text:
Abby Mueller: Beautiful is such a fun journey through the pop era of the 1950s and '60s. Carole and her first writing partner (and later husband) Gerry Goffin started writing songs when she was a teenager. And then they met Barry Mann and Cynthia Weil, and you get some of their songs as well. So this is a really is a deep, deep catalog of music that everyone knows - but perhaps they don't know that Carole wrote this song, or Cynthia wrote that song. It's a fun journey the audience goes on. We hear these gasps of recognition when they hear songs they know, but have never attributed to these writers.
John Moore: Becky, tell us more about Cynthia Weil and Barry Mann.
Becky Gulsvig: Becky and Cynthia are amazing. They wrote so many songs that everyone knows and loves. Songs like, You've Lost that Lovin' Feeling, which is still the most-played song on the radio - ever. They wrote On Broadway and Rockin' in the Rain and We Gotta Get Out of This Place and Uptown and so many more. You don't necessarily know Cynthia and Barry as well as you know Carole King, but you really know a lot of their music. And they provide a balance to the love story because as Carole and Gerry fall apart, they come together. You also get to hear some of the back stories that tell you what was going on in their lives as some these songs were created.
John Moore: John, what do you think makes Beautiful a different kind of musical?
John Ekeberg: Our Denver audiences don't always have the opportunity to go to New York to see Broadway shows, but the production I saw tonight was Broadway quality. It was just top-notch across the board. And to hear the audience's reaction, I think, was really powerful.
Read the Denver Post review of Beautiful
John Moore: Abby, people might presume all they are going to get are these hit songs, but there is a pretty compelling story being told here as well.
Abby Mueller: It is such a challenging and rewarding journey. People come to this show knowing they love these songs, but maybe they didn't totally anticipate the emotional journey that everyone goes on. There is a lot of humor; there is some drama, some pathos and ultimately triumph. I think it's a really satisfying night at the theatre.
John Moore: You both play real people. Talk about the additional responsibility of portraying characters who are still very much among the living.
Becky Gulsvig: I think there is definitely a different level of obligation when the person you are playing might come to see your show and either love you or hate you. That is daunting. They have casting approval, so we know they wanted us in the show, which is always nice. But you want to be respectful of their story and be truthful to what they did in real life. It's an honor, to be honest, because all of these people are musical icons, and they did such amazing work. It's great get to stand on their shoulders and share their stories with even more people. So many people grew up with this music, but it's still reaching more new people every day.
Abby Mueller: It is an honor to play Carole - and there is a responsibility that comes with that. That helps me focus on the fact that this is not about me. My responsibility is to Carole and to bring the most truth to her story that I can. It's been a gift. People come and they just love Carole and Cynthia and Barry and Gerry so much, and we can feel that coming from the audiences. We get to borrow that for a little while. I feel like I am stealing love. It's really special.
More Colorado theatre coverage on the DCPA NewsCenter
John Moore: I was surprised by how much of an empowerment story Beautiful turns out to be for women of all ages.
Abby Mueller: I really find Carole inspiring on so many levels. At a time when women were not doing what she was doing, she was writing songs and raising a family and having a career on her own terms, which is really admirable and enviable. That's something I really look up to.
John Moore: You both have connections to our favorite daughter of Denver, Annaleigh Ashford (pictured right).
Both: We love Annaleigh!
Becky Gulsvig: Yes, I was in the original Broadway cast of Legally Blonde, The Musical, and I adore every inch of that magical unicorn. I love her.
Abby Mueller: Yes, and I was a replacement swing in Kinky Boots, and she made me feel so welcome. She is a marvelous human being, and I love her.
Photo gallery: Beautiful in Denver
What's your first remembrance of anything Sound of Music? I remember seeing The Sound of Music at the movie theater when it first came out. I was so impressed by the children in the cast. I thought Charmian Carr, the actress who played Liesl, was DREAMY! Also, it was so cool that there was an intermission at a movie.
Why do you think this musical continues to resonate in the hearts of musical and movie fans worldwide? I think resonates today for very different reasons than it did back in the 1960s - our current political climate being chief among them. It will always ring true to the hope of a better tomorrow and the strong family dynamic that's represented in this classic story. (Pictured at right: Merwin Foard as Max in the national touring production of 'The Sound of Music' opening in Denver on June 21. Photo by Matthew Murphy.)
Favorite bit of Sound of Music trivia? I love the fact that during the filming of the movie, Julie Andrews and Christopher Plumber were so punchy during the song "Something Good" that director Robert Wise had to film them in silhouette to disguise their giggles.
What's one thing about you that can't possibly be true of anyone else in your cast? I am the only father in our entire touring cast! I have two daughters: Phoebe, who is 22, and Bailey, who's 17.
How well do you know Colorado? I love Denver and the state of Colorado. I love that that you can see mountains from almost anywhere. The first time I played Denver was on a national tour of Show Boat starring Donald O'Connor of Singin' in the Rain fame. More recently, I was in Denver appearing in the pre-Broadway run of Disney's The Little Mermaid. I am thrilled to be back here in this fine production of The Sound of Music.
The Sound of Music: Ticket information
June 21-26
Buell Theatre
Tickets: 303-893-4100 or BUY ONLINE
Groups: Call 303-446-4829
ASL interpreted, Audio Described and Open Captioned performance: 2 p.m., June 25 Previous NewsCenter coverage of The Sound of Music
The Real Von Trapps and the sound of freedom
The 'President of Theatre' on the enduring popularity of The Sound of Music
Meet Liesl, Paige Silvester Visit the official show page
What's your first remembrance of anything Sound of Music? My family had a VHS tape of the movie that we'd recorded while it was playing on TV, complete with '90s commercial breaks. I watched it so many times that the commercial jingles still pop into my head like they are part of the show. I used to watch with my little brother and make him play "Sixteen Going on Seventeen" with me. We'd jump around our house from couch to couch pretending it was the gazebo in the movie.
Why do you think this musical continues to resonate in the hearts of musical and movie fans worldwide? What I love about The Sound of Music is that each time I revisit the story, I see it in a new light. The themes are universally relatable, and cross-generational. You can enjoy it at any age. I loved it when I was watching as a little girl. I was enraptured when I played Liesl in high school. And I see it in a whole new light now that I'm in my 20s. I know that pattern will continue throughout my life. The show's messages are positive and inspirational. You will leave uplifted and thinking - about what is really important to you, about family, about overcoming hardships. It is a story that sticks with you because the questions it raises are universal.
Favorite bit of Sound of Music trivia? Though the song "Edelweiss" has become one of the most well-known in the show, and is often mistaken as being the real national anthem of Austria, it was in fact written for The Sound of Music as a last-minute addition to the show during their out-of-town tryout in Boston. Oscar Hammerstein II was suffering from cancer and was not in Boston, so Richard Rodgers sent him the sheet music, and he filled in the lyrics remotely. It was the last song he ever wrote.
What's one thing about you that can't possibly be true of anyone else in your cast? I have a blog for aspiring performers. It's called "Theater Cats," and it's full of information about the business and reality of a career in theater. Things I wish I'd known at a younger age. If you're a young actor/singer/dancer who is passionate about performing, I would love if you visited at paigesilvester.com/blog.
How well do you know Colorado? This will be my first time in Colorado, but I can't wait to explore - I have always wanted to go.
The Sound of Music: Ticket information
June 21-26
Buell Theatre
Tickets: 303-893-4100 or BUY ONLINE
Groups: Call 303-446-4829
ASL interpreted, Audio Described and Open Captioned performance: 2 p.m., June 25 Previous NewsCenter coverage of The Sound of Music
The Real Von Trapps and the sound of freedom
The 'President of Theatre' on the enduring popularity of The Sound of Music Visit the official show page
This YouTube playlist will be updated all week with more dispatches from Charlotte Movizzo and Curtis Salinger for BroadwayWorld. Bookmark it here.
Today, Denver's representatives for the 2016 National High School Musical Theatre Awards – "The Jimmys" – arrived in New York and immediately began their eight-day immersion into workshops and rehearsals, all leading up to their appearance on Broadway's Minskoff Theatre stage on June 27.
Charlotte Movizzo of Ponderosa High School and Curtis Salinger of Durango High School were chosen to represent Colorado at the DCPA's recent Bobby G Awards, which celebrate Outstanding Achievement in high-school theatre.
