Download Musketeers 2012 - Denver Center for the Performing Arts

t h e
Volume XXIV
n
d e nv e r
c e n t e r
f o r
Drew Cortese • Photo by Terry Shapiro
Clint King • Photo by Kyle Malone
a r t s
La Cage Aux Folles
September - October 2012
Fences
p e r f o r m in g
ALSO PLAYING…
NUMber 2
August Wilson’s
t h e
The Three
Musketeers
The Three Musketeers
YES,
WE HAVE
ry Shapiro
• Photo by Ter
NO HORSES!
se
Drew Corte
by Douglas Langworthy
Moving Alexandre Dumas’ The
Three Musketeers to the stage is
all about choices. The first one
is about those pesky horses.
NO HORSES!
N
o hobby horses, no horse puppets, no I’ll-take-the-head-andyou-take-the-rear horses and
of course no live horses. This was one
of the first decisions my co-adapters,
Linda Alper and Penny Metropulos,
and I agreed upon when we sat down to
envision our stage version of Alexandre
Dumas’ thrilling adventure novel, The
Three Musketeers. The many daring
trips on horseback would simply have
to be left to the many Musketeers films
where they rightly belong.
Transporting a novel to the stage involves a smorgasbord of similar choices
that, taken cumulatively, give an adaptation its shape and feel. These choices
fall into four basic categories: what gets
kept, what gets jettisoned, what gets
added and what gets transformed. And
when, as in this case, you’re trying to
squeeze a 700-page novel into a twoand-a-half-hour play, there’s a heavy
emphasis on what gets left out.
This adaptation was originally created
for the Oregon Shakespeare Festival
to be performed on their 2,000-seat
outdoor Elizabethan Stage. One of the
givens was to think big; this was no
time for minimalism. So in addition
to calling for a large cast and multiple
18
A P P LA U SE
d e n v e r c enter. or g
swordfights, we committed ourselves
to telling the entire plot of the novel,
from d’Artagnan’s arrival in Paris to his
receiving a lieutenancy from Cardinal
Richelieu.
The novel divides roughly into two
halves that could be titled “The Affair of the Diamond Studs,” in which
d’Artagnan saves the Queen’s honor,
and “Milady’s Revenge,” which speaks
for itself. Both parts are needed to tell
d’Artangan’s story fully. If the 1948
Gene Kelly-June Allison film version
was able to condense the whole novel to
two hours of screen time, then we could
surely do it on stage in two-and-a-half.
(We certainly didn’t want to follow the
lead of Richard Lester who in 1973
made two separate films out of the
material.)
he three of us saw the novel as a
classic hero’s journey, in which
a brave but inexperienced young
man (here, d’Artagnan) is put through
a series of tests, some of which he fails,
to emerge older and wiser by story’s
end. This meant keeping our eyes on
d’Artagnan at all times. What is he
doing, what is he learning and how are
his three mentors—Athos, Porthos and
Aramis—helping him? Where does he
succeed and where does he stumble?
T
How does this scene or that character
relate to d’Artagnan’s journey?
n terms of overall approach to the
material, we wanted our version to
honor Dumas’ tone, which is both
lighthearted and romantic. The Three
Musketeers is first and foremost an
adventure, and we wanted the plot to
gallop apace (but without horses!). That
said, it was equally important to try to
carve out enough stage time to flesh
out all of the major characters as much
as possible. For example, each of the
musketeers has or had a love interest,
and each man’s approach to love reveals
aspects of his true colors.
Although we couldn’t retain each of
the musketeers’ serving men, we kept
d’Artagnan’s man Planchet, because he
not only plays a critical role in one of
the plot lines, he also provides our hero
with a humorous sidekick, much as
Sancho Panza does for Don Quixote.
We wanted to embrace the novel’s
unabashed romanticism and avoid
imposing a contemporary spin. This
affected our use of language; we strove
to give the dialogue a certain heroic
swagger, taking our lead from Dumas’
own elevated yet breathless style.
To economize narratively, we decided
to start the story in Paris, even though
I
the book begins with d’Artagnan bidding
farewell to his parents in Gascony in
southern France. In that scene his mother
gives him a special salve to cure wounds
and his father gives him his sword and
an odd-looking yellow horse (which we
conveniently didn’t have to show). We
also left out the second scene in which
d’Artagnan catches a glimpse of the Cardinal’s associates, Rochefort and Milady.
In that scene d’Artagnan is taunted about
his yellow horse, so again, by skipping
this scene, we again sidestepped the
dreaded horse conundrum.
ne of the book’s themes that
appealed to me was a larger,
geo-political one. Many of the
characters in the play are historical: King
Louis XIII was just eight-and-a-half
when his father, Henry IV, was assassinated and Louis had the crown foisted
upon him. His mother, Marie de Medicis,
became the Regent of France and later,
as King Louis grew into his role as king,
he began to lean heavily on master politician Cardinal Richelieu, who famously
ushered in the modern nation state.
At the beginning of the book and our
play, the injured Athos, who’s just been
handed d’Artagnan’s mother’s salve,
says to the youth: “By my faith, this is
the proposition of a perfect knight. In
the days of Charlemagne, every man of
honor spoke as you do. Unfortunately,
young man, we do not live in the times
of that great emperor, but in those of
Cardinal Richelieu.” The Age of Chivalry, embodied by the musketeers, was
being replaced by the Age of Politics.
A side note: why are characters so
associated with the sword called musket-
O
We wanted to embrace
the novel’s unabashed
romanticism and
avoid imposing a
contemporary spin.
eers? Muskets, we found out, were
developed to pierce armor and were used
at this time side by side with the sword.
(The term “lock, stock and barrel” refers
to the main parts of a musket.) So to
give the musket its due, we included the
laborious step-by-step instructions on
loading and firing the gun.
Another important decision we made
after some trial and error was not to use
a narrator. This device, adopted by many
adaptors of fiction to drama, just seemed
to slow the story down for us. Why
not keep the action moving forward by
absorbing any needed exposition into the
dialogue itself?
“Show, not tell” became our watchword.
And then there were the scene transitions. Shakespeare’s convention when
changing scenes was to have each new
scene start with new characters, which
left open the possibility for change of
place or time between the exit of one
group and entrance of another. Because
of our focus on d’Artagnan, he often appeared at the end of one scene and at the
start of another. That fact, along with our
desire to keep the story flowing while
resetting the stage, led us to one of our
biggest inventions—what we came to
call “the nugget.”
e decided to find bits of
authentic period text to insert
in these junctures—text that
related thematically to the scene we
were moving in or out of. Inserted as
a buffer between the scenes, the “nuggets,” through a sort of dramatic sleight
of hand, give the illusion that the play is
advancing full steam ahead even though
set pieces might be coming or going.
Of course we relied on the counsel of
experts wherever we could find them.
There is one moment at the end of
the play, silent but powerful, that was
inspired by the ten-year-old son of one
my collaborators. At the conclusion of
the first big sword fight, d’Artagnan
is stripped of his father’s sword by the
Cardinal’s men. Leaping ahead to the
end of the play, d’Artagnan, as written in
W
the book, receives a lieutenancy from the
Cardinal and leaves his office. Our budding dramaturg asked us why he didn’t
get his father’s sword back, now that he
had made peace with the Cardinal. So,
thanks to one boy’s narrative instincts,
that is now exactly what happens.
peaking of my collaborators, it
seemed only fitting that there were
three of us. We each brought our
own unique perspective to the table:
Linda, the actress, had a particular gift
for writing dialogue; Penny, the director,
kept her eye on the big picture and staging issues; I, as the dramaturg, concerned
myself with structure and editing. In
practice, our roles were more fluid than
this, but our three-pronged partnership
provided a stable footing and a built-in
critical sounding board for the project.
So, if you feel so inspired, pick up
Dumas’ novel and give it a go. The book
may be long, but it’s a fast and fun read.
Close your eyes and dream up your own
personal adaptation. What would you
keep, toss, add or change? How would
you cast it? And perhaps most importantly, how would you handle the horses? n
The Three Musketeers
Transporting a novel to the stage involves a smorgasbord of similar
choices that, taken cumulatively, give an adaptation its shape and
feel. These choices fall into four basic categories: what gets kept,
what gets jettisoned, what gets added and what gets transformed.
S
Douglas Langworthy is the Literary
Manager of the Denver Center Theatre
Company — and, of course, one of this
play’s adaptors.
Sept 21 – Oct 21 • Stage Theatre
Producing Partner: Isabelle Clark
Signed & Audio Described • Oct 14, 1:30pm
Tickets: 303.893.4100
Toll-free: 800.641.1222 • TTY: 303.893.9582
Groups (10+): 303.446.4829 • denvercenter.org
303.893.4100
A P PLA U SE
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20
APPLAUSE
d e n v e r c enter. or g
Marc Beshany
Managing Director –
Market Manager
Marc
Beshany
Wells
Fargo
Advisors
Managing Director –
303-804-3888
Market Manager
Wells Fargo Advisors
303-804-3888
Denver Center Theatre Company
Resident Professional Theatre • Kent Thompson, Artistic Director
ADAPTED BY
Linda Alper, Douglas Langworthy and Penny Metropulos
FROM THE BOOK BY Alexandre Dumas
SCENIC DESIGN BY
COSTUME DESIGN BY
LIGHTING DESIGN BY
SOUND DESIGN BY
Tom Buderwitz
B. Modern
Charles R. MacLeod
Craig Breitenbach
FIGHT DIRECTION BY
MUSICAL COMPOSITION BY
Dance Choreography by
Gregory Hoffman
Rodolfo Ortega
Art Manke
DRAMATURGY BY
VOICE AND DIALECT COACHING BY
Casting by
Douglas Langworthy
Kathryn G. Maes, Ph.D
Elissa Myers Casting/
Paul Fouquet, CSA
PRODUCTION MANAGER
STAGE MANAGER
ASSISTANT STAGE MANAGER
PRODUCTION INTERN
Edward Lapine
Kurt Van Raden*
Matthew Campbell*
Maxie Bilyeu
FIGHT CAPTAIN
DANCE CAPTAIN
ASSISTANT DIRECTOR
Artie Ray
Chiara Motley*
Bryce Russell Alexander
ASSISTANT TO THE
CHOREOGRAPHER
Joshua Chase Cold
PRODUCING PARTNER
Isabelle Clark
DIRECTED BY
Art Manke
On The Three Musketeers the Denver Center Theatre Company’s Production Staff is responsible for
costumes, wigs, lighting, props, furniture, scenic construction, scenic painting, sound and special effects.
