Pianist); Anton Gillis-Adelman* (Ferdinand, Adrian/Boatswain, Caliban/Mariner); Tamarra Graham* (Prospera); Janiah-Camile François* (The Singer/Pianist); Sean Scrutchins* (Alonso); Ben Cherry* (Antonio); Rob Nagle* (Gonzalo); Alistair Toovey* (Sebastian); Erik Fellenstein (Trinculo/Shipmaster); Rajesh Bose* (Stephano) THE TEMPEST will be performed with a 15-minute intermission. Assistant Director................................................................................................................................ Amalia Adiv Stage Manager..............................................................................................................................Corin Davidson* Assistant Stage Manager............................................................................................................. Sage Hughes* Stage Management Apprentice....................................................................................................Aissata Alou *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

“Unforgettable” By Irving Gordon This selection is used by special arrangement with Songwriters Guild of America, for the interest of Irving Gordon.

“The Windmills of Your Mind” By Michael Legrand, Marilyn Bergman, and Alan Bergman This selection is used by special arrangement with Sony Music Publishing, for the interest of Michael Legrand, Marilyn Bergman, and Alan Bergman. All Rights Reserved.

“Feelin’ Good” By Anthony Newly and Leslie Bricusse This selection is used by special arrangement with TRO – Musical Comedy Productions and Downtown Music Publishing, for the interest of Anthony Newly and Leslie Bricusse.

“The World We Knew” By Bert Kaempfert, Carl Sigman, and Herbert Rehbein This selection is used by special arrangement with Downtown Music Publishing Sony Music Publishing, for the interest of Bert Kaempfert, Carl Sigman, and Herbert Rehbein. “How High The Moon” By Nancy Hamilton and Morgan Lewis These selections are used by special arrangement with Warner Chappell Music, for the interest of Nancy Hamilton and Morgan Lewis.

“Trust In Me” By Milton Ager, Jean Schwartz, and Ned Wever These selections are used by special arrangement with Warner Chappell Music and Songwriters Guild of America, for the interest of Milton Ager, Jean Schwartz, and Ned Wever.

ACTING COMPANY (In order of appearance) JACQUELINE ANTARAMIAN (Prospera). Broadway credits include: Doctor Zhivago, Coram Boy, Soul Doctor, Mary Stuart, Master Class, and Julius Caesar with Denzel Washington. Leading lady in almost 200 productions. Theatres include: ACT, The Old Globe, Kennedy Center, Lincoln Center, Denver Center Theatre Company, NJ Shakes, Utah Shakes, Wilma, Intiman, Berkely Repertory, The Metropolitan Opera. TV/Film: Over 50 credits including: “The Old Man” with Jeff Bridges, “American Gods,” “Homeland,” “Succession,” “Veronica Mars,” “High Potential,” “Manifest,” “Ahsoka,” “Archive 81,” “Counterpart,” “The Tick,” “Search Party,” “Madam Secretary,” “Forever,” Side Effects, and The Siege. Among her many beloved Shakespeare roles: Cleopatra, Gertrude, Emilia, Volumnia, Tamora, Olivia, Portia, Silvia, Titania, Queen Elizabeth, Queen Katherine, Lady Percy, and Lady Macbeth. SARAH STATLER (The Singer/ Pianist) (She/Her) was most recently on the second national tour of Anastasia (Ensemble/ Countess Gregory, understudy Dowager Empress). Regional theater credits include: Buddy... The Buddy Holly Story (John W. Engeman Theater, The Fireside Dinner Theatre and Timber Lake Playhouse), Indecent (Arden Theatre Company), Leonard Bernstein’s Mass (The Virginia Arts Festival), as well as various productions at Busch Gardens, VA, where she covered multiple roles as a vocal swing. New York theater credits include: Makeover (New

Dramatists), The Nose (Master Theater), and The Dome (Prospect Theater Company). Manhattan School of Music, BM in voice. sarahstatler.com TIMOTHY MCCRACKEN (Alonso) (He/Him). At the DCPA: Anna Karenina, Smart People, A Christmas Carol, and many more. NY credits: Troilus and Cressida (NYSF), The Dining Room (Keen Company), The Sea (TACT), and many more. He has performed in numerous productions in regional theatres around the country. TV/ Film: Publish or Perish, Small Beautifully Moving Parts, Burning the Old Man (also director/ producer), “Law & Order,” “Delocated.” Co-Founder of McSquared Productions. He is the Head of Acting for the DCPA’s Education Department. RAJESH BOSE (Antonio) (He/ Him) Broadway: Life Of Pi. Selected Off-Broadway/ Regional: This Much I Know (Aurora Theatre); Henry VI (NAATCO/Public); Bus Stop (NAATCO/Transport/CSC); Twelfth Night (NAATCO/ TheatreSquared); Julius Caesar, Persuasion, The Crucible, and Pygmalion (Bedlam Theatre); and multiple productions of Ayad Akhtar’s Disgraced, The Invisible Hand, and The Who and The What. TV/Film: favorites include guest starring on “Law & Order: Organized Crime,” “Bull,” “Blue Bloods,” and “Damages”, as well as appearing in the Academy Awardnominated film Frozen River, as well as the season finale of “The Sopranos.”

TAMARRA GRAHAM (Gonzala) is a Detroit native and a Navy veteran, having served as an active-duty Lieutenant psychologist. She is classically trained by the London Academy of Music and Dramatic Art (LAMDA), where she obtained her MFA in Professional Acting. Recent stage credits include: Hamlet and A Midsummer Night’s Dream (Kingsmen Shakespeare Company), Eureka Day (Dezart Playhouse), Ms. Holmes and Ms. Watson Apt 2B (International City Theatre), Fences (Laguna Playhouse). When not performing, Tamarra enjoys tennis, “The Real Housewives,” and her mom’s hugs! BEN CHERRY (Sebastian). Broadway: Ragtime, Indecent, and Fiddler on the Roof. National tour: Mary Poppins. Select regional: Rutka and Mothers and Sons (Cincinnati Playhouse in the Park), Angels in America, Parts 1 and 2 (Repertory Theatre of St Louis), Indecent (Guthrie Theatre), Indecent (Arena Stage/Baltimore Center Stage/Kansas City Rep), Indecent (Center Theatre Group), What the Constitution Means to Me (Oslo), Lifespan of a Fact and ASS (Pioneer Theatre Company), The Tempest and Midsummer Night’s Dream (Alabama Shakespeare Festival and Utah Shakespeare Festival—four seasons). Television: “The Equalizer,” “The Following,” “Smash,” “I Love You...But I Lied.” Training: NCSA, University of Michigan. BenCherry.com