We spoke with each of them on their way to the Great White Way:
How has your life changed since the night of the Bobby G Awards ceremony? I have had some incredible opportunities. I was invited to sing to perform before the DCPA board, and at the Randy Weeks Memorial Golf Tournament, which raised more than $91,000 for the advancement of musical theatre for Colorado high-school students. Both events showed me what incredible people there are supporting the program, and high-school theatre. Otherwise, I have been very busy practicing and preparing music for New York.
Tell us about your family connection to the local theatre community. My mother performed at the former Country Dinner Playhouse alongside some big names in the local and Broadway theatre communities. Having a mom with a background in the performing arts has influenced me since Day 1. I grew up singing showtunes in the car, and performing for anyone who would listen. My mom has made sure that I have had every opportunity to grow in the arts, from driving me theatre camps to staying up until midnight listening to me sing the same two measures over and over. She is my vocal coach and acting coach, and she has done everything she can to teach me her knowledge of the performing-arts world. The two of us often can be found doing tap combinations while washing the dishes, and attempting to harmonize to Annie Get Your Gun in the car.
What's the one thing you are looking forward to most in New York? Having the opportunity to work with the amazing teachers and professors there, as well as meeting other high-school students from around the country who share my passion. The theatre world is a very supportive place, so I can't wait to see what relationships I form there.
How do programs like the Bobby G Awards and the Jimmy Awards help the reputation and respect of your high-school theatre program? This experience will help the theatre program at Ponderosa make a name for itself within the school, as well as within the community. The Bobby G Awards have allowed our theatre program to say that we have people going to the equivalent of "state" or, "nationals" - titles usually claimed by the sports teams.
Who do you most hope to encounter on the streets of New York? Sierra Boggess, star of School of Rock. is a guest speaker at the Jimmy Awards. Not only is she a Denver girl, but she is so incredibly versatile and talented. She has been a huge inspiration to me. I saw her perform in The Little Mermaid at the Ellie Caulkins Opera House before it went to Broadway, and I have been dying to see her perform ever since.
Last words: I am so honored to have been allowed this enormous opportunity. I already have learned so much in a very short amount of time, and I know I have so much more learning ahead of me.
How has your life changed since the night of the Bobby G Awards ceremony? My life has been surreal. I still don't believe I won. Walking around town is a mess of congratulations and word has spread through a front-page newspaper story in my hometown of Durango. It's an indescribable feeling when someone you don't know congratulates you on the street for winning this award. It's also been a mad dash preparing material and forms and packing for a theatre camp to then leave right away for New York.
Tell us about your interesting family connection to the Bobby G Awards. My brother, Evatt, won the Bobby G Award for Outstanding Actor last year. He was the one who really inspired me to continue and pursue theatre, and I've been watching him on stage for as long as I can remember. Watching him have so much fun and get so much support was something that really gave me the 'oomph' it took to join in, and I'm so glad I did. Our family was so, so excited and blown away when he won. For me, it became my dream. I'm so fortunate that this dream came true.
What's the one thing you are looking forward to most in New York? While watching the show On Your Feet! is going to be very exciting, I'm looking forward to meeting the other actors and the professionals the most. I love making new friends and learning new things, and there's no better place to do that than with the nation's best. I'm also really looking forward to singing the opening and closing numbers with the guest artists because it will be a chance to sing with this enormous group of absolutely amazing peers and professionals all doing what they love. I think that'll just be flat-out awesome.
How do programs like the Bobby G Awards and the Jimmy Awards help the reputation and respect of your high-school theatre program? I think my winning the award gives my school fresh perspective when it comes to the arts. Sports offers the opportunity to compete in tournaments and make the playoffs and there's a goal of winning first place. And that is impressive. However, with theatre, a show usually opens and closes - and that's it. This award tells students they can take their art further and get recognition for their talent. The Bobby G Awards gives you the chance to extend the experience – to Denver and New York. And, no two of the four Outstanding Actors have come from the same school. And they happen to be brothers - and one of them happens to be me! One of the Outstanding Actresses came from our school, and last year our show was named Outstanding Musical at the Bobby G Awards and the Colorado Thespian Conference. This is a huge success from our school. It will help our community and our school board recognize that we have some amazing talent in Durango and theatre is something that should not get looked over.
Who do you most hope to encounter on the streets of New York? Lin-Manuel Miranda, Leslie Odom Jr. … OK, basically the entire cast of Hamilton. I am thrilled that Zachary Levi is hosting the Jimmy Awards in New York, because I've seen his TV show Chuck and I loved it. I used him in a TED-x talk I gave about promoting theatre in the schools because he was a childhood actor. He's someone I really look up to, and it will be awesome to have him host.
Last words: The mom of a kid I'd worked with in a show last year came up to me on the street and congratulated me on winning. She told me her son looked up to me, and that I was setting a really good example for the younger kids. That was one of the most rewarding things that's ever happened to me. I have a goal to help promote theatre – especially for guys - and to hear that was amazing. That was something I'll never forget.
Ben Davis and Kerstin Anderson from the national touring production of 'The Sound of Music' opening in Denver on June 21. Photo by Matthew Murphy. Ted Chapin's official title is President of the R&H music publishing company. But Broadway producer Ken Davenport once suggested simply calling him "President of Theater," for greater accuracy.
Chapin was born into a powerful New York family whose patriarch was the Commissioner of Cultural Affairs under Rudolph Giuliani, and whose matriarch was daughter of the founder of Steinway pianos.
Chapin was just 31 when he was handpicked by the daughter of Richard Rodgers to oversee the library of Rodgers and Oscar Hammerstein, which only begins with the songwriting duo many consider the best of all-time. R&H wrote nine musicals for Broadway, one movie and one TV show over 17 years. But the R&H library (now owned by Imagem Publishing Group) now licenses about 2,500 productions by composers ranging from Irving Berlin to Andrew Lloyd Webber to Hamilton creator Lin-Manuel Miranda.
The jewel in the R&H crown is, of course, The Sound of Music, which comes to Denver in a new touring production starting Tuesday (June 21). The franchise born in 1959 continues to enjoy extraordinary popularity. Chapin was one of the key figures behind NBC's bold move to bring musicals back to live television after 50 years, starting with Carrie Underwood starring in The Sound of Music in 2013. The broadcast drew 44 million viewers. "Part of the magic of Rodgers and Hammerstein is how their work has adapted itself to so many different incarnations," Chapin said.
Chapin estimates The Sound of Music averages about 700 productions a year worldwide. And 2015 marked the 50th anniversary of the film version, which continues to be the most successful movie musical in history.
As President of Theatre, er, R&H, Chapin has personally overseen more than 20 Broadway and West End revivals of R&H classics. He's the past chairman of the American Theatre Wing and author of the book Everything Was Possible – a bird's-eye view of the birth of Stephen Sondheim's seminal musical Follies from Chapin's perspective as a 22-year-old production assistant.
He says the version of The Sound of Music coming to Denver this week is more emotionally layered, much as the first Broadway revival of South Pacific was in 2008. The idea to revisit The Sound of Music came from the Hairspray team of director Jack O'Brien and producer Margo Lion, who saw the first authorized production of The Sound of Music in Russia a few years ago. O'Brien described it as "a fairly abstract Euro-trash production" that made very little literal sense. "But as I watched how an untried young soprano related to the children, and when she faced her remarkably young and vigorous Captain von Trapp," O'Brien said, "I found unexpected tears of joy and happiness running down my face. What on earth was I to do with this nearly embarrassing reaction?"
When O'Brien later saw what he called a "deeply intelligent and carefully crafted" new script by Howard Lindsay and Russell Crouse, "it felt as if some lost vault was opening up," he said. And so, the revival was on.
We talked to Chapin about a variety of topics, starting with his job title. What exactly does it mean to be President of R&H? Davenport equivocates the job to someone standing outside Fort Knox and deciding who goes in and what goes out. Chapin takes his own stab at the same question below:
Ted Chapin: It starts with royalties, but was more about managing their own fate.
John Moore: The R&H name has come to mean so much more than just R&H because of the expansion of your catalog to include names like Andrew Lloyd Webber and Lin-Manuel Miranda.