Produced by special arrangement with Playscripts, Inc.
(www.playscripts.com)
The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.
THE STAGE THEATRE • SEPTEMBER 21 – OCTOBER 21, 2012
2012/13
Season
Sponsors
The Three Musketeers CAST
Soldiers and Citizens
Captain de Tréville.......................................................................................LAWRENCE HECHT*
Athos..................................................................................................................JAMISON JONES*
Porthos........................................................................................................................ MIKE RYAN*
Aramis................................................................................................................ MARTIN YUREK*
D’Artagnan..................................................................................................... BEN ROSENBAUM*
Planchet.................................................................................................... RICHARD LICCARDO*
M. Bonacieux................................................................................................... LARRY PAULSEN*
Constance (Mme. Bonacieux)................................................................... SOFIA JEAN GOMEZ*
Mme. de Cocquenard..................................................................................... JEANNE PAULSEN*
Abbess............................................................................................................ JEANNE PAULSEN*
Milady, the Countess de Winter.................................................................. KATIE MACNICHOL*
Kitty, servant to Milady.............................................................................. JAMIE ANN ROMERO
The Count de Wardes................................................................................ BENAIAH ANDERSON
Lubin, servant to de Wardes..................................................................... John Tourtellotte
Jussac, a member of the Cardinal’s Guard.....................................................GEOFFREY KENT*
Biscarrat, a member of the Cardinal’s Guard......................................................BEN REZENDES
Grimaud, keeper of the Pineapple Inn..............................................................DONNY REPSHER
Bazin, keeper of the Golden Lily Inn.............................................................ANTHONY BIANCO
Executioner....................................................................................................J. Paul Boehmer*
The Court in France
King Louis............................................................................................. CHARLES PASTERNAK*
Queen Anne......................................................................................................... SARAH NEALIS*
Cardinal Richelieu............................................................................................... JOHN HUTTON*
Count de Rochefort............................................................................................. SAM GREGORY*
Mlle. D’Astrée................................................................................................ SAMANTHA LONG
Mme. Chevreuse............................................................................................. CHIARA MOTLEY*
In England
The Duke of Buckingham..............................................................................J. PAUL BOEHMER*
Patrick, servant in Buckingham’s court..................................................... Zachary Andrews
Reilly................................................................................................................ LARRY PAULSEN*
John Felton............................................................................................ CHARLES PASTERNAK*
Ensemble
BENAIAH ANDERSON, ZACHARY ANDREWS, ANTHONY BIANCO, SOFIA JEAN GOMEZ*,
GEOFFREY KENT*, SAMANTHA LONG, KATIE MACNICHOL*, CHIARA MOTLEY*,
SARAH NEALIS*, CHARLES PASTERNAK*, JEANNE PAULSEN*, LARRY PAULSEN*,
BEN REZENDES, DONNY REPSHER, JAMIE ANN ROMERO, JOHN TOURTELOTTE
UNDERSTUDIES
Understudies never substitute for the listed players unless
a specific announcement for the appearance is made at the time of the performance.
BENAIAH ANDERSON (Count de Rochefort, Jussac), ZACHARY ANDREWS (King Louis, Musketeer, John Felton,
The Duke of Buckingham), ANTHONY BIANCO (D’Artagnan, Planchet), LOGAN ERNSTTHAL* (Captain de
Tréville, Bonacieux, Reilly, Cardinal Richelieu), GEOFFREY KENT* (Porthos, Athos, Aramis), SAMANTHA LONG
(Mme. de Cocquenard, Abbess), CHIARA MOTLEY* (Queen Anne, Milady, the Countess de Winter), MACKENZIE
PAULSEN (Mme. Chevreuse, Kitty, Mlle. D’Astree), ARTIE RAY (The Count de Wardes, Lubin, Biscarrat, Patrick,
Bazin, Grimaud), JAMIE ANN ROMERO (Constance)
Place & Time: France & England 1625 | There will one 15 minute intermission.
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
KENT THOMPSON (Artistic Director) is in his
eighth season as Artistic Director of the Denver
Center Theatre Company. In Denver he directed
productions of The Taming of the Shrew, The Liar,
A Midsummer Night’s Dream, Othello, Eventide,
Plainsong, Irving Berlin’s White Christmas, Amadeus, King Lear and Measure for Measure.
Prior to moving to Denver he was Producing
Artistic Director of the Alabama Shakespeare
Festival for 16 years. His production of Macbeth
was selected by the National Endowment for the
Arts (NEA) to tour 13 US military bases in the
fall of 2004. In 1991 Kent created the Southern
Writers’ Project (SWP), designed to commission
and develop new plays that presented 16 world
premieres during his tenure.
Two of Kent’s major accomplishments since
moving to Denver have been the Colorado New
Play Summit, a premier national festival for
new American plays, and the establishment of
the Women’s Voices Fund, an endowment that
supports the development of new plays by women.
He served for eight years on the Board of
Directors for Theatre Communications Group
(TCG) and as its president for three years. He has
served on peer review panels for the NEA (also
chair), TCG, The Pew Charitable Trusts, The
Fulbright Scholars Program, The Wallace Funds,
The Doris Duke Foundation and The Andrew W.
Mellon Foundation.
BRUCE K. SEVY (Associate Artistic Director
and Director of New Play Development)
has directed such memorable Denver Center
productions as Heartbreak House, Mariela in
the Desert, The Voysey Inheritance, A Prayer for
Owen Meany, Doubt, All My Sons, Master Class,
Mrs. Warren’s Profession, A Christmas Carol,
Cat On a Hot Tin Roof, The Little Foxes, Molly
Sweeney, Amy’s View, Valley Song, Pierre, Dinner
With Friends, and The Cripple of Inishmaan.
As Director of New Play Development,
he oversees both the artistic and practical
components of DCTC’s successful Colorado
New Play Summit, including commissions from
outstanding American playwrights.
He has directed for Arizona Theatre Company,
Cleveland Play House, Lark Play Development
Center, Kansas City Repertory Theatre, Virginia
Stage Company, Alabama Shakespeare Festival,
Northlight Theatre, San Jose Repertory Theatre,
Eugene O’Neill Theater Center, Pioneer
Theatre Company, A Contemporary Theatre,
Seattle Repertory Theatre, Empty Space and
Intiman Theatre in Seattle, the Kimo Theatre in
Albuquerque, and Utah Shakespearean Festival.
His popular production of 2 Pianos, 4 Hands has
been seen at more than 20 theatres nationally,
including DCTC’s successful 2003 production.
CHARLES VARIN (Managing Director) and his
team are responsible for administrative, financial
and business operations related to producing
DCTC’s season of productions and other artistic
and educational initiatives. Charles has been
fortunate to work in theatre his entire career
having started as a stage manager for theatre and
opera before taking on management roles.
EDWARD LAPINE (Production Manager)
directs the company’s design, shop and technical
areas. His other professional work included
positions in technical management at A.C.T. in
San Francisco, The Metropolitan Opera, Santa Fe
Opera, and South Coast Repertory in Costa Mesa,
California. Ed has worked in film production in
Southern California and also worked outside of
the arts as a partner in a company developing
products in the nanotechnology field. He holds a
BA degree from Williams College and an MFA
degree in Production Management from the Yale
School of Drama.
Huntington Theatre, Minneapolis Children’s
Theatre, Berkeley Repertory Theatre, San Jose
Repertory Theatre, Magic Theatre, Williamstown
Theatre Festival, San Francisco Opera,
Shakespeare Santa Cruz Festival, California
Shakespeare, San Francisco Shakespeare
Festival, Lake Tahoe Shakespeare…(over 300
productions). Special/Awards/Training: Resident
Artist at American Conservatory Theatre 1996–
2004, Founder of Dueling Arts International, True
Edge Pictures and True Edge Entertainment, Dean
Goodman and Bay Area Theatre Critics Award.
KATHRYN G. MAES, PH.D (Voice and Dialect
Coach: Fences and The Three Musketeers). At
the Denver Center: Heartbreak House, World
Premiere Great Wall Story, The Taming of the
Shrew, The Adventures of Tom Sawyer, To Kill
a Mockingbird, Ruined, A Christmas Carol,
A rtistic s ta f f
Dracula, The 39 Steps, When Tang Met Laika,
The Voysey Inheritance, Dusty and the Big Bad
BRYCE RUSSELL ALEXANDER (Assistant
World, The Diary of Anne Frank, You Can’t Take
Director: The Three Musketeers). At the Denver
It With You, 1001, Season’s Greetings, Amadeus,
Center: Debut. Other Theatres: PHAMALY
The Clean House, The Ladies of the Camellias.
Theatre Company (Director - The Elephant Man, Other Theatres: Royal Shakespeare Company,
Cyrano de Bergerac), Three Leaches Theatre (Di- Royal National Theatre (Arthur Miller’s American
rector - Under My Box Spring - Regional Premier, Clock), Sir Peter Hall Company’s summer
Sir Ronald DeMimsy), Aurora Fox Theatre (Direc- season. Special/Awards/Training: Voice and
tor - Charlotte’s Web), University of Colorado
Dialect Coach for numerous professional theatre
(Director - Orphans), Mizel Arts and Culture
companies in the United States, Head of Voice
Center (Director - Romeo & Juliet), Colorado
at the Denver Center Theatre Company and the
Shakespeare Festival (Asst. Director - Treasure
National Theatre Conservatory 1989 to 1992.
Island, It’s a Wonderful Life), Paragon Theatre
Ph.D. in Theatre Arts, University of Pittsburgh;
(Asst. Director - Parlour Song). Special/Awards/
Advanced Diploma in Voice Studies, Central
Training: Associate Artistic Director of the
School of Speech and Drama, London, England.
