Applause Magazine May - July 2013

Volume XXIV n Number 8

may – July 2013

ALSO PLAYING…

Les MisérabLes • baLLrooM with a twist • traces

Mary poppins

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THE GRAND DUCHESS THE MARRIAGELA TRAVIATA

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OFFENBACH MOZART VERDI ROSSINI THEODORE MORRISON

APPLAUSE denvercenter.org 4

APPLAUSEM A G A Z I N E

VOLUME XXIV n NUMBER 8 n May – JULy 2013

For advertising information call The Publishing House 303.428.9529.

7380 Lowell Blvd., Westminster, CO 80030Angie Flachman, Publisher

Editor: Sylvie Drake Associate Editor: Suzanne YoeDesigners: Kim Conner, Brenda Elliott, Kyle Malone

Applause is published eight times a year by The Denver Center for the Performing Arts in conjunction with The Publishing House. All rights reserved. Reproduction in whole or in part

without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Applause magazine is funded in part by

The Denver Center for the Performing arts1101 13th St., Denver, CO 80204

303.893.4000 www.denvercenter.org The Denver Center for the Performing arts is a not-for-profit organization serving the public through the performing arts.

BoArd of TrUSTEESDaniel L. Ritchie,

Chairman and CEODonald R. Seawell,

Chairman EmeritusRandy Weeks,

President and Executive Director, Denver Center Attractions

William Dean Singleton, Secretary/Treasurer

W. Leo Kiely III, First Vice Chair

Robert Slosky, Second Vice Chair

Christian AnschutzDr. Patricia Baca Joy S. BurnsIsabelle ClarkNavin DimondMargot Gilbert FrankThomas W. HonigMary Pat Link Edward A. MuellerRobert C. NewmanRichard M. Sapkin Martin SempleJim SteinbergPeter SwinburnKen TuchmanLester L. WardDr. Reginald L. WashingtonJudi WolfSylvia Young_______________________Carolyn Foster,

Executive Assistant to Daniel L. Ritchie

Kim Schouten, Executive Assistant to Daniel L. Ritchie

EX-offICIo MEMBErSDorothy V. DennyMayor Michael HancockGovernor John HickenlooperKent Thompson

HoNorAry MEMBErSJeannie Fuller Glenn R. JonesM. Ann PadillaCleo Parker Robinson

MANAGEMENT CoMMITTEERandy Weeks,

President and Executive Director, Denver Center Attractions

Dorothy V. Denny, Executive Vice President

Vicky Miles, CFO Kent Thompson,

Producing Artistic Director, Denver Center Theatre Company

Jennifer Nealson, CMOClay Courter, Director,

Facilities Management Emily Davidson, Director,

Human ResourcesSylvie Drake, Director,

PublicationsJohn Ekeberg, Director,

Programming and Operations, Denver Center Attractions

Tam Dalrymple Frye, Director, Education

Brianna Firestone, Director of Marketing, Denver Center Theatre Company

Janet Flesch, Director of Marketing

Jeff Hovorka, Director, Media and Marketing, Denver Center Attractions

Bruce Montgomery, Director, Information Systems

Jennifer Siemers, Director, Accounting

Charles Varin, Managing Director, Denver Center Theatre Company

Dawn Williams, Director, Venue Sales and Operations

Suzanne Yoe, Director, Marketing Services

AMErICAN NATIoNALTHEATrE & ACAdEMy BoArdKent Thompson,

Chairman and CEOJudi Wolf,

President and COODonald R. Seawell,

Chairman Emeritus

HELEN G. BoNfILSfoUNdATIoN BoArd of TrUSTEESLester L. Ward, PresidentMartin Semple,

Vice President Judi Wolf, Sec’y/TreasurerDonald R. Seawell,

President EmeritusW. Leo Kiely IIIDaniel L. RitchieWilliam Dean SingletonRobert SloskyJim SteinbergDr. Reginald L. Washington

The 2013 Tony® awards are just around the corner and, as is most often the case, there is a scurry to get shows up on Broadway to qualify for the awards. Many Broadway pro-ducers plan to “come in” during the spring, thinking that they will have a better chance of getting a Tony nod if their opening is fresh in the Tony voters’ minds. This year is no exception, and I am watching with great interest for the musicals we might see in Denver a year or so from now. The top productions vying for Best Musical will be a revisical of Cinderella (my newly minted word for a “new musical adaptation”) that just opened and is doing good business; Kinky Boots (based on the movie); Matilda, based on the book by Roald Dahl, that came to Broadway from

London’s West End, and Hands on A Hard Body, based on the documentary film. My personal favorite for Best Revival is a new adaptation of Pippin; I was able to catch its pre-Broadway run at Harvard and it’s terrific. There also is a sweet and timely revival of the ever-popular Annie. Tune in to the Tonys on June 9 on CBS to find out who takes home the hardware. Denver Center attractions (DCa) is only halfway through its 2013/14 season and there is still time to sub-scribe. Great shows such as Peter and the Starcatcher, Priscilla Queen of the Desert, and the 2012 Tony award- winning musical once are soon to arrive in Denver. There is much to see at The Denver Center, so keep in touch by visiting www.denvercenter.org. n

Randy Weeks,DCPA PresidentExecutive Director, Denver Center Attractions

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BALLROOM WITH A TWIST

Enjoy “Dancing with the Stars”? Then you’ll thrill to this breathtaking

evening of dance for the entire family, choreographed by Emmy-nominated Louis van amstel and

featuring some of that show’s favorite contestants.

TRACESThis exhilarating show is back with

its amazing feats of big-top cirque shows minus the gibberish and the

fol-de-rol. No nets, no wires, all heart—and co-creator Gypsy

Snider explains why.by Sylvie Drake

MARY POPPINSThe life of P.L.Travers, creator of everyone’s favorite nanny, does not entirely parallel that of the “practically perfect” Poppins, but their confidence, strong wills and eccentricities match up, well, perfectly. by Michael Lassell

LES MISéRABLESSentiment, heroics, a stirring score (and now a movie) have only burnished the 33-year success of a musical that never ceases to astonish. by Sylvie Drake

BANKS COME IN SMALL, VECTRA AND LARGE.