Ted Chapin: I certainly hope for that. Early on, I kept saying, 'People know of Tiffany's as a place that sells really high-class things and puts them in turquoise boxes. Many have no idea that Louis Comfort Tiffany actually made stained glass. It's the overall impression that it trades in high-quality goods that I wanted Rodgers & Hammerstein to emulate.
John Moore: So if you're the Tiffany's of music publishing, How picky are you in terms of who you will allow in?
Ted Chapin: Rather than being 'picky,' I would say we try to be selective. We look for properties we think will be good for both of us. Early on, we had some things that we could not sell in any way. Richard Adler, may he rest in peace, wrote The Pajama Game and Damn Yankees. He also wrote a bunch of concert works, and he very much wanted us to publish them. I went to school with one of his sons, so I knew him, and I finally had to tell him: 'The people who call us for pops concerts only want what they know. We can't seem to get them interested in anything else. So I don't think we're the right fit for these.' But I've always tried to find things like In the Heights. And having faith that Lin-Manuel Miranda was devoted to the theatre, it stood to reason that he might write more shows that are interesting. That was a good call. More Colorado theatre coverage on the DCPA NewsCenter
John Moore: In the Heights was revolutionary in its way, but we don't necessarily think if R&H as revolutionary. Why was that the right property for you?
Ted Chapin: To be honest, the first time I met Lin-Manuel was because he is a huge fan of my Follies book (Everything Was Possible). That was a nice way for me to meet him. There was a mutual respect. But at the end of the day, it comes down to people. Yes, some people like Adam Guettel (Richard Rodgers' grandson) came with the family. But Andrew Lloyd Webber is a huge fan of Rodgers' music, and he will speak about that at the drop of a hat. They needed somebody to take care of their shows here. So we made an arrangement with him to represent all of his shows in this territory. That was very good arrangement.
John Moore: So we have The Sound of Music coming to Denver, and I'm wondering: We as a nation, especially now, seem to have the attention span of a gnat. But somehow or another, The Sound of Music has managed to live on in the collective consciousness of subsequent generations of Americans. How did you do that?
Ted Chapin: Well, No. 1: I think it's really good, and in the end, good wins the day. It's a really good story. The songs are really good. People are captivated by it. The interesting challenge with The Sound of Music was it was written as a star vehicle for Mary Martin on Broadway, and it did just fine. She won a Tony Award away from Ethel Merman (Gypsy). Then it was made into a movie and suddenly some very, very smart decisions were made in the film adaptation of this stage show. There are three songs in the stage show that were completely reconceived for the movie - and they work. That's very rare. Usually when people play around with stage productions, something falls on its face, and it doesn't work. But the film people who made that movie were really, really smart. So now these two very different versions of The Sound of Music now exist in a parallel universe, and they are equally good.
John Moore: What's new about the touring production coming to Denver?
Ted Chapin: First of all, it has a major director: Jack O'Brien, who saw the original Broadway production with Mary Martin, and he still remembers it vividly. Well, Jack also saw a more recent production in Moscow with Margo Lion a, producer of Hairspray. Jack realized what's in this story that people overlook: It's a love story between a girl who has no experience whatsoever in love, and a man whose wife has died and has shut love out completely. They are total opposites, but they have that in common. The way Jack has directed this, audiences are like, 'Whoa. Wow. OK. I hadn't realized that.'
John Moore: How are the songs different?
Ted Chapin: Movie fans think of Do-Re-Mi as that lovely song where they romp all around the Alps and ride on bicycles by the side of the lake. But in the stage show, these kids are unhappy. They don't like having new governesses, and they are going to test this one. So the song Do-Re-Mi starts with these kids ready to destroy Maria, just like they have destroyed them all. But instead, in te stage show, this is the moment when the kids bond with Maria. So you need to start with the kids as little monsters, and slowly, by the end of the song, they are actually getting along. That's when you start to think this could actually work out. I am telling you, Jack has been so smart about he decisions he made for this production.
John Moore: So I want to get your take on this story: It's more than 10 years ago. I am the theatre critic at The Denver Post, and I review a production of The Sound of Music at a local dinner theatre. I mention that, for whatever reason, they skip over the wedding scene entirely. And I mentioned that, for potential audiences who might be expecting one. So a day after the review is published, I am told, this theatre had receives a letter from R&H attorneys essentially saying: "Put the wedding back in, or you lose your rights. And within 24 hours, they rehearse the scene and get new more costumes and the wedding scene is back in. Tell me from the R&H point of view about the need to stay true to the story as written – and licensed? Ted Chapin: Well, first: I honor you for having said what you did in the review. I don't like doing that. But if people don't behave right, that's something you have to do. There are theatres around the world that feel whatever script you get from a licensing house is just a blueprint for you to go off and create whatever you want. I always say to these companies from the very beginning, 'Please - no surprises.' If that theatre had called me, that would at least have started a dialogue. We got a request just last week from a production of The King & I that said they do not want a child to play the Buddha in The Small House of Uncle Thomas ballet because the choreographer feels it's disrespectful to have a child pretending to be Buddha. Their position was so clearly stated and passionately expressed that it was a very easy thing for me to say, 'By all means. Don't have a child play the Buddha.' In the big picture, that is not going to take anything away from anything. I would so much rather be in that situation than be surprised. I grew up in the theatre. I respect what goes on there. But it's our reputation on the line there. (Pictured above right: Kerstin Anderson as 'Maria Rainer' in 'The Sound of Music.' Photo by Matthew Murphy.)
John Moore: I want to ask you about R&Hs commitment to high-school theatre, which is obviously a huge part of your operation.
Ted Chapin: Yes. I am a firm believer that the earlier you can 'get' people, the better. We have embraced the 'Broadway Junior' program that MTI started. There was a fear when we started doing student versions that if people can do these shows in grade schools, they won't be interested in doing the full production later on. But exactly the opposite has happened. It has proven to be really interesting. People want to know what was cut - and then they want to do the uncensored version as soon as they can.
John Moore: So for people who hear The Sound of Music is coming town and say, 'I love that show, but I don't need to see it again' … why do they need to see it again?
Ted Chapin: Because it is the best-directed production of The Sound of Music you are ever going to see. When this tour started in Los Angeles, one critic pointed out that when Maria sang the lyric, 'I come to the hills when my heart is lonely' ... in the very first song, that critic wrote: 'She looked troubled.' And for the first time I thought, 'Oh, wait a minute. There is reason this young postulant is alone on the top of a hill. In the stage version, she doesn't twirl. Because while the twirl is all about a helicopter effect. And while that is a brilliant way to begin the movie, it's not a brilliant way to open the stage production. Because that's not the kind of emotion she's in. Every decision Jack makes is simply to make clear what's going on in the story. So people who know and love it are in for a bit of surprise, because there are things to be discovered that are kind of wonderful. It's like revisiting an old friend whose clothes are different.
John Moore was named one of the 12 most influential theater critics in the U.S by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center's Senior Arts Journalist.
Photos by Matthew Murphy. To see more, click the forward arrow in the image above.
The Sound of Music: Ticket information
June 21-26
Buell Theatre
Tickets: 303-893-4100 or BUY ONLINE
Groups: Call 303-446-4829
ASL interpreted, Audio Described and Open Captioned performance: 2 p.m., June 25 Previous NewsCenter coverage of The Sound of Music
The Real Von Trapps and the sound of freedom
Subscription information for 2016/17 Broadway season
More Colorado theatre coverage on the DCPA NewsCenter
Phillipa Soo, Renée Elise Goldsberry and Jasmine Cephas Jones. The Broadway company of 'Hamilton.'
My wife's the reason anything gets done
She nudges me towards promise by degrees
She is a perfect symphony of one
Our son is her most beautiful reprise.
We chase the melodies that seem to find us
Until they're finished songs and start to play
When senseless acts of tragedy remind us
That nothing here is promised, not one day.
This show is proof that history remembers
We lived through times when hate and fear seemed stronger;
We rise and fall and light from dying embers, remembrances that hope and love last longer
And love is love is love is love is love is love is love is love cannot be killed or swept aside.
I sing Vanessa's symphony, Eliza tells her story
Now fill the world with music, love and pride.