PHAMALY Theatre Company. Cum Laude BFA
Theatre Performance and BA English Literature
ART MANKE (Director: The Three Musketeers).
from the University of Colorado, Boulder (2011). At the Denver Center: World Premiere Great Wall
Story, The 39 Steps, The Miracle Worker. Other
LOU BELLAMY (Director: Fences). At the
Theatres: Bach at Leipzig, Noises Off, Taking
Denver Center: Debut. Other Theatres: Penumbra Steps, Wind in the Willows, Lucky Duck (South
Theatre, Saint Paul (The Amen Corner, Two
Coast Repertory); Fallen Angels, The Constant
Trains Running, I Wish You Love, Ma Rainey’s
Wife, Private Lives, Star Quality (Pasadena
Black Bottom, Black Pearl Sings!, Radio Golf,
Playhouse); Sense and Sensibility (Milwaukee
Fences, The Piano Lesson, A Raisin in the Sun;
Repertory Theatre); Oregon Shakespeare Festival,
Indiana Repertory/Cleveland Play House (Radio
Laguna Playhouse, Magic Theatre, Mark
Golf); Signature Theatre Company, New York
Taper Forum, Seattle Repertory Theatre, Old
(Two Trains Running); Kansas City Repertory
Globe Theatre, Chicago Shakespeare Theatre,
Theatre/Arizona Theatre Company (Jitney);
American Players Theatre, Shakespeare Santa
The John F. Kennedy Center for the Performing
Cruz, Connecticut Repertory Theatre, among
Arts (I Wish You Love and Ma Rainey’s Black
others. TV/Film: “Eve,” “One On One,” “Hannah
Bottom). Special/Awards/Training: OBIE for Best Montana.” Special/Awards/Training: Recipient
Direction, McKnight Distinguished Artist Award, of five Los Angeles Drama Critics Circle
IVEY Lifetime Achievement Award, Doctor of
Awards. A co-founder and former artistic director
Arts Hamline University, The W. Harry Davis
(1991-2001) of A Noise Within. BFA from the
Foundation Award for Leadership in Afrocentric
University of Illinois and an MFA from the
Education, Minnesota Martin Luther King
American Conservatory Theatre.
Humanitarian Award, Winona Lee Fletcher Award
for Outstanding Achievement and Excellence in
ELISSA MYERS CASTING, Paul Fouquet,
Black Theatre.
CSA just completed casting for PBS movie
“Souls on Fire” to air in 2013. Previously cast
GREGORY HOFFMAN (Fight Director: Fences 7 Broadway shows, including Tony-nominated
and The Three Musketeers). At the Denver Center: “Having Our Say” and 25 Off-Broadway Shows.
The Taming of the Shrew. Other Theatres: The
Additionally, three “Movies of the Week” (with
Tyne Daly, Claire Danes, Christopher Reeve,
Ed Asner and Daniel J. Travanti), 5 pilots and 2
PBS specials by Wendy Wasserstein and Terrance
McNally (with Bernadette Peters, Nathan Lane,
Blythe Danner, Spike Lee and Paul Sorvino), the
Peabody Award-winning mini-series “Liberty”
as well as the Emmy Award-winning mini-series
“Benjamin Franklin,” and “John & Abigail Adams.” Also cast mini-series “God In America,”
“The People v. Leo Frank,” “Dolley Madison”
and “Louisa May Alcott.” Some regional casting
includes Denver Center, Geva Theatre, Cleveland
Playhouse, Alabama Shakespeare Festival, Magic
Theatre. The office has so far received 13 nominations and has won 3 Artios Awards for “Outstanding Achievement in Casting.”
D E SI GNE RS
CRAIG BREITENBACH (Sound Designer: The
Three Musketeers). At the Denver Center: Ring
of Fire: The Music of Johnny Cash, A Christmas
Carol, To Kill a Mockingbird, A Midsummer
Night’s Dream, Dracula, Mama Hated Diesels,
Eventide, A Raisin in the Sun, Quilters, A Prayer
for Owen Meany, Richard III, Noises Off, White
Christmas, Third, A Funny Thing… Forum,
King Lear, Amadeus, Crowns, The Clean House,
Measure for Measure, A Flea in Her Ear, Fire on
the Mountain, Oedipus Rex, The Misanthrope,
The Three Sisters, Love’s Labor’s Lost, The Skin
of Our Teeth, Betrayal, Spinning Into Butter,
Dinner With Friends, Gross Indecency: The Three
Trials of Oscar Wilde, The Laramie Project, The
Show-Off, 1933, The Little Foxes. Other Theatres:
Ma Rainey’s Black Bottom (Shadow Theatre).
Special/Awards/Training: 2008 Henry Award for
Plainsong.
on the Mountain, Oedipus Rex, The Merchant of
Venice, John Brown’s Body, 2 Pianos, 4 Hands,
Love’s Labor’s Lost, The Lonesome West, Pierre,
The Immigrant, and 33 others. Other Theatres:
It Ain’t Nothin’ But the Blues (Broadway); Hank
Williams: Lost Highway; Almost Heaven and
The Immigrant (Off-Broadway). He also worked
for the American Conservatory Theatre, The
Guthrie Theater, New Orleans Opera, Arizona
Theatre Company, Kansas City Repertory, Seattle
Repertory Theatre.
JASON DUCAT (Sound Designer: Fences). At
the Denver Center: Heartbreak House, World
Premiere Two Things You Don’t Talk About At
Dinner, The Adventures of Tom Sawyer, The
Liar, Superior Donuts, The House of the Spirits,
Othello, When Tang Met Laika, Absurd Person
Singular, The Voysey Inheritance, Radio Golf,
Dusty and the Big Bad World, Glengarry Glen
Ross. Other Theatres: Marat/Sade, Noises Off,
Seven Guitars, The Winter’s Tale (Purdue);
Lab Coats on Clouds (Prague Quadrennial);
The Princess and the Pea, The Little Mermaid
(Chicago Shakespeare Theater); Hedwig and
the Angry Inch (Elemental Theatre Company);
Sideways Stories from Wayside School (Hope
Summer Repertory Theatre); The Importance of
Being Earnest (The Simple Theatre); Tribulation
and the Demolition Squad (Chicago Dance
Crash); A Midsummer Night’s Dream, Dancing
at Lughnasa (The University of South Florida).
Special/Awards/Training: MFA in Sound Design
from Purdue University.
CHARLES R. MACLEOD (Lighting Designer:
The Three Musketeers). At the Denver Center:
(284 productions/29seasons) Ring of Fire: The
Music of Johnny Cash, World Premiere Two
TOM BUDERWITZ (Scenic Designer: The
Things You Don’t Talk About At Dinner, The
Three Musketeers). At the Denver Center: The
Adventures of Tom Sawyer, American Night: The
Miracle Worker, Arms and the Man, Crossfire.
Ballad of Juan José, The Liar, Superior Donuts,
Other Theatres: South Coast Repertory, Geffen
The 39 Steps, Othello, When Tang Met Laika,
Playhouse, Intiman Theatre, Portland Center
Absurd Person Singular, A Raisin in the Sun,
Stage, Pasadena Playhouse, Chautauqua Theatre
Radio Golf, Dusty and the Big Bad World, The
Company, Laguna Playhouse, Arizona Theatre
Miracle Worker, Noises Off, The Merry Wives of
Company, Antaeus Company, Theatre @ Boston
Windsor, Lydia, The Diary of Anne Frank, 1001,
Court, A Noise Within, P.C.P.A. Theatrefest,
Season’s Greetings, Gem of the Ocean, All My
Reprise Theatre Company, Rubicon Theatre
Sons, The Madwoman, Dirty Story, Betrayal,
Company, Deaf West Theatre. Television: Specials Jitney, Uncle Vanya, Waiting to be Invited, Gross
and series for every major broadcast and cable
Indecency, A Christmas Carol, The Quick-Change
network. Special/Awards/Training: 3 LA Stage
Room, Love, Janis, Ma Rainey’s Black Bottom,
Alliance Ovation Awards, 3 LA Drama Critics
Adventures of Huckleberry Finn, Master Class.
Circle Awards, 3 Emmy Award nominations, Art
Other Theatres: Girls Only, The Taffetas, My Way,
Director’s Guild nomination. Studied design at
Always…Patsy Cline (Denver Center Attractions);
Adelphi and Brandeis Universities.
Becky’s New Car, 25th Annual Putnam County
Spelling Bee, Chapter Two, A Year with Frog and
Toad (Theatre Aspen).
DON DARNUTZER (Lighting Designer:
Fences). At the Denver Center: Heartbreak House,
DAVID KAY MICKELSEN (Costume Designer:
Dracula, Mariela in the Desert, Mama Hated
Fences). At the Denver Center: (54 productions/19
Diesels, Eventide, Quilters, Richard III, The Trip
consecutive seasons/13 premieres) The Adventures
to Bountiful, Plainsong, You Can’t Take It With
You, A Funny Thing…Forum, A Christmas Carol, of Tom Sawyer, The Liar, Ruined, The 39 Steps, A
Raisin in the Sun, Radio Golf, Gem of the Ocean,
Measure for Measure, September Shoes, Fire
Madwoman, Selfish Sacrifice, Streetcar Named
Desire, King Hedley II, Jitney, Pork Pie, Waiting
to be Invited, Blues for an Alabama Sky, Two
Trains Running, Seven Guitars. Other Theatres:
Guthrie Theater, Cincinnati, Geffen, Laguna,
Cleveland, Pasadena, Westport (Playhouses);
Seattle, Contemporary, Irish, Berkeley, Tennessee,
Missouri, San Diego, New Mexico, St. Louis
(Repertory Theaters); Williamstown, Sundance
(Theatre festivals); Geva, Fords (Theatres);
Portland, Pennsylvania (Center Stages); Oregon,
Utah, Colorado, Illinois (Shakespeare festivals);
Old Globe, Arizona, Northlight, Pioneer,
Children’s (Theatre Companies). Special/Awards/
Training: Seven AriZoni, Denver Post Ovation,
Acclaim, Goldy Fishy, Jackie (Awards). From
Canby, Oregon, now lives in Long Beach,
California.
B. MODERN (Costume Designer: The Three
Musketeers). At the Denver Center: Debut. Other
Theatres: Oregon Shakespeare Festival; Old
Globe Theaters, San Diego; Asolo Rep, Sarasota,
FLA; American Players Theater, WI; Shakespeare
Santa Cruz, CA; Geva Theater Center, NY;
TheatreWorks, Palo Alto, CA; San Jose Rep;
Indiana Rep; Repertory Theater of Saint Louis;
Georgia Shakespeare Festival; Seattle Rep; The
Magic Theater, SF, CA; Opera San Jose; Opera
Theatre of Saint Louis. Special/Awards/Training:
Associate Artist at Shakespeare Santa Cruz, CA,
and Geva Theatre Center, NY. Four Drama-Logue
Awards, Three Dean Goodman Choice Awards
and a Bay Area Theater Critic’s Circle Award.
Guest lecturer at UCSC and San Francisco State
Universities. Studied Art & Dramatic Arts at UC,
Berkeley.
RODOLFO ORTEGA (Composer: The Three
Musketeers). At the Denver Center: Debut.