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In the law, as in the arts, creativity matters. Snell & Wilmer is a proud supporter of the Denver arts community.

Tamara Kaida: Desert Paint, 1987

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Performances at The Denver Center are made possible in part through the generous support of:

SCFD

Denver Center Theatre Company 2013/14 Season Sponsors

Denver Center Attractions 2013/14 Season Sponsors

Denver Center Theatre Company & Denver Center Attractions Media Sponsors

The Doyle & Debbie ShowNow – June 23Garner Galleria

TheatreOn Sale Now

World Premiere Sense &

Sensibility The Musical

Now – May 26Stage TheatreOn Sale Now

Mary PoppinsNow – May 5Buell TheatreOn Sale Now

Les MisérablesMay 22 – 26Buell TheatreOn Sale Now

Ballroom with a TwistJune 8 – 9

Buell TheatreOn Sale Now

TracesJune 26 – July 14

Stage TheatreOn Sale Now

Peter and the Starcatcher

Aug 15 – Sep 1Ellie Caulkins Opera HouseOn Sale Now

Priscilla Queen of the Desert

Sep 3 – 15Buell TheatreOn Sale Now

Death of a Salesman

Sep 20 – Oct 20Space Theatre

On Sale August 4

Sister ActSep 24 – Oct 6Buell TheatreOn Sale Now

World PremiereJust Like UsOct 4 – Nov 3Stage Theatre

On Sale August 4

World PremiereThe Most Deserving

Oct 11 – Nov 17Ricketson TheatreOn Sale August 4

The Book of Mormon

Oct 22 – Nov 24Buell Theatre

Jackie and MeNov 15 – Dec 22

Space TheatreOn Sale August 4

A Christmas CarolNov 29 – Dec 29

Stage TheatreOn Sale August 4

Mannheim Steamroller Christmas

Nov 30 & Dec 1Buell TheatreOn Sale Now

Cirque Dreams Holidaze

Dec 10 – 22Buell TheatreOn Sale Now

World PremiereThe Legend of

Georgia McBrideJan 10 – Feb 23

Ricketson TheatreOn Sale August 4

EvitaJan 15 – 26


World Premiereblack odyssey

Jan 17 – Feb 16Space Theatre

On Sale August 4

HamletJan 24 – Feb 23Stage Theatre

On Sale August 4

Mamma Mia!Jan 28 – Feb 2Buell Theatre On Sale Now

Million Dollar Quartet

Feb 25 – March 9Buell TheatreOn Sale Now

ChicagoMar 18 – 23

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ShadowlandsMarch 28 –

April 27Space Theatre

On Sale August 4

Animal CrackersApril 4 –May 11

Stage TheatreOn Sale August 4

Rock of AgesApril 25 – 27Buell TheatreOn Sale Now

onceMay 6 – 18, 2014


If you like “Dancing With the Stars” this show’s for you…

A critically-acclaimed international dance production, choreographed by ABC-TVs Emmy-nominated Louis

van Amstel of “Dancing With the Stars”, has taken the inevitable next step and is hitting The Buell Theatre stage. This ground-breaking show stars “Dancing With The Stars” celebrity pros Jonathan Rob-erts and Anna Trebunskaya, Tristan MacManus and Chelsie Hightower; finalists from TV’s “So You Think You Can Dance” Randi Lynn Strong, Legacy and Jonathan Platero, and “American Idol” finalist Gina Glocksen

and Von Smith. This evening of pure entertainment for the entire family pushes the boundaries of

ballroom dance, infusing it with the intensity of the latest con-temporary and “hip-hop” styles. It also is crowned by stunning costumes, mag-nificent music and breathtaking performances. What’s not to like…? n

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • denvercenter.org

June 8 – 9 • Buell Theatre

BALLROOM with a

Twist…

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WWhen you first hear about the French-titled Les 7 Doigts de la Main (The 7 Fingers of the Hand), it’s easy to think of them as Cirque du Soleil wannabes. In their show, Traces, they do all of that fabled physical stuff: acrobatics, tumbling, hoops. Like Cirque du Soleil, they’re based in Montreal, use no animals and share a pedigree that includes the National Circus School in Montreal, a magnet for circus performers. yet the truth about 7 Fingers is, in fact, the opposite. “No net! No wires! all heart!” is how they’ve advertised their show. They might have added no tent, no costumes, no frills, no cast of thousands—and some real language spoken here. While all of the founders worked with Cirque du Soleil in their youth, they had a desire to create something on their own and it turned out to be something of an anti-Cirque. “Principally we’re friends who met as co-artists at Cirque du Soleil,” says Gypsy Snider, a co-creator of Traces with “finger” (and fellow San Franciscan and Saltimbanco performer) Shana Carroll. “We were not all on the same show. I was working with two of the fingers, as we call each other, on Saltimbanco; one was working on a project in Germany; three others were on Qidam and Alegria.”

While still with Soleil, Snider and Carroll, developed other projects together. “We wrote stories,” Snider said during an interview. “Shana did choreography.” In 2002 they formed a

company. “It was one of those magical moments when really committed people get together and say let’s do a show. We were seven co-artists and friends who had known each other for a while. We trusted each other. We knew no one was going to turn away or have an ego trip. We were in the project to make it happen—to the end. “The concept,” Snider explained, “was to create a circus company where we could perform, write, direct, coach, administer, do graph-ics, radio, film, basically fulfill all of our creative desires.” While they created Traces—which has a cast of seven—the production does not necessarily feature the founders, but artists hired by them. “Traces was our second production and everyone in Montreal was like, ‘We don’t understand, why are you hiring these young people? Isn’t this a company for you as artists?’ Well, yes, but what these guys do acrobatically, I’m not going to do. I’m 42. It’s over. For me it’s excit-ing to choreograph. Because we seven were performers, our apprecia-tion is huge. We’re not just coaches; we did it. So when I see you, a young artist, who can do five times more than I could when I was 20, I know how to exploit that. I’m going to make it possible for you to really show what you can do. “acrobats aren’t actors,” she stressed. “What we do isn’t acting. It’s trying to find the essence of these seven young people and get them to communicate with the audience in the most unpretentious form.” and so they do. These acrobats perform in what one might describe

Tracking the Essence of

Tracesb y S y lv i e D r a k e

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303.893.4100 APPLAUSE 11

tracesas noncostumes. They look a lot like ordinary street clothes. No glam. Their props are a couple of onstage poles, metal rings, some toys, mats, hoops, a mic. They take turns fooling with an onstage design table and tinkering with the keys of an old piano. Their sense of humor is subtle but pervasive, underscoring their actions even before the lights go up. Tracing the origins of the show’s title is revealing. It began with Carroll and Snider’s desire to capture “the fire and energy and endless giving” of these young performers. “When you’re 20 you think everything’s possible,” Snider explained. “You push yourself, but you also have this desperate need to share and communicate, to make a mark. And you begin to realize, ‘Oh, this is what I can do. This is how I’m going to leave my trace.’”