THE TEMPEST

WHO’S WHO

THE TEMPEST

JANIAH-CAMILE FRANÇOIS (Miranda) (She/Her) is an actor with a deep love of old movies, an obsession with super specific playlists, and an ever-lengthening TBR. Broadway: McNEAL (L.C.T.). Regional: Spunk and The Salvagers (Yale Repertory Theatre), Pride and Prejudice (Flat Rock Playhouse), Baskerville: A Sherlock Holmes Mystery (Shakespeare Theatre of New Jersey), Thumbelina: A Little Musical (American Repertory Theater). MFA: David Geffen School of Drama at Yale; BA: Harvard University. So much gratitude to God and to my family. For Malik. ERIKA SOTO (Ariel) (She/Her) A Noise Within Resident Artist credits include: Exit the King, Richard III, Misalliance, A Midsummer Night’s Dream, Much Ado About Nothing, Metamorphoses, All’s Well That Ends Well, Alice in Wonderland, Frankenstein, Noises Off, The Glass Menagerie, Henry V, Mrs. Warren’s Profession, and King Lear. Others: The Two Gentlemen of Verona, The Tempest, Romeo and Juliet, and The Taming of the Shrew (Independent Shakespeare Company). She premiered Everything That Never Happened at Baltimore Center Stage and Boston Court Pasadena. TV: “Tires,” “ERIC,” “Vida,” “Side Hustle,” “Ultra Violet and Black Scorpion.” Education: USC School of Drama. British American Drama Academy, London. MOSES VILLARAMA (Caliban/Mariner) (He/Him) played the DJ in the Tonynominated Broadway production of Here Lies Love written by David Byrne and Fatboy Slim, directed by Alex Timbers. He was in the critically acclaimed OffBroadway productions of Lauren Yee’s Cambodian Rock Band at Signature Theatre, directed by Chay Yew, and Bus Stop at Classic Stage

Company, directed by Jack Cummings. Moses was a company member at the Oregon Shakespeare Festival for five seasons, working with influential directors such as Bill Rauch, Lileana Blain-Cruz, and Mary Zimmerman. TV/Film: Border Hunters (Netflix). He holds an MFA from the Denver Center. @themightymos ALISTAIR TOOVEY (Ferdinand). London theatre credits: An Octoroon (National Theatre and Orange Tree Theatre); Peter Pan and Mind the Gap (National Theatre); Dark Night Of The Soul (The Globe Theatre); Richard III (Finnish National Theatre); Legally Blonde (Regent’s Park Open Air Theatre); Lord of the Flies (Regent’s Park Open Air Theatre); The Box of Delights (Wilton’s Music Hall); Love Me Now (Tristan Bates Theatre); French Without Tears (Orange Tree Theatre); and Crossing Jerusalem (The Park Theatre). TV/Film: “Sister Boniface,” “Silent Witness,” “Emmerdale,” “Tut,” Rosaline, and The Choke. Training: RADA, with a BA Honours in Acting. ERIK FELLENSTEIN (Adrian/Boatswain (He/Him). At the DCPA: Indecent and Anna Karenina. Other regional credits include: Julius Caesar (Colorado Shakespeare Festival), Discount Ghost Stories (Local Theater Company), and Rape of the Sabine Women (Local Theater Company). Erik has a BA in Theater from the University of Denver and is also a professional violinist and filmmaker. @erikfellenstein SEAN SCRUTCHINS (Trinculo/ Shipmaster) (He/ Him). At the DCPA: Dracula: A Comedy of Terrors, Elephant and Piggie’s: “We Are In A Play!”, Little Red, and Goodnight Moon. Other previous credits: Twelfth Night, Shakespeare in Love, Richard II, Macbeth, The Merry Wives of

Windsor, Much Ado About Nothing, King Lear, Two Gentlemen of Verona, and The Book of Will (Colorado Shakespeare Festival); The Liar, Animal Farm, Tartuffe, Bus Stop, Waiting for Godot (Arvada Center); Downstate, Amerikin, Heroes of the Fourth Turning, American Son, and 9 Circles (Curious Theatre). Training: MFA from the University of Southern Mississippi. ROB NAGLE (Stephano/Mariner). At the DCPA: Much Ado About Nothing, Appoggiatura, and The 39 Steps. Recent credits include: Mark Rothko in Red (Laguna Playhouse) and Benjamin Franklin in What Price Freedom (Moving Arts Theatre). Other credits include: New World Stages, South Coast Repertory, Antaeus Theatre Company, Road Theatre Company, Troubadour Theatre Company, Mark Taper Forum, Portland Center Stage and Pasadena Playhouse. TV/Film includes: “SWAT Exiles,” The Wolf and the Lamb, Alien Vacation, “Good American Family,” “NCIS: Los Angeles,” “Good Trouble,” “Dynasty,” Bad Samaritan, and New Year’s Eve. Training: Northwestern University. @nagdoggie robnagle.com CLAIRE BLACKWELDER (Understudy) (She/ Her) is a Boise-born, DC-raised, NY-based actor and musician. Regional: Holiday (Arena Stage), The Merchant of Venice (Shakespeare Theatre Company), Disposable Necessities (Rogue Machine—world premiere), The Thanksgiving Play (Boise Contemporary Theater), One Man, Two Guvnors (Coachella Valley Repertory), Don’t I Know You From Somewhere? (NY Live Arts). TV/ Film: “Power Rangers Dino Charge” (Nickelodeon/Netflix — series regular) and Her Worst Nightmare (Lifetime). Vocalist: The Hollywood Bowl, El Museo del Barrio, SoHo House. Member of the New York Vocal Collective. MFA: GWU/STC; BA: USC. claireblackwelder.com.

PLAYWRIGHT WILLIAM SHAKESPEARE was born in late April 1564 in Stratfordupon-Avon. He left his wife and three children in Stratford when he moved to London as a young actor, poet, and playwright. There he joined The Lord Chamberlain’s Men, one of the most successful acting troupes in the city. In 1599, the troupe lost the lease of the theatre where it performed. From the timbers of the old theatre, the troupe built a new theatre called The Globe on the south bank of the River Thames. In 1603, when James I came to the throne, he designated the troupe as the King’s Company. Shakespeare’s career spanned roughly 23 years, during which he wrote 39 plays, 154 sonnets, and several narrative poems. Shakespeare retired to Stratford in 1613 and passed away in 1616. To this day, Shakespeare is the most widely admired and well-known poet and playwright in English literature. Despite a majority consensus in academic and scholarly circles attributing William Shakespeare to his body of works, there are some who still question his authorship. Of the over 80 theories, the most popular are Sir Francis Bacon; Christopher Marlowe; Edward de Vere, 17th Earl of Oxford; and William Stanley, 6th Earl of Derby.