Other Theatres: Artist Repertory Theater’s Race,
No Man’s Land, Seven Guitars, Circle Mirror
Transformation, The Duchess of Malfi. Profile
Theater Lesson Before Dying, Lips Together Teeth
Apart, Zoo Story, Master Harold and the Boys.
Northwest Children’s Theater wrote the musicals
Snow White, Pinocchio, El Zorrito. Santa Cruz
Shakespeare Othello, A Midsummer Night’s
Dream, Julius Caesar, Man in the Iron Mask and
Henry the Fourth Part Two. Special/Awards/Training: Bachelor of Music University of Arizona,
Master of Music Manhattan School of Music.
VICKI SMITH (Set Designer: Fences). At
the Denver Center: Heartbreak House, The
Adventures of Tom Sawyer, Dracula, Mariela
in the Desert, Mama Hated Diesels, Eventide,
Inana, Noises Off, Doubt, Plainsong, Pride
and Prejudice, Mrs. Warren’s Profession, A
Christmas Carol, 28 others. Other Theatres:
Children’s Theatre Company, Indiana Repertory
Theatre, Cincinnati Playhouse, Penumbra Theatre
Company, Kansas City Repertory Theatre,
Cleveland Playhouse, Seattle Repertory Theatre,
Actors Theatre Louisville, Repertory Theatre
St. Louis, Geva Theatre Center, Milwaukee
Repertory Theatre, Oregon Shakespeare Festival,
Dallas Theatre Center, Pittsburgh Public Theatre,
Alabama Shakespeare Festival, Anchorage
Opera, Minnesota Opera, Alley Theatre, Berkeley
Repertory Theatre and others. Special/Awards/
Training: Bay Area Critics Awards – Kite Runner,
Execution of Justice; Dramalogue Award –
Cyrano; Colorado Theatre Guild Award – Mariela
in the Desert; Ovation Awards – Pierre, I’m Not
Rappaport; Prague Quadrennial Design Exposition
2007. MFA – University of Washington.
P L AY W RI GH TS
LINDA ALPER (Playwright: The Three
Musketeers) has performed leading roles at Artists
Repertory Theatre, Portland Center Stage, Seattle
Rep, Intiman Theater, Cincinnati Playhouse,
Baltimore Center Stage, Mark Taper Forum, Off
Broadway and during 23 seasons with the Oregon
Shakespeare Festival. Favorite roles include
Ranevskaya in The Cherry Orchard, Dorine in
Tartuffe, and Vivian Bearing in Wit, for which
she won critics’ awards for performance. She
played Milady in the OSF production of The
Three Musketeers. Besides collaborations with
her fabulous colleagues, Penny Metropulos and
Douglas Langworthy, Linda translated Eduardo
De Filippo’s Saturday, Sunday, Monday and
Napoli Milionaria! with Beatrice Basso. Those
translations were produced by OSF with Linda
playing Donna Rosa and Amalia. She also has
written song lyrics, a two actor adaptation of
Macbeth and many novels for young adults.
She was a guest artist at the American Academy
of Rome and recently taught and directed
Shakespeare in China. She just completed a ten
month Fulbright senior scholar grant in Taipei,
Taiwan.
DOUGLAS LANGWORTHY (Playwright and
Dramaturg: The Three Musketeers). At the Denver
Center: Heartbreak House, World Premiere
Great Wall Story, World Premiere Two Things
You Don’t Talk About At Dinner, The Adventures
of Tom Sawyer, American Night: The Ballad of
Juan José, Ruined, The 39 Steps, Mariela in the
Desert, Othello, When Tang Met Laika, Well,
The Voysey Inheritance, Quilters, Sunsets and
Margaritas, A Prayer for Owen Meany, Inana,
The Miracle Worker, Glengarry Glen Ross, The
Trip to Bountiful, The Merry Wives of Windsor,
Lydia, The Diary of Anne Frank, You Can’t Take
It With You. Other Theatres: Adaptor – The Three
Musketeers, The Visit, Translator – The Good
Person of Szechuan, Book/Lyricist – Tracy’s Tiger
(Oregon Shakespeare Festival). Special/Awards/
Training: Literary Managers and Dramaturgs of
the Americas 2012 Elliott Hayes Award, National
Theatre Translation Fund Award, Dramaturg
and Director of Play Development at McCarter
Theatre, Director of Literary Development and
Dramaturgy at the Oregon Shakespeare Festival,
STA G E M A N A G E M E NT
Dramaturg for Target Margin Theater in New York.
MATTHEW CAMPBELL* (Assistant Stage
PENNY METROPULOUS (Playwright: The
Manager: The Three Musketeers). At the Denver
Three Musketeers) has directed You Can’t Take It
Center: Heartbreak House, The Taming of the
with You, The Trip to Bountiful, and Quilters for
Shrew, A Christmas Carol, To Kill a Mockingbird,
the Denver Center Theatre Company.
A Midsummer Night’s Dream, Dracula. Other
Ms. Metropulos was a company member with
Theatres: Arvada Center, Cleveland Play House,
the Oregon Shakespeare Festival (OSF) for 19
Hope Summer Repertory Theatre in Holland,
seasons, and served as Associate Artistic Director Michigan, Colorado Festival of World Theatre,
for 12 years. She developed The Three Musketeers Country Dinner Playhouse, Candlelight Dinner
with Linda Alper and Douglas Langworthy at OSF Playhouse, and the Omaha Symphony. Served
and directed the premiere production there.
as Assistant Professor of Stage Management
Representative credits for direction at OSF
and Technical Theater at Brooklyn College
include Henry IV1, The Philanderer, Lorca in
Department of Theater. Training: MFA in Stage
a Green Dress (World Premiere), Antony and
Management from University of Iowa, BA in
Cleopatra, As You Like It, The Tempest, The Night Design/Technology, Directing and Acting from
of the Iguana, The Good Person of Szechuan, A
University of Northern Colorado.
Midsummer Night’s Dream, Death of a Salesman,
Cabaret Verboten, and The Merry Wives of
CHRISTOPHER C. EWING* (Stage Manager:
Windsor.
Fences). At the Denver Center (29 seasons) Ring
Recently her production of The Madness of
of Fire: The Music of Johnny Cash, A Christmas
George III (with Harry Groener) at Chicago
Carol, To Kill a Mockingbird, Superior Donuts,
Shakespeare Theater received 5 Joseph Jefferson
Dracula, Mama Hated Diesels, Eventide, A
awards.
Raisin in the Sun, Quilters, A Prayer for Owen
Other regional directing credits include Red,
Meany, Noises Off, The Merry Wives of Windsor,
Picasso at the Lapin Agile, Up (Syracuse Stage);
Plainsong, Mrs. Warren’s Profession, A Funny
The Misanthrope (Arena Stage); An Iliad (Portland Thing… Forum, A Christmas Carol, The Clean
Center Stage); Romeo and Juliet (The Acting
House, Gem of the Ocean, A Flea in Her Ear,
Company/Guthrie Theater); Missing Persons
Crowns, Fire on the Mountain, John Brown’s
(Berkeley Repertory Theatre).
Body, 2 Pianos, 4 Hands, The Skin of Our Teeth,
Ms. Metropulos began her work in the theatre as Almost Heaven, The Immigrant, Tantalus, The
an actress and singer. She has been a guest teacher Laramie Project, The Elevation of Thieves,
in several universities. As a writer she co-adapted
Treasure Island, Taking Leave, The Dresser,
a new musical based on William Saroyan’s Tracy’s Appalachian Strings, Peter Pan. Other Theatres:
Tiger, a musical version of Comedy of Errors, as
Colorado Ballet, Denver Center Attractions,
well as The Three Musketeers; she directed all
Bonfils Theatre. Training: BFA in Theatre Design/
three projects, and all were originally produced at Technology from Loretto Heights College.
OSF.
A. PHOEBE SACKS* (Assistant Stage Manager:
AUGUST WILSON (Playwright Fences)
Fences). At the Denver Center: World Premiere
(April 27, 1945 – October 2, 2005) authored a
Great Wall Story, The Whale, American Night: The
decade-by-decade exploration of the heritage
Ballad of Juan José, Ruined, Map of Heaven, The
and experience of African Americans over the
39 Steps, Mariela in the Desert, Eventide, Well,
course of the 20th century. Mr. Wilson’s works
Sunsets and Margaritas, Inana, Glengarry Glen
garnered many awards including Pulitzer Prizes
Ross, Gee’s Bend, Lobby Hero, Visiting Mr. Green,
for Fences (1987) and The Piano Lesson (1990),
Copenhagen, King Hedley II, The Lonesome
a Tony Award for Fences, an Olivier Award for
West, Dinner With Friends, Almost Heaven, The
Jitney, a Grammy Award for the cast recording of Immigrant, Pierre, 1933. Other Theatres: Into the
Ma Rainey’s Black Bottom, an Emmy Award for
Woods (Colorado Springs Fine Arts Center); Hats!,
the screenplay adaptation of The Piano Lesson,
Menopause The Musical (New Denver Civic
and New York Drama Critics Circle Awards for
Theatre); Lobby Hero, The Syringa Tree (Lizard
Ma Rainey’s Black Bottom, Fences, Joe Turner’s
Head Theatre). Special/Awards/Training: Member
Come and Gone, The Piano Lesson, Two Trains
of Actors’ Equity, BA in Technical Theatre,
Running, Seven Guitars, Jitney and Radio Golf.
University of Northern Colorado.
Mr. Wilson was recognized with the Rockefeller
and Guggenheim Fellowships in Playwriting,
KURT VAN RADEN* (Stage Manager: The
The Whiting Writers Award, Heinz Award,
Three Musketeers). At the Denver Center: (30+
induction into the American Academy of Arts and productions) Ring of Fire: The Music of Johnny
Letters and Theater Hall of Fame, as well as the
Cash, The Taming of the Shrew, A Christmas
1999 National Humanities Medal. Additionally,
Carol, The Liar, Superior Donuts, The House of
Broadway renamed a theatre in his honor – The
the Spirits, Othello, Eventide, A Raisin in the Sun,
August Wilson Theatre.