Another factor played into this. Traces was created not long after 9/11 and as Americans,

Carroll and Snider felt the full anguish of that event. It left its own trace on the show they were staging. “Terrorism, a climate of fear, global warming, all were becoming a reality,” Snider said, “and here we were with these youngsters on stage. You could see that for them this was kind of the norm. Airplanes flying into buildings. “We didn’t want to do a political show, so we tried to do one in which we put these young, dynamic artists into a context—of the lack of creativity, of the destruction and fear we were feeling. “So there they are, full of life, run-ning around, but through the whole show you hear clocks ticking. They play with chalk, but then you have a murder scene, that chalk outline of a dead body on the ground. Small yet emotional moments. They leave a trace.” This undercurrent is intentionally fur-tive enough to be well over the heads of children in the audience (and even some adults) busy delighting in the hi-jinx and derring-do of the acrobats. But whether these inferences make their point with everyone is not important. The central idea is that when you reveal even the smallest fact about yourself, you leave a trace. “We like to feature our vulnerabilities,” said Snider. “A big point for us is that we like to talk about the human condition. We don’t want beautiful, perfect, godlike artists. We like to say, here’s this kid on stage—it could be your kid, it could have been you—and you leave traces in your life.” Since their founding, The 7 Fingers have been growing. It now takes a large

staff to handle their companies on tour. All of their shows—Loft, Traces, La Vie, Psy—are compact, and all aim for simplic-ity and portability. They also all combine celebratory themes with life’s darker path-ways. The Fingers find that “the juxtaposi-tion of dark and complex themes with the joyful and celebratory language of circus [make] for a rich experience.”

Members of the company hail from everywhere—France, Canada, Switzerland, the United

States, China. In a twist that speaks volumes about the group’s philosophy, they don’t do auditions; they do workshops. Snider: “We invite people that we’ve heard of through friends and say, ‘Come. We’re going to try some ideas for a couple of weeks. You can help us, we’ll have fun,’ and so we get to know them. That’s the closest thing to an audition that we do. “A lot for us rests on gut feeling and work ethic. Obviously, we want personali-ties on stage, not machines, but we don’t want divas and drama. The desire to work has to be there or a show like this won’t fly. Boredom can’t exist in this business. Every night must be magic. A bit of joking around is good, but first you must respect the show.” Circus life—nomadic, restrictive, physically rigorous—also appears to be

addictive. “When I was a kid,” Snider said pensively, “you couldn’t make money doing circus.” She should know. She grew up as the daughter of the founders of San Francisco’s Pickle Family Circus. “My brother and I were in my parents’ shows. There was a slight feeling from my parents—a worry—that if we did [circus] we’d have to struggle like they did. I never felt poverty as a kid, but they had to really work, and it’s hard work. You’re also in charge of all those other people… “There was a slight desire for my brother and I to leave circus, but… you can’t. You’re right. It’s like the Mafia. I felt like I would be leaving this unbelievably cool life. The community is so strong. And so small. We’re not a dime a dozen. Perhaps because the [physical] risk factor is so high, the investment and relationship with the people you work with so intense, because your life, literally, can depend on them. That’s huge.” While Traces is one of the company’s earliest shows, the reasons for touring it now are also simple: “It has been one of our more beloved shows because of the way it reaches out to the audience. It has some of tra-ditional circus. Straight up. And what I love is that if you mess up, you just get up and do it again. You needn’t pretend it didn’t happen and get em-barrassed. We want the audience to see how hard it is and that it’s OK to fail, because you can get up and do it again. That’s a terrific mes-sage to pass on.” n


June 26 – July 14 • Stage TheatreProducing Partners: L. Roger Hutson & Meredith Black and Rick & Shelly Sapkin

A HealthONE Family Production

Sponsored by Comcast

“What we do in Traces isn’t acting. It’s trying to find the essence of these seven young people and

get them to communicate with the audience in the

most unpretentious form.”—Gypsy Snider

co-director, choreographer and founder

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APP0513

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thE

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Death of a SalesmanSept 20–Oct 20 • Space Theatre

World Premiere

Just Like UsOct 4–Nov 3 • Stage Theatre

World Premiere

The Most DeservingOct 11–Nov 17 • Ricketson Theatre

Jackie and Me*Nov 15–Dec 22 • Space Theatre

A Christmas Carol*Nov 29–Dec 29 • Stage Theatre

World Premiere

The Legend of Georgia McBrideJan 10–Feb 23 • Ricketson Theatre

World Premiere

black odysseyJan 17–Feb 16 • Space Theatre

HamletJan 24–Feb 23 • Stage Theatre

ShadowlandsMar 28–Apr 27 • Space Theatre

Animal CrackersApr 4–May 11 • Stage Theatre

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June 28-30, 2013The largest charitable polo event in the country.

Celebrating its 26th year, the Schomp BMWDenver Polo Classic is three days of excitingentertainment with all proceeds benefiting localchildren's charities. The weekend events will takeplace at the exclusive Polo Reserve Developmentin Littleton. Set against the spectacular backdropof the Rocky Mountains, under our signature whitetent, patrons and guests of the Schomp BMWDenver Polo Classic will enjoy top-notch polomatches, exquisite spirits, wines and beers, andgourmet food from some of the finest restaurantsin Denver.