Added Tony Awards host James Corden: "Our hearts go out to all of those affected by this atrocity. All we can say is you are not on your own right now. Your tragedy is our tragedy. Theater is a place where every race, creed, sexuality and gender is equal, is embraced and is loved. Hate will never win. Together, we have to make sure of that." Diane Paulus, acclaimed director of Best New Musical nominee Waitress, called the Tony Awards "a deeply moving and emotional evening" because of what happened in Orlando. "It made us all think about what our purpose is, and how precious time and life are," she said. But the response of the New York theatre community on display at the Beacon Theatre on Sunday, she said, made plain what makes theatre special among art forms.
"It made me appreciate what the theatre can be as a community: A place of tolerance and kindness that is embracing of diversity and freedom of expression," Paulus said in an exclusive interview for the DCPA NewsCenter. "Our role as artists is to do whatever we can to give people courage and resilience at times like this, through music and song and dance or drama." Our interview with DCPA Broadway Executive Director John Ekeberg Hamilton, the improbable hip-hop musical about America's first Treasury Secretary, picked up Broadway's highest honor, for best new musical. The show is sold out through January 2017. That almost everyone in the cast is non-white punctuated these as the most diverse Tony Awards in history.
"Think of tonight as the Oscars, with diversity," Corden joked in his opening monologue. By night's end, 2016 made history as the first Tony Awards where all four awards for acting performances in musicals went to black actors. (Pictured below right: Leslie Odom Jr., Cynthia Erivo, Daveed Diggs, Renée Elise Goldsberry. Getty Images for Tony Awards Productions.)
Additionally, Waitress became the first Broadway musical with an all-female creative team. And the powerful political drama Eclipsed was the first Broadway play written by, directed by and starring women. "This was landmark season for women in so many ways," said Paulus, who launched the national touring production of Pippin in Denver in 2014, and also helmed Finding Neverland, opening here on Dec. 20. "But I have said this time and time again - every artist is in their position on Waitress because they were the best person for the job. (Pictured: Actress Cynthia Erivo accepts the award for Best Performance by an Actress in a Musical in 'The Color Purple.' Credit: Theo Wargo/Getty Images for The Tony Awards.)
"This was not about a casting agenda. It's just a reflection that women are at the top of their field in composing, in writing, in choreography. This is the 21st century. We all have benefited from generations of women behind us who actually were told they couldn't be directors or writers. I hope we can provide that example for the next generation of artists wherever they are across America. To say, 'If you work with integrity and you tell important stories, this is not a closed door.' We have a long way to go for women, especially in leadership roles in the musical theatre. So yes, this is a landmark year - but let's hope it's not a one-off, and that this continues."
Paulus noted that Eclipsed, Blackbird, Waitress, The Color Purple and Spring Awakening all have one very powerful commonality: "These are all shows about women who are encountering some sort of abuse or violence," she said. "And it's not because that's all we care about as women. It's because 1 out of 3 women in the U.S. experiences some sort of intimate partner domestic abuse. This is a crisis in our time."
A practical example of change: CBS did not pull the plug on the Tony Awards telecast at exactly three hours, as it did last year. (The historic win for the female composing team of Fun Home came after the live cutoff.)
Perhaps both the Hamilton hype and the Orlando massacre played a part, but the telecast posted its highest overnight rating in 15 years, growing 33 percent from last year. The CBS telecast drew 8.7 million viewers, largest since 2001. The Humans, by Stephen Karam, won for best new play, best featured actress (Jayne Houdyshell) and featured actor (Reed Birney), who played a married couple struggling to love and cherish a family under stress. The cast features frequent Denver Center actor Lauren Klein, who recently starred with her husband, Mike Hartman, in the DCPA Theatre Company's Death of a Salesman. More Colorado theatre coverage on the DCPA NewsCenter
The Tony Awards included Denver Center founder Donald R. Seawell in its memoriam segment, alongside names such as Roger Rees, David Bowie and Patty Duke. Seawell was first to bring the Royal Shakespeare Company to America, and he produced more than 65 Broadway plays, including the RSC's The Hollow Crown.
In the aftermath of Orlando, the night ended with a poignant parting message from Producer Jeffrey Seller, accepting the Best Musical for Hamilton: "How lucky we are to be alive right now." It is a song from the show, and its meaning was all the more resonant given the events of the day. News and notes:
John Moore was named one of the 12 most influential theater critics in the U.S by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center's Senior Arts Journalist. News services contributed to this report.
2016 Tony Award winners:
Best Musical: "Hamilton"
Best Play: "The Humans"
Best Book of a Musical: Lin-Manuel Miranda, "Hamilton"
Best Original Score (Music and/or Lyrics) Written for the Theater: "Hamilton"
Best Revival of a Play: "Arthur Miller's A View From the Bridge"
Best Revival of a Musical: "The Color Purple"
Best Performance by an Actor in a Leading Role in a Play: Frank Langella, "The Father"
Best Performance by an Actress in a Leading Role in a Play: Jessica Lange, "Long Day's Journey Into Night"
Best Performance by an Actor in a Leading Role in a Musical: Leslie Odom Jr., "Hamilton"
Best Performance by an Actress in a Leading Role in a Musical: Cynthia Erivo, "The Color Purple"
Best Performance by an Actor in a Featured Role in a Play: Reed Birney, "The Humans"
Best Performance by an Actress in a Featured Role in a Play: Jayne Houdyshell, "The Humans"
Best Performance by an Actor in a Featured Role in a Musical: Daveed Diggs, "Hamilton"
Best Performance by an Actress in a Featured Role in a Musical: Renee Elise Goldsberry, "Hamilton"
Best Scenic Design of a Play: David Zinn, "The Humans"
Best Scenic Design of a Musical: David Rockwell, "She Loves Me"
Best Costume Design of a Play: Clint Ramos, "Eclipsed"
Best Costume Design of a Musical: Paul Tazewell, "Hamilton"
Best Lighting Design of a Play: Natasha Katz, "Long Day's Journey Into Night"
Best Lighting Design of a Musical: Howell Binkley, "Hamilton"
Best Direction of a Play: Ivo Van Hove, "Arthur Miller's A View From the Bridge"
Best Direction of a Musical: Thomas Kail, "Hamilton"
Best Choreography: Andy Blankenbuehler, "Hamilton"
Best Orchestrations: Alex Lacamoire, "Hamilton"
Tony Award for Lifetime Achievement in Theatre: Sheldon Harnick, Marshall W. Mason
Special Tony Award: National Endowment for the Arts, Miles Wilkin
Regional Theatre Tony Award: Paper Mill Playhouse, Millburn, N.J.
Isabelle Stevenson Tony Award: Brian Stokes Mitchell
Tony Honors for Excellence in the Theatre: Seth Gelblum, Joan Lader, Sally Ann Parson
The Sound of Music: Ticket information
By Heidi Bosk
For the DCPA NewsCenter
Tickets for Cameron Mackintosh's spectacular new production of Andrew Lloyd Webber's The Phantom of the Opera go on sale today, June 6, at 10 a.m. for the Denver Center for the Performing Arts' engagement playing The Buell Theatre Aug. 25-Sept. 11. With newly reinvented staging and stunning scenic design, this new version of Phantom is performed by a cast and orchestra of 52, making this one of the largest productions on tour in North America. Tickets start at $20. BUY ONLINE
Please be advised that the DCPA is the ONLY authorized online ticket provider for the Denver engagement of The Phantom of the Opera.
"It's wonderful to have a new production of Phantom touring America now that the show has celebrated 28 years on Broadway," said Lloyd Webber. "Director Laurence Connor has done an amazing job and this production has received huge critical acclaim in the U.K."
Connor co-directed the new production of Les Misérables currently running on Broadway and around the world, as well as the award-winning new London production of Miss Saigon coming to Broadway in 2017 and national tour in 2018, and the stage version of the movie School of Rock now playing at Broadway's Winter Garden.
Added Mackintosh: "With Phantom still the reigning champion as the longest-running production on Broadway after 28 phenomenal years, with no end in sight, I'm delighted that this spectacular new production of Phantom has been as well-received in the U.S. as the brilliant original and has already been seen by over 2 million people across North America since it opened in November 2013. With an exciting new design and staging, retaining Maria Björnson's amazing costumes, the new Phantom is thrilling audiences and critics alike all over again – the music of the night is soaring to dazzling new heights."
