APPLAUSE

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VOLUME XXVII | NUMBER 6 | MAR – MAY 2016

RIVERDANCE THE 20TH ANNIVERSARY WORLD TOUR

Also Playing: Sweeney Todd

Disney’s Newsies

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4 denvercenter.org

SREBEL, REBEL

Since the start of this theatre season, I’ve been asking questions in this column. Are we welcoming enough to tech-savvy audience members? Where do you get your arts and entertainment news? What’s important to you in a cultural facility? As a recent transplant to Denver, I have my share of observations. And I definitely have opinions on the questions I’ve posed. But I want to know what you think. You are my partners and, together, we’re going to shake things up. Now, you may not think of yourself as a rebel. Very few rebels do. The reality, though, is that simply by expecting a modern theatre-going experience, you’re shaking things up every time you attend a live event. Live theatre is an art form that has been around for over two thousand years. Over that time, it has continuously evolved and reconsidered its potential. There has never been a time like this, though. Personal (and professional) technology is upending everything about the theatrical experi-ence, from your first search for tickets on your smart phone to the last selfie you post before heading home. There’s something new seemingly every day and the DCPA wants to lead the way. That said, it’s not all new. We still have stages, actors, sets, props and wardrobe. We still have playwrights and directors and stage managers and crew. Mix well and you have theatre. But then again, now we have “immersive” theatre like our upcoming summer production called Sweet & Lucky that forgoes seats and stages for wandering through theatrical spaces. We have jukebox musicals, dance mash-ups, cirque and other forms traditionalists might not even recognize. Here at the DCPA, we’re even updating some of our theatres (currently The Space Theatre in the Bonfils Complex) to accommodate the new, high-tech, demands of modern theatre making. But here’s the big question — should live theatre stay the same or become something new? As we move forward, what do you think the future of live theatre should be? What kind of programming should we embrace? Should we stay rooted in the past with traditional stagings and scripts? Should we tear up the rulebook and see what happens? If we do either, will you attend more or less? Because whatever we do, you complete it. You are the reason we’re here and we want to hear from you. The revolution will not be televised — but it may be staged.

Let us know your thoughts at denvercenter.org/sightline.

SCOTT SHILLERPresident and CEO

SIGHTLINEB Y S C O T T S H I L L E R

LETTERS TO THE CEOIn Applause No. 4, CEO Scott Shiller gave an overview of the City’s plans to reimagine the Arts Complex and asked you to offer ideas for this “Next Stage.” Excerpts from your responses follow. To read all of the comments, visit denvercenter.org/news-center.

With a dedicated Family Theatre, Denver Center could become an innovator in works specifically for children, creating pieces that teach young audiences important life lessons without talking down to them… [and] provide a safe and fun respite for families to enjoy an unforgettable experience together. — Rebecca H.

A Music Arts Complex…which would include an award winning venue(s) capable of accommodating performances and music festivals...talented local musicians as well as established bands…. [It] would include a trendy bar…, a coffee house…, a small per-formance area, practice spaces and possible local artisan co-op area. — Kirsten A.

Totally rebuild the Buell Theatre audience area. Too many sound problems throughout the space. Grade the orchestra so that I can really see the stage even if a 6’ 5” man sits in front of me. Take out some of the seats. — Barbara D.

What a waste of money…. Put money, if you have it, into productions. — Bob

Replace the current parking garage…with an open public park-like space…. This would allow for gathering and event space, as well as give unobstructed views of the beautiful Ellie Caulkins Opera House and facades of other theatres. — Erica

A solution to the parking problem and some restaurants would be great improvements. — Steve S.

A coffee house sounds good to me!… And the idea of tearing down Boettcher and putting in an amphitheater sounds TERRI-BLE! Who wants to deal with traffic noise and fumes while trying to hear a concert? — Joellyn

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8 denvercenter.org

1. THEATRE COMPANY actor Adeoye participates in a video project to commemorate Black History Month. The cast of All the Way read the Civil Rights Act of 1964 for the project, which has received more than 64,000 views. Tune in at youtube/denvercenter. 2. DCPA supporter Phil Munishor is applauded by the cast of FADE for his recent gift from The Joan and Phill Berger Charitable Fund to support both the play and renovation of The Space Theatre. 3. DCPA EDUCATION welcomed a packed house of middle and high school students to its Student Matinee of As You Like It. 4. Westin Denver Downtown General Manager John Everett and Executive Assistant Debbie Smith peruse auction items at the SATURDAY NIGHT ALIVE Patron Party hosted by their hotel. 5. BROADWAY guests gathered for the 2016/17 season announcement, featuring the pre-Broadway debut of Frozen. Photos by John Moore and Amanda Tipton Photography.

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IN THE SPOTLIGHT

Denver Center for the Performing Arts’

biggest stars step into the spotlight — actors, designers, students and you.

2

BOARD OF TRUSTEESDaniel L. Ritchie,

ChairmanWilliam Dean Singleton,

Sec’y/TreasurerRobert Slosky,

First Vice Chair Margot Gilbert Frank,

Second Vice ChairDr. Patricia Baca Joy S. BurnsIsabelle ClarkNavin DimondL. Roger Hutson Mary Pat Link Robert C. NewmanHassan SalemRichard M. Sapkin Martin SempleTara Smith Jim SteinbergKen TuchmanTina WallsLester L. WardDr. Reginald L. WashingtonJudi WolfSylvia Young

HONORARY MEMBERSJeannie Fuller M. Ann PadillaCleo Parker Robinson

HELEN G. BONFILSFOUNDATION BOARD OF TRUSTEESLester L. Ward,

President EmeritusMartin Semple, President Judi Wolf,

Sec’y/TreasurerDaniel L. RitchieWilliam Dean SingletonRobert SloskyJim SteinbergDr. Reginald L. Washington

EXECUTIVE MANAGEMENT Scott Shiller,

President & CEOClay Courter,

Vice President, Facilities & Event Services

John Ekeberg, Executive Director, Broadway

Vicky Miles, Chief Financial Officer

Jennifer Nealson, Chief Marketing Officer

Kent Thompson, Producing Artistic Director, Theatre Company

Charles Varin, Managing Director, Theatre Company

David Zupancic, Director of Donor Relations

APPLAUSEM A G A Z I N E

VOLUME XXVI I | NUMBER 6 | MAR – MAY 2016

EDITOR: Suzanne YoeCREATIVE DIRECTOR: Rob Silk

ASSOCIATE EDITOR: John MooreSENIOR ART DIRECTOR: Adam Obendorf

ART DIRECTOR: Kyle Malone DESIGNERS: Kim Conner, Brenda Elliott

CONTRIBUTING WRITER: Carolyn Michaels

Applause is published seven 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.

303.893.4000 | denvercenter.org                  Denver Center for the Performing Arts is a not-for-profit organization dedicated to creating unforgettable shared

experiences through Broadway musicals, world-class plays, educational programs and inspired events.

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or sales@pub-house.com coloradoartspubs.com

Applause magazine is funded in part by

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Photo credits, L to R: Finding Neverland, Laura Michelle Kelly, photo by Carol Rosegg; Fun Home, Beth Malone, Sydney Lucas, Michael Cerveris, photo by Jenny Anderson; The Phantom Of The Opera, Chris Mann and Katie Travis, photo by Matthew Murphy; the 2016 national touring cast of Roundabout Theatre Company’s Cabaret, photo by Joan Marcus; the original Broadway cast of An American in Paris, photo by Matthew Murphy; The Curious Incident of the Dog in the Night-Time, Alex Sharp, photo by Joan Marcus.

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12 denvercenter.org

“RIDICULOUSLY POLITE!” — BOX OFFICE AGENT

“Her TECHNOLOGICAL WIZARDRYkept my phone dim and silent!”

— MOM

“I’m SPEECHLESS! And she was, too” — THE PERSON IN FRONT OF YOU

“She gave her child FLAWLESS DIRECTION.” — THE GUY WITH THE BOW TIE

“A BOLD, BREATHTAKING REMINDER of the power of courtesy.”

— THE CAST AND CREW

We won’t tell you how to behave. But everyone’s a critic. Please remember, the theatre experience depends on all of us — not just the performers on stage.