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Show Boat at the Buell TheatreAugust 6–11

Kern and Hammerstein’s popular musical, featuring a full live orchestra, comes to the grand stage of the Buell Theatre.

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MAR

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Like Mary Poppins, the character she created, P.L.Travers did not believe in explaining. She did, however, believe

in self-mythologizing, leaving those intent on biographical criticism so confused in her wake that even her obituaries had the facts wrong (according to Valerie Lawson, author of Out of the Sky She Came, the definitive Travers biography). PLT, as she was sometimes called, did not even take credit for “creating” Poppins. Instead, she insisted, the nanny with the upturned nose just came to her one day, much as she blows in on the East Wind in the opening chapter of Mary Poppins (1934). But whether Travers created the “Practically Perfect” Poppins—while convalescing from pleurisy in her Sussex, England, cottage—or merely channeled her, the world is in her debt. Despite the obfuscation, many facts of the author’s life are indisputable. Pamela Lyndon Travers, as she was fully known in her adult life, was born Helen Lyndon Goff in Maryborough, Queensland, australia, in 1899 (although the dust jacket of one of her own books claims it was 1906). She took her professional name—Travers was her father’s first name—during a brief stint as a dancer and actor. In 1924, she left australia permanently after which she lived principally in England, with periods in Ireland and the US (for a time with the Navajo). PLT’s early life was fairly idyllic, until her father died when she was only seven. The eldest of three girls, she was remarkably imaginative, given to pretending she was a hen, spending hours brooding on an imaginary nest of eggs.

She loved reading and ingested the Brothers Grimm (especially the gory bits). For a time in her childhood she thought “grim” was another word for story. “Tell me a grim,” she would say. This child fantasist grew up to become quite self-sufficient, very much an “independent woman,” and years ahead of her time. To quote from Caitlin Flanagan’s 2005 New Yorker piece, “Travers was a woman who never married, wore trousers when she felt like it . . . [and as] she approached 40, she decided that she wanted a child. . . . [So she adopted] an infant, one of a pair of twins, and raised him as a single mother.” after leaving australia, where she had supported herself as a journalist, Travers matured into a poet, critic and essayist, and “a serious writer” of fiction and nonfiction books. Her circle of acquaintances included William Butler yeats and T. S. Eliot, and her personal interests ran to mythology and mysticism (she was a longtime disciple of guru G. I. Gurdjieff). PLT reduced her alias to its initials to disguise her gender, hoping to escape the dismissive stereotype of the lightweight authoress.

The great success of Mary Poppins was immediately followed by Mary Poppins Comes Back (1935). Mary Poppins Opens

the Door appeared in 1944, followed eight years later by Mary Poppins in the Park (1952). These four books—collections of stories with recurring characters rather than novels—are the core of the nanny’s canon. The last of the Poppins tales, Mary Poppins and the House Next Door, materialized in 1989. Travers would not seem like the kind of person to be wooed by Walt Disney, but pursue her he

THE HUNT FOR P.L.TRAVERS

Is Mary a magical fairy godmother, a

disapproving authority figure or a satisfying

bit of both?

b y M i c h a e l l a S S e l l

Those odd details about Mary Poppins sprang from the mysteries in the author’s own life

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MAry poppINSdid—or at least the film rights to Mary Poppins, a favorite of his daughters. It took Disney 20 years to convince the strong-willed and proprietary Travers to approve a script and sign on the dotted line, and it cost Disney five percent of the Mary Poppins gross. (adjusted for inflation, the movie ranks as #23 on the list of all-time box-office earners.)

It took producer Cameron Mackintosh nearly as long to wrangle the stage rights. By the time he knew her, he

says, “she was a frail old lady. But you could see that she had a steel rod going down her spine… She asked me lots of questions about her characters and what kind of musical I wanted to do on stage. When I started to dig for information I felt very like Michael and Jane Banks waiting to be told, ‘you’ll do.’” When Mackintosh finally acquired the theatrical rights, he met with Thomas Schumacher, president of Disney Theatrical Productions, to talk about the possibility of a joint production. He gave Schumacher the treatment he had worked up for the stage musical and Schumacher gave Mackintosh an armful of documents from the Disney vault. “It was amazing,” recalled Schumacher, “that Cameron had focused on many of the characters and episodes from the books that Travers wanted to include in the Mary Poppins film sequel that was never made.” as is frequently the case with people who do not like to talk about their personal lives, that of Travers seems unusually freighted with frustration and conflict—especially in her relationships, both requited and not. Even her 50-year collaboration with illustrator Mary Shepard—herself the daughter of Ernest H. Shepard, who first drew Winnie the Pooh—was not always placid. Perhaps Julie andrews described Travers best: “I liked her,” said the Oscar-winning andrews. “She was an eccentric and rather tough old girl but a good-hearted one, I felt.” Countless details from PLT’s life found their way into her books. after her father’s

death, Travers found herself living with her Great aunt Helen (known as aunt Ellie), for whom PLT was named. Ellie was an irascible and sometimes bitter spinster, described as variously peremptory and humane, given to sniffing disapprovingly and to quoting every bromide in the book of child rearing. She seems clearly to have been, at least in part, the life model for Mary Poppins. Not coincidentally, she made a habit of carrying a carpetbag. Physically, Mary Poppins is described as resembling a Dutch doll that was one of PLT’s playthings as a girl. Travers assigned her own father’s occupation—bank manager—to Mary Poppins’ employer, George Banks, along with her father’s money troubles. Two of the Banks children, as Lawson points out in her book, are named after two of PLT’s relatives in australia. Even the Royal Doulton bowl that figures so prominently in “Bad Wednesday” from Mary Poppins Comes Back was an artifact from PLT’s childhood. and her childhood nurse sported an umbrella with a carved parrot head for a handle. That Mary Poppins is so widely considered a loving caregiver is one of the central mysteries of the books. Jane and Michael Banks are simultaneously devoted to her and terrified of displeasing her. Far from rosy-cheeked and flirtatious, as she seems from the film, the literary Poppins is described as strict, stern, remote and rigid—and she can stop a child in its muddy tracks with her blue-eyed glare.

aside from the frequent dreamlike adventures that take her charges out of the ordinary world, the

Poppins program of parenting is not the kind of rearing you would expect children to enjoy—not today; not in Depression-era London, when the books are set; not in 1910, the period of the film. What is unique about Mary Poppins is her ability to impose order to the chaotic Banks household and a modicum of normalcy (between episodes of sorcery). Is Mary a magical fairy godmother,

a disapproving authority figure or a satisfying bit of both?