Andrew Lloyd Webber's The Phantom of the Opera
Aug. 25-Sept. 11, Buell Theatre
Based on the classic novel Le Fantôme de L'Opéra by Gaston Leroux, The Phantom of the Opera tells the story of a masked figure who lurks beneath the catacombs of the Paris Opera House, exercising a reign of terror over all who inhabit it. He falls madly in love with an innocent young soprano, Christine, and devotes himself to creating a new star by nurturing her extraordinary talents and by employing all of the devious methods at his command.
Mackintosh's brilliant original production of Lloyd Webber's The Phantom of the Opera continues performances at Her Majesty's Theatre in London and in its recording-breaking run at the Majestic Theatre on Broadway and many other cities around the world.
Photo gallery:
'The Phantom of the Opera' photos by Matthew Murphy and Alastair Muir. To see more, click the forward arrow above.
Follow the DCPA on social media @DenverCenter
Photos by Matthew Murphy. To see more, click the forward arrow on the image above.
Even on your very best day, chances are you've never danced with your dinnerware. Oh, you may have talked things out over a good cup of tea from time to time, but rarely with the teapot itself. You even may have warbled in your wardrobe, but with it? Ah, but perhaps you've never visited an enchanted castle.
Fear not. Here's your chance, as NETworks presents Disney's Beauty and the Beast rolls into town for a return run in Denver. As usual, it's the love of a good woman that turns a beast into his best. Then again, this timeless tale of redemption brings out the best in everyone.
Based on the traditional fairytale first published in France in the mid-18th century, Beauty and the Beast has been translated into hundreds of versions worldwide. When Walt Disney Pictures released the animated feature film in 1991, it was hailed as an instant classic with critics praising its "songs worthy of a Broadway musical."
With two Academy Awards (Best Song and Best Original Score), Disney set out to turn that praise into reality. The transformation of evil into good is hardly the only transformation in this show. To the tune of $13 million dollars, give or take a few, the Disney folk transformed their very successful film musical into an equally successful stage musical. Linda Woolverton adapted her screenplay for the stage complete with new scenes and seven new songs. The show opened at the Palace Theatre on April 18, 1994, ultimately playing 5,461 performances on Broadway in 13 years.
With 580 costume pieces, 81 wigs and spectacular staging effects, people become household utensils such as teapots and wardrobes and candelabra and feather dusters and clocks right before your eyes.
Since its Broadway debut 22 years ago, more than 35 million people in 21 countries have enjoyed the eyebrow-raising effects and sleight-of-hand that are worthy of David Copperfield. Keep your eyes open for some of the sensational elements — 67 LED lights on the magic mirror, the 450-pound "star drop" curtain, the 1,700-pound West Wing set piece and the 1 ton — ONE TON — plate rail featured in "Be Our Guest." Plus, pint-sized audience members will want to look closely at the tavern set backdrop, where, much like at its famous parks, a "Mickey" is carefully hidden in plain sight.
This article is compiled from the materials provided by the production company and an article written by Teri Downard, former Deputy Director of the DCPA's Media Relations and Publications Department.
NETworks presents Disney's Beauty and the Beast
June 7-12
Buell Theatre
Tickets: 303-893-4100 or BUY ONLINE
Groups: Call 303-446-4829
In 2007, the seductive, off-beat Irish film once opened to glowing reviews and quickly developed a fervent following. This lyrical musical tells the story of two down-on-their-luck musicians: an angst-ridden Dublin street singer/songwriter who works as a vacuum cleaner repairman, and a Czech immigrant who sells flowers to support herself and her family.
Girl (as she is known) initiates a friendship with Guy (as he is known), and in the course of a week they make music together, fall in love and part, but not before changing each other's lives.
Once is both graceful and gritty. It has a naturalism and intimacy that are generally best achieved in film, which explains why the Irish playwright Enda Walsh was less than enthusiastic when he was asked if he would write the book for a Broadway-style musical based on the movie.
"I guffawed when my agent called and asked me to speak to the producers," says Walsh. "I said, 'What a stupid idea.' It's a two-hander with very little plot. It's delicate. I called the producers and told them it wasn't for me. There's no tradition of musical theatre in Ireland. Then they told me John Tiffany was attached to it as director."
Walsh and Tiffany are longtime friends, and although Tiffany also had doubts at first as to the viability of the material as a musical, he convinced Walsh not to reject the idea outright.
Says Walsh, "John said, 'Let's just take two days, and we can read the screenplay and listen to the songs and talk about it.' I said, 'Okay, we'll do two days — and that's all we'll do.' "
Well, not quite.
"Those two days convinced us that we wanted to do this show," says Tiffany.
The musical became such a critical and commercial success that it spawned a London production, a Broadway show and a U.S. national tour — a journey that saw this modest undertaking win no fewer than eight 2012 Tony® Awards, including Best Musical, Best Book (Walsh), and Best Direction of a Musical (Tiffany).
"I never think about adapting films for the stage. That's not the way I work," insists Tiffany. "When I was approached about once, I hadn't even seen the film. But one of my best friends said, 'You will love the music.' So I downloaded the soundtrack — and I absolutely loved it. I'd never heard music like that. [It's] the reason I wanted to do the show. Not just the music itself, but the fact that it's a story about creating music, the healing power of music."
In reading through John Carney's screenplay, Walsh discovered there was much he could relate to. "I'm a big fan of the movie Brief Encounter, and I saw similarities," he says. "There's a bittersweet pang that really hurts. Very quickly I thought I was a good match for the material. I tend to write characters that are inarticulate and lonesome, and something comes into their life that changes them. From listening to the songs, I thought it might be good for me to do something about Ireland, which was so hurt in the recession. A little love letter to Dublin. (Pictured right: Sam Cieri and Mackenzie Lesser-Roy from the 'once' tour company. Photo by Joan Marcus.)
"That was my way in. You start by bringing two people together and getting them to talk to one another. The tone shows itself quickly, so you step out of the way and allow it to write itself.
"I knew all along that there were markers. I just had to unlock a stage language that was right. As soon as the Girl started talking, I thought, 'That's the swagger of it.' She became the style of it and the force of the piece — and the central storyteller."
The 12 adult members of the cast play at least one instrument and are onstage virtually throughout the show. "I didn't want anyone on stage we didn't get to know intimately," says Tiffany. By individualizing each character, adds Walsh, "we built a community, and that became the heart of the piece."
As the show unfolds, the focus, of course, is on the relationship between Guy and Girl, but the audience also catches glimpses of the lives of the other characters.
"We needed to be sure that there are all these other love stories in the air. Each person is riffing off a love that's been lost, that got away. That was the key: for the audience to feel part of the experience, and look at the people on the stage and go, 'They're us.' "
In the end, the material proved to be as powerful on stage as it is on film.
"What's very moving about the piece is how sometimes we meet people who we don't necessarily stay with forever, but they give us the resources to move on to the next part of our life," says Tiffany. "There's something very truthful in that. People have said to me, 'When I was sitting in the theatre watching once, I felt like I was watching it with everyone I've ever loved, whether or not they're still in my life.' "
Photos from the 'once' tour company by Joan Marcus. To see more, hover your cursor over the image above and click the 'forward' arrow.
ONCE: Ticket information
May 24-29
At The Ellie Caulkins Opera House, Denver Performing Arts Complex
Tickets: 303-893-4100 (Groups: 303-446-4829 or BUY ONLINE
ASL interpreted, Audio-described and Open Captioned performance: 2 p.m. May 28
Legally Blonde is not the kind of script you would expect an edgy and award-winning student director to want for his first major studio film. Robert Luketic certainly did not.
"I actually had to be talked into it," said Luketic, who sat on the contract offer from MGM Studios for more than a year before pulling the pink trigger on the feel-good film of 2001. "I was little gun-shy. You're thinking, 'OK, someone has given me my shot, right? But is this the one I want to be known for? Is this how I want to start my career?' "
But Luketic is not your typical dark and rebellious art-house film director. He's an uncommonly self-aware Aussie whose big break was a whimsical 10-minute musical he shot in Cinemascope about an Italian girl called Titsiana Booberini. "She has a hairy upper lip and she works in a supermarket where she battles the prettier girls for the affections of the handsome assistant manager," he said.