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14 denvercenter.org

YOU DESERVE THE BEST. SUBSCRIBE TODAY!David Zupancic at 303.446.4811 • Melissa Olson at 303.446.4840

denvercenter.org/subscribe

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16 denvercenter.org16 denvercenter.org

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IIt didn’t take long for Broadway star Robert Petkoff to learn the DCPA Theatre Company would be performing his favorite musical, Sweeney Todd, with Colorado gypsy punk band DeVotchKa adding its own sanguine flavoring to Stephen Sondheim’s classic orchestrations. “DeVotchKa is my sister’s favorite band,” said Petkoff. “When she found out, she wrote me right away and said, ‘Oh my God, I have to get out to Denver and see this.’” Now Petkoff’s sister has two reasons come to Denver. Her brother, an award-winning veteran of six Broadway productions, is playing the title role of the barbarous barber. “But put DeVotchKa at the top of the list,” he said with a laugh. “I am reason No. 2.” The Petkoff siblings are not the only ones excited to see what happens when Sweeney Todd bleeds DeVotchKa’s Latin and Slavic-infused aural amalgam into Sondheim’s perhaps most powerful (and unquestionably most homicidal) score. “DeVotchKa will attract a completely different kind of audience,” Petkoff said. “And boy, anytime you can bring a whole new swath of people into the theatre who don’t normally come is a great, great thing.” Petkoff and DeVotchKa frontman Nick Urata have their own affinities for Sweeney Todd dating back to their very different childhoods. Petkoff remembers hearing the vinyl cast recording in 1979 when he was in high school and the record was hot off the presses. “I was blown away, both by how complex the story is, and by how incredible the music is,” Petkoff said. “I just instantly fell in love. I knew I wanted to play that role one day.” DeVotchKa has been blurring distinctions between art forms for more than 15 years, notably with its wildly popular annual concerts at Red Rocks with the Colorado Symphony Orchestra. Music fans have been spellbound by the band’s theatricality dating all the way back to its earliest appear-ances at small Boulder music clubs when Urata and bandmates Jeanie Schroder, Shawn King and Tom Hagerman would enter from the back of a darkened house guided only by the string of lights that line Schroder’s sousaphone. “I can’t think of a more perfect platform for us than Sweeney Todd,” Urata said, “being that we like coming from a dark and twisted place, and this is the ultimate dark and twisted musical opera.” Petkoff’s co-star is Linda Mugleston in the delicious role of Mrs. Lovett, maker of those curiously delicious meat pies. Petkoff and Mugleston have theatrical bloodlines that crisscross Denver and run deep down into Broadway’s sidewalk cracks. Petkoff appeared in the DCPA’s Tantalus, a 10-play epic Trojan War cycle in 2000 — nothing less than the largest theatre project in the 2,500-year history of the theatre. He returned in 2012 for the world premiere of Sense & Sensibility, The Musical and in the Broadway tour of Spamalot in 2007. Mugleston’s Theatre Company credits include The Unsinkable Molly Brown, Quilters and A Christmas Carol. When the Theatre Company forays into musicals, Mugleston said, they always have something in common with the company’s nationally-acclaimed world premiere plays: Even when telling a familiar story, there is something new about them. “The Denver Center is always innovative, no matter what they are doing,” Mugleston said. “The creativity is always very high-end, and it never feels like run-of-the-mill, normal fare. It’s always exciting.” The Sweeney Todd stars appeared together briefly in the 2011 Broadway revival of Anything Goes, during which they swear no throats were slashed. Surprisingly, neither has

SWEENEY TODD: A DELICIOUS TAKE ON THE BARBAROUS BARBER

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DCPA Trustee Judi Wolf has been playing in costumes since she was six. “I started in my mother’s ballgowns,” she said. “I would put them on and get completely lost in them.” Wolf has been a staunch supporter of the DCPA since the first opening night in 1979, and openings continue to be a very big deal to Judi Wolf. She wore a toga to the opening of the 10-hour epic Greek cycle Tantalus in 2000. She arrived at The Little Mermaid in 2007 dressed as Ariel’s mother where she held fish-shaped balloons while her household manager blew bubbles in her wake. There are method actors and there are method dressers. Imagine what the audience thought when Wolf arrived at The Man Who Came to Dinner in 1990 wearing a cocktail dress and riding in a wheelchair. Reminiscent of the play’s cranky protagonist Sheridan Whiteside who spends the play in a wheelchair, Wolf says she needed it. “I had tripped,” she said, “so I rode to the opening in an ambulance with ice on my knee and ankle. It was opening night. I wasn’t going to miss it.” Wolf is a Denver native with a master’s degree in international relations from the University of Denver. She taught Spanish at Graland Country Day School and was named as the Fine Arts Foundation Citizen of the Arts in 2012. She has sponsored the Costume Corner column in Applause magazine for the past five years because she believes the costume arts must be championed. “What is theatre without costumes?” she said. “It’s radio!” We would like to give Judi Wolf a round of applause for her generous contribu-tions toward our costumes and, of course, for her unflagging flair for the dramatic.

COSTUME COLUMN

ever before appeared in

a production of Sweeney

Todd. Sondheim,

now 86, has been uncommonly encourag-

ing of young artists wanting to experiment with Sweeney Todd, which first shocked Broadway audiences under the direction of Hal Prince in 1979. It has since been presented in forms ranging from

opera to an intimate chamber piece. The musical was revived on Broad-way in 2004 with only 10 actors all playing their own instruments. In 2014, Sondheim gave his permission for the Landless Theatre Company to concoct a “prog-metal” version in Washington D.C. That’s a form that blends classical music and jazz while using metal to highlight some of the darker elements of the story. Permission to let DeVotchKa envelop Sondheim’s score with DeVotchKa’s signature horns, accordion, violin and percussion was handed down by the master himself. Urata’s stated goal for the piece is “to make it loud and proud.” And if that sounds too experimental for theatre purists, Urata said, consider that West Side Story was once experimental theatre. “If I know anything about Sondheim, it’s that he is very open-minded,” said Urata. “I think that’s why we all love him.” That’s because “first and foremost, Sondheim is an artist,” Mugleston said. Anytime you tell a story, Petkoff added, “who is telling the story changes that story. So people who come to see this show may have an idea what should be in their heads based on what they have seen before. But we have this great opportunity in Denver to tell our own version of the story, and adding DeVotchKa will make it a really unique version of that story.

This is how theatre breathes and grows and evolves.” When you change the orchestra-tions, you are not changing the actual notes, Petkoff said, “you are changing how an audience hears them — the rhythm. The style.” “I get why a playwright might say, ‘Listen, you need to say every word that I wrote.’ But with a musician, you understand that while he wrote every one of those notes, there are so many different ways to play them. And yet, you are still playing the song.”

Imagine, he said, what Broadway audiences who grew up on Camelot and My Fair Lady thought when they first sat watching Jesus Christ Superstar in 1971. “They were outraged,” he said. “’That’s not a musical!’ they said. But there was an influx of younger people who came and became lifelong lovers of theatre. The same thing is happening with Hamilton on Broadway today. There are people who have never been to a Broadway musical and they are standing and screaming in fits of ecstasy watching Hamilton. It’s wonderful for theatre because we need to change and we need new blood, and this is how you do it.”

SWEENEY TODDAPR 8 – MAY 15 • STAGE THEATREASL interpreted, Audio described & Open Captioned performance: May 1, 1:30pmTickets: 303.893.4100 denvercenter.orgGroups: 303.446.4829

DCPA Founder Don Seawell refused to wear one of Judi’s furs to a costume benefit. So to complete the look of the Viking Warrior, he tossed her bathroom rug over his shoulder.

“The Denver Center is always innovative, no matter what they are doing,” Mugleston said. “The creativity is always very high-end, and it never feels like run-of-the-mill, normal fare. It’s always exciting.”

Celtic Tales of Love & WarMarch 11-13

Newman Center for the Performing Arts

303-832-HORN(4676) | www.denverbrass.orgwww.newmantix.com/denverbrass

Featuring Brass, Bagpipes,Fiddles, Irish Tenor, Irish &Scottish Dancers

Colorado Remembers

The Ultimate FreeAmerican Concert atthe Colorado FreedomMemorial!

May 28 - 2pm

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UPCOMING SHOWSRiverdance — The 20th Anniversary World Tour Now – Mar 13

How I Got Over: Journeys in Verse Mar 18, 19, 25 & 26

Disney’s Newsies Mar 23 – Apr 9

Dixie’s Never Wear a Tube Top While Riding a Mechanical Bull... Mar 30 – Apr 24

Sweeney Todd Apr 8 – May 15

Cult Following Apr 29 & 30, Jun 3 & 4

The Realish Housewives of Cherry Creek: A Parody May 3 – 22

once May 24 – 29

NETworks presents Disney’s Beauty and the Beast Jun 7 – 12

The Sound of Music Jun 21 – 26

Beautiful — The Carole King Musical Jul 19 – 31

The Phantom of the Opera Aug 25 – Sep 11

An Act of God Opens Fall 2016

The Glass Menagerie Sep 9 – Oct 16

Roundabout Theatre Company’s Cabaret Sep 27 – Oct 9

Frankenstein Sep 30 – Oct 30

A Christmas Carol Nov 25 – Dec 24

The SantaLand Diaries Nov 25 – Dec 24

Hedwig and the Angry Inch Dec 6 – 11

Finding Neverland Dec 20 – Jan 1, 2017

Fun Home Jan 10 – 22, 2017

The Christians Jan 27 – Feb 26, 2017

Colorado New Play Summit Feb 11 – 12 & 17 – 18, 2017

Motown The Musical Feb 15 – 19, 2017

An American In Paris Mar 8 – 19, 2017

Kinky Boots Mar 21 – 26, 2017

Disgraced Mar 31 – May 7, 2017

The Secret Garden Apr 21 – May 28, 2017

The Illusionists May 19 – 21, 2017

The Curious Incident of the Dog in the Night-Time May 30 – Jun 18, 2017

Frozen Coming Summer 2017

SCFD: YOUR TAX DOLLARS REFLECTED ON STAGEIn 1988, metro area voters approved a 1¢ on $10 sales tax to support arts and culture. The Scientific and Cultural Facilities District (SCFD) now distributes nearly $55 million to 275 organizations throughout our community. But how has this investment diversified as the community has evolved? At the Denver Center for the Performing Arts, SCFD funds have enabled us to better reflect the diversity of our community through a number of programs. Here are some recent examples:

DIVERSE VOICES In addition to a commitment to colorblind casting (as evidenced in the Theatre Company’s recent production of As You Like It), the DCPA is excited to feature a regular mix of programming by, for and starring individuals from a variety of backgrounds. Titles such as Kinky Boots, Drag Machine, One Night in Miami…, Jackie and Me, FADE and Just Like Us among many, many others reflect the diversity within our community and our commitment to new voices on our stages. But our biggest commitment to new voices is the Women’s Voices Fund — a first-of-its-kind endowment designed to foster the work of a clearly underrepresented voice in American theatre. This initiative has enabled our Theatre Company to commission 15 female playwrights, hire 17 female directors and contribute to 10 world premiere plays by women — all in the past decade.