That generations of readers have loved Mary Poppins, and grieved at her successive departures from

17 Cherry Tree Lane, may be the biggest mystery of the conjuring nanny’s hold on our collective hearts. Maybe it is the unexpected complexity that makes us cherish both Poppins and Travers. They don’t offer us an easy life, just a fascinating one. If their enchanted rose gardens come with thorns, the flowers bloom in colors we have never before seen. Pamela Travers died in 1996, four months short of her 97th birthday. n

Michael Lassell is the author of Elton John & Tim Rice’s aida: The Making of the Broadway Musical; Tarzan: The Broadway adventure; The Little Mermaid: From the Deep Blue Sea to the Great White Way—and, with Brian Sibley, a book on bringing Mary Poppins to the stage (all from Disney Editions).

THE HUNT FOR P.L.TRAVERS


May 1 – 5 • Buell TheatreA HealthONE Family Production

Signed, Audio Described & Open Captioned • May 4, 2pm

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A Grownup’s Prequel to Peter Pan


now – june 23, 2013garner galleria theatre

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The Westin has been a long-time Saturday

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The Hotel Unveils Newly Rejuvenated Meeting Spaces with Parties for Saturday Night Alive and the Fine Arts Foundation

Partygoers at The Denver Center’s recent Saturday Night Alive (SNA) Patron Party and the Fine Arts Foundation’s Citizen of

the Arts Jubilee were first to see the unveiling of The Westin Denver Downtown’s $5 million rejuvenation. The SNA Parton Party, held for more than 20 years in the Augusta Room, is always an exciting way for SNA guests to preview many of the unique auction items available at one of Denver’s most popular fundraisers. The Westin has been a long-time SNA partner and has been instrumental in gathering gift certificates from sister properties from all over the world that helped the auction raise more than $640,000 this year for The Denver Center’s Arts in Education programs. The Fine Arts Foundation (FAF) Citizen of the Arts Jubilee, held in the new Confluence Ballroom, honored Denver philanthropist Shirley Shields Smith, wife of Marlis Smith, the first FAF Citizen. Mrs. Smith is involved with numerous non-profits and chose Opera Colorado Young Artists as the entertainment for the evening. A special surprise for the Smith family was a live art performance by local artist Evan Siegel who painted the centerpiece during the pre-dinner reception then surprised Mrs. Smith with a gift of the completed painting. “The timing for completion of the refreshment

of our space was ideal for hosting events for two of our long-time arts partners,” states Tom Curley, the Westin’s General Manager and Area Managing Director for Starwood Hotels & Resorts. The project, completed in late February, included a refreshment of all meeting space soft goods including furniture, wall covering and carpet in the hotel’s Confluence Ballroom, as well as the ballroom foyer and all breakout rooms. The lobby level Augusta Room and the Horace Tabor-Molly Brown meeting rooms also enjoyed a transformation. A significant component of the project was leveling the fixed-seat Tabor Auditorium to create nearly 3,700 additional square feet of flexible meeting space, ideal for luncheons, dinners, weddings and holiday parties. In addition, the hotel’s pool deck is receiving a $1.2 million transformation, to be completed in time for outdoor summer parties. This 4th floor indoor-outdoor pool area is a unique venue, with stunning views of the Rocky Mountains, Sports Authority Field at Mile High, historic Larimer Square and the D&F Clock Tower. n

~ Susan Stiff

The Westin Denver Downtown is located at 1672 Lawrence Street. For additional information, visit www.westindenverdowntown.com.

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A proud sponsor of Saturday Night Alive

(L-R) Saturday Night Alive auction Chair Susan Kiely, event Chair Jamie Angelich and Westin Denver Downtown’s General Manager Tom Curley toasting at the SNA Patron Party, recently held in the newly renovated Augusta Room at The Westin Denver Downtown.

Fine Arts Foundation Citizen of the Arts Shirley Shields Smith with husband Marlis Smith at the recent FAF jubilee. Artist Evan Siegel is seen in the background painting the centerpiece.

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($200,000 or more)The James S. and Lynne P. Turley Ernst & Young Fund for Impact CreativityClear Channel outdoorCMT/ABC ($50,000 or more)AoL ($10,000 or more)Christopher Campbell/ Palace Production CenterThe Ralph and Luci Schey FoundationJohn ThomopoulosJames S. TurleyWells Fargo ($5,000 or more)Christ EconomosMariska Hargitayogilvy & Mather ($1,000 or more)Nick AdamoMitchell AuslanderSteven BunsonPaula DominickRyan DudleyBruce R. EwingSteve & Donna GartnerPeter HermannJonathan Maurer and Gretchen ShugartFlorence Miller Memorial FundTheodore NixonLisa orbergCarol ostrowIsabelle Winkles

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ATLANTIC TrUST:Celebrating 10 Years of Partnership and Performance

In 2003, the successful combination of three firms built a strong foundation based on a common goal: to provide extraordinary

client service and broad wealth management capabilities for high net worth individuals and families, foundations and endowments. Then, atlantic Trust had just $8 billion in assets under management (aUM). Now, with 12 offices nationwide, the firm manages $20.3 billion in aUM and is proud to be celebrating its 10-year partnership with The Denver Center for the Performing arts (DCPa). Nearly 250 shows have graced the stage at DCPa in the past decade—from Disney’s The Lion King to the Pulitzer Prize-winning August: Osage County to Monty Python’s SPAMALOT. More than 500,000 Denver-area children have experienced theatre through the DCPa’s arts in Education programs, which have helped 50,000 students per year develop into more creative thinkers, more imaginative learners and, ultimately, a more literate generation of young people. “We’re extremely proud of our 10-year sponsorship of the DCPa’s Best of Broadway Society,” says Wanda Colburn, managing director for atlantic Trust. “This year, we’re pleased to see our support is helping to fund the DCPa’s Student Matinee program, which will attract more than 10,000 middle-school students. atlantic Trust is proud to make a positive difference through ongoing community outreach across Colorado.” Performance is important to both the DCPa and atlantic Trust. With 23 consecutive quarters of net inflows, atlantic Trust has seen a large number of client referrals over the past several years—a strong indicator of the trust clients’ place in the firm. In addition, the firm

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All data is as of December 31, 2012. *Rating may not be representative of any specific client’s experience. For more information, visit pammagazine.com or luxuryinstitute.com. This article is intended for educational purposes only and should not be construed as an offer to buy or sell any security. Any reference to a ranking or an award provides no guarantee for future performance results and is not constant over time. For more information, visit atlantictrust.com. Investment products offered are not FDIC-insured, may lose value and are not bank guaranteed.