"I made it to rebel against all the darker stuff that was being made at the time. Because as film students, we tend to like black and white, and heroin addiction and incest. And so I said, 'I am going to make a Technicolor musical set in a supermarket.' People thought I was crazy, but I think the risk paid off."
Well, it led directly to Legally Blonde, a film that cost $18 million to make, and grossed $142 million worldwide. So you could say the risk paid off. Legally Blonde has been called a "bait and switch" movie that fooled even MGM when it turned out to be an uncommonly progressive and, dare it be said – empowering piece of fluffy pink feminism. "Initially, they thought it was going to be much more wet T-shirts and boobs than it actually turned out to be," said Luketic.
Turns out the script, written by the 10 Things I Hate About You team of Kirsten "Kiwi" Smith and Karen McCullah - was ahead of its time. So was Reese Witherspoon, who would win an Oscar four years later for Walk the Line. Over the years, Legally Blonde has grown in esteem from simple summer escapism in the halcyon days leading up to the 9/11 attacks, to a film the internet's "Rogue Feminist" recently called "incredibly woman-positive and an important staple in feminist pop culture."
Read more about the Denver Actors Fund
Luketic, Smith and McCullah will be in Littleton on Monday, May 23, for a special benefit screening of Legally Blonde. It's the latest offering in the Alamo Drafthouse's "Denver Actors Fund Presents …" a monthly film series that features films that either inspired - or were inspired by - stage musicals that are currently being performed by a Colorado theatre company. Cast members from the Town Hall Arts Center's upcoming staging of Legally Blonde, the Musical will entertain the audience at 6:30, with the film screening, and a Q&A with the creative team, to follow.
Protagonist Elle Woods, of course, is the severely underestimated sorority girl who manages to get into Harvard Law School to impress a former boyfriend - only to realize she's far too good for him.
Reserve tickets to Legally Blonde screening and Q&A
Luketic was just 25 when he got the offer to direct Legally Blonde. But he quickly discovered the team of Smith and McCullah would be his perfect entrée into the worlds of Hollywood moviemaking – and college sororities.
"He's from Australia, so he didn't know much about the Greek system," Smith said. "I remember going with him to all these sorority houses at UCLA so he could get a sense of that world. His joie de vivre is something really special, and you can feel it in the film."
Luketic put it more simply: "We just get each other. We love to hang out. We get drunk together. It just works for us."
Luketic knows who he is. More important, he knows what is expected of him. "Listen, I am not making fine art," he said. "I make a commercial product that sells tickets. I understand that."
Here are six essential things we learned from Luketic and Smith about the making of Legally Blonde. Burning issues such as, "What is the origin of the bend-and-snap?" and, "Whatever happened to that dog?" Read on ...
The hair has a name. "Oh my God, it became known as 'The Hair That Ate Hollywood,' " Luketic said. "It became all about the hair. I have this obsession with flyaways. It would annoy Reese a little bit because I would always have hairdressers in her face. But really the most time and research and testing on the set went into getting the color right, because 'blonde' is subject to interpretation, I found."
Despite her impeccable credentials, Reese Witherspoon was not MGM Studios' first choice for Elle. Charlize Theron, Gwyneth Paltrow, Alicia Silverstone, Katherine Heigl, Christina Applegate, Milla Jovovich and Jennifer Love Hewitt were all considered for the role. "But there was only one name that I was obsessed with, and it was Reese," Luketic said. While Legally Blonde was his first feature, Witherspoon already had 15 major credits to her name, including American Psycho, Cruel Intentions and Pleasantville. "I had just seen Election, and I was all into this woman," Luketic said. "She was perfect for the voice. Admittedly, she wasn't the first name that the studio wanted, but I wanted someone with gravitas and brains. There had to be more behind the face, and Reese just fit the bill."
The now iconic "bend and snap" was the result of inspired desperation. "We had been instructed to add a (plot twist) into the second act by producer Marc Platt, and we were kind of wits end," said Smith. We'd come up with all these crazy ideas: "The nail salon gets robbed!" "Paulette gets deported and Elle has to use her knowledge of immigration law to get her out of it!" Nothing was clicking. Finally, we were in a bar one night in Beverly Hills and I said to Karen something like, 'What if Paulette has a crush on a UPS guy who always comes in, and Elle teaches her one of her patented moves to get the guy? Like, "You should try the bend and snap." ' I demonstrated the move for Karen in the middle of the bar. She laughed - so we put it in," Smith said. "Sometimes you can wrack your brain to find a solution. Then you have to take a break and be silly, and the right idea can come to you."
Luketic owes his big break to two film festivals in Colorado, and today he even lives here. Sort of. "I keep a residence at the Ritz-Carlton in Vail," he says. Luketic started making movies in Australia at age 16. He entered his short film Titsiana Booberini for the Telluride Film Festival and it went on to win "Best Film" at the Aspen Shortsfest, landing Luketic his MGM contract. "When I entered my film into Telluride as a short, I had very little expectations," he said. "It was through a program called Filmmakers of Tomorrow, and I heard there were going to be all kinds of fancy students and films. I was surprised that I got in, and I was even more surprised at the reaction I got after the screening. It was a life-changing moment. You get an agent and a manager and a deal with a major studio. This all happened within 40 minutes of my film screening."
Legally Blonde was made into a Broadway musical in 2007, and the script was written by Loveland native and University of Colorado grad Heather Hach (pictured right), who was nominated for a Tony Award. Smith, who met Hach briefly years ago, says she very much enjoyed the stage musical. "MGM flew us out to the opening night on Broadway, and it was so amazing to walk into the theater and see that they'd outfitted the whole place in pink — pink carpet, pink curtains. It was nuts," said Smith. "It's one thing to walk onto a movie set and see your screenplay coming to life with a film crew and actors. But it was a whole different thing to see your scenes and your dialogue turn into a full-blown rollercoaster of a musical with a stage full of Broadway singers and dancers." Luketic has never met Hach, "but she did a great job," he said. Luketic loves the musical. He has seen it live in London, Australia and New York.
Read John Moore's 2007 profile of Heather Hach
OK, so most film critics did not love Legally Blonde. But AO Scott of the New York Times did concede that the film "made me and some of my dyspeptic colleagues laugh giddily and helplessly." Something neither Smith nor Luketic were aware of (until now!). "Wow. I'd never read that," Smith said. "AO Scott is a titan of film criticism, so that's a huge compliment." Luketic is a little more blunt. "I got burnt when the first reviews for Legally Blonde came out," he said. "I mean, I was excoriated. Most of my life I have gotten bad reviews, actually, and I am OK with that because I don't read them. I just know there's a lot of bad stuff out there because a lot of people come up to me and say, 'Oh, I am so sorry.' You know, in that way like maybe someone has just died. But it makes me want to be better, I guess."
Just a few weeks ago, Bruiser died. Actually, the little Chihuahua was named Moonie, and he was 18. "Reese would joke that I thought Moonie was a better actor than she was," Luketic said. "So for a wrap gift, she gave me this lovely little Tiffany's silver frame with a picture of me and Moonie. In fact, I am sitting here at my desk looking at it right now as you brought that up." It's a sad passing, but is 18 a good, long run for a dog. "Are you kidding? That's a blockbuster of a life for a dog," Luketic said.
Bonus coverage: More from our interview with Luketic and Smith:
John Moore: So why did this underdog-of-a-movie work?
Kirsten "Kiwi" Smith: Lots of reasons - the main one being Reese. She was so perfect in the role. MGM's marketing and PR for the movie was also incredible. They did so much creative stuff. They created a National Blonde Day - in the pre-hashtag era. They got Regis Philbin to dye his hair blonde. They had a float at the Gay Pride Parade that Jennifer Coolidge rode on surrounded by a bunch of shirtless guys throwing out T-shirts. It was a perfect tumbleweed of good fortune that rarely happens in Hollywood: We gave our brilliant producer a script that attracted a great young director and an incredible actress who got the movie green-lit by a studio that left us alone to make the movie and then knew when and how to release it.
Robert Luketic: I think Elle was a young onscreen heroine women could feel positive about. For the first time, the woman in a movie wasn't just an accessory to a man. This was a film about being yourself in a world where we are meant to be cookie-cutter skinny things. The best version of ourselves is when we can be ourselves.