ACCESSIBILITY Thanks in part to the SCFD, we have grown our accessibility services to include ASL interpretation, Audio description, Open Captioning, Braille and large print programs, and tactile tours. Improvements to seating, entry/exit routes and enhanced listening systems are planned as part of our Bonfils Theatre Complex renovation.

AFFORDABILITY Our brand new DCPAccess program provides twice as many $10 tickets to each Theatre Company production plus significantly discounted tickets to select Broadway shows. Plus, our popular $10 student ticket program, military and senior rush tickets help eliminate barriers to attendance. Finally our new Radvantage membership for guests ages 18-30 offers substantial discounts to a variety of programs all year round.

NEW AUDIENCES While performing arts are often viewed as having aging audiences, we’ve launched a variety of programs to attract a younger crowd. Kids Night on Broadway provides a minimum of 200 free tickets for youth to designated Broadway performances. In addition to extensive in-school and on-site school programs, we now host both a High School Playwriting Competition and a High School Musical Theatre Competition. And our newest focus on Millennial engagement is evidenced through our innovative Off-Center programming and our new off-site, immersive production scheduled for late Spring.

For more information on these programs and many more, please visit denvercenter.org. P

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Abhann  Productions  Presents  

 

 Starring  

PRINCIPAL  DANCERS:  Maggie  Darlington,  Ciara  Sexton,  Chloey  Turner,  

James  Greenan,  Bobby  Hodges,  Jason  O’Neill    

The  Riverdance  Irish  dance  troupe,  musicians  and  singers  and  featured  International  soloists.  

   

Set  Designer                                                                                                                                        Costume  Designer  ROBERT  BALLAGH                                                                                                          JOAN  BERGIN    Sound  Designer                                                                                                          Lighting  Designer  MICHAEL  O’GORMAN                                                                                                          JOHN  COMISKEY      Projection  Animation                                                                                                        Poetry  Written  by    LUIS  POVEDA                                                                                                      THEO  DORGAN            Orchestrations  by                                                                                                        Press  Representative  NICK  INGMAN  and  BILL  WHELAN                                                                                                                Polk  &  Co.  

Executive  Producer  JULIAN  ERSKINE  

   

COMPOSER  BILL  WHELAN  

 PRODUCCER  

MOYA  DOHERTY    

DIRECTOR  JOHN  McCOLGAN  

AND SEASON SPONSORS

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The Riverdance Irish Dance Troupe

Principals:

Maggie Darlington, Ciara Sexton, Chloey Turner,

James Greenan, Bobby Hodges, Jason O’Neill

Troupe:

Ellen Bonner, Stephen Brennan, William Bryant , Darren Casey, Brendan Dorris, Julia Gats, Katie Hands, Aoife Kennedy, Mia Leonelli, John Lonergan, Patrick O’Mahony, Andrew O’Reilly, Louise

O’Sullivan, Gianna Petracic, Natasia Petracic, Lauren Smyth, Callum Spencer, Sarah Woods

The Riverdance Band

Pat Mangan Fiddle / Musical Director

Mark Alfred Drums / Percussion / Bodhrán, Matt Bashford Uilleann Pipes / Low Whistle / Tin Whistle,

Ken Edge Saxophone

The Riverdance Singers and Drummers

Members of the Company

The Riverdance Baritone Soloist Rohan Pinnnock-Hamilton

The Riverdance Flamenco Soloists

Marita Martinez-Rey

The Riverdance Russian Ensemble

Rifat Gabdulkhakov, Natia Mangan, Katrina Meske, Alexander Safonov, Ana Turcan, Eugeniu Turcan

The Riverdance Tappers Rohan Pinnnock-Hamilton

Christopher Broughton

Poetry Narrated by

John Kavanagh

ORINGAL PRINCIPAL IRISH DANCE CHOREOGRAPHY – MICHAEL FLATLEY

ORGINAL CHOREOGRAPHY BY MAVIS ASCOTT, JEAN BUTLER, JOHN CAREY, BRENDAN DE GALLAI, COLIN DUNNE, CAROL LEAVY JOYCE, EILEEN MARTIN,

PAULA NIC CIONNATH, MARIA PAGES, TARIK WINSTON

At certain performances, alternative principal performers will dance the principal roles. Cast and content may be subject to change without prior notice.

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches. The use of cell phones in the theatre is prohibited.

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ACT ONE

Reel Around the Sun............................................... The Riverdance Irish Dance Male Principal & Troupe

The Heart’s Cry ..................................................................................................................The Riverdance Singers

The Countess Cathleen .........................................................The Riverdance Female Irish Dance Principal & Troupe and Russian Folk Dancers

Caoineadh Chú Chulainn (Lament) .......................................................................The Riverdance Irish Piper

Thunderstorm ...........................................................The Riverdance male Irish Dance Principal & Troupe.

Firedance ................................................................................................. Flamenco Soloist and the Riverdance Male Irish Dance Troupe

Shivna ...................................................................... The Russian Folk Dancers and the Riverdance Singers

Slip into Spring – The Harvest .................................................................................The Riverdance Musicians

Riverdance ..............................................................................................The Riverdance Irish Dance Principals & Troupe, Singers and Drummers

ACT TWO

American Wake ...................................................................The Irish Dance Troupe and Riverdance Singer

Heal their Hearts – Freedom ................................................................................................The Baritone Soloist

Trading Taps .................................................................................. The Riverdance Male Irish Dance Principal & Male Troupe and the American Tappers

Macedonian Morning /The Russian Dervish .......................................................The Riverdance Musicians & The Russian Folk Dance Troupe

Andalucía ................................................................................................................................. The Flamenco Soloist

Anna Livia ..............................................................The Riverdance Female Irish Dance Principal & Troupe

Slow Air & Tunes ...........................................................................................................The Riverdance Musicians

Heartland .............................................................................The Riverdance Irish Dance Principals & Troupe

Finale .........................................................................................................................................................The Company

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BILL WHELANComposer

As a composer, Bill Whelan has written extensively for theatre, dance, film and the concert stage. His film work includes Dancing at Lughnasa starring Meryl Streep, Some Mother’s Son featuring Helen Mirren and Lamb with Liam Neeson. Music for television includes “The Seven Ages,” Sean Ó Mordha’s history of the Irish State. He was appointed composer to the W.B. Yeats International Theatre Festival at Dublin’s Abbey Theatre in 1989, writing original music for 15 Yeats’ plays. His adaptation of HMS Pinafore received a Laurence Olivier Award nomination.

The Seville Suite was commissioned for Ireland’s National Day at Expo ’92 and was performed at the Maestranza in Seville. It has since received performances around the world including La Coruna, Shanghai, Caracas and New York. The Spirit Of Mayo followed in 1993 and was performed by an 85-piece orchestra and chorus in Dublin’s National Concert Hall. He was honoured with the 1997 Grammy Award for ‘Best Musical Show Album’ for the lyrics and music of Riverdance. The album is a certified Platinum record in the US, Ireland and Australia. The Connemara Suite, a trilogy of pieces written for chamber orchestra, premiered in Carnegie Hall in March 2005.

Bill Whelan’s Symphonic Suite from Riverdance has received its first performance in 2013.  Linen & Lace, a flute concerto for Sir James Galway, was commissioned by Lyric FM to mark the Limerick City of Culture in 2014. A new musical, The Train, with lyrics by Arthur Riordan and music by Bill Whelan was performed in Limerick and Dublin in October 2015.

Bill’s production and arranging credits include U2, Van Morrison, Kate Bush, Richard Harris, Planxty, The Dubliners and many traditional world musicians and performers. He is a member of the Boards of Berklee College of Music in Boston, The University of Limerick, Crash Ensemble and Music Generation, the newly established music education body for Ireland. He has completed a co-teaching course with Pulitzer Prize-winning poet, Paul Muldoon at Princeton University and was recently appointed adjunct Professor to Trinity College Dublin’s School of Drama, Film and Music. Bill Whelan is a Fellow of

the Royal College of Music and is the recipient of many International Awards including the Spirit of Ireland Award in New York.

MOYA DOHERTYProducer

Moya Doherty’s career includes theatre, radio and television journalism and an award-winning track record in television production, both in Ireland and the UK.

Moya was the Commissioning Producer and originator of Riverdance for the Eurovision Song Contest of 1994; she is a founding Director of Tyrone Productions, Ireland’s leading independent television production company, whose many credits include “Beckett on Film” and the Opening Ceremony of the Special Olympics World Summer Games (held in Dublin in June 2003), and drama credits including “Ros na Rún,” now in its 20th season, for TG4 and “Quirke,” a major co-production with the BBC, starring Gabriel Byrne.