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The musical of Les Misérables, based on Victor Hugo’s epic saga, retains all of its sheen in 33 years of undimmed popularity—and counting.

b y S y lv i e D r a k e

WWith the release of the film made of the musical based on Victor Hugo’s Les Misérables, and considering that musical’s 33-year record run on stage, one has to ask: Why? Why does this show never seem to lose its luster? Is it the pathos? The action drama? The deep well of sentiment (as op-posed to sentimentality) on which it draws? The pervasive heroics and genuine heroism of the piece? The answer is all of the above, as well as producers—chiefly Cameron Mackin-tosh—who are good at keeping the produc-tion strong and fresh. But hang on to that word heroism. In this second decade of the 21st century there is a hunger within for genuine heroes or, as Maya angelou so wisely put it, she-roes. Les Miz has more than one of each, whereas our modern world is pretty much devoid of larger-than-life characters. It is a world where the late Joseph Campbell found “every last vestige of the ancient hu-man heritage of ritual, morality and art… in full decay.” Strong condemnation, but it is true that we have lost our dragon-slayers. We re-invent them in comic strips, on you Tube, film and television—or substitute a cult of celebrity in their stead. Thin gruel by comparison. The English language classifies hero as masculine, but angelou was more than half-right. The word is in fact derived from a woman’s name: Hero, the legendary aph-rodite who threw herself into the sea when her lover Leander drowned swimming the Hellespont just to be with her. Granted, that was more of an emotional than a moral re-sponse, and not all of Webster’s definitions of heroism are particularly exalted. The one that comes closest to paydirt is this: “Bravery, nobility, fearlessness, valor.”

apply these words to Les Miz and you feel the richness—in Jean Valjean’s innate nobility and valor;

in that half-pint Gavroche’s fearlessness; in Fantine’s bravery in the face of overwhelming odds or Eponine’s readiness to take a bullet if it can save Marius for whom she has an unrequited love—and even in the final act of Inspector Javert who can no longer bear to live with what he has become. In the end, it is the totality of Hugo’s massive canvas that works—the contradic-tions of its operatic scope and its intimate humanity in a marriage of social, political and emotional upheaval with intensely per-sonal stories of private pain and struggle. and what stories they are. Not content to spin strictly subjective tales, Hugo wanted his entire world to reverberate through his writing. He said he wanted to be the écho

sonore or “loud echo” of his day. although he ostensibly belonged to no church, a religious thread frequently ran through his work. He claimed Les Miz as “religious.” But it is an eloquent compassion, wedded to innate wisdom and a sense of balance that are at the core of the grandeur of his prose. Les Misérables was a very long book, full of plots and subplots, and took years to complete, but it was only following the accidental death by drowning of his grown daughter Léopoldine—a terrible blow—that he immersed himself in earnest into the writing of it. Memories of his daughter probably informed the character of Cosette, just as memories of his own student days informed that of Marius. aside from his phenomenal agility with language, Hugo’s genius was a transcending talent for getting to the universal through the particular, weaving the smaller human tales into the sociopolitical fabric of his day. Les Misérables was published in 1862 and took France and all Europe by storm. It was immediately translated into several languages. The author was astounded by the novel’s success. Even if people rarely plough through its almost 2,000 pages any more, it remains his best-known work, largely because its popularity has been re-ignited by the musical’s charismatic appeal. Toward the end of the novel, Hugo writes

this: “The book which the reader has before him at this moment is, from one end to the other, in its entirety and details...a progress from evil to good, from injustice to justice, from falsehood to truth, from night to day, from appetite to conscience, from corrup-tion to life, from bestiality to duty, from hell to heaven, from nothingness to God…” So much for the lofty ambitions of the book. But one cannot discount the contri-butions of the team that created the musi-cal, from bookwriter alain Boublil’s ability to condense and adapt such a massive epic for the stage, to Herbert Kretzmer’s super-lative English translation of the original French, to the stirring anthems by Claude-Michel Schönberg who created a score that seems drawn from the novel’s rib.

More than 150 years after the novel’s publication, we still thrill to this account of an

escaped convict’s struggle for a chance at redemption because its sensibility is true to any age. Hugo’s gift for evoking an ambience of mystery, his operatic characters, the quest for justice where none exists, the depiction of a people in revolt, all contribute to this modern attraction. Jean Valjean may have all the earmarks of a hero but he goes them one better: he is a flawed, deeply injured and profoundly moral man who, in his vulnerability and compassion, becomes the idealized model of a person with whom we all want to identify. French playwright Paul Claudel called Hugo’s vision his “panic contemplation” of the universe. Writer Léon Fargue called him “un poéte d’avenir” or a poet of the future. That future is now and Hugo’s masterwork remains as fresh, provocative and rousing as ever. n

LES MISÉrABLES


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One cannot discount the contributions of the team that created the musical, from bookwriter Alain Boublil’s ability to con-dense and adapt such a massive epic for the stage, to Herbert Kretzmer’s superlative English translation of the original French, to the stirring anthems by Claude-Michel Schönberg who created a score that seems drawn from the novel’s rib.