A Prayer for Owen Meany, Richard III, Noises Off,
The Merry Wives of Windsor, Our House, Pride
and Prejudice, Third, Mrs. Warren’s Profession,
DAVID ALAN
1001, Season’s Greetings, Living Out, After
ANDERSON* (Troy
Ashley, Jesus Hates Me, September Shoes, The
Maxson in Fences). At the
Madwoman, A Selfish Sacrifice, Dirty Story,
Denver Center: Debut. Other
Visiting Mr. Green, Picnic, Blue/Orange, The
Theatres: A Raisin in the Sun
Three Sisters. Other Theatres: 22 productions with
(Guthrie, Penumbra Theatre,
The O’Neill Theatre Center (National Playwrights
Arizona Theatre Company,
Conference, Cabaret and Performance
Kansas City Rep); Jitney,
Conference), Great River Shakespeare Festival,
Two Trains Running, Seven Guitars, King Hedley
UCCS TheatreWorks, Janus Jazz Aspen, Aspen
II (Penumbra); Looking Over the President’s
Dance Connection.
Shoulder, The Heavens are Hung in Black, Julius
Caesar, Romeo and Juliet, Searching For Eden
A CTI NG COM PANY
(Indiana Repertory Theatre); Blues For An
Alabama Sky, The Tempest (Actors Theatre of
JAMES T. ALFRED*
Louisville); Othello (Idaho Shakespeare,
(Lyons in Fences). At the
Pennsylvania Shakespeare, Great Lakes Theater);
Denver Center: Debut. Other Radio Golf (Indiana Rep,Cleveland Playhouse);
Theatres: Penumbra Theater, Gem of the Ocean (Indiana Rep, Geva, Syracuse
New York Public Theater,
Stage); Centerstage, Berkshire Theatre Festival,
Steppenwolf Theater,
Lake Tahoe Shakespeare. TV/Film: “Prison
Guthrie Theater, Goodman
Break,” “Mike Hammer,” A Song for Jade,
Theater, American Repertory Evidence of Life. Special Awards/Training:
Theater, Arizona Theater Company, Kansas City
Penumbra Theatre company member, Indiana Arts
Repertory Theater, Wooly Mammoth Theater,
Council Creative Renewal Grant recipient, New
Court Theater, Round House Theater, Congo
Harmony Project.
Square Theater Company, Moscow Art Studio
Theater, The Second City. TV/Film: “BOSS”
ZACHARY ANDREWS
(Starz/Lions Gate), “ATF” (Pilot, CBS), “Prison
(Patrick and Ensemble in
Break” (FOX). Special Awards/Training: 2012
The Three Musketeers). At
Distinguished Alumni Award-Professional
the Denver Center: A
Achievement (Cardinal Stritch University),
Christmas Carol. Other
African American Arts Alliance Award-Best
Theatres: Leading Ladies
Leading Actor (2012), Ira Aldridge Award (Black
(Backstage Theatre); Two
Theater Alliance)-Best Leading Actor (2012),
Gentlemen of Verona, Ah!
African American Arts Alliance Award-Special
Wilderness, Romeo & Juliet, Love’s Labor’s Lost
Recognition (2011). Institute for Advanced
(Riverside Theatre Shakespeare Festival); Actor’s
Theater Training-Harvard University 2006,
Nightmare, Candida, More Stately Mansions
Moscow Art Theater School-M.F.A 2006.
(Germinal Stage Denver); Three Musketeers,
Henry VIII (Colorado Shakespeare Festival).
BENAIAH ANDERSON
Special/Training: MFA from University of
(The Count de Wardes and
Missouri, Kansas City (UMKC), professional
Ensemble in The Three
photographer and graphic designer (www.
Musketeers). At the Denver
zmaphoto.com).
Center: Richard III. Other
Theatres: Colorado
JEROME PRESTON
Shakespeare Festival;
BATES* (Gabriel in
Richard III (Richmond);
Fences). At the Denver
Romeo and Juliet (Tybalt); Macbeth (Donalbain
Center: Debut. Other
and Young Siward); Two Gentlemen of Verona
Theatres: Created the role of
(Thurio); Hamlet (Osric); The Three Musketeers
Floyd Barton in the world
(Lubin and ensemble); Treasure Island (Black
premiere of Seven Guitars
Dog and Israel Hands); The Arvada Center, The
by August Wilson at The
Lion in Winter (King Phillip, understudy);
Goodman opposite Viola Davis and Ruben S.
Theatreworks, Cyrano de Bergerac (Valvert),
Hudson. Broadway: StickFly and Seven Guitars.
Devil’s Thumb Productions, Talk Radio (Barry).
Off Broadway: The Beckett Theatre Row,
Special Awards/Training: Advanced Actor
Abingdon Theatre,The Public Theatre, Circle Rep,
Combatant and Regional Representative of the
NEC, New Federal Theatre. Regional: The Folger
Society of American Fight Directors.
in King Lear also Yale Rep, Long Wharf, Wilma,
Alliance, Center Stage, Hartford Stage, People’s
Light Theatre, Philadelphia Theatre Co and
Drama Guild, and American Stage Co opposite
Jeffrey Wright. TV/Film: HBO’s “Oz” as Travis
Smith, “All My Children” as Derek Frye and
“Law and Order,” “Third Watch,” “Lights Out,”
“NYPD Blue” and “NYUndercover.” Shaft 2000
opposite Sam L. Jackson, Musical Chairs,
It Runs In The Family, The Out-of-Towners, Tio
Papi and We The Peeples opposite Kerry
Washington. As director: The entire August
Wilson Cycle for LC Laney Museum in Augusta,
GA. Oedipus Rex. Author of Electric Lady,
Augusta Brown, Mr. Unemployed and Jimi
Hendrix (screenplay). Training: LAMDA
LONDON, HB Studios, University of Tennessee
and Knoxville College. The winner of 6 Audelco
Awards including Herald Loomis in Joe
Turner’s... and Carter G. Woodson Award at NY
City Hall for Theatre Excellence.
donnie l. betts* (Understudy
in Fences). At the Denver
Center: Moby Dick
Rehearsed, American Clock,
Home, Joe Turner’s Come
and Gone. Other Theatres:
Gospel at Colonus
(Broadway); Warrior Ant
(BAM); Driving Miss Daisy (Arvada, ATL);
Sonny, Sizwe Banzi is Dead, The Island (City
Stage Ensemble). TV/Film: Carolina Blue,
Honeydripper, Switchback, 13 & Pearl, “Perry
Mason.” Director Stage: Night Commander,
Crumbs From The Table of Joy, K2, Emperor
Jones, Slut Energy Theory. Director Film: Music
Is My Life, Politics My Mistress, My Voice
(Emmy) Dearfield, The Road Less Traveled,
(Emmy Nomination), LaLa UnCut.
ANTHONY BIANCO
(Bazin, Ensemble and
Understudy in The Three
Musketeers). At the Denver
Center: World Premiere Two
Things You Don’t Talk About
At Dinner, The Taming of the
Shrew. Other Theatres:
Twelfth Night (Arvada Center, Colorado
Shakespeare); Richard III, Treasure Island (CSF);
Much Ado About Nothing (Oak Park Fesival
Theatre); Hamlet, Tuesdays with Morrie, Three
Sisters, Metamorphoses (Krannert Center); The
House of Yes (Equinox Theatre); The Chosen
(Theatre Or); Books on Tape (Vintage Theatre).
Training: MFA (University of Illinois at Urbana/
Champaign), BFA (Southern Oregon University).
J. PAUL BOEHMER* (The
Duke of Buckingham and
Ensemble in The Three
Musketeers). At the Denver
Center: Heartbreak House.
Other Theatres: Has
appeared on Broadway, in
theatres around the US
including The Alabama Shakespeare Festival in
the premiere of IAGO, Pioneer Theatre Company
in Copenhagen and Ten Little Indians and The
Dallas Shakespeare Festival playing Hamlet
directed by Randy Moore. TV/Film: “Star Trek,”
“Frasier,” “House,” “90210,” “The Forgotten,”
“Three Rivers,” and “Judging Amy,” and The
Thomas Crown Affair and Skyline. You can listen
to him on over 300 audiobooks, including “Moby
Dick,” “The Jungle,” “Prater Violet” and many
more. Training: BFA from SMU, MFA from The
PTTP at The University of Delaware.
NADJA-MONET BROWN
(Raynell in Fences). At the
Denver Center: Debut.
Training: Nadja-Monet
attends acting classes at the
Colorado School of Acting
and also plays saxophone in
her school band. NadjaMonet has always loved the arts. Since age three
she has been performing and taking classes in
ballet, violin, piano and voice.
LAURENCE CURRY
(Understudy in Fences). At
the Denver Center: Streetcar
Named Desire and The
Madwoman, Hip Hop
Jambalaya at the Jones
(Director). Other theatres:
Collapse (Curious Theatre),
Pippin and Aida (Arvada Center), Miss Julie
(Theatre Works). TV/Film: “Twitch,” “America for
Sale,” “Art Zone,” “Assassins Code,” “Asteroid,”
“Strangeland.” Training: BA in Theatre and Dance
from the University of Northern Colorado.
CALVIN DUTTON* (Cory
Maxson in Fences). At the
Denver Center: Debut. Other
Theatres: Carter’s Way
(Steppenwolf); First Breeze
of Summer (Court Theater);
Hunchback (New Victory
Theater); A Raisin in the Sun
(Fleetwood-Jourdain); Measure for Measure, The
Wild Duck, Across the Water, and Camino Real
(NYU Grad. Acting). TV/Film: Nowheresville,
Cottonmouth. Training: MFA from NYU Tisch
Graduate Acting program.
LOGAN ERNSTTHAL*
(Understudy in The Three
Musketeers). At the Denver
Center: Debut. Other
Theatres: Toby Belch in
Twelfth Night, Lord Stanley
in Richard III, Long John
Silver in Treasure Island
(CSF); Lennie in Of Mice & Men (Colorado
Springs Fine Arts Center); Marius in The Road to
Mecca, Gustav Aubin in The Ladies Man (Arvada
Center for the Arts); Creede Rep (6 seasons); The
Unicorn (KC); The Coterie (KC); KC Rep,
Riverside Shakes, Utah Shakes, National
Shakespeare Co. Training: MFA from UMKC 08.
SOFIA JEAN GOMEZ*
(Constance and Ensemble in
The Three Musketeers). At
Denver Theatre Center:
Dracula. Off Broadway:
Angels in America - Part 1 &
2 (Signature Theatre), Public
Shakespeare Lab, Page 73/
New Georges, Manhattan Theatre Club, Lake
Lucille Chekhov Project. Other Theatres:
Goodman Theatre, McCarter Theatre, Shakespeare
Theatre, Berkeley Rep, Yale Rep, Portland Stage
Company, Shakespeare Theatre of NJ, Arizona
Theatre Company, Kansas City Rep. TV:
“Unforgettable” (CBS Pilot). Special Awards/
Nominations/Training: Denver Post Nomination
2010, Helen Hayes Nomination-Best Supporting
2008, Bay Area Theatre Critics Circle
Nomination-Best Female Principal 2008. Yale
School of Drama, SHSU.