Moya is Chair of RTÉ, Ireland’s national public broadcasting service. She is a writer and broadcaster and has co-presented a number of radio arts documentaries on George Bernard Shaw, John McCormack and Paddy Kavanagh, amongst others. She is a founding Director of Today FM radio station. She has sat on a number of arts-related boards, including Chair of the Dublin International Theatre Festival for seven years, The Ark Children’s Theatre in Dublin, Business to Arts and the Board of the Abbey Theatre.

She is the Producer of the new music and dance stage spectacular Heartbeat of Home which had its world premiere in Dublin in October 2013 2013 and has toured extensively in North America and China. Awards and honours include: Veuve Clicquot Business Woman of the Year, Ernst & Young Entrepreneur of the Year, and honorary doctorates from the University of Ulster and the National University of Ireland in recognition of her success and her ongoing commitment to the arts in Ireland.

JOHN McCOLGANDirector

John McColgan’s career as a multi-award-winning producer and director began in the mid-seventies at RTÉ Television where he went on to become Head of Entertainment. While in RTÉ he

produced and directed a wide range of programming from light entertainment to drama to documentary. He was awarded a Jacob’s Television Award in 1980 for ‘the consistently high quality of his entertainment programming’. He was also Head of Weekend Entertainment at TVAM – ITV’s breakfast television service.

He played a key role in the evolution of Riverdance from the original seven minute dance number and went on to direct the full stage-show spectacular.

John has been closely involved with the Abbey Theatre – he was on the Board of the theatre for five years, served as Chairman of the Abbey Centenary Committee and directed a critically-acclaimed production of Dion Boucicault’s 19th century melodrama The Shaughraun. In May 2011 he produced a major theatrical event marking the historic State visit of Queen Elizabeth II to Ireland. John is the director of the new music and dance stage spectacular Heartbeat of Home which had its world premiere in Dublin in October 2013 and has toured extensively to universal acclaim in North America and China.

John has received many awards during his career, including an Honorary Doctorate of Law from the National University of Ireland, in recognition of his services to the arts and entertainment industry.

RIVERDANCE CAST & BAND

The Riverdance Irish Dance TroupeThe Riverdance Irish Dance Troupe are world-class Irish dancers. They hail mostly from Ireland, but also from Britain, the United States, Canada and Australia. Between them the dancers can boast of hundreds of championships won in Ireland and abroad. Most started dancing at three or four years of age at local dance schools and progressed to world championship level before being chosen to perform in Riverdance. The dancers would have known and competed against each other at various competitions, including the World Championships. Riverdance has given them the opportunity to perform together for the first time in a non-competitive way. The grace and eloquence of their soft-shoe dance and the power and precision of their hard-shoe routines clearly display the endless hours of practice and their dedication to the art of Irish Dance.

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Maggie DarlingtonMaggie began dancing with the Claddagh School of Irish Dance in California. She won four North American Championships, two All-Ireland Championships and in 2007 won the World Irish Dancing Championships. In 2010 Maggie performed the lead role in Busch Gardens’ production Celtic Fyre and originated the lead female role in Battle of the Dance. She joined the cast of Riverdance in 2011.

Ciara SextonCiara started dancing at the age of three under the instruction of Marion Turley in the West Midlands, UK. She has won numerous titles including five World and All-Ireland Championships. Her professional dance career began with Lord of the Dance, in which she performed the lead role. Ciara choreographs regularly for dance company, Celtic Feet and has toured with the troupe in the production of Excalibur – A Celtic Rock Opera. In 2012, Ciara became involved in Heartbeat of Home and toured with the show internationally as a lead dancer.

Chloey TurnerEnglish-born, Chloey started Irish dancing with Jenny Flower (Matthews Academy) and has competed at national and international feiseanna, qualifying for the world championships every year. Chloey is a keen athlete and a qualified personal fitness trainer. Chloey joined Riverdance in 2008, touring Europe, Japan and China and one of her highlights was performing at Radio City, New York.

James GreenanJames lives in Co. Cavan and danced with Scoil Rince Mona Ni Rodaigh. He won several prestigious World Championships, All Irelands, Great Britains, North Americans and Ulster titles in both solo and Céilí competitions. He toured with Gaelforce and Dancemasters and with Noctu in New York. His career with Riverdance began in 2011 and he has performed with the show in North America, China, Brazil, Argentina and at the Gaiety Theatre, Dublin.

Bobby HodgesBobby was six when he started dancing in his hometown of Bristol. After an illustrious career as a competitive Irish dancer, winning ten world titles, he joined the cast of Lord of the Dance.

After just six weeks in the show, he was cast as the principal lead. In 2012 he joined the cast of Prodijig to help create their debut show Footstorm. Bobby went on to be cast as a lead dancer in Heartbeat of Home which has toured internationally and is now thrilled to be performing lead in Riverdance, the show that inspired him to pursue dance.

Jason O’NeillJason started dancing at the age of five alongside his six sisters. Under the tuition of the Armstrong school in Belfast he developed a deep-rooted passion for rhythm. Jason has been a lead dancer with Prodijig’s Footstorm and with Heartbeat of Home and is truly honoured to attain lead role in three shows. As an avid traveller he has now performed in 200 cities worldwide. Jason is delighted to join Riverdance again for its remarkable 20th anniversary.

The Riverdance Band

Pat Mangan Fiddle / Musical DirectorTwo-time All-Ireland fiddle champion Patrick Mangan is from Brooklyn, New York, where he was introduced to traditional music at an early age. He grew up playing alongside legendary Irish musicians from both sides of the Atlantic. At aged sixteen, Patrick appeared in Riverdance On Broadway, becoming the youngest fiddler in the show’s history. Since then he has toured extensively, playing to enthralled audiences around the world. In addition to his love of the stage, Patrick is also an award-winning composer. His debut CD, Farewell to Ireland is available now at www.cdbaby.com/mangan.

Mark Alfred Drums / Percussion / BodhránA native of Monaghan, Mark began playing drums at the age of four. He studied at the Royal Irish Academy of Music in Dublin and then the Performing Arts College. He is now one of Europe’s most sought after, and highly regarded, drummers and is constantly in demand from a host of leading stellar international music acts. His very individualistic and energetic style has seen him play with many international acts including Lionel Richie, Simply Red, Katie Melua, Josh Groban, The Corrs, The Divine Comedy, Lemar, Gary Moore, Mary Coughlan, Ronan Keating, Westlife, Girls Aloud, Donnie Osmond, and the late Christy Hennessy. Mark Alfred uses and

proudly endorses: Pearl Drums, Zildjian Cymbals, Evans Drumheads, Vater Drumsticks, Protection Racket Cases.

Ken EdgeSaxophoneKenneth Edge began his career in music by winning RTÉ’s ‘Young Musician of the Future’ competition in 1983. Since then, Ken has performed with some of the greatest musicians and orchestras in the world. Composers such as Shaun Davey, Micheál Ó Súilleabháin and John Buckley have written new pieces especially for Ken. Aside from his performing career, Kenneth has held the posts of Music Director of Ireland’s CoisCéim Dance Theatre Company, for which he composed the scores for five of their productions, and Artist-in-Residence at the University of Limerick.

The Riverdance Russian EnsembleThe Riverdance Russian Ensemble combines elegance and grace with verve, dynamism and joyous physicality. The company’s dancers come from a diverse mix of cultural backgrounds. What they have in common is a dedication to dance and many years of training and performance in pursuit of perfection in their chosen art. Working as individual performers, they have come together for Riverdance, where they will share their individual talents and fuse the many elements that have gone into the development of their own unique style of dance.

The Riverdance Flamenco Soloist

Marita Martinez-ReyFlamencoMarita was born in Úbeda, Jaén, Spain. She graduated in Spanish Dance from the Royal Conservatory of Córdoba in 2001 and a year later in Classical Ballet with AraLeo Moyano. She also studied Flamencology, Cátedra de Flamencologia de Córdoba, as well as BA (Hons) in Music and History studies at the Universidad Complutense in Madrid. Her professional experience started in the opera El Cid with Placido Domingo which was performed in La Maestranza, Seville in 1999. She joined the Ballet Gallego Rey de Viana for a year in the production Vira ó Vento. After that, she returned to Madrid, where she has worked with several companies. In 2005 she joined the Compañia Antonio Gades where she has worked in the productions Carmen, Bodas de sangre and Fuenteovejuna.

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Rohan Pinnock-Hamilton Tapper/ Baritone Rohan began his training at the Audrey Spencer Dance Academy and at the Scala Performing Arts Academy. As a young actor Rohan was a series regular in Children’s Ward (Granada TV) and as a young dancer won the title of North England Tap Champion. He then went on to train at The Urdang Academy, London. Since graduating he has appeared in Mary Poppins, Somebody’s Son, Hairspray, Riverdance, Joseph and the Amazing Technicolor Dream Coat, Hair, Some Like It Hip-Hop and The Scottsboro Boys. He has also appeared as a backing dancer for recording artists such as Beverly Knight, Lemar and Kanye West. Rohan is delighted to be returning to Riverdance for this anniversary tour.

Christopher Broughton Born and raised in Los Angeles, CA, Christopher Broughton began dancing at the age of 12 and never looked back. Under the instruction of Paul and Arlene Kennedy at Universal Dance, he immediately became a member of the Kennedy Tap company. An an instructor, performer and choreographer, his art has taken him everywhere from St. Louis and Washington D.C. to Brazil, Finland, Cuba, Italy, Germany and beyond. Broughton has performed and toured the world with such greats as Jason Samuels Smith, Chloe Arnold, R&B singer MYA and Ted Levy. Company work has included national and international tours with Dorrance Dance, Magic of The Dance, and Rasta Thomas’ Tap Stars; as well as participating in The Cotton Club Parade at NY City Center. Christopher Broughton owes his sincerest gratitude to his sister Chantel Heath, who introduced him to the world of dance, Tonie Nicholas, son of the legendary Fayard Nicholas, and Paul and Arlene Kennedy; without whom, he wouldn’t be where he is today.