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XSSENTIALS: Happy to support the DCPA

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When home technology leader Xssentials donated a PRIMa Cinema unit to the Saturday Night

alive auction for The Denver Center for the Performing arts (DCPa) and its arts in Education programs, they didn’t know how it would fare. Xssentials COO John Carlen explains, “PRIMa Cinema lets people view

first-run movies in their home theatre the day the movie is released.” The item raised a remarkable $25,000. “We were thrilled,” he says. “The DCPa programs bring the performing arts to over 50,000 youngsters. What an amazing accomplishment; we’re proud to play a supporting role.” Xssentials was formed in January by the merger of three industry leaders in home auto-

mation: ESC in aspen, Thul Electronics in Vail, and ESC Thul in Denver. CEOs David Daniels and Mike Thul want people to know that, in Thul’s words, “We’ve been in Colorado for more than 25 years and we’ll continue to serve our cus-tomers and communities for many more.” adds Daniels: “We are really determined to give back to these communities that believed in us, and in what we were doing, from the start.” In addition to The Cancer League of Colorado, Boys and Girls Club, and industry organiza-tions for architecture and design, they support arts groups including the DCPa, the Denver art Museum, Bravo Music Festival in Vail, and the aspen Jazz Festival. The group is already looking forward to next year’s Saturday Night alive auction. Says Carlen: “We’re already beginning to think about what might match this year’s item.” n

One of the world’s most prestigious and innovative airlines, Lufthansa has proudly served the Denver market for

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For a number of years the Lufthansa aviation Center in Frankfurt has served as a public venue for Kunst privat! (“Private art!”). To champion budding artists, it sponsors the Federal Public Reading Competition. Organized by the German Publishers and Booksellers association with schools, libraries, book stores and other cultural institutions, it engages about 640,000 students from 7,500 schools throughout Germany. Social and philanthropic endeavors centered around Lufthansa’s employee-founded charity, Help alliance, provide care and support for chil-dren and impoverished communities around the world. US employees also supported Habitat for Humanity and implemented a fundraising effort for victims of Hurricane Sandy. n

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student matinee program

StUd

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tee up For teens!support student matinees by playing in our annual

Swing Time Golf TournamentMonday, June 24, 2013Lakewood Country ClubImpress your clients and customers at this tournament featuring premium food and drink, fast play and favors that will knock your spikes off!

Hole Sponsorship: $6,000 (includes one foursome)

Foursome: $5,000Golf for one: $1,250

For reservations or more information contact Linda Mitchell at 303.446.4812 or [email protected].

2012/13

at the denver Center theatre Company, our goal is to add relevanCe to 21st Century Classrooms with produCtions that make real-world ConneCtions For students. To integrate a remarkable theatre experience with curriculum, the Theatre Company offers workshops, study guides and lobby displays that provide teacher training, interactive study information, thought-provoking questions, and bibliographies to spark additional reading.

underwrite a student matinee by ContaCting Jeremy Anderson at 303.446.4813 or [email protected]

Thank you so much for letting us

see The Giver, it was amazing!

I wish we could go back.

I wish we could stay forever!

~Jose

You all touched my heart and inspired me in many ways. ~Malia (future performer)

student matineesstudents

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tAFF

Take the FREE Celestial Seasonings tour – voted one of the Top Ten Free Tours in the country!

celestialseasonings.com

FREE TOURS!

Info & group tour reservations: 303.581.1202

OPEN EVERY DAY except major holidays

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ASPEN GROVE WELCOMES

Join us this Spring/Summer for FREEfamily events like A Paris Street Market,Family Film Festival, Farmer’s Market,

and Yoga in the Yard.

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10 BANDSC A M P I N G

GRANDTASTINGWITH 25+M I C R O B R E W E R I E S

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P r e m i u m S u b S c r i P t i o n S

DIRECTORS SOCIETYTailored for the subscriber who wants to get closer to the company:• Eight-play subscription on selected Wednesday evenings• Before the Show: members-only cocktail parties• After the Show: casual yet elegant dinners with the cast and crew• Behind-the-scenes programs led by Producing Artistic Director Kent Thompson• Personalized ticketing and exchange services

$1,850 per person ($1,003 is tax deductible)

MARQUEE CLUBStep up your nightlife! Tailored for the active professional:• Four-play subscription on selected Thursday evenings• Before the show: members-only cocktail parties with a glimpse into each play• After the show: meet the cast at Larimer Square hot spots• Personalized ticketing and exchange services

$500 per person ($227 is tax deductible)

t o j o i n visit www.denvercenter.org/members or contact David Zupancic at 303.446.4811 or [email protected]

Join Now – Support the Denver Center Theatre Company and enjoy the new 2013/14 Season as a VIP Subscriber! Two Options Available:

ThE 2013/14 EvEnTSDeath of a Salesman on October 2

Just Like Us on October 23The Most Deserving on November 13

The Legend of Georgia McBride on January 29black odyssey on February 12

Hamlet on February 19Shadowlands on April 9

Animal Crackers on April 23

Sponsored by

Sponsored by

ThE 2013/14 EvEnTSDeath of a Salesman on October 10The Most Deserving on November 7

The Legend of Georgia McBride on February 13Animal Crackers on April 17

PhotoS by SUZAnnE yoE

PhotoS by viCKi KErr

Tickets: 303.893.4100 Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829

denvercenter.org

Peter and the Starcatcher

aug 15 – Sept 1, Ellie Caulkins Opera House

Denver launches the national tour! This grownup’s prequel to Peter Pan takes a hilarious romp through the Neverland you never knew. a swashbuckling

musical play, hailed by The New York Times as “The most exhilarating storytelling on Broadway in decades,” and winner of five Tony® awards, this magical evening of madcap fun, will have you hooked from the moment you let your imagination take flight. n

Priscilla Queen of the Desert Sept 3 – 15, Buell Theatre

Three friends, on the road trip of a lifetime, hop aboard a battered old bus searching for love and friendship and end up finding more than they could

ever have dreamed. an international hit with more than 500 dazzling, 2011 Tony® award-winning costumes, this outrageous show is pure fun and features a hit parade of dance-floor favorites including “It’s Raining Men,” “Finally” and “I Will Survive.” The Hollywood Reporter calls it “funny and fabulous! Joyous entertainment with eye-popping visuals and unexpected heart!” n