SAM GREGORY* (Count
de Rochefort in The Three
Musketeers). At the Denver
Center: (37 productions)
Heartbreak House, World
Premiere Two Things You
Don’t Talk About At Dinner,
American Night: The Ballad
of Juan José, Ruined, A Midsummer Night’s
Dream, The 39 Steps, Mariela in the Desert,
Eventide, The Voysey Inheritance, A Christmas
Carol, Noises Off, Doubt, Plainsong, The Diary of
Anne Frank, King Lear, Season’s Greetings, After
Ashley, Measure for Measure, A Flea in Her Ear,
Hotel on Marvin Gardens, You Never Can Tell,
Hedda Gabler, Tartuffe. Other Theatres: Seattle
Rep, Cincinnati Playhouse, Milwaukee Rep,
Cleveland Play House, San Jose Rep, American
Players Theater, Eureka Theater, George Street
Playhouse, O’Neill Theater, Paragon, Alabama/
California/Colorado Shakespeare Festivals, Elijah
(Chautauqua Theater Company). TV/Film: “NY
Undercover,” “One Life to Live,” “As the World
Turns.” Awards: Five Ovation Awards including
the 2006 and 2009 Award for Best Year by an
Actor. Westword’s Best of Denver 2011 Award for
Best Season for an Actor.
A Lie of the Mind, Night and Day, Buried Child
(ACT, San Francisco); My Fair Lady (PCPA); A
View from the Bridge (Berkeley Rep). TV/Film:
Scream. Special/Awards/Training: Denver Center
Theatre Academy.
JOHN HUTTON* (Cardinal
Richelieu in The Three Musketeers). At the Denver Center: (21 seasons) World Premiere Great Wall Story,
World Premiere Two Things
You Don’t Talk About At Dinner, To Kill a Mockingbird,
Superior Donuts, A Midsummer Night’s Dream,
The House of the Spirits, Othello, Eventide, Absurd Person Singular, The Voysey Inheritance,
Richard III, Miracle Worker, Trip to Bountiful,
Plainsong, Diary of Anne Frank, Measure for
Measure, A Christmas Carol, Dirty Story, The
Merchant of Venice, Blue/Orange, Copenhagen,
Love’s Labor’s Lost, Betrayal, Hamlet, Uncle Vanya, Little Foxes, Amy’s View, Side Man, Winter’s
Tale, Tempest, Life is a Dream, Macbeth, Treasure
Island, Misalliance, Racing Demon, Galileo,
Grapes of Wrath, Julius Caesar, Rose Tattoo. Other Theatres: A.C.T., The Goodman, The Old
Globe, Center Stage, The Huntington, The Roundabout, The Great Lakes Theatre Fest., The Hudson
Valley Shakespeare Fest., Curious Theatre, The
Colorado Shakespeare Fest. TV/Film: “Another
World,” “All My Children,” “One Life To Live,”
Juncture, the upcoming Lincoln directed by Steven
Spielberg. Special/Awards/Training: Trained at
The American Conservatory Theatre.
JAMISON JONES* (Athos
in The Three Musketeers). At
the Denver Center: Debut.
Other Theatres: Maple and
Vine, Rosencrantz and
Guildenstern are Dead,
Angels in America (American
Conservatory Theater);
Elemeno Pea, Doctor Cerberus (South Coast
Repertory); How the Other Half Loves (Pasadena
Playhouse); The Foreigner, Lion in Winter, All My
Sons, Dancing at Lughnasa, The Rainmaker
(Tony-nominated La Mirada Theater); Théresè
Raquin ((Ensemble Theater, Santa Barbara);
LAWRENCE HECHT*
Cyrano de Bergerac (A Noise Within); European
(Captain de Tréville in The
premieres: Tennessee in the Summer, Purple
Three Musketeers). At the
Hearts (Edinburgh Festival, Scotland). TV/Film:
Denver Center: To Kill a
Mockingbird, A Midsummer “Burn Notice,” “24,” “General Hospital,”
Night’s Dream, The House of “Brothers & Sisters,” “Days of Our Lives,”
“Terminator,” “CSI: NY,” “N.C.I.S.,” “Crossing
the Spirits, Glengarry Glen
Ross, The Pillowman, A Skull Jordan,” “Alias,” “JAG,” “That 70’s Show,”
“90210,” “Will & Grace,” The Lodger, Born to
in Connemara. Other Theatres: Red (Curious
Theatre Company); King Lear (Shakespeare Santa Ride, He Was a Quiet Man (Christian Slater,
William H. Macy), Dark Blue (Kurt Russell),
Cruz); How I Learned to Drive (San Diego Rep);
Hollywood Homicide (Harrison Ford). MFA from
Gross Indecency (Theatre on the Square);
Shadowlands (Arizona Theatre Company); Hamlet the American Conservatory Theater.
(Oregon Shakespeare Festival); Picnic (Marin
Theatre Company); Sylvia (San Jose Rep); Good,
GEOFFREY KENT*
(Jussac and Ensemble in The
Three Musketeers). At the
Denver Center: Othello,
Eventide, Richard III,
Hamlet. Other Theatres:
Noises Off, King Lear, Three
Musketeers, Much Ado About
Nothing, Romeo & Juliet (Colorado Shakespeare
Festival); Lieutenant of Inishmore (Curious
Theatre Company); Lion in Winter, Twelfth Night
(Arvada Center); Cymbeline, Romeo & Juliet
(Orlando Shakespeare Theater); The SantaLand
Diaries (Boulder Ensemble Theatre Company).
Special/Awards/Training: Former President,
Society of American Fight Directors, 2011 Henry
Award for Achievement in Fight Direction, Best
Supporting Actor in a Shakespeare Tragedy,
Westword (Romeo & Juliet).
RICHARD LICCARDO*
(Planchet and Ensemble in
The Three Musketeers). At
the Denver Center: Cult
Following, A Lie of the Mind,
Love’s Labour’s Lost,
Hamlet, Betrayal, Hay Fever,
Pierre, A Skull In
Connemara, Inna Beginning, Much Ado About
Nothing, A Christmas Carol. Other Theatres: The
Rattle Stick Theatre, Famous Door, Sys Tryst,
NYC Fringe. Special/Awards/Training: National
Theatre Conservatory, MFA 2000 to 2003.
University of Evansville, BFA 1996 to 2000.
SAMANTHA LONG
(Mlle. D’Astree, Ensemble
and Understudy in The Three
Musketeers). At the Denver
Center: Colorado New Play
Summit, 2011. Other
Theatres: Casual Encounters
and Missed Connections
(Spark Theater). TV/Film: “The Unit,” Helix, My
Happiness, The Moon and He. Training:
Northwestern University, British American
Dramatic Academy.
KATIE MACNICHOL*
(Milady, the Countess de
Winter and Ensemble in The
Three Musketeers). At the
Denver Center: Picasso at
the Lapin Agile. Other
Theatres: The Green Bird,
Two Shakespearean Actors
Broadway); Cider House Rules, King John, The
Food Chain (Off-Broadway); A Chaste Maid in
Cheapside (Shakespeare’s Globe Theatre,
London); The Three Musketeers, Henry IV Part
One, A Midsummer Night’s Dream, She Stoops to
Conquer (Shakespeare Santa Cruz); Twelfth Night,
Winter’s Tale, As You Like It, Merry Wives of
Windsor, Comedy of Errors, Macbeth (Old Globe
Theatre); and Shakespeare Theatre of N.J., Mark
Taper Forum, Baltimore Center Stage, McCarter,
Williamstown, Westport Country Playhouse, Yale
Repertory, Dallas Theater Center. TV: “Medium,”
“Law and Order,” “The Practice.”
Louisville, Cleveland Play House (world premiere
of Emma), Syracuse Stage, Indiana Repertory
Theatre, California Shakespeare Theater, San Jose
Rep, Aurora Theatre Company, Lake Tahoe
Shakespeare, Napa Valley Rep, Center Repertory
Theatre, Word for Word. TV/Film: PBS “Keeping
CHIARA MOTLEY*
Score: Hector Berlioz,” The Lost Coast (Year Zero
(Mme. Chevreuse, Dance
Pictures). Training: BA in Theatre and
Captain and Ensemble in The Performance Studies from UC Berkeley;
Three Musketeers). At the
American Conservatory Theater, San Francisco,
Denver Center: A Christmas California.
Carol, To Kill a Mockingbird,
The Taming of the Shrew.
CHARLES PASTERNAK*
Other Theatres: Comedy of
(King Louis, John Felton and
Errors, Othello, A Midsummer Night’s Dream
Ensemble in The Three
(Seattle Shakespeare Company), Snow Falling on
Musketeers). At the Denver
Cedars, Persuasion (Book-It Theatre), Uncle
Center: Debut. Other
Vanya, Our Town, Richard III, Charlie’s Aunt
Theatres: Henry IV, Part 2;
(National Theatre Conservatory), ACT, Seattle
The Man in the Iron Mask
Public Theatre, Theatre de la Jeune Lune. TV/
(World Premiere); Henry IV,
Film: The voice of George in Her Interactive’s
Part 1; The Three Musketeers; Romeo and Juliet;
“Nancy Drew Video Game Series.” Awards/
All’s Well That Ends Well (Shakespeare Santa
Training: National Theatre Conservatory (2012),
Cruz), Creditors (Ensemble Theatre, Santa
Stanford University (2007).
Barbara), As Is; Taming of the Shrew (New
American Theatre), Amadeus (Theatrical Arts
MARCUS NAYLOR* (Jim International), A Shayna Maidel (International
City Theatre, Long Beach), Romeo and Juliet
Bono in Fences). At the
Denver Center: Jitney. Other (Shakespeare Center of Los Angeles), The
Theatres: Illmatic Homage 3 Madwoman of Chaillot; Medea (Will Geer
(Urban Stages), Love Letters Theatricum Botanicum), Oedipus the Tyrant
on Ripped Paper (The Joyce (World Premiere); Hamlet (The Porters of
Hellsgate). Awards: 2012 Indy Award (Creditors).