THE BUELL THEATRE is part of the Denver Performing Arts Complex, owned and operated by the City and County of

Denver, Arts and Venues.

CITY & COUNTY OF DENVER Michael Hancock, Mayor

ARTS AND VENUES Kent Rice, Director

For information call: 720.865.4220

STAY IN TOUCH WITH RIVERDANCE

www.riverdancestore.comwww.riverdance.com

facebook.com/riverdancetwitter.com/riverdance

youtube.com/riverdanceinstagram.com/riverdance_ official

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING

SUPPORT IN ITS 2015/16 BROADWAY SEASON

PLEASE BE ADVISED Please be advised that once the show begins:

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

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

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

• DRINKS are allowed in provided containers.

• 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 ckrueger@dcpa.org or 303.893.4836.

STAFF LISTING

For Abhann Productions LimitedDirectors ...........................................Moya Doherty,

John McColgan, David OrrExecutive Manager ............................Paula BurkeRiverdance Dublin Production OfficeAssociate Director ...................... Padraic MoylesContracts Manager ..........................Sean O’BrienDigital & Online Manager ........Mary O’DonnellCostume Shop Supervisor .......... Monica EnnisProduction Coordinator .................Laura GriffinAccountant ................................... Dominick TigheProduction Assistant ..............Niamh O’ConnorProduction Office Assistant ....... Alan Bradley Tapper casting / coaching .............Richard Pitt Original Design CreditsLighting Design................................Rupert MurrayCostumes for Riverdance Eurovision ...............Margaret CrosseCostumes for Riverdance – The Show ...........................Jen KellyProjection Animation ................Benjamin PearcyNORTH AMERICAN TOUR STAFFNorth American Press RepresentativePolk and Co.Production Manager ...................... Marie Barrett Company Manager ........................... Jesse WhiteAssistant Company Manager .....Alan ParamoreProduction Stage Manager .......Marc AndersonTechnical Stage Manager ...............Emma DoyleIrish Dance Captains ....................Brendan Dorris

Andrew O’ReillyRussian Dance Captain .................Natia ManganProduction Carpenter .................Jon RodriguezHead Carpenter ............. Steven Todd WhitakerProduction Electrician ..........Craig CaccamiseHead Electrician ............................Adam LansingAssistant Electrician/Carpenter .....Brandi FucciAssistant Electrician ........................Joel Bulthuis Advance Sound ...Sean McKeown/Kevin McGingHead Sound/Monitors ................ Isaac SheppardAsst Sound /FOH Mixer .............Daragh MurphyWardrobe Supervisor ..................... Brigid BrownWardrobe Assistant ...........................Katie Dean Medical Officer/ Physiotherapist .............. Fiona McCabe, MISCPMassage Therapist ............................... Keith WardMerchandising .......................SEE Merchandising www.seemerch.com / www.riverdancestore.com International Representation ...............Second Symphony LtdNorth American Representation ......... WME Entertainment LLCCredits and AcknowledgementsDance Flooring and Covering .........................American HarlequinFibre Optics & Starcloths .....I. Weiss & Sons Inc.Show Scrim ..............................................RosebrandLighting, Video, LED Screen ..... High Res/ VER Sound Equipment ............................... Clair GlobalTrucking Provided by ...........................Janco Ltd.Make-Up provided by ...................................... MACDrums provided by .....................................PEARLCymbals provided by ................................. ZildjianDrumheads provided by .............................EvansDrumsticks provided by ...............................VaterProtection provided by ................Racket CasesDigital Media ........................Situation Interactive

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719

Linda AckerschottCarrie BreidenbachVonnie CloughJanel CloughCraig CoryCyndie CoryLaura CotugnoSteve DaviesAnne DavisCarolyn DoreDeborah Guess

AnnSue GunterJudy HolabirdLeslie LambertSharon Millikan-HaleCallie MorrowYolanda PollockDave PooleLiz SpadiAmy TepelMarybeth TscherpelBarb Wilson

LED Projection Updates ................. Luis PovedaPhotography .........Deidre Buck, Barbara Corsico, Julian Erskine, Hugo Glendenning, Jack Hartin, Tom Lawlor, Joan Marcus, John McColgan, Rob McDougall, Sean Breithaupt & Yvette Monahan

The producer would like to give special acknowledgement to:RTÉ Commercial Enterprises LimitedPaul McGuinness - Principle Management, Liam Miller, Maurice Cassidy, Tommy HigginsThe Office of Public WorksThe National Gallery of IrelandElements of the Ardagh Chalice and other artifacts by kind permission of the director of The National Museum of Ireland

The musicians employed in this production are members of the American Federation of Musicians.

Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E)

ATPAM The Press Agents, Company and House Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

MAR 23 – APR 9 • BUELL THEATRE

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MAY 24 – 29 • THE ELLIE

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IIf not for the spunky street urchins who pedaled papers on Denver’s street corners in the early 20th century, Mile High Stadium might not be named after the Sports Authority retail giant today. Nathan Gart, patriarch of the Gart Brothers sporting goods empire that has since morphed into Sports Authority, was an entrepreneurial Denver Post newsboy who owned the corner of 16th and Lawrence streets. He learned at age 12 how profitable it could be to buy watches and rings from his regular customers, mark them up and re-sell them. He opened his first store in 1928 selling fishing rods with $500 he saved from hawking one screaming headline at a time. Gart is just one notable character in the colorful history of Denver’s newsboys, whose plight was positively Dicken-sian. In 1901, The Denver Times claimed that most newsboys, almost all of whom were orphans, cripples or runaways, made 10 to 15 cents a day selling papers they sold for a nickel. The newsies looked on one boy who made 40 cents a day as “a bloated aristocrat,” the paper reported. America’s most famous champion of newsboys was Horatio Alger, whose stories presented newsboys as exploited young heroes who succeeded through a mixture of pluck and luck. That is until Disney released Newsies, the 1992 musical film that introduced Christian Bale. The story, inspired by the real-life New York newsboys strike of 1899, was made into a Broadway musical in 2012 with music by Alan Menken, lyrics by Jack Feldman and a book by Harvey Fierstein. But if legend is to be believed, Denver’s newsboys were a much tougher lot than those striking, high-stepping New Yorkers.

Benny Bee, a crackerjack Denver Post newsboy in his time, was arrested while visiting New York and charged with “disturbing the peace and tranquility of Manhattan,” according to Bill Hosokawa’s enthralling history of The Denver Post, Thunder in the Rockies. His crime? “Demonstrating to New York newsboys how papers were sold in Denver.” Benny Bee reportedly introduced the profitable practice of “bootjacking” to his Big Apple counterparts. That’s when newsboys would mix in outdated editions of the daily paper with those that were hot off the presses and sell them to unsuspecting customers as the latest news. This was at a time when apocalyptic shouts of “Extra! Extra!” were ubiquitous on Denver street corners. Extras were special mid-day updates to the daily newspaper that would trumpet breaking and often trumped-up news scoops. According to Hosokawa’s book, Denver’s five competing daily newspapers would issue an “extra” at the least provocation, sometimes several times a day. Burn-ing oil fields, the bubonic plague or stolen babies were all handy tools to help newsboys sell more papers. But as soon as any new edition was printed, hundreds of now dated editions were relegated to the trash heap. Until bootjacking. The decade after World War I was a time when news-papers were Americans’ only source of reasonably real information. TV was unknown and radio was still a novelty. This was the golden era of yellow journalism, and Denver’s dailies were quick to embellish any story or stoke any flame to sell more papers. In the 1890s, The Denver Post’s down-town office became known as “The Bucket of Blood.” It may have been a period of contemptible journalism, but it also was the best show in town. The Post, co-founded

EXTRA! EXTRA! DENVER’S OWN “NEWSIES” HAD A COLORFUL PASTB Y J O H N M O O R E

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by Frederick Bonfils and Harry Tammen, once hired comedian Charley Murray to jump off its 12-story building. A crowd of 25,000 gathered to watch what turned out to be a dummy thrown off the roof. Tammen’s mantra: “The public not only likes to be fooled — it insists upon it.” And newsboys were part of the show — literally. They regularly got together and staged corner minstrel shows for spare change. Denver’s newsboy tradition dates back to 1870, when young carri-ers would deliver copies of the Rocky Mountain News on horseback to houses that were considered far out on the prairie in those days — we’re talking what is now 7th Avenue and Broadway. “More than once, herds of antelope sped out of my way as I rode out,” Theodore De Harport once said of his earliest newsboy days.

On October 14, 1925, Denver Mayor Benjamin Stapleton signed an ordinance making it illegal for newsboys to sell papers on the street. Newsboys over age 12 — “and newsgirls over 21” — would be permitted to sell papers, but only with a free license. And the practice of calling out headlines was made a criminal offense. In a 1959 retrospective, the Rocky Mountain News interviewed Edward J. Keating, presiding judge of Denver’s District Courts, about his days as a newspaperboy 35 years earlier. He claimed “the majority of judges in Denver and Colorado courts today earned their first dollars toward their educations by delivering newspapers.” Keating used his earnings to pay his tuition at Cathedral High School, which he parlayed into a college scholarship. “The newspaperboy of today has raised his work to such a high level of respect,” he said, “it has become a mark of pride for every prominent businessman and civic leader who can link his early career with the profession.”