DIRECTOR CHRIS COLEMAN 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, 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 with their Mini Bernedoodle, Omar. 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. CREATIVE TEAM PEGGY CAREY (Production Manager) joined the DCPA as an Associate Production Manager in 2022. Before then, she worked at The Public Theater (New York, NY) as an Associate Production Manager where she managed readings, developments, and events, and hired stage management teams. Additionally, she helped to originate the Ithaca Fringe Festival as Production Director and has also worked at Actor’s Workshop

of Ithaca, Eugene O’Neill Theater Center, Sie Film Center, and the Kitchen Theatre and studied in both London and the National Theatre Institute. KEVIN COPENHAVER (Costume Designer). At the DCPA (30+ seasons): Somewhere, 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. DAN GRAEBER (Music Director). 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: A Christmas Carol, Next to Normal, Little Shop of Horrors, A Little Night Music, The Color Purple, Rattlesnake Kate, Oklahoma!, The Who’s Tommy, and The Secret Garden. Arranger/Orchestrator: That Parenting Musical (OffBroadway) and Miss Manhattan (Henry nominee). Active throughout the region’s vibrant theater scene: Arvada Center, Littleton Town Hall, Theatre SilCo, BDT Stage, Centerstage Theatre. 20 years of experience as a church music director and organist. DanMakesMusic.com

THE TEMPEST

ANTON GILLISADELMAN (Understudy) (He/ Him) is an actor, writer, and director from Toronto, Canada. He recently graduated from the University of North Carolina School of the Arts’ BFA Acting program. He creates sketch comedy on YouTube for his channel “Zay & Tonny” and is widely known as a “funny guy.” TV/Film credits include: “The Boys,” “Nurses,” “Clarice,” “It Comes in Waves,” “Birthmarked,” and “Daughter of the Wolf.” Theatrical credits include: Next to Normal (Stephenville Theatre Festival), A Christmas Carol (Soulpepper Theatre), and Natasha, Pierre & The Great Comet of 1812 (University of North Carolina School of the Arts).

THE TEMPEST

BARBARA HORT, PHD (Psychodramaturg) has maintained a private practice in Portland, Oregon for over three decades, based on the work of the psychoanalyst Carl Jung. Dr. Hort has served as psychodramaturg on numerous productions at the Denver Center Theatre Company and Portland Center Stage, providing material on the play’s psychological dynamics that is used by the artists creating the production. She is the author of Hollow Crown of Fire: A Discovery of Meaning in the Coronavirus Pandemic and Its Predecessors (2023) and Unholy Hunger: Encountering the Psychic Vampire in Ourselves and Others (1996). LINDSAY JONES (Composer and Sound Designer) (He/Him). Broadway: Slave Play (Tony nominations for Best Original Score, Best Sound Design of a Play), The Nap, Bronx Bombers, A Time to Kill. Off-Broadway: Privacy (Public Theater), Bootycandy (Playwrights Horizons), Feeding the Dragon (Primary Stages), and many others. Regional: Guthrie, Center Stage, ACT, Hartford Stage, Alliance, Goodman, Arena Stage, Chicago Shakespeare, Steppenwolf, and many others. International: Stratford Festival (Canada), Royal Shakespeare Company (England), and many others. Audio dramas: Marvel, Audible, Next Chapter Podcasts, award-winning “The Imagine Neighborhood.” Film/TV scoring: HBO Films A Note of Triumph (2006 Academy Award for Best Documentary, Short Subject). Other: Co-Chair of Theatrical Sound Designers and Composers Association (TSDCA). lindsayjones.com. GEOFFREY KENT (Fight Director). Previous DCPA credits (20+ seasons) include Clyde’s, Vietgone, Richard III, Superior Donuts, Dracula, Tommy, Romeo and Juliet and more. Other work includes the Colorado Shakespeare Festival (14 seasons) including Three Musketeers, Henry 4 part 1, Julius Caesar and more; Utah Shakespeare Festival’s Henry 6 part 1, Treasure Island; Orlando Shakespeare Theatre’s Cymbeline, Romeo and

Juliet; American Shakespeare Center’s Julius Caesar, Antony and Cleopatra; Opera Colorado’s Carmen, Porgy and Bess; Aspen Sante Fe Ballet’s Romeo and Juliet. Geoffrey is one of only 20 Fight Masters with the Society of American Fight Directors. geoffreykent.com CHARLES R. MACLEOD (Lighting Designer). At the DCPA (300+ productions/40 seasons): Recent designs include: Godspeed, Little Shop of Horrors, Elephant & Piggie’s “We Are in a Play!”, Clyde’s, In the Upper Room, As You Like It, Sweat, Native Gardens, One Night in Miami, Appoggiatura, The Diary of Anne Frank, Lydia, The Merry Wives of Windsor, 1001, The 39 Steps, Gem of the Ocean, All My Sons, Death of a Salesman, Lord of the Flies. For DCPA Cabaret: The Other Josh Cohen, The Improvised Shakespeare Company®, Xanadu, First Date, The Secret Comedy of Women (Denver and national tour), The Last Five Years, Always…Patsy Cline. For DCPA Education: Corduroy, Goodnight Moon. Mr. MacLeod has been a member of the Theatre Company since 1983. charlesmacleod.com CHAD ERIC MURNANE (Casting) (He/Him) is a New York-based creative professional and the founder of Murnane Casting. Previously, Chad enjoyed six years as a casting director at Binder Casting, a renowned office within the theatre industry, where he collaborated on dozens of highprofile projects. Career highlights include casting Into the Woods (Hollywood Bowl), Emojiland (OffBroadway at The Duke), along with national/international tours of Lincoln Center Theater’s My Fair Lady, The Sound of Music, Tootsie, and the Tony Award-winning revival of The Color Purple. On film, Chad worked on Teenage Mutant Ninja Turtles: Out of the Shadows and the reboot of Friday the 13th (Paramount). ROBERT RAMIREZ (Voice and Text Coach) has worked as an actor, director, voice artist, and voice and text coach at theaters across the country including the Guthrie Theater, Oregon