John Moore: What are you working on now?
Robert Luketic: I have an interesting project I am doing with Jaden Smith that's kind of edgy and different. More in the world of 21. And then I will be reuniting with the two girls, Kiwi and Karen, to make a killer, all female-driven action film called The Bells. It's sort of an inspired spin-off of The Expendables franchise - except this is all women. It's very exciting. And very empowering - so it takes me back to some familiar territory. I really think females drive the decision to go and watch a movie on a weekend. This is a segment of audience that my business has ignored for so many years, but I think now is a golden time when we are seeing films made for women. The only thing that is lacking is that not enough women are making films for women. But I think that will change.
John Moore: It's 15 years past Legally Blonde. What kind of groundbreaking story do you think young women need to hear now?
Kirsten "Kiwi" Smith: Let's take a poll! I'd love to hear from young women what kinds of stories they're burning to hear. We'll be at the Alamo Drafthouse on May 23 if they want to chat about it in person!
John Moore was named one of the 12 most influential theater critics in the U.S by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center's Senior Arts Journalist. He is also the founder of the Denver Actors Fund.
Denver Actors Fund Presents ... Legally Blonde
A benefit screening for the Denver Actors Fund
Monday, May 23
At the Alamo Drafthouse, 7301 S. Santa Fe Drive, Littleton, 303-730-2470
Tickets $20 CLICK HERE TO PURCHASE
Note: The Town Hall Arts Center will present Legally Blonde, the Musical onstage from May 20-June 19 at 2450 Main St., Littleton. The director is Nick Sugar. Call 303-794-2787, or go to townhallartscenter.org
With a Pulitzer Prize already under its bulging belt, the question this morning when the Tony Awards nominations were announced was just how historic of a morning this would be for the historical musical Hamilton.
The answer: As historic as it gets. Lin-Manuel Miranda's groundbreaking musical earned 16 nominations, making it the most-honored production in Broadway history. Miranda's hip-hop-flavored biography about the first U.S. treasury secretary broke record of 15 nominations held by The Producers and Billy Elliot. Hamilton was nominated in virtually every category it could compete in.
The other unfortunately timed productions nominated for Best New Musical are Bright Star, School of Rock, Shuffle Along and Waitress. (Pictured right: Stephen Karam's extraordinary family drama 'The Humans' earned six nominations. Photo by Joan Marcus.)
The Best New Play nominees are Eclipsed, The Father, The Humans and King Charles III.
For the first time in many years, there appear to be no direct nominees with a considerable Colorado connection. George Washington High School graduate Sierra Boggess is headlining Andrew Lloyd Webber's Best Musical nominee School of Rock. That ensemble also features Tally Sessions, who starred in the Arvada Center's Chess. Denver native Sierra Boggess tweeted out congratulations to her 'School of Rock' team for its Best New Musical nomination. Paul Tazewell, who designed costumed for the DCPA Theatre Company's The Unsinkable Molly Brown in 2014, earned his sixth Tony Award nomination, for Hamilton. Aisha Jackson, a graduate of the University of Northern Colorado, is an ensemble member in the nominated Waitress.
Longtime DCPA Theatre Company actor Lauren Klein, wife of actor Mike Hartman, is an\ key player in the the celebrated Best Play nominee The Humans, but there had been some speculation she might be among the individual nominees for her acclaimed performance.
Likewise, Colorado Springs native Jeremy Shamos is a member of the ensemble of Noises Off, a nominee for Best Revival of a Play, but he was not singled out. Several of his castmates were, including David Furr, who starred in the DCPA Theatre Company's production of All My Sons in 2005. He was nominated as Best Featured Actor.
Colorado native Aaron Quintana, who performed often for the Performance Now Theatre Company, is the Associate Company Manager for the Best Musical nominee Shuffle Along ... Jessie Mueller, who co-headlined the DCPA's 2015 Saturday Night Alive fundraiser for its Education programs, was nominated for Waitress.
The Tony Awards ceremony will be hosted by James Corden on June 12 and broadcast on CBS-TV.
Nominations for the 2016 American Theatre Wing's Tony Awards®
Presented by The Broadway League and the American Theatre Wing
Best Play
Author: Danai Gurira
The Father
Author: Florian Zeller
The Humans
Author: Stephen Karam
King Charles III
Author: Mike Bartlett
Best Musical
Bright Star
School of Rock—The Musical
Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
Best Revival of a Play
Arthur Miller's The Crucible
Arthur Miller's A View from the Bridge
Long Day's Journey Into Night
Noises Off
Best Revival of a Musical
The Color Purple
Fiddler on the Roof
She Loves Me
Spring Awakening
Best Book of a Musical
Bright Star, Steve Martin
Hamilton, Lin-Manuel Miranda
School of Rock—The Musical, Julian Fellowes
Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed, George C. Wolfe
Best Original Score (Music and/or Lyrics) Written for the Theatre
Bright Star: Music: Steve Martin and Edie Brickell
Lyrics: Edie Brickell
Hamilton: Music & Lyrics: Lin-Manuel Miranda
School of Rock—The Musical: Music: Andrew Lloyd Webber. Lyrics: Glenn Slater
Waitress: Music & Lyrics: Sara Bareilles
Best Performance by an Actor in a Leading Role in a Play
Gabriel Byrne, Long Day's Journey Into Night
Jeff Daniels, Blackbird
Frank Langella, The Father
Tim Pigott-Smith, King Charles III
Mark Strong, Arthur Miller's A View from the Bridge
Best Performance by an Actress in a Leading Role in a Play
Jessica Lange, Long Day's Journey Into Night
Laurie Metcalf, Misery
Lupita Nyong'o, Eclipsed
Sophie Okonedo, Arthur Miller's The Crucible
Michelle Williams, Blackbird
Best Performance by an Actor in a Leading Role in a Musical
Alex Brightman, School of Rock—The Musical
Danny Burstein, Fiddler on the Roof
Zachary Levi, She Loves Me
Lin-Manuel Miranda, Hamilton
Leslie Odom, Jr., Hamilton
Best Performance by an Actress in a Leading Role in a Musical
Laura Benanti, She Loves Me
Carmen Cusack, Bright Star
Cynthia Erivo, The Color Purple
Jessie Mueller, Waitress
Phillipa Soo, Hamilton
Best Performance by an Actor in a Featured Role in a Play
Reed Birney, The Humans
Bill Camp, Arthur Miller's The Crucible
David Furr, Noises Off
Richard Goulding, King Charles III
Michael Shannon, Long Day's Journey Into Night
Best Performance by an Actress in a Featured Role in a Play
Pascale Armand, Eclipsed
Megan Hilty, Noises Off
Jayne Houdyshell, The Humans
Andrea Martin, Noises Off
Saycon Sengbloh, Eclipsed
Best Performance by an Actor in a Featured Role in a Musical
Daveed Diggs, Hamilton
Brandon Victor Dixon, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
Christopher Fitzgerald, Waitress
Jonathan Groff, Hamilton
Christopher Jackson, Hamilton
Best Performance by an Actress in a Featured Role in a Musical
Danielle Brooks, The Color Purple
Renée Elise Goldsberry, Hamilton
Jane Krakowski, She Loves Me
Jennifer Simard, Disaster!