DISNEY’S NEWSIESMAR 23 – APR 9 • BUELL THEATREASL interpreted, Audio-described and Open Captioned performance: Apr 3, 2pmTickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4829

COMING UP FROM BROADWAY:

NETWORKS PRESENTS DISNEY’S BEAUTY AND THE BEASTAfter playing for more than 35 million people worldwide in 13 countries, it’s hard to imagine that the music from 1992’s Beauty and the Beast (returning to The Buell June 7 – 12) was never supposed to be written. Here are some little known facts about the beloved Disney soundtrack from animation historian and critic Charles Solomon.

• Artists began to submit storyboards for the film in 1983, which was originally slated to be non-musical. Husband and wife Richard and Jill Purdum were chosen to develop their idea, but after 10 weeks of storyboarding, it was deemed too dark.

• The Little Mermaid premiered in the middle of the process, and its success shifted the focus of the project. Walt Disney Studios head Jeffrey Katzenberg “envisioned the concept of a Broadway musical brought to animation by Howard Ashman and Alan Menken,” said writer Linda Woolverton.

• The song “Human Again” was cut from the movie because it added 11 minutes to the length and created a strange time gap for the supporting characters.

• The title song “Beauty and The Beast” won the 1992 Oscar for Best Original Song. Producer Don Hahn recalls Angela Lansbury’s recording session: “She went into the booth and sang ‘Beauty and the Beast’ from beginning to end and just nailed it. We picked up a couple of lines here and there, but essentially that one take is what we used for the movie.” And the rest, they say, is history.

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“The public not only likes to be fooled — it insists upon it.” — DENVER POST CO-FOUNDER, HARRY TAMMEN

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A group of children, probably delivery boys and girls, pose outside of The Denver Post on 16th Street. A sign reads: “The Denver Post, Every Day in the Year.” By Harry H. Buckwalter (between 1890 and 1910).

A portrait of Tom Payne, a Denver Post newspaper delivery boy (between 1900-1920).

26 denvercenter.org

Join our Women with Hattitude benefit for the Women’s Voices Fund at the Denver Center for the Performing Arts. Enjoy a delicious lunch, a surprise musical performance and a colorful parade of the day’s best hats — all to help

women playwrights and directors be heard.

THU, MAY 5 • SEAWELL GRAND BALLROOM • 11:30AM DENVERCENTER.ORG/HATS • 303.572.4593

Sponsored by MARGOT & ALLAN FRANK

JAMIE ANGELICHE VENT CHAIR

WOMEN with HATTITUDE

WEAR A HAT THAT SPEAKS VOLUMES

Photos by Custom Creations Photography

Helping to Support Culture in Our Community and in Our State

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We provide guidance for in-house counsel, Human Resources, individuals, and companies of all sizes.

Litigation help in non-competes, trade secrets, and discrimination and retaliation claims.

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28 denvercenter.org

IIt began as a one-time, seven-minute performance: the intermission entertainment at the music sensation Eurovi-sion, a yearly contest that has launched the likes of Celine Dion and ABBA. The segment opened with the haunting sounds of the Celtic choir Anuna. Then a lone dancer came center stage in a simple black dress. Arms flush at her sides, she cavorted across the boards in an intricate pattern of steps and kicks, accompanied by a fast fiddle. Next came a leaping Michael Flatley, his shoes keeping time with a corps of Irish drums. And out of the shadows emerged two dozen more Irish dancers, storming the stage in a lightning-quick precision of steps, heels tapping in percussive rhythm and giving a performance of Irish dance unlike anything anyone had ever seen. Julian Erskine, senior executive producer of Riverdance, remembers that night. “It’s hard to describe just how enormous [the audience reaction] was. Not just in the Eurovision venue, where the entire audience let out a spontaneous roar and jumped to [its] feet, but also across all the Irish radio and TV stations and newspapers where it was the number one topic of discussion.” Such a buzz was created that by the time the routine was repeated live on Irish national television the following Saturday, nearly the entire country was watching to see what the fuss was about. Erskine and the rest of the creative team didn’t quite know what they had on their hands. With the instant popularity of the act, they planned to follow up the Eurovision performance with a full-length dance show to play Dublin. “The original hope,” he said, “was for a one-month run.”

That was 1994. Twenty-two years later the worldwide phenomenon of Riverdance continues to play to enthusiastic audiences across the globe. To Americans today, the immense and immediate popularity of River-dance in Ireland may seem odd. Why the fuss? Isn’t Irish dance ingrained in the culture? Not like this, said Erskine. “It was a unique event, especially for Irish audiences. We were not used to seeing Irish dancing as a form of entertainment, and never on such a big scale. Prior to Riverdance, Irish dancing was a low-key cultural pastime, reserved for competitive amateurs and now and then for small-scale tourist attractions…. This show was the first of a new kind of entertainment.” Immediately upon opening the show in Dublin in February 1995, the creative team was invited to bring it to London. Soon, worldwide invitations began pouring in and, Erskine said, “it was clear that the show had a much wider appeal and was not limited to playing to Irish audiences.” Celtic music and culture were already gaining fresh popularity in the US, so taking the show across the pond seemed like a natural step. Erskine: “Our first taste of the American reaction was in March 1996 when we came to Radio City Music Hall for St. Patrick’s week. It was fantastic! We were sold out before we arrived and the whole week was one long celebration.” So just what is so fascinating about Riverdance? To start, there’s the music of composer Bill Whelan, which includes Irish Uilleann pipes and the Bodhran, a handheld drum covered with goat’s skin and played with a wooden stick. When joined with the fiddle, these instruments form

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the traditional Irish “seisiun” trio, but to quote Erskine, “Perhaps the least known instruments in the show are the dancers’ shoes. With their hard heels, soles and tips, the dancers are not only able to beat out a rhythm, but they can also make music by using their shoes to create bass and tre-ble notes.” The steps, multiplied by 20 dancers all moving in time together, create music of their own. Those dancers are the heart of the show — skilled athletes whose precise execution may be rivaled only by the Rockettes. When asked if that point-perfect unison is achieved by endless hours of rehearsal or great choreographic direction, Erskine assessed it as a bit of both. “Mostly it’s down to the competitive background of Irish dance. All of our performers are championship-winning dancers and as such, perform with extreme precision and exceptional timing, usually under intense pressure.” As most of the dancers have been competing since they were toddlers, this precision and style are deeply rooted. “What seems extraordinary to the audience seems ordinary to the dancers,” he said.

Riverdance returns to Denver after a seven-year absence during which the show toured Asia. During its 2008 engagement, Erskine was uncertain about what lay ahead for the show, but given the enthusiastic embrace Americans have for the show he then said, ”I would never rule out Riverdance, in some form or other, returning to the US in the future. We’re just happy that that future ended up including a stop in Denver during its 20th anniversary world tour.

Genevieve Miller previously served as the DCPA’s Director of Publicity & Promotions and is now General Manager at Broadway Across America in Cincinnati.

RIVERDANCE — THE 20TH ANNIVERSARY WORLD TOURMAR 8 – 13 • BUELL THEATRETickets: 303.893.4100 • denvercenter.org • 303.446.4829

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COMING UP FROM BROADWAY:

ONCEThe film once became a sleeper hit of 2007, winning over the hearts of critics and audiences alike with its intimate look into the unrequited romance of two musi-cians. The simple plot, shoestring budget and minimal acting credits gave the movie a sense of reality that most Hollywood affairs miss. Its award-winning soundtrack (Oscar for Best Original Song for “Falling Slowly”) was the magical thread that con-nected the plot and punctuated its most emotional moments. After all of this, then, it might seem like it would feel out of place on the Broadway stage (returning to Denver May 24 – 29), not necessarily known for subtlety and intimacy. But like the movie, the magic lies in the music and in the people who are playing it. “once has a very huge fan base for the movie and these songs,” said Music Super-visor and Orchestrator Martin Lowe. “[It’s] a huge responsibility to me and to the cast, to deliver those songs to the audi-ence as people remember them while still giving them something that’s new.” The actors have gotten to bond as a band as well as a company. The excite-ment to perform as musicians is palpable in the show. “The fact that we put all of our feeling and love into our instruments, you can sense it in the air,” said Cristin Milioti, who starred in the original Broadway produc-tion. “I have never been lifted so much by an action on stage as I have playing an instrument, making a sound.” We invite you to be lifted with the cast on a journey into the passionate, magical story of once.

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30 denvercenter.org

“ For five years, we’ve sponsored the [DCPA’s Saturday Night Alive] silent auction and helped raise thousands of dollars for Arts in Education programs.… We appreciate the opportunity to align our bank with this important access to the arts.”