Shakespeare Festival, Cleveland Play House, Hartford Stage, Alley Theater, Public Theater, American Players Theatre, as well as numerous Shakespeare festivals in every region. He completed his undergraduate studies at the Los Angeles Theatre Academy at Los Angeles City College and earned his MFA at the University of Delaware’s Professional Theatre Training Program. Robert is currently the Head of the School of Drama at Carnegie Mellon University. This is his DCPA debut! CHIKA SHIMIZU (Scenic Designer) is a New York based scenic designer. At the DCPA: Hamlet and Cowboys and East Indians. Off-Broadway: WP Theatre, Irish Repertory Theatre, The Pond Theatre Company, Epic Theatre Ensemble, Yangtze Repertory Theatre. Regional: Berkeley Repertory Theatre, Geffen Playhouse, Pasadena Playhouse, Alliance Theatre, Paper Mill Playhouse, Signature Theatre, Cleveland Playhouse, Geva Theatre, Portland Center Stage, TheatreSquared, Northern Stage, Yale Repertory Theatre. Opera: Calgary Opera, Arizona Opera, Opera Grand Rapids. AWARDS: SXSW Innovation Award, Emmy Award (Un(re)solved AR installation), NAACP Theatre Award winner. Henry Hewes Design Awards, CT Critics Circle Awards nominee. Education: Yale School of Drama. chikashimizu.com GRADY SOAPES, CSA (Casting) (He/Him) is the Director of Casting and Senior Artistic Producer with the Denver Center for the Performing Arts. Grady has cast over 100 DCPA productions and workshops 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); 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

LEEAN KIM TORSKE (Dramaturg) is the Director of Literary Programs for the Denver Center Theatre Company. In the past, she served as the Literary Manager and Casting Associate at Northlight Theatre, Director of the Russ Tutterow Fellowship at Chicago Dramatists, and a publicist and discussion facilitator at Steppenwolf Theatre Company. As a freelance dramaturg and theatre artist, she worked with theatres throughout the Chicagoland area including A Red Orchid Theatre, Congo Square Theatre, Definition Theatre, Victory Gardens Theater, and more. Her play Pity Party is featured in Smith & Kraus’s 105 Five-Minute Plays for Study and Performance. Most recently, her play And the Wind Howls was commissioned and produced by Relative Theatrics with support from the Wyoming Arts Council. STAGE MANAGEMENT CORIN DAVIDSON (Stage Manager). Over 30 productions at the DCPA including: Next to Normal, Sweet & Lucky: Echo, The Reservoir, I Am Not Your Perfect Mexican Daughter, Where Did We Sit on the Bus?, Rubicon, The Color Purple, Theater of the Mind, Choir Boy, Who’s Afraid of Virginia Woolf?, Wildfire, twenty50, Indecent, Corduroy, The Who’s Tommy, The Secret Garden, Sweeney Todd, Lookingglass Alice. At DCPA Cabaret: An Act of God. Other Theatres: Colorado Shakespeare Festival, Seven Devils Playwrights Conference, Milwaukee Chamber Theatre, Skylight Music Theatre, Renaissance Theatre Works, Milwaukee Repertory Theatre. Training: BFA Stage Management, University of Wisconsin at Milwaukee. SAGE HUGHES (Assistant Stage Manager) (She/Her). Previously at the DCPA: English, 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. THEATRE COMPANY LEADERSHIP TEAM CHRIS COLEMAN (see Director) CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial, and business operations for Theatre Company 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, Rowan Gabriel Crites, Shirleen DiFonzo, Lisa Ehrle, Christina HadleyDike, Josie Karet, Cecilia Kastner, Kai Kramer, Phi Le, Katie Marting, Nikki Mayer, Joe Motzkin, Cormac Sheridan, Sarah Sophia Steen, Jack Yoder. In memory of 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.

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

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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 Director: Chris Coleman @chriscdenver Scenic Designer: Chika Shimizu @chikashimizu Costume Designer: Kevin Copenhaver Lighting Designer: Charles R. MacLeod Sound Designer and Composer: Lindsay Jones @mrlindsayjones Music Direction: Dan Graeber Dramaturg: Leean Kim Torske Psychodramaturg: Barbara Hort, PhD Fight Director: Geoffrey Kent Voice and Text Coach: Robert Ramirez @robearamirez Casting: Grady Soapes, CSA @grayzvander and Chad Murnane, CSA/Murnane Casting Photos and the video and/or audio recording during any part of the performance by any means whatsoever are strictly prohibited.