Theatre), Cool Blues (New
Federal Theatre), Chickens
Came Home to Roost (New Federal Theatre), No
JEANNE PAULSEN*
Dogs (Primary Stages), The Cave Dwellers ( The
(Mme. de Cocquenard and
Pearl Theatre), True West (Lincoln Center Clark
Ensemble in The Three
Theatre), Watin 2 End Hell (47th Street Theatre),
Musketeers). At the Denver
Rats (Lee Strasberg Theatre ), Civil Sex ( NY
Center: Superior Donuts,
Public Theatre workshop), Othello (Northeast
House of the Spirits, Richard
Shakespeare), Julius Ceasar (Shakepeare on The
III, Absurd Person Singular,
Sound), Trinidad Sisters (Arena Stage), Blues for
The Miracle Worker, Doubt,
an Alabama Sky (Cincinatti Playhouse in The
You Can’t Take It With You, Pride and Prejudice,
Park), The Meeting (Crossroads Theatre), Seven
Mrs. Warren’s Profession, All My Sons, Sideman,
Guitars (Arizonia Theatre Company), Joe
Molly Sweeney, A Prayer for Owen Meany. Other
Theatres: On Broadway: The Kentucky Cycle
Turner’s Come and Gone (Theatre Virginia),
Servant of the People (Jomandi Theatre), Antigone (with Stacy Keach), The Crucible (directed by
Richard Eyre, starring Liam Neeson and Laura
(The Kennedy Center), A Raisin in the Sun
Linney). La Jolla Playhouse, South Coast
(Alabama Shakespeare Festival), Four Seasons
Repertory, Mark Taper Forum, San Jose Repertory
(Cleveland Playhouse and Karamu House
Theatre, American Conservatory Theatre,
Alumni). TV/Film: Soliloquy, “Law and Order
SVU,” Law and Order,” “Without a Trace,” “Only Berkeley Repertory, Oregon Shakespeare Festival,
in America,” “The Meeting,” “The Reunion Miles Portland Center Stage, A Contemporary Theatre,
Intiman Theatre, Seattle Repertory Theatre,
Bird and Trane a Jazz Fantasy,” “Slings and
Seattle Shakespeare Company, The Empty Space,
Arrows,” “The Assassin,” “Day Zero.”
Milwaukee Repertory, Arizona Theatre Company,
SARAH NEALIS* (Queen Utah Shakespeare Festival, Long Wharf Theatre
Anne and Ensemble in The
(The Mandrake Root with Lynn Redgrave).
Three Musketeers). At the
Special Awards: 1994 Tony nomination for
Denver Center: Heartbreak
Featured Performance for The Kentucky Cycle,
House. Other Theatres:
Recipient 1994 Clarence Derwent Award, LA
Magic Theatre (world
Drama Critics Circle Award – Lead Performance
premiere of Theresa
– Holy Days. Training: BA/Theatre: University of
Rebeck’s What We’re Up
Northern Iowa, MFA/Acting: UCSD, La Jolla.
Against), Huntington Theatre, Actors Theatre of
LARRY PAULSEN* (M.
Bonacieux, Reilly and
Ensemble in The Three
Musketeers). At the Denver
Center: The 39 Steps, Great
Wall Story, You Can’t Take It
With You, Pride and
Prejudice, A Prayer For
Owen Meany. Off-Broadway: New York
Shakespeare Festival, Classic Stage Company,
Lion Theatre. Regional: The Shakespeare Theatre
(Washington DC), Seattle Repertory Theatre,
Huntington Theatre, Intiman Theatre, Kansas City
Rep, Cleveland Play House, ACT Theatre, La
Jolla Playhouse, South Coast Repertory, Alliance
Theatre, Shakespeare Santa Cruz, Portland Center
Stage, Mark Taper Forum, Milwaukee Repertory
Theatre, Syracuse Stage, Two River Theatre
Company, North Shore Music Theatre, and seven
seasons as a company member at the Oregon
Shakespeare Festival.
DONNY REPSHER
(Grimaud and Ensemble in
The Three Musketeers). At
the Denver Center: Debut.
Other Theatres: All’s Well
That Ends Well (Great River
Shakespeare Festival); Henry
IV, Pt. 1, The Three
Musketeers (Shakespeare Santa Cruz); Big Love,
Othello, You Never Can Tell, Eurydice, Our Town
(Southern Methodist University). Special/Awards/
Training: BFA-Southern Methodist University,
Greer Garson Acting Award (SMU).
BEN ROSENBAUM*
(D’Artagnan in The Three
Musketeers). At the Denver
Center: Debut. Other
Theatres: Macbeth,
Christmas Carol (The
Guthrie Theater); Romeo and
Juliet, The Comedy of Errors
(The Acting Company); The Enemy: Time–a
Tennessee Williams World Premiere (Gremlin
Theatre); The Count of Monte Cristo (University
of Minnesota Centennial Showboat); You Can’t
Take It With You, Biloxi Blues (Theatre L’Homme
Dieu); Spring Awakening, The Winter’s Tale, A
BEN REZENDES
Midsummer Night’s Dream, The Persians, The
(Biscarrat and Ensemble in
Underpants, Present Laughter, Writer 1272
The Three Musketeers). At
(University of Minnesota/Guthrie Theater BFA
the Denver Center: Debut.
Actor Training Program). TV/Film: HOPE,
Other Theatres: The
Distance Makes. Training: BFA, University of
Workshop Theater Company, Minnesota/Guthrie Theater Actor Training
Rebellious Subjects Theater, Program.
Stella Adler Studio, Key City
MACKENZIE PAULSEN Public Theater (WA), The Paradise Theater
MIKE RYAN*
(Understudy in The Three
School (WA). Special/ Training: Graduated from
(Porthos in The Three
Musketeers). At the Denver
Stella Adler Studio of Acting 2010, Studied Stage
Musketeers). At the Denver
Center: Date* (Off-Center), Combat with Dueling Arts International and Art of
Center: Debut. Other
A Christmas Carol. Other
Combat, Member of AoC, New York Chapter.
Theatres: Bill W. & Dr. Bob,
Theatres: Denver: Vintage
Legacy of Light (San Jose
(Avenue Q), Town Hall Arts
JADA ROBERTS*
Rep), Anatol (Aurora
Center (Guys and Dolls and
(Understudy in Fences). At
Theatre Company), Hello &
Damn Yankees), PACE (Annie). NYC: The Culture
the Denver Center: Gem of
Goodbye, Of Mice and Men, Doubt (Jewel
Project (The Wild Party), NYU (Such Foolish
the Ocean (u/s), Selfish
Theatre Company), The Comedy of Errors,
Affected Ladies, The Crucible, Evita, Sister Mary
Sacrifice (u/s). Other
Othello, Love’s Labour’s Lost, A Year with Frog
Ignatius...). Tour: Missoula Children’s Theatre
Theatres: Crumbs from the
and Toad, Shipwrecked!, Bach at Leipzig, Much
(The Little Mermaid). Training: BFA in Theatre
Table of Joy (Aurora Fox
Ado about Nothing, The Playboy of the Western
from New York University (Playwrights Horizons
Theatre), Doubt (Off Square World, As You Like It (Shakespeare Santa Cruz),
and CAP21).
Theatre), Bee-Luther-Hatchee (Modern Muse
The Two Gentlemen of Verona, A Christmas Carol
Theatre), House With No Walls (Curious Theatre), (Geva Theatre Center), Boy, The Green Bird (La
ARTIE RAY (Assistant
Two Trains Running (Shadow Theatre Company), Jolla Playhouse). TV/Film: “Guiding Light.”
Fight Choreographer, Fight
Paris on the Platte (Curious Theatre), Macbeth
Special/Awards/Training: BFA, SMU ‘94; MFA,
Captain and Understudy in
(Shadow Theatre Company). TV/Film: “New York UCSD ‘97.
The Three Musketeers). At
Undercover,” “Guiding Light,” The Here Between.
the Denver Center: Debut.
KIM STAUNTON* (Rose
Other Theatres: Acting
JAMIE ANN ROMERO
in Fences). At the Denver
credits: Cyrano de Bergerac,
(Kitty, Ensemble and
Center: To Kill a
Death of a Salesman, Diary
Understudy in The Three
Mockingbird, Ruined, A
of Anne Frank, When You Comin’ Back, Red
Musketeers). At the Denver
Raisin in the Sun, Radio
Ryder?, Bus Riley’s Back in Town, Asterisk, The
Center: Sunsets and
Golf, Doubt, Gem of the
Business of Story, Smok’d. Fight Choreographer
Margaritas. Other
Ocean, A Selfish Sacrifice,
credits: Xtacy, Dangerous Liaisons,True West,
Theatres: Romeo & Juliet,
The Madwoman, A Streetcar
Angel City, Hotel Universe, Magic Time, Othello,
Noises Off, Hamlet, King
Named Desire, King Hedley II, Pork Pie. Other
etc. Special/Training: Am. Academy of Dramatic Lear (Colorado Shakespeare Festival), The
Theatres: Center Theatre Group/Kirk Douglas
Arts, Society of American Fight Directors
Importance of Being Earnest, Twelfth Night
Theatre, Seattle Repertory, Syracuse Stage,
Certified, Recognized Master Actor Combatant & (Arvada Center), The Seagull, Boeing
Berkeley Repertory, Arizona Theatre Company,
Associate Instructor of Dueling Arts International, Boeing (Theatreworks Colorado Springs), As You
Virginia Stage, Pittsburgh Public, Colorado
San Francisco Mime Troupe, Veteran of US
Like It (Modern Muse Theatre Company), The
Shakespeare Festival, South Coast Repertory,
Marine Corps.
Clean House (Boulder Ensemble Theatre
Folger Theatre, Arena Stage, Hartford Stage,
Company). Special/Awards/Training: Best of
O’Neill Theatre Center. TV/Film: First Sunday,
Westword Award (Juliet, Romeo & Juliet, Colorado Changing Lanes, Heat, Dragonfly, Holy Man,
Shakespeare Festival), Denver Post Ovation Award Glory and Honor, Deceived, Amos and Andrew,
(Ophelia, Hamlet, Colorado Shakespeare Festival), “Army Wives,” “Eleventh Hour,” “The Nine,”
Best of Westword Award (Celia, As You Like It,
“Bones,” “Strong Medicine,” “Judging Amy,”
Modern Muse Theatre Company). B.A. in Theatre “Law and Order,” “New York Undercover.”
from the University of Northern Colorado.
Special/Awards/Training: Denver Post Ovation
Award, Henry Award, Westword’s Best of Denver,
Ten Chimneys Foundation Lunt-Fontanne Fellow,
The Juilliard School.