Looking ahead…

Sister ActSept 24 – Oct 6, Buell Theatre

This sparkling tribute to the universal power of friendship, tells the story of Deloris Van Cartier, a wannabe diva whose life takes a surprising turn

when she witnesses a crime and the cops hide her in the last place anyone would think to look—a convent. Under the suspicious watch of the Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. Raise your voice and rejoice for Sister Act, Broadway’s feel-amazing musical comedy smash, that The New York Post claims is “ridiculously fun.” n

And to sweeten summer’s end comes…

A Grownup’s Prequel to Peter Pan

Join Now – Support the Denver Center Theatre Company and enjoy the new 2013/14 Season as a VIP Subscriber! Two Options Available:

NEXT Up

303.893.4100 APPLAUSE 37

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OLD WORLD FLAVOR WITH A CONTEMPORARYTWIST

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Pre-theatre 3 course dinner$35 per person

Includes a glass of wine

2548 15TH ST., DENVER, CO 80211OPEN MON-WED 11-9;

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Serving up Steaks, Buffalo, Elk & The Old West

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DCPA patrons receive a free bottle of Canvas wine and a $10 hotel parking credit with the purchase of two dinner entrees.

Hyatt Regency Denver at Colorado Convention Center650 Fifteenth Street, Denver, CO 80202303 486 4434Offer valid thru 8/31/13.

Happy Hour

Sunday–FridayOpen–Close

Fresh Fish. Flown in Daily.

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Call 303.296.3525 for reservations

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Happy Hour Daily 3-6pm & 9pm-CloseHalf Price Pizzas & A Happy Hour Drink List

Brunch Served Every Sat. & Sun.10am-2:30pm Enjoy $10 Bottomless Mimosas

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Japanese Steakhouse & Sushi Bar

Join us after the show!

Corner of 32nd & Lowell720.855.0888

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ARt

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HyDe pARk JeWeleRSSupporting the arts and the community for more than 37 years

As a Colorado based jeweler for more than 37 years, with locations in Denver, Phoenix, Las Vegas and Newport Beach,

Hyde Park Jewelers is consistently recognized as one of the top independent jewelers in the nation. In addition to offering an unparalleled selection of designer jewelry and fine time-pieces, Hyde Park places a strong emphasis on community outreach and is a proud supporter of The Denver Center for the Performing Arts (DCPA). “Our commitment to the community begins with our mission statement which reflects our core values of ‘service to our community while exceeding expectations for quality, value and in-tegrity,’ ” states Michael Pollak, owner and CEO of Hyde Park Jewelers. “We make every effort to thoughtfully examine how to enhance the lives not only of those we serve in our business, but the greater community.” In addition to supporting the arts, Hyde Park invests in organizations in a variety of fields: children’s well-being and growth, health and human services, the environment and other civic organizations. Hyde Park is proud to have a long history of supporting such Colorado or-ganizations as The Children’s Hospital, National Jewish Hospital, Denver Health Foundation, Volunteers of America, Global Down Syndrome Association and Denver Hospice. Hyde Park contributes to these organizations through direct giving, as well as through their own established Foundation, Diamonds in the Rough.

Hyde park’s diamonds in tHe rougH foundation This not-for-profit foundation, created by Hyde Park in 2000, supports charities and individuals that are challenged and need assistance, Trea-sured Gems, to attain brilliance not otherwise available to them. The Foundation has raised more than $3.2 million, helping a broad range of individuals and charities including Youthbiz, Judi’s House, Global Down Syndrome Founda-tion, Children’s Hospital of Denver and more. Funds are raised in a number of ways: through direct giving, corporate partnerships and fund-raising events, including the most significant, The Diamonds in the Rough Annual Charity Dinner and Celebrity Tournament. Each year, this event brings together local and national sports figures, community leaders and celebrities to raise Foun-dation funds. “While the focus of our giving foundation, Diamonds in the Rough, is [on] children and health-based needs, we recognize the value of supporting the arts. The beauty, serenity and excellence of performance can impact the quality of one’s life whether as an artist or as a member of the audience,” says CEO Michael Pollak. Hyde Park is proud to support the DCPA and the Colorado arts community and looks forward to a continued partnership for years to come. nA proud sponsor of

Saturday Night Alive

Hyde Park’sGiving Foundation

“We make every effort to thoughtfully

examine how to enhance the lives of

not only those we serve in our business,

but the greater community.” —Michael Pollak,

Owner and CEO

Let us help you create purr-fectly beautiful,water-respectful gardens!

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Give your child the ticket to a brighter future.Check-in at dmischool.com to start your journey!

Andrew Litton, Artistic Advisor

Concerts held at Boettcher Concert Hall, Denver Performing Arts Complex unless otherwise noted.

Keep up with us online!

BOX OFFICE: MON-FRI 10 AM - 6 PM; SAT 12 PM - 6 PM

the coloradosymphony

SUBSCRIBE TODAY! coloradosymphony.org 303.623.7876

ENTERTAIN

ENLIGHTEN

ENGAGE

1314

Whether your preference is Masterworks, Pops, the fun-filled Family Series, or Inside the Score, you will experience the superb performances of some of the nation’s most outstanding musicians, propelled by the vibrant energy and influence of the Symphony’s internationally renowned Artistic Advisor, Andrew Litton.

season subscriptions now available.

Branford MarsalisSeptember 20-22, 2013

Simply Sinatra with Steve LippiaSeptember 28, 2013

John, Paul, George & RingoJanuary 24, 2014

A Broadway Christmas with Brian Stokes MitchellDecember 6, 2013

Jack Hanna’s Into the Wild LiveMay 25, 2014

MidoriFebruary 14-16, 2014

Andrew LittonArtistic Advisor

St. Patrick’s Day featuring Eileen Ivers and Immigrant SoulMarch 17, 2014

ACT NOW!denvercenter.org/ACT

Denver Center Theatre Academy is open to ages three and up. Acting lessons range from beginner to advanced…

There’s something for everyone!

Denver Center Theatre academyat the Denver Center Theatre Company

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Photo generously provided by our partners at Studio JK

Dramatic EvEntS with drama-free planning

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Life doesn’t provide many opportunities for dress rehearsals - take care of your heart before

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Applause Magazine May - July 2013

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