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DCPA EVENT SERVICES OPERATIONS Scene Shop Eric Moore................................Technical Director Janice Sinden............................President & CEO Brook Nichols..........Event Technical Director Sarah Arzberger, Donna Hendricks..............Executive Assistant, Aidan Gagner...............................Video Engineer Danielle Freeman....................................Managers Albert “Stub” Allison, Robert L. Orzolek, President & CEO Michael Harris.........................Lighting Designer Aaron Chavez.......................................................Lead Josh Prues.......Associate Technical Directors Julie Schumaker........................................Manager, Charya Sein-Ware.............. Lighting Designer- Ruben Cruz.............Senior Network Engineer Jeremy Banthoff, Tyler D. 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Audio Engineer Seán Kroll......................................................Specialist Timothy Schoeberl+, Administration INFORMATION TECHNOLOGY Dimitri Soto+..........................................Technicians Ashley Brown.........................Business Manager Human Resources Lisa Prater...........................Operations Manager Lisa Roebuck..................................Vice President Brian Carter.................Senior Business Partner Elijah Ruddick..............................................Assistant For security purposes, the IT team has been omitted. Andrew Guilder........Recruiter & HR Generalist Stage Management Garner Galleria Theatre Paul Johnson...............................................Manager, Anne Jude.................................................Supervisor Abel Becerra...............................Technical Director MARKETING & SALES Payroll & Compliance Wayne Breyer, Corin Davidson, Elizabeth Angela Lakin...................................Vice President Jason Begin+, Jocelyn Martinez.....................Business Partner Ann Goodman, Harper Hadley, Sage Anna Hookana+.....................Core Stagehands Whitney Testa....................Executive Assistant, Marketing & Broadway Daniel Mothershed..........Mailroom Associate Hughes, Nick Mason, Nick Nyquist, Brooke DEVELOPMENT Kinsey Scholl.................... Manager, Operations Redler, Malia Stoner................Stage Managers Communications Aissata Alou, Drea Brown, Jamie Clements............................Vice President THEATRE COMPANY Hazel Forkner, Anna Higgins, Suzanne Yoe..................................................Director Sarah Darlene..............................................Manager, Danae Johnson..................................Apprentices Administration Heidi Bosk, Grants & Reports Julia Dunn......Manager, Donor Engagement Brittany Gutierrez.............Associate Directors Charles Varin......................... Managing Director Wardrobe & Legacy Giving Todd Metcalf..................................Media Producer Tamarra Nelson......................Business Admin./ Heidi Echtenkamp................................Supervisor Asst. Company Manager Kara Erickson-Stiemke........Manager, Annual Creative Services Robin Appleton^, Giving & Stewardship Kyle Malone....................................................Director Jessica Eckenrod...........................Line Producer Amber Krimbel^, Lauren LaCasse^, Alex Koszewski. . .................Company Manager Emily Kettlewell................Director, Operations Sofia Contreras, Lisa Parsons Wagner^, Nicole Watts^, Caitie Maxwell....Senior Director, Major Gifts Lucas Kreitler.........................Graphic Designers Ann Marshall.............................General Manager Kami Williams-Castro^...........................Dressers Marc Ravenhill..............................................Director, Paul Koob...................Senior Graphic Designer Artistic Wigs Donor Relations Noelle Norris.........................Traffic Coordinator Chris Coleman.............................Artistic Director Diana Ben-Kiki........................................Supervisor Sarah Smith...........................................Coordinator Grady Soapes...... 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Associate Director, Digital Casting Director Marisa Sorce^...................Hair/Wig Technicians Special Events Michael Ryan Leuthner...........................Director Leean Kim Torske......................................Director, VENUE OPERATIONS Erin Bunyard...............................Senior Strategist Literary Programs EDUCATION & Harper Anne Finch........Manager, Social Media Madison Cook-Hines..........Literary Associate Glen Lucero.....................................Vice President COMMUNITY ENGAGEMENT Hannah Selwyn................................Manager, Email Kristi Horvath.................................................Director Allison Watrous....................Executive Director Sergio von Kretschmann........Manager, Web Costume Crafts Merry Davis.............................Financial Manager Stuart Barr................................Technical Director Kevin Copenhaver......................................Director Jane Deegan.......Venue Operations Finance Lyndsay Corbett.....................Teaching Artist & Insight & Strategy Chris Campbell...........................................Assistant & Procurement Specialist Manager, Bobby G Emily Kent.......................................................Director Samantha Egle...........................................Manager, Elliot Davis............................Evening Registrar & Dan McNulty...................................................Analyst Costume Shop Event Operations Janet MacLeod........Director/Design Associate Office Coordinator Marketing Meghan Anderson Doyle.......Design Associate Facilities Rachel Ducat................................................Director, Business Operations Claire Graves..................................................Director Katarina Kosmopoulos...................... First Hand Craig Smith.....................................................Director Rya Dyes....................................................Registrar & Emily Lozow...........................Associate Director Ingrid Ludeke, Dwight Barela, Mark Dill, Bryan Faciane, On-Site Class Manager Maddie Lamb, Emmy VanLangevelde, Carolyn Plemitscher..................................Drapers John Howard, Iver Johnson............ Engineers Timothy McCracken.................Head of Acting Julie Whelan Van Son..........................Managers Ana Esparza, Saleem As-Saboor, House Crew Adriana Fuentes, Carmen Molina, Rick Mireles....................................................Director, Mikayla Woods.........................................Associate Heather Sparling+....Supervising Stagehand Juan Loya Molina, Judith Primero Molina, Community Engagement Ticketing & Audience Services James Berman+, Vanessa Janson+, Blanca Primero......................................Custodians David Saphier.......Teaching Artist & Manager, Jennifer Lopez..............................................Director Will King, Dave Mazzeno+, Kyle Moore+, Michael Kimbrough.....Manager, Engineering In-School Programming Jessica Alverson*, Megan Dille*, Matt Wagner+..........................................Stagehands Oscar Fraire...........................Manager, Custodial Charlotte Talbert........................................ Librarian Zeah Edmonds*, Kaitlin Evans*, Joseph Price+, Kelley Reznik+....Technicians Brian McClain...................Supervisor, Custodial Rachel Taylor.......Teaching Artist & Manager, Lauren Estes*, Jen Gray*, Literary Engagement & Resiliency Noah Jungferman*, Oliver Knight*, Lighting Design Patron Experience Justin Walvoord......................Teaching Artist & Reagan Luchte*, Alix Maulitz*, Holly Charles MacLeod........................................Director Kaylyn Kriaski..............................................Manager Manager, Shakespeare in the Parking Lot Stigen*, Asheala Tasker*, Connor Baker+............ Production Electrician Samuel Wood.................Director, Education & Rob Warner*.................................... Ticket Agents Lily Bradford.................................................Assistant LeiLani Lynch, Aaron McMullen, Stacy Norwood, Wendy Quintana, Kelci Rigsby, Curriculum Development Kirsten Anderson*, Scott Lix*, Valerie Schaefer, .................Managers on Duty Paint Shop Liz Sieroslawski*, Greg Swan*........................Subscription Agents Kristin Hamer MacFarlane.......................Charge Kelly Breuer, Nora Caley, Robin Lander, Scenic Artist Melanie Mason, Barbara Pooler, Amanda Foust*, Edmund Gurule*, Brett Ayden Smith..............................House Managers O’Neill*, Hayley Solano*, Andrew Sullivan*, Melanie Rentschler, Bronwen VanOrdstrand*, Alfonso Sasha Seaman.................................Scenic Artists Safety & Security Vazquez*, Quentin Crump............................................Director Max McCord*.................. Counter/Show Leads Production Timothy Allen, Jon Collins, D.J. Dennis..........................Manager, Jeff Gifford......................................................Director Jodi Benavides............Lead Security Officers Subscription Julie Brou.................Administrative Assistant/ Office Manager David Bright, Ariana Cuevas, Billy Dutton............................ Associate Director, Ethan Kemberlin, Jack Leatherwood, Ian Operations Matthew Campbell.............Senior Production Nelson, Ashley Skillman, Zach Stemley, Manager Katie Davis, Claire Hayes, Tori Witherspoon..............Security Specialists Ella Mann...........................Managers, Box Office Peggy Carey..................... Production Manager Chris Leech.................VIP Ticketing Associate Prop Shop Katie Spanos......................... Associate Director, Subscriber Services Meghan Markiewicz.............................Supervisor Sara Pugh...........................Associate Supervisor Group Sales Andrew Babb, Ashley Lawler...............Artisans Jessica Bergin.......................Associate Director Adena Rice.......................................Prop Carpenter Elias Lopez, Valery Owen...............Associates, * Member, I.A.T.S.E. Local B-7 Group Sales & Education + Member, I.A.T.S.E. Local 7 ^ Member, I.A.T.S.E. Local 719