Adrienne Warren, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
Best Scenic Design of a Play
Beowulf Boritt, Thérèse Raquin
Christopher Oram, Hughie
Jan Versweyveld, Arthur Miller's A View from the Bridge
David Zinn, The Humans
Best Scenic Design of a Musical
Es Devlin & Finn Ross, American Psycho
David Korins, Hamilton
Santo Loquasto, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
David Rockwell, She Loves Me
Best Costume Design of a Play
Jane Greenwood, Long Day's Journey Into Night
Michael Krass, Noises Off
Clint Ramos, Eclipsed
Tom Scutt, King Charles III
Best Costume Design of a Musical
Gregg Barnes, Tuck Everlasting
Jeff Mahshie, She Loves Me
Ann Roth, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
Paul Tazewell, Hamilton
Best Lighting Design of a Play
Natasha Katz, Long Day's Journey Into Night
Justin Townsend, The Humans
Jan Versweyveld, Arthur Miller's The Crucible
Jan Versweyveld, Arthur Miller's A View from the Bridge
Best Lighting Design of a Musical
Howell Binkley, Hamilton
Jules Fisher & Peggy Eisenhauer, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
Ben Stanton, Spring Awakening
Justin Townsend, American Psycho
Best Direction of a Play
Rupert Goold, King Charles III
Jonathan Kent, Long Day's Journey Into Night
Joe Mantello, The Humans
Liesl Tommy, Eclipsed
Ivo Van Hove, Arthur Miller's A View from the Bridge
Best Direction of a Musical
Michael Arden, Spring Awakening
John Doyle, The Color Purple
Scott Ellis, She Loves Me
Thomas Kail, Hamilton
George C. Wolfe, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
Best Choreography
Andy Blankenbuehler, Hamilton
Savion Glover, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
Hofesh Shechter, Fiddler on the Roof
Randy Skinner, Dames at Sea
Sergio Trujillo, On Your Feet! The Story of Emilio and Gloria Estefan
Best Orchestrations
August Eriksmoen, Bright Star
Larry Hochman, She Loves Me
Alex Lacamoire, Hamilton
Daryl Waters, Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed
Recipients of Awards and Honors in Non-competitive Categories
Special Tony Award for Lifetime Achievement in the Theatre
Sheldon Harnick, Marshall W. Mason
Special Tony Award National Endowment for the Arts, Miles Wilkin
Regional Theatre Tony Award
Paper Mill Playhouse, Millburn, NJ
Isabelle Stevenson Tony Award
Brian Stokes Mitchell
Tony Honors for Excellence in the Theatre
Seth Gelblum
Joan Lader
Sally Ann Parsons
Tony Nominations by Production
Read our interview with Kay Ragsdale
John Moore: What did you know of DeVotchKa then?
Gregg Coffin: I knew they had done the music for the movie Little Miss Sunshine. That's it. Then I met them, and we just dove in.
John Moore: DeVotchKa is known for collaborating with the Colorado Symphony Orchestra, but they have never undertaken anything like this before. What is the one thing the DeVotchKa players most needed to know in transitioning to this musical world?
Gregg Coffin: That the theatricality they connect with authentically in their own work is also present in what Tunick and Sondheim did originally in Sweeney Todd. It's theatrical, and they are theatrical. Trust that authenticity.
John Moore: What is the first thing you taught them about writing for the musical theatre?
Gregg Coffin: The first thing we did was watch a recording from 1980 of the first national touring production under Hal Prince's direction. It starred Angela Lansbury and George Hearn. We watched it in a conference room. I had the staff print off the piano vocal of the entire show and put it into binders for them. I think a lot of it was just them taking in what Sondheim and Tunick had done. I would tell them stuff like, "That person right there is going to be waiting for a 'B' to play, so someone in your nine-person pit is going to have to play it."
More Colorado theatre coverage on the DCPA NewsCenter
John Moore: Did you get any blank stares?
Gregg Coffin: No. They are all alarmingly good musicians, and all of them had been in high school theatre. So they speak the language. And they are having so much fun.
John Moore: But people do need to understand that this is not DeVotchKa "rewriting" the score. The notes are the same. It's more a question of choosing which instruments are playing them, correct? Gregg Coffin: Correct. This is Sweeney Todd, after all, and it's going to sound very much like what Sweeney Todd sounds like. It's not as if they just say, "We're going to do that part with 20 banjos!" Instead, something that was written for a string section might be played here on an accordion. Or an oboe part might be played on a toy piano. Like the song "Johanna": When you hear the Tunick score, it's French horns and cellos, and it's beautiful. Here, we've got it on a nylon string guitar, and it's going to be beautiful, too. In the original orchestration, there has never been a guitar. There has never been a drum set. We will have a drum set, and that will be a real person sitting at a kit playing it: [DeVotchKa drummer] Shawn King.
John Moore: What do you think the experience will be like for DeVotchKa fans?
Gregg Coffin: I think people who come from the DeVotchKa camp will recognize and experience this band that they know and love as they interpret this classical piece of musical theatre. And DeVotchKa fans are already used to that part of it, because they play every year with the Colorado Symphony Orchestra, and I think they are going to be used to that kind of idea.
John Moore: But this is DeVotchKa, so people are going to expect something of a rock element.
Gregg Coffin: There will be moments when it rocks out, absolutely. And there will be moments that promote a completely different feel.
John Moore: What should traditional musical theatre audiences expect?
Gregg Coffin: I think this production of Sweeney Todd will be as eye-opening and rib-cage-opening for them as it was for them to see the 2005 Broadway revival where all of the actors played their own instruments. When it's just Mrs. Lovett and Sweeney singing, you hear things with a nine-piece pit that you can't hear when it's a big, 23-person orchestra and a whole chorus singing behind you. Here I think you will be allowed to see both a simplicity and an authenticity in the work.
John Moore: You hand the music over to your conductor, Erik Daniells, on opening night. What is that performance going to be like for you?
Gregg Coffin: It's going to be hard for me to have my eyes on the score because I am going to be watching the DeVotchKa players the whole time. It's a great gift that I get to see a group of really talented musicians dare to open themselves up to another art form and flex their muscles.
John Moore was named one of the 12 most influential theater critics in the U.S by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center's Senior Arts Journalist.
DCPA Broadway Executive Director John Ekeberg talks all things Disney's Newsies in the video above while Video Producer David Lenk shows you in time-lapse form the show's set rise into place Denver's Buell Theatre over two 8-hour days.
"You will see this amazing, three-story, 24-foot tower designed by Tobin Ost, which is made of steel and aluminum, that is actually 7 1/2 tons in weight," Ekeberg says. Interview by DCPA Senior Arts Journalist John Moore.
The video below shows you the time-lapse by itself. Watch 16 hours of hard work come together in just more than a minute.
More Colorado theatre coverage on the DCPA NewsCenter
John Moore was named one of the 12 most influential theater critics in the U.S by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center's Senior Arts Journalist.
Why does arts education matter?
"Because I think it leads to smarter people, more communicative people and more powerful people," said Broadway superstar Kelli O'Hara. "School is a place where you learn that arts are … allowed. Where you learn the language of acceptance and freedom."
O'Hara and Brian d'Arcy James co-headlined the Denver Center's annual Saturday Night Alive concert for arts education on March 5, helping to raise about $877,000 for the DCPA's arts education programs.
"The Denver Center for the Performing Arts is really on track here because arts education so wildly important," said O'Hara. She is the most recent winner of a Tony Award for Best Actress in a Musical, for The King & I. James is a three-time Tony Award nominee, including last year for his current role in Something Rotten!
The benefit in Denver was the first time the old friends ever performed together in concert. The pair met performing in Broadway's The Sweet Smell of Success in 2002.
"That show was a big deal for both of us at that time in our careers," said James. They marked their shared past by singing a song that was cut from the Sweet Smell of Success score, "That's How I Say Goodbye." James called it a bittersweet moment given composer Marvin Hamlisch's death in in 2012. "He was such a guiding light for that show and a force everyone knows musically," James said. "So being able to represent him in this way with Kelli is a really special thing."
O'Hara is the national spokesperson for a program called "Theatre in Our Schools," and March is "Theatre in Our Schools Month." If arts disappear in our schools, she said, "then we're doing our math and doing our science and playing our sports and we're never talking and we're never communicating. And as we know in this world, communication and the lack thereof is causing a lot of problems, or the type of ways we communicate.
"I'm looking forward to how we can affect how much theatre is in our schools, and in what ways that affects children. It's about how children can find their voice and communicate and ask the questions that these different types of art are bringing about in their minds. It's a way to really open up a child. It's very important to me, so I'm excited to be a part of it."
Here are more excerpts from our talk with O'Hara and James:
John Moore" How did arts education help you growing up?
Kelli O'Hara: I grew up on a farm in Western Oklahoma, and arts education wasn't a huge deal (there). We had a lot of sports. But my state is now actually really reaching out. I just recently helped them raise some money for arts education. It's becoming important everywhere because it's important for kids. It's a conversation starter. It's a way kids can feel and learn and speak and communicate better. My arts education is what brought me here. In college, there was a voice teacher named Florence Birdwell at Oklahoma City University and I knew of her since