EMMI GRACE SULLIVAN
(Raynell in Fences). At the
Denver Center: Debut. Other
Theatres: Lemonade. TV/
Film: “The Lightning Bugs.”
Training: Emmi has attended
the Colorado School of
Acting since she was 5. In
addition to acting, Emmi also loves soccer and has
been playing for four years. In 2nd grade, Emmi
loves school and has a particular interest in
science, art and photography. Emmi also has two
dogs which she adores.
JOHN TOURTELLOTTE
(Lubin and Ensemble in The
Three Musketeers). At the
Denver Center: Debut. Other
Theatres: Double Bind,
Henry IV, Part 1, The Three
Musketeers (Shakespeare
Santa Cruz), Hamlet (City
Lights Theatre), Babes in Arms (Berkshire Theatre
Festival). Training: BFA Acting, Auburn
University (2011).
MARTIN YUREK*
(Aramis in The Three
Musketeers). At the Denver
Center: Debut. Other
Theatres: Lyric Opera of
Chicago, Writer’s Theatre,
Goodman Theatre, Chicago
Shakespeare, Court Theatre,
Drury Lane Oakbrook, Northlight, Marriott
Theatre, Illinois Theatre Center, Ravinia Festival,
Victory Gardens, Chicago Dramatists, Shaw
Chicago, Buffalo Theatre Ensemble, Theatre at
the Center, Theatre Building Chicago. Off
Broadway: New Victory Theatre. Regional: Maltz
Jupiter Theatre, the Utah, Illinois, and Wisconsin
Shakespeare Festivals, Indiana Repertory,
Madison Repertory, Kansas City Repertory,
American Players Theatre, Riverfront Playhouse,
five seasons with Notre Dame Summer Shakespeare in residence at the University of Notre
Dame. Training: Theatre School at Depaul
University.
Denver Center theatre company Staff
EXECUTIVE
Kent Thompson, Artistic Director
Bruce K. Sevy, Associate Artistic Director
Charles Varin, Managing Director
Edward Lapine, Production Manager
ARTISTIC
Douglas Langworthy, Literary Manager/Dramaturg
Chad Henry, Literary Associate
Emily Tarquin, Artistic Associate/New Play Coordinator
Sylvie Drake, Advisor
PRODUCTION
Rick Noble, Assistant Production Manager
Dan McNeil, Technical Director
Christopher C. Ewing, Production Stage Manager
Julie Brou, Production and Artistic Office Manager
Scenic Design
Lisa M. Orzolek, Director of Scenic Design
Scenic Design Assistants: Tobias Harding, Tim Barbiaux
Lighting Design
Charles R. MacLeod, Director of Lighting
Lighting Design Assistant: Shannon Johnson
Multimedia: Charlie I. Miller, Resident Multimedia Specialist
Sound Design
John E. Pryor, Director of Sound
Sound Designers: Craig Breitenbach, Jason Ducat, Tyler Nelson
Sound Design Assistant: JR Cody Schuyler
Sound Intern: Alex Brown
Stage Management
Christopher C. Ewing, Production Stage Manager
Stage Managers: Rachel Ducat, Kurt Van Raden
Assistant Stage Managers: Matthew Campbell, A. Phoebe
Sacks
Production Assistants: D. Lynn Reiland
Stage Management Interns: Katy Beth Austin, Maxie Bilyeu
Scene Shop
Robert L. Orzolek, Shop Foreman
Josh Prues, Assistant Technical Director
Lead Technicians: Albert “Stub” Allison, Louis Fernandez III
Scenic Technicians: Mike Hamer, Justin Hicks,
Brian “Marco” Markiewicz, Keli Sequoia, Ross Wick
Prop Shop
Robin Lu Payne, Properties Director
The Denver Center Theatre Company is grateful for the funds
provided by the Scientific and Cultural Facilities District. Special thanks also to grants from Arts & Venues
Denver; the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals.
The Denver Center Theatre Company is a division of The
Denver Center for the Performing Arts, a not-for-profit
organization serving the public through the performing arts.
The DCTC 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 Society for Stage Directors and Choreographers. The DCTC 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 Denver Center Theatre Company is a constituent of
Theatre Communications Group (TCG), the national organization for the American theatre.
Eileen Garcia, Assistant Properties Director
Roo Huigen, Lead Props Artisan
Props Artisans: Jamie Stewart Curl, Charles Dallas, David Hoth,
Katie Webster
Prop Interns: Andrea Spraycar, Jeffrey Goldberg
Paint Shop
Jana L. Mitchell, Charge Scenic Artist
Melanie Rentschler, Lead Scenic Artist
Karin Mirick, Scenic Artist
Paint Intern: Samantha Bodnar
Costume Shop
Janet S. MacLeod, Costume Director
Costume Design Associates: Meghan Anderson Doyle,
Maureen Demers
Drapers: Jackie Scott, Louise Powers, Carolyn Plemitscher,
Karen Peterson
First Hands: Cathie Gagnon, Belinda Haaland, Beth Walker
Tailor: Sheila P. Morris
Stitchers: Kate Butson, Kelly Jones, Teresia Larsen, Jeanne
Legrand, Marilyn Langeberg, Wanda Price
Costume Crafts
Kevin Copenhaver, Costume Crafts Director
Judy Craigo, Costume Crafts Artisan
Wigs
Diana Ben-Kiki, Wig Master
House Crew
Christopher F. Kendall*, House Foreman
Stagehands: Mariah Becerra*, Andrew Hamer, Stephen D.
Mazzeno*, Miles Stasica*, Doug Taylor*, Matt Wagner*,
Ron White* (*IATSE Local 7 Stagehands)
Colin Riebel, Production Electrician
Wardrobe
Brenda Lawson, Director
Wig Assistants: Lisa Rokicki, Maria Y. Davis
Dressers: Robin Appleton, Amber Donner, Amoreena Kissel,
Tim Nelson, Alan Richards, Brooke Vlasich
ADMINISTRATION
Amy E. Allison, Associate Managing Director
Clifford Hannon, Assistant Company Manager
Cassie Brown, Business Administrator
PLEASE BE ADVISED
LATECOMERS are seated at designated breaks.
PHOTOS & VIDEO RECORDING are prohibited.
TURN OFF cell phones and alarm watches.
CHILDREN UNDER 4 are not admitted.
COUGH DROPS are available at Patrons Services.
The Directors and Choreographers are members
of the Stage Directors and Choreographers
Society, an independent national labor union.
The actors and stage managers employed in
these productions 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.)
Scenic, Costume, Lighting and Sound designers
in LORT theatres are represented by United
Scenic Artists Local USA-829, IATSE
Member of the Colorado Theatre Guild
ART PARTNERS
COMCAST
BUILDING COMMUNICATIONS,
ENTERTANMENT AND COMMUNITIES
C
A vibrant arts
community—in
addition to enriching
lives in many important
ways—helps attract
and sustain other
thriving businesses.
omcast isn’t just in the business of
communications and entertainment.
We’re also in the business of building
communities.
Investing in culture is good for business. A
vibrant arts community—in addition to enriching lives in many important ways—helps
attract and sustain other thriving businesses.
Comcast is committed to philanthropy and investing in community organizations as well as
to delivering innovative technology services
for business customers to support the overall
success of our communities. Since 2001, Comcast has provided billions
in cash and in-kind support to national and local nonprofit organizations. Here in Colorado,
Comcast donated more than $5 million last
year in cash and in-kind contributions to more
than 200 community organizations.
omcast has been thrilled to support
The Denver Center for the Performing Arts and its Dramatic Learning
Program that enables children to learn through
innovative arts programs. We know that investment in children today is an investment in
our community’s future. That’s why Comcast
recently launched “Internet Essentials,” a program that brings the power of the Internet to
more families across our state. Families with
children who receive free or reduced school
lunch can enjoy fast home Internet service at
an affordable price, purchase a low-cost computer, and receive free Internet training to help
them advance their skills in utilizing technology. Learn more at www.InternetEssentials.
com to help families across Colorado benefit
from this program. C
Investing in the success of Colorado
families also means engaging in community
service, and Comcast employees proudly roll
up their sleeves frequently to give back to
our communities. Our most recent Comcast
Cares Day brought together more than 7,300
volunteers—Comcast employees, family
members and friends—to complete projects at
37 different sites across our Mile High region.
Volunteers helped with construction projects,
painting, park clean-ups, repairs and other
needed services.
t’s this same base of dedicated employees
that is committed to providing the fastest,
most sophisticated and feature-rich suite
of communications services that directly
impact the success of local business customers. Comcast has quickly become the go-to
company for Business Class Internet, Voice
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technology to get a market advantage, save
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The Comcast commitment transcends communications. Through technology, innovation
and philanthropy, Comcast is proud to help
our communities reach their full potential. n
I
On Comcast Cares
Day, more than 7,300
volunteers completed
37 different projects
with community
partners across our
Mile High region.
12
APPLAUSE
d e n v e r c enter. or g
Art Partner
ENJOY COLORADO’S ARTS VENUES
I’ve got You Covered!
W
We are so lucky to live in this vibrant metropolis,
rich in art and culture. Summer’s over, the kids are
back in school and it’s a great time to experience a
little of what Denver has to offer. When you want
to know where to go, what to do and how to have
fun, I have the scoop!
Don’t miss the 2013 season for both Denver
Center Attractions and the Denver Center Theatre
Company. They’ve got everything from War Horse
to Sister Act to Priscilla Queen of the Desert. n
CBS4 critic-at-large
Greg Moody
se
War Hor
on Cast
g 2011 Lond
CBS4 is proud
to support The
Denver Center for
the Performing
Arts and to
showcase
local arts...
Priscill
a Origin
al Bro
adway
Cast. ©
Photos ©
Joan M
ar
cus.
Brinkhoff/
Mögenbur
Prisc
of th illa Quee
n
e Des
ert
Sister act
WIcked
A proud sponsor of
Denver Center
Theatre Company
and
Denver Center
Attractions
22
APPLAUSE
d e n v e r center. or g
The Original Broadway
Production of Sister Act.
© Joan Marcus.
Take advantage of Denver Arts Week that comes up November
2-10. It’s the sixth annual celebration of the city’s arts and cultural
scene featuring nine days of events focused on dance, theatre,
museums and the visual arts. Take in a show, attend Night at
the Museums with free admission, special programming and
extended hours—or buy specially priced $52.80 tickets to major
performances.
Watch CBS4 or visit www.cbsdenver.com for all the details!