— BILL SULLIVAN, CSBT PRESIDENT & CEO

AAt Colorado State Bank and Trust (CSBT) we believe that people do business with people they like and respect. It’s about similar values. “That’s why we are pleased to support the Denver Center for the Performing Arts and Saturday Night Alive,” said Bill Sullivan, CSBT President and CEO. “For five years, we’ve sponsored the silent auction and helped raise thousands of dollars for Arts in Education programs. The DCPA uses proceeds to take arts to the classroom, so in many cases, children are seeing a theatre performance for the first time. We appreciate the opportunity to align our bank with this important access to the arts.” In 2003, CSBT joined forces with BOK Financial (BOKF), one of the top 25 U.S.–based banks. CSBT has served Colorado since 1908 and BOKF has also been in business for more than 100 years. This partnership enhances long-held mutual values. Today, CSBT has the sophisticated products, services and lending capacity of a large bank combined with the ability to deliver those solutions in a one-on-one, high touch, community-focused manner. “Clearly, we’re pleased to have this strength and flexibility,” said Bill. “We have the financial resources to support civic and community activities and the human resources to lend leadership and volunteer time to civic activities, nonprofit boards and community causes. It’s fair to say there’s strength in numbers. If the businesses that flourish here and the people who live and work here contribute as we can, we believe it’s time and money well spent.”

A PROUD SPONSOR OF DCPA’S SATURDAY NIGHT ALIVE SILENT AUCTION

APPRECIATE OPPORTUNITY TO ALIGN WITH THE ARTS

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LORI LAITMAN MAY 7|10|13|15 2016The 2015-2016 Season is sponsored by:Ken & Donna Barrow. The Scarlet Letter is sponsored by Kenneth and Donna Barrow, Dave and Pam Duke,Noël and Thomas Congdon, Jeremy and Susan Shamos, Joy Dinsdale and Daniel L. Ritchie.

Through literary discussion, poetry, music and more – Opera Colorado will explore the themes of The Scarlet Letter.

EVENT SERIES

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36 denvercenter.org

WONDERING ABOUT THE WEATHER?

CBS4 HAS YOU COVERED!

WWondering what to wear to work tomorrow or how next week’s snowstorm will affect your weekend plans? The CBS4 weather team has you covered! When you want to know where to go, what to do and what weather to expect, the place to turn to is CBS4 and www.cbsdenver.com. On CBS4 you’ll find the CBS4 weather team of Ed Greene, Justin McHeffey, Lauren Whitney, Dave Aguilera and Chris Spears giving you the latest updates every day, on air and online. You’ll also hear about all of the fun things to do in Denver as we cover local arts and entertainment with the latest music, movie, event and restaurant reviews. And as a proud supporter of the Denver Center for the Performing Arts, CBS4 continues to bring you the latest theatre coverage each season. Anytime you want more information, just click on www.cbsdenver.com. It’s instant access to fun day or night. Watch for the CBS4 Chevy Mobile Weather Lab, Colorado’s most technologically sophisticated moving weather station. The mobile weather lab travels everywhere and broadcasts live weather data instantly from even very remote locations so you can have the most up-to-date and accurate reports.

A PROUD SPONSOR OF DENVER CENTER FOR THE PERFORMING ARTS

(r-l) CBS4 Weather Team of Chris Spears. Justin McHeffey, Dave Aguilera, Ed Greene and Lauren Whitney

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for future generations.nature.org/colorado

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JUNE 18 - 19 | 2O16Conservatory Green at Stapleton Northfield

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38 denvercenter.org

AAt a time when the national theatre conversation is at last fixed on the sadly unchanging topic of gender disparity in American playwriting, the Denver Center’s 11th and largest annual Colorado New Play Summit turned into a veritable celebration of the woman’s voice. The two fully-produced world premiere plays that were presented for local and national audiences were written by women. Two of the four playwrights whose developing works were selected to be featured at this year’s Summit are women. The second-ever Local Playwrights’ Slam was curated by a company dedicated to supporting artistic contributions by women, and thus featured an all-female playwriting lineup. And the three teen playwrights whose works were chosen from a field of 212 statewide submissions to be presented in the third annual Regional

High School Playwriting Workshop and Competition are all Colorado female high-school students. “All of that gives me hope,” said Angela Astle, Executive Director of the Athena Project and host of the Local Playwrights’ Slam held in The Jones on February 13. “We’ve got a movement started that recognizes women are truly underrepresented in the American theatre. “Only 20 percent of all plays produced in this country are written by women, and we need to change that.” The 2016 Colorado New Play Summit, which last year expanded to two weeks to add additional development time and a second round of public readings, drew more local audiences and national industry leaders than ever before, with attendees coming from 25 states. Visitors represented companies ranging from The Roundabout

PHOTOS: 1. Members of the cast of Midwinter by Mat Smart 2. Guadalupe Zarate, Daniel Valdez, Cynthia Reifler Flores, and Vaneza Calderon rehearse American Mariachi by José Cruz González. 3. Tom Pearson and Zach Morris, Co-Artistic Directors of Third Rail Projects, and DCPA Playwriting Fellow Matthew Lopez at the Devised Work Panel 4. The cast and creative team of Two Degrees by Tira Palmquist 5. Commissioned Playwright Kemp Powers and actor Jason Delane. 6. Candy Brown, Josh Hartwell, and Jeffrey Neuman at the Regional New Play Development Panel. 7. Meet and Greet at the Summit 8. Colorado Playwright Rebecca Gorman O’Neill performs at the Local Playwrights’ Slam, curated and hosted by the Athena Project. Photos by John Moore.

11TH ANNUALCOLORADO NEW PLAY SUMMIT

B Y J O H N M O O R E

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Theatre Company in New York, the Alley Theatre in Houston, the Arena Stage in Washington D.C., the Oregon Shakespeare Festival and, closer to home, the Creede Repertory Theatre, Su Teatro and Arvada Center. They were treated to fully staged performances of Theresa Rebeck’s The Nest, Tanya Saracho’s FADE, the four featured Summit readings, several panel discussions hosted by DCPA Theatre Company Playwright in Residence Matthew Lopez (The Legend of Georgia McBride) and a thrilling demonstration of the DCPA’s newest commission — Third Rail Projects’ upcoming immersive, experiential new work slated for May. The four featured Summit readings took audiences from 1616 England to present-day South Pole. Here’s a brief look at each:

• José Cruz González’s American Mariachi is a new piece inspired by women who overcame great obstacles to form their own mariachi groups in Los Angeles during the male-dominated 1970s.

• Lauren Gunderson’s The Book of Will tackles the history right after Shakespeare died by telling how his friends and fellow actors valiantly managed to publish the first folio of The Bard’s great works.

• Tira Palmquist describes her Two Degrees as “a cheery story about climate change.” Her main character is a female climate scientist but her play is really about grief, she said. “Grief for the planet, grief at large, grief on a more personal scale.”

• Mat Smart’s Midwinter was inspired by his time working at a research center on Antarctica. “One thing that’s interesting about the station is that the

people there fall in and out of love and have these epic relationships for, like, two weeks — and it’s very genuine,” said Smart, who calls his story a riff on A Midsummer Night’s Dream.

DCPA Theatre Company Producing Artistic Director (and Summit founder) Kent Thompson’s burgeoning commission program was on full display at the Summit as well. Commissioned playwrights are those who have been contracted by the Denver Center to write a new play for Thompson’s first right of refusal. Among those commissioned playwrights in attended included several handpicked to participate in the second-weekend Playwrights’ Slam. They included some of the biggest names in American playwriting, including Robert Schenkkan (All the Way, The 12), Kemp Powers (One Night in Miami…), Regina Taylor (Crowns), Rogelio Martinez (When Tang Met Laika), Anne Garcia-Romero, Lauren Yee and Andrew Hinderacker. The 2016 Summit also will go down in history as the first time an event held at the DCPA was livestreamed on HowlRoundTV, a peer-produced online network. Audiences around the world watched three Summit panel conversations on their computers. One featured Third Rail Projects founder Zach Morris (a Colorado native) and co-Artistic Director Tom Pearson talking about the company’s upcoming partnership with the DCPA. HowlRoundTV also broadcast a dialogue hosted by Lopez about the playwriting process, as well as the Playwrights’ Slam on February 19. The Colorado New Play Summit has grown into one of the nation’s premier showcases of new plays. In its first decade, 44 new plays were introduced at the Summit, and more than half have returned as fully staged Theatre Company productions.

THANK YOU TO OUR SUMMIT SPONSORS: Joy S. Burns, Clos du Bois Winery, Terry & Noel Hefty, Karolynn Lestrud, Robert & Carole Slosky and Daniel L. Ritchie. Special thanks to the Harold & Mimi Steinberg Charitable Trust for its continued support of new play development at the Denver Center for the Performing Arts.