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Kyra Belle Johnson and Fergie L. Philippe. Disney’s Beauty and the Beast. Photo by Matthew Murphy. © Disney

A MUSICAL RENAISSANCE: A BEAUTY, A BEAST, AND THE RETURN OF THE MUSICAL

In 1989, Disney premiered The Little Mermaid, its first major animated hit in more than two decades. With this instant classic, Disney animation entered a new golden age, which would later be referred to as the “Disney Renaissance.” Not only did this film turn out to be hugely consequential for Disney, it would change the fortunes of the Broadway musical form and Broadway itself, while also paving the way for its Oscar®-winning follow-up: Beauty and the Beast. On the night of The Little Mermaid’s premiere at Walt Disney World, a young screenwriter, Linda Woolverton, was introduced to the film’s songwriters, composer Alan Menken and lyricist Howard Ashman. Woolverton had just turned in a draft of a non-musical screenplay of Beauty and the Beast, and that night began the trio’s collaboration to make the film a musical. “I was overcome with excitement to think how this amazing musical team would transform Beauty and the Beast,” she recalls.

BY JEFF KURTTI

Beauty and the Beast, in turn, transformed the medium of animated films and introduced the Broadway “book musical” – where characters convey plot and emotions via song – into the mainstream movie form. The next several Disney animated films continued this Broadway aesthetic. “We knew that what we were bringing to the animated musical was something closer to the process of writing stage musicals than to the music video format of 1980s movie musicals,” Menken says. The animated feature Beauty and the Beast met with rave critical reviews – but one stood out. At the end of 1991, the tough chief theater critic of the New York Times, Frank Rich, announced that “the best Broadway musical score of the year” had not premiered on a stage – but in the animated film Beauty and the Beast. From that observation, a new Disney Company was born: Disney Theatrical Productions. Its first project? A stage adaptation of Beauty and the Beast.

APPLAUSE • SEP – NOV 2026 • 303.893.4100 • DENVERCENTER.ORG

In 1994, Beauty and the Beast opened on Broadway and was an overnight success. The stage adaptation allowed the creative team to expand the score and deepen the story and characters. The stunning songs “Home,” “If I Can’t Love Her,” and – eventually – “A Change In Me” were added. Among many story changes, Woolverton made one ingenious alteration to the enchanted objects. In the film, they had been fully transformed into inanimate objects from the beginning. Onstage, they were still partially human, adding heartache to their cruel metamorphosis and solving the practical problem of scale for adults playing tiny objects. The original Broadway production of Beauty and the Beast received nine Tony Award® nominations, including Best Musical, winning one. The production ran for a remarkable 13 years, securing a place on the list of Top 10 longest Broadway runs in history through 2025. It continued its success worldwide; the Broadway production was replicated in 34 productions in 16 countries on six continents, and the script has been licensed to professionals and amateurs an extraordinary 60,000 times.

We knew that what we were bringing to the animated musical was something closer to the process of writing stage musicals than to the music video format of 1980s movie musicals. — ALAN MENKEN, COMPOSER But the show’s impact is greater still: by the time the Broadway musical opened in 1994, the Disney animated musicals had revitalized the obsolete book musical form and, ever since, generations have carried their love of movie musicals to stage musicals, paving the way for shows like Dear Evan Hansen and Hamilton to find commercial success. That’s due, in no small part, to Woolverton, Menken, Ashman, and the creative voices behind the original production of Beauty and the Beast. In the decades since, Woolverton found enormous success with her work on the screenplays The Lion King (which launched its first national tour in Denver’s Buell Theatre in 2002), Mulan, Alice in Wonderland, and Maleficent, and co-writing the Broadway smash AIDA. The works that Menken and Ashman collaborated on, too, still have an outsize presence in film and stage musicals. All three of their Disney animated musicals were adapted into live action remakes; and both Aladdin and Beauty and the Beast are among the Top 15 longest runs in Broadway history. The 2019 revival of Little Shop of Horrors continues its smash off-Broadway run. What makes this brand-new production of Beauty and the Beast so special? Menken and Woolverton, two of that trio of creators, continue to evolve and develop the show, alongside original Broadway team members like director/choreographer Matt West. New dance arrangements, new choreography and new scenes continue the show’s evolution, creating a theatrical experience that is faithful to the original while also breaking new ground in technology and modern storytelling. In this way, the award-winning collaboration of Woolverton, Menken, and Ashman endures to this day, leaving an indelible mark on the history of Broadway.

DISNEY’S BEAUTY AND THE BEAST OCT 20–NOV 7 • BUELL THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: Nov 1 at 1pm

COMING UP

FAMILY FAVORITES, HOLIDAY HITS, and CROWD PLEASERS As the holidays approach, Denver audiences can choose from a lineup filled with beloved characters, returning favorites, seasonal traditions, and nostalgic stories brought to life on stage. Families have a variety of options starting this fall with Don’t Let the Pigeon Drive the Bus! The Musical!, which brings Mo Willems’ famously determined bird to the stage, while Bluey’s Big Play turns the hit Australian TV show into a live theatrical adventure for young audiences and their grownups. Several audience favorites are also making a return. Waitress, featuring music and lyrics by Sara Bareilles, tells the story of a small-town baker searching for a fresh start, while Jersey Boys revisits the rise of Frankie Valli and The Four Seasons through a soundtrack of iconic pop hits. Across the way in the Garner Galleria Theatre, What a Glorious Feeling! takes audiences back to Hollywood’s golden age through the song and dance of Singin’ in the Rain. It wouldn’t be the holidays without the Denver Center Theatre Company’s annual production of A Christmas Carol returning to the Wolf Theatre, while Mannheim Steamroller Christmas by Chip Davis and ELF The Musical return to light up the Buell Theatre. With such a variety from which to choose, pick one or all and return with your loved ones for a fun-filled end to 2026! TOP: Felicia Martis (Jovie) and Jack Ducat (Buddy) in ELF North American Tour, 2025. Photo by Evan Zimmerman for Murphymade. BOTTOM: The cast of Bluey’s Big Play, Theatre Royal Sydney, 2025.