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DCPAScott Shiller .............................................................President/CEO Eve Gordon ..........................Executive Assistant to the CEO

BROADWAY & CABARETJohn Ekeberg ..........................Executive Director BroadwayAlicia Giersch ....................................................General ManagerAlyssa Chacon ............ Operations Business AdministratorAbel Becerra ................................. Technical Director, Cabaret

DEVELOPMENTDavid Zupancic ................................Director of Development Shawn Bayer ...................................................Associate DirectorChelley Canales ..................................Development AssociateMegan Fevurly ....................................Development AssociateMelissa Olson .......................................Development Assistant Marc Ravenhill ................................................Associate Director Valerie Taron ...................................................Associate Director

EDUCATIONAllison Watrous .......................................Director of EducationJessica Austgen ...............................................Teaching Artist &

Shakespeare CoordinatorStuart Barr .................................Education Technical DirectorClaudia Carson ........................................Bobby G Coordinator Leslie Channell ............................................ Education RegistrarPatrick Elkins-Zeglarski ...............................................Education

Curriculum ManagerLinda Eller .............................................................................LibrarianTim McCracken.....................................................Head of ActingJannett Matusiak ...........................................Business ManagerMichelle Patrick ..................Corporate Training CoordinatorDavid Saphier .............School Coordinator/Teaching ArtistRachel Taylor ........ .At-Risk Coordinator & Teaching Artist Chloe McCleod, Justin Walvoord, Robyn Yamada ................................................... Teaching Artists

FACILITIES & EVENT SERVICESClay Courter ....Vice President, Facilities & Event ServicesJames Babcock, Dwight Barela,Clint Flinchpaugh, Michael Kimbrough ............... Engineers Quentin Crump ..............................................Security SpecialistTom Duffin ....................................Manager, Event Technology Caitlin Glasgo ...............................................Events Coordinator Stori Heleen ................................Event Technology Specialist Jaymes Kimbrough .................Event Technology Specialist Clint King ........................................................Security SupervisorTerry Koch ..........................Director, Facilities ManagementJohn Lower .............................................................Chief EngineerBrian McClain ............................................ Custodial SupervisorTara Miller, Danielle Porter, Brittany Schoede ............................................Events ManagersBrook Nichols ...............................Director, Event Technology Alyssa Stock ...................................Assistant Project ManagerWill Stowe ....................................Event Technology SpecialistTara Wenger ...Facilities/Event Services Business Manager Dawn Williams ....................................Director, Event Services Juan Loya, Carmen Molina, Blanca Primero, Judith Primero, Angeles Reyes Soto, Francisco Trujillo ...........................................................Custodians

MARKETING & SALESJennifer Nealson .................................Chief Marketing Officer Heidi Bosk ........................ Senior PR & Promotions ManagerNathan Brunetti ..................................................Digital ManagerKim Conner ........................................................Graphic DesignerFlora Jane DiRienzo ..............Director of Strategic ProjectsBrenda Elliott .....................................Senior Graphic DesignerBrianna Firestone ...................................Director of MarketingSimone Gordon ..................................................Project ManagerHope Grandon .........................................PR & Events ManagerJeff Hovorka ............................ Director of Sales & MarketingJennifer Kemps .......................................Group Sales ManagerEmily Kent .....................................................Marketing ManagerDavid Lenk.............................................................Video ProducerEmily Lozow ..........................................Marketing CoordinatorAdam Lundeen..................................... Website Administrator

Kyle Malone ...................................................................Art DirectorCarolyn Michaels ..........................................................CopywriterJohn Moore ...............................................Senior Arts JournalistAdam Obendorf ..........................................Senior Art DirectorBeth Osolin .....................Group Sales Business CoordinatorAllison Barber Pasternak .... Executive Assistant to the CMODonna Rossi ...........................Customer Experience DirectorJoseph Schurwonn......................................... Financial AnalystJill Schwager ..............Education Group Sales CoordinatorRob Silk ................................................................ Creative DirectorSuzanne Yoe ..........................Director of Marketing Services

& Cultural AffairsTHEATRE SERVICES Carol Krueger .................................Theatre Services ManagerAdam Alberti, Ethan Aumann, Nora Caley, Hadley Kamminga-Peck, LeiLani Lynch, Gregory Melton, Douglas Murphey, Joyce Murphey, Margaret Ohlander, Dylan Phibbs, Valerie Schaefer, Mica Ward ....................Theatre Company House ManagersTICKETING SERVICESJennifer Lopez ........................Director of Ticketing ServicesKirk Petersen ..........................................Assoc. Dir. of Ticketing

Services – Patron RelationsDavid Smith ............................................Assoc. Dir. of Ticketing

Services – Subscription ServicesJessica Bergin, Katie Clow-Pollard, Tristan Jungferman, Laura Kirby ......Box Office ManagersWilliam Dutton III..................................VIP Ticketing ManagerMicah White .............................................Subscription ManagerMalcolm Brown, Kevin Dykstra, Edmund Gurule, Elisabeth Link, Molly McDonough .....................Show LeadsKirsten Anderson, Ashley Brown, Scott Lix, Gregory Swan .......................Subscription AgentsMaggie Blumer, Rena Bugg, D.J. Dennis, Nicole Giordano, Jennifer Gray, Roger Haak, Rebecca Hibbert, Joel Innes, Alex Jannen, Noah Jungferman, Megan Kelly, Alia Kempton, Michael Lang, Daniel Lindsey, Brett Martinez, Shane Rodriguez, Hayley Solano, Ereece Thomas, J.P. Velez, Tomas Waples ....................................Ticket Agents

SHARED SERVICESVicky Miles ...............................................Chief Financial OfficerJennifer Jeffrey ..................................Senior Financial AnalystACCOUNTINGJennifer Siemers ..................................Director of AccountingSara Brandenburg, Michaele Davidson ....................................Senior AccountantsGeorgette Maddox ..........................................Payroll SpecialistKim Stewart .......................................................Staff AccountantHUMAN RESOURCESRegina Matthews ........................Director Human ResourcesBrian Carter ..................................Human Resources ManagerDonald Gabenski ............................................................ReceptionJamie Hawkins .....................................................HR Coordinator Monica Robles ...........................................Mailroom SupervisorINFORMATION TECHNOLOGYChris Calenzo ..................................................Help Desk AnalystJayson Cowley......................................Network AdministratorJim Hipp ................................................Associate Director of ITChristopher Hoge ......................VoIP/System AdministratorBobby Jiminez ........................ Senior Audienceview AnalystJohn H. Voorheis ...........................Manager of Infrastructure

THEATRE COMPANY Kent Thompson .......................... Producing Artistic Director ADMINISTRATIONCharles Varin ..................................................Managing DirectorRyan Meisheid ..........................Associate Managing DirectorAllison Taylor .................................................Company ManagerKerri Mirtsching ................................... Business Administrator Alie Quistberg ..........................Assistant Company Manager ARTISTICBruce K. Sevy ..............Director of New Play DevelopmentDouglas Langworthy ...........Literary Manager/DramaturgChad Henry ......................................................Literary AssociateEmily Tarquin ..................................................Artistic Associate/

New Play Coordinator

Grady Soapes .............................................Artistic CoordinatorEli Carpenter, Matthew Lause ........................ Artistic InternsPRODUCTIONJeff Gifford ..............................................Director of ProductionMelissa Cashion ...................Associate Production ManagerJulie Brou ..................Production & Artistic Office ManagerScenic DesignLisa M. Orzolek ...............................Director of Scenic DesignMatthew Plamp, Nicholas Renaud..............................Scenic Design AssistantsLighting DesignCharles R. MacLeod ..................................Director of LightingLily Bradford ....................................Lighting Design AssistantReid Tennis .............................................. Production ElectricianMultimediaCharlie I. Miller...................... Resident Multimedia SpecialistTopher Blair ...........................Multimedia Assistant/OperatorSound DesignCraig Breitenbach ..........................................Director of SoundTyler Nelson ......................................................... Sound DesignerAlex Billman, Frank Haas .............................Sound OperatorsStage ManagementChristopher C. Ewing ...............Production Stage ManagerMatthew Campbell, Rachel Ducat, Aja M. Jackson, Kurt Van Raden ................Stage ManagersD. Lynn Reiland ........................................Production AssistantCorin Ferris, Lexi Holtzer, Kristen Littlepage........... Stage Management ApprenticesScene ShopEric Rouse .........................................................Technical DirectorRobert L. Orzolek ....................Associate Technical DirectorJosh Prues ................................... Assistant Technical DirectorAlbert “Stub” Allison, Louis Fernandez III .........................................Lead TechniciansJustin Hicks, Brian “Marco” Markiewicz, Keli Sequoia, Mike Van Aartsen, Ross Wick ........................................................Scenic TechniciansProp ShopRobin Lu Payne ............................................Properties DirectorEileen S. Garcia ........................Assistant Properties DirectorJamie Stewart Curl, Charles Dallas, David Hoth, Georgina Kayes, Katie Webster .....................Props ArtisansPaint ShopJana L. Mitchell ..........................................Charge Scenic ArtistMelanie Rentschler .......................................Lead Scenic ArtistRachael Gibson ............................................................Paint InternCostume ShopJanet S. MacLeod .........................................Costume Director/

Costume Design AssociateMeghan Anderson Doyle .......Costume Design AssociateCarolyn Plemitscher, Louise Powers, Jacki Armit, Jackie Scott .................................................DrapersCathie Gagnon ................................................................First HandSheila P. Morris...........................................................................TailorKelly Jones, Ingrid Ludeke, Jenny Milne-Wright ............................................................ StitchersCostume CraftsKevin Copenhaver ...........................Costume Crafts DirectorShirleen DiFonzo ............................Costume Crafts Assistant WigsDiana Ben-Kiki ..............................................................Wig MasterHouse CrewDoug Taylor* .........................................Supervising StagehandMariah Becerra*, Jim Berman*, Jennifer Guethlein*, Stephen D. Mazzeno*, Miles Stasica*, Tyler Stauffer, Matt Wagner* (*IATSE Local 7 Stagehands) ............................... StagehandsWardrobeBrenda Lawson .......................................Director of WardrobeMaria Y. Davis, Taylor Malott ...........................Wig AssistantsRobin Appleton, Amber Donner, Kelly Jones, Anthony Mattivi, Tim Nelson, Lisa Parsons, Alan Richards ...................................................................... Dressers

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