ZACARÍAS RETURNS WITH DESTINY OF DESIRE DELIVERING GUILTY PLEASURES SMARTLY BY L I S A K E N N E DY

If as many as two billion people watch telenovelas, or a regional version of the episodic melodramas, as some reports suggest, then it can’t come as a surprise that so many of us have a story about, well, our “stories.” “My stories” — that’s how the beauticians on the Kearney Street storefront strip in the Park Hill neighborhood referred to their soaps, the cousin of the telenovelas. “There was one with a girl who ran on the beach,” the award-winning playwright Karen Zacarías recounted recently of the telenovela she watched as a kid. “And every time we were on the beach, my sister and I would do that.” She stopped to imitate a slow-motion montage of the surf scene with mirth. Even at a tender age, she was tuned into the drama but also the pleasures of telenovelas. When Zacarías returned to the genre as a playwright in the mid-2010s, it was with a different lens. As one of the cofounders of the Latinx Theatre Commons, a national

network of theater-makers working to expand and deepen representation, she discovered that she was not alone in her frustration with the ways the word “telenovela” was often used by theater reviewers to describe performances and plays by Latiné artists. “It’s a shorthand. It’s always used in a kind of derogatory fashion. It’s never like, oh, this is wonderful.” A gauntlet was thrown. “I remember thinking, I’m going to write the best darn telenovela,” Zacarías said on a video call. And so, she set about interrogating the genre, planning to make clear what it actually is, so that culturally clumsy critics couldn’t easily equate it with every other play performed or written by and about the boundless Latino experience. Only a funny thing happened on the way to writing that play. Zacarías found she also had to question the discomfort she and her fellow creatives felt with the comparison. “Why do we get offended by being called a telenovela?” she recalled thinking. “What is it about us? Why are we so

APPLAUSE • SEP – NOV 2026 • 303.893.4100 • DENVERCENTER.ORG

snobby?” As she watched anew, she made a discovery. “What happens with melodrama is that you sit there going, ‘oh, this is so stupid.’ And then suddenly you’re like [she feigns a gasp] ‘What’s going on!?’” There will be gasps aplenty when the Castillo and del Rio families of the fictional town of Bellarica, Mexico, take the stage in — cue the portentous music — Destiny of Desire. There will also be laughter. How could you not giggle at the disaster that befalls Fabiola Castillo, grasping second wife of casino owner Armando, when she asks Dr. Mendoza to switch her dying infant with the healthy newborn child of the wondrously compassionate Hortensia del Rio (the Castillo’s housekeeper) and her hard-laboring husband Ernesto?

What happens with melodrama is that you sit there going, “oh, this is so stupid.” And then suddenly you’re like [she feigns a gasp] “What’s going on!?” — KAREN ZACARÍAS, PLAYWRIGHT

As playful as the script is, make no mistake Zacarías hasn’t written a spoof. “Oh, no, that’s not my intent at all,” she said. Instead, she teased and tested the question, “What does it mean if we try to make it feel like higher art?” Still, like any telenovela worth its salty tears, Destiny of Desire touches on class, on romance, on betrayal, on cultural even religious mores but with twists. Zacarías subtitled the work, A Brechtian Telenovela in Two Acts. A disruptor of traditional theater, the 20th-century German playwright Bertolt Brecht, liked to remind his audiences that they were watching something made-up, something performed. Fourth wall be breached. Actors carried placards and acknowledged that they were acting. Unlike their role in traditional musical theater, songs weren’t included to further emotions too big for the characters to express in words but arrived instead as yet another mode of interruption. Another nudge to think again. “With melodrama comes the idea of music, right? — melos is part of that,” Zacarías said about her own use of songs in the play. Destiny of Desire is the fourth Zacarías play produced by the Theatre Company. Mariela in the Desert, Native Gardens, and Just Like Us (her adaptation of the author Helen Thorpe’s nonfiction book about four friends on Denver’s Northside whose divergent immigration statuses become an issue as they prepare for college) found a home on the Denver Center’s stages. (Last spring, Zacarías’s trimmed down version had a lauded run at Su Teatro.) With this latest play, she becomes the most produced female playwright in the Theatre Company’s nearly 50year history, appearing on all three main stages. “I’m very excited that I’m getting to come back to Denver,” she said. “I love Denver, it’s been home to me in many ways.” For this mounting of Destiny of Desire, Zacarías and director Marcela Lorca asked themselves time and again, “How do we make it beautiful? It’s a really interesting experiment in tone,” she believes. “The word everyone keeps using is subversive. That it feels subversive.” Audiences laugh and gasp, but somewhere Brecht is grinning.

DESTINY OF DESIRE: A TELENOVELA PLAY WITH MUSIC SEP 11–OCT 4 • WOLF THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: Sep 27 at 1:30pm Stay for a free post-show discussion on Sep 17, 22 & 30. Spanish language interpretation available Sep 17 and Oct 3.

SKIP THE WAIT.

SAVOR THE MOMENT. NEW THIS SEASON! Enjoy a more seamless theatre experience with Drink Pre-Orders.

Order your drinks 1 hour before the show or during intermission. Then, swing by your designated pick-up location. You’ll enjoy:

LESS WAITING ——

FASTER PICKUP ——

MORE TIME TO ENJOY YOUR THEATRE EXPERIENCE Now available in the Buell Theatre

Check on-site signage or the program insert for your theatre’s QR code, menu, and pickup location.

THE SHOW GOES ON. When creator/performer 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 act. Learn more about Todd’s story at uchealth.org/tomorrow. 26

APPLAUSE • SEP – NOV 2026 • 303.893.4100 • DENVERCENTER.ORG

THE POWER OF THE PAUSE:

How Theatre-Based Coaching Helped Build Confidence in Public Speaking BY MADISON STOUT

The best public speakers aren’t born. Confidence at the podium is built through preparation, practice, and purposeful coaching. When Delanie Baumgartner enrolled in one-on-one public speaking coaching through the Denver Center for the Performing Arts (DCPA), her goal was clear: become more confident speaking in front of groups. As a member of the Downtown Denver Partnership’s Civic Engagement and Development team, Baumgartner regularly engages in public speaking. She connects with the organization’s 500 member companies, leads events and tours, and communicates complex initiatives. “I run a lot of our member programming, speaking to 30 to 45 people all the time,” she shared. “Before these classes, my boss often told me I needed to speak louder so people could hear me.” Through the corporate coaching program, Baumgartner met Samuel Wood, DCPA’s Director of Education and Curriculum Development. Together, they embarked on a journey that became about more than simply speaking louder. “We didn’t start with her speech,” Wood explained. “We started with basic projection voice work, thinking about how to make her voice carry.” From hallways to parking lots, the pair practiced articulation, breath control, storytelling, and techniques for speaking in open-air environments. This individualized approach reflects DCPA Education’s boutique approach to learning. The team begins by understanding what success looks like before designing sessions around their goals and strengths. The philosophy isn’t about correcting weaknesses as much as uncovering potential. “Delanie is a great public speaker,” Wood said. “How do we use what she’s already doing really well and strengthen that?” This strengths-based approach helped Baumgartner identify the root causes behind her nerves. “Coming into it, I didn’t really know,” she said. “I just knew that I get kind of shaky when I stand in front of a group of people.” As the sessions progressed, she realized much of her anxiety stemmed from concerns that people couldn’t hear her or that she wasn’t communicating her ideas clearly. What followed wasn’t just an improvement in technique; it was a change in confidence. “I think those two things are really tied together: learning how to project and being prepared,” Baumgartner said. “That builds confidence.” Along the way, she also became more aware of her communication habits. Her vocal energy would drop at the ends of sentences, she rushed to fill moments of silence, and often she relied on vague words when more specific language would serve her audience better. “I feel more confident when I sit and think about what I’m going to say before rambling on,” she said. “If I don’t have the right thing to say, I don’t need to fill the silence.” “The biggest improvement I’ve noticed is that she pauses and thinks about what she wants to say before saying it,” Wood said. For Baumgartner, the impact has already been significant. Her biggest takeaway? Confidence doesn’t come from eliminating nerves. It comes from building the skills to navigate them.

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C One of our core values at Carboy is growing a community and creating a cultural experience for wine in Colorado.

Carboy Winery is excited to announce its partnership with the Denver Center for the Performing Arts (DCPA), bringing together Colorado’s flourishing wine scene and the city’s dynamic arts community. This collaboration reflects Carboy’s ongoing commitment to enriching the local landscape and fostering meaningful connections through wine. Known for its innovative and bold approach to winemaking, Carboy has played a pivotal role in the Colorado wine renaissance. “One of our core values at Carboy is growing a community and creating a cultural experience for wine in Colorado,” says Kevin Webber, CEO and cofounder. “Partnering with the Denver Center for the Performing Arts allows us to further that mission by supporting one of the state’s most influential creative institutions.” Carboy Winery remains steadfast in its mission to increase awareness of Colorado wine and embed it into the state’s ethos through a variety of imaginative initiatives. This partnership with the Denver Center for the Performing Arts exemplifies Carboy’s dedication to that vision. By blending the art of winemaking with the energy of live theater, Carboy seeks to make Colorado wine an essential part of the community experience. The collaboration provides an opportunity to highlight the unique character of Carboy’s wines while engaging audiences in a way that celebrates the innovation and vibrancy of the region. Through this alliance, Carboy is redefining how people experience both wine and the arts, inspiring a deeper connection to Colorado’s adventurous spirit.

— KEVIN WEBBER, CEO AND CO-FOUNDER, CARBOY WINERY

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EXTRAORDINARY GIVING Anonymous Donor Robert and Judi Newman Scientific and Cultural Facilities District The Thomas S. and Mary K. Bagley Foundation CHAIRPERSON’S CIRCLE PLATINUM ($100,000+) Marike & Greg Fitzgerald Genesee Mountain Foundation The Shubert Foundation Mr. Robert B. Sturm U.S. Bank UCHealth CHAIRPERSON’S CIRCLE GOLD ($50,000-$99,999) Bret & Cindy Bolin Chevron Corporation Kathie & Keith Finger Deborah Kelly Kevin & Dorota Kilstrom Lewis E. Myers, Jr. Scholarship Fund The Morgridge Family Foundation Robert W. Kinne Revocable Trust* The Rollie R. Kelley Family Foundation CHAIRPERSON’S CIRCLE SILVER ($25,000-$49,999) Ameristar Black Hawk The Anschutz Foundation Bedrock Landscaping Materials, Everett Schneider & Robert Phifer BOK Financial Jackie & Gail Frank Rich Garvin Elizabeth & Nelson Hioe Nicholas & Jennifer Kemp Kiley-Knox Family Fund

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We are so grateful to our partners and to the thousands of donors and event participants over the years that have helped to improve and enrich the lives of those in our community. — THE DENVER POST COMMUNITY FOUNDATION

The Denver Post is proud to support the Denver Center for the Performing Arts, both through sponsorship of its acclaimed theatre productions as well as with grant funding through The Denver Post Community Foundation. The longstanding partnership with DCPA has given countless individuals of all ages, the opportunity to experience and develop a lifelong appreciation for the arts. The Denver Post Community Foundation believes in giving back to the communities in which it serves and proudly supports hundreds of nonprofits’ programs and events. Support is given in many ways: through The Denver Post Community Foundation, employee volunteering, and inkind advertising. The Denver Post Community Foundation, a recognized 501 (c)(3) nonprofit agency, raises funds through individual and corporate donations, through its unique Signature Events and Programs and through the annual holiday Season To Share campaign. The overall mission is to improve and enrich the lives of those in the Denver community through support of programs that benefit arts and culture; children and youth; education and literacy; and the provision of basic human services. To date, more than $13,250,000 has been raised and distributed. • Signature Events and Programs These well-established events and programs have become staples in the community. They offer partners, participants and volunteers something unique each year. They include: Pen & Podium Literary Lecture Series, Passport To The Arts, and the Colorado State Spelling Bee.

• The Denver Post Season To Share The Denver Post Season To Share holiday fundraising campaign supports metro Denver nonprofit organizations that help low-income children, families, and individuals move out of poverty toward stability and self-sufficiency. Each year, grants are awarded to more than 50 deserving nonprofits with programs focused on children and youth, health and wellness, homelessness, and hunger. These grants are made possible through the generosity of Denver Post readers, the broader community, corporate donors, and our valued partners. Donations are matched and accepted year-round. To learn more, visit seasontoshare.com . Together We Can Make A Difference denverpostcommunity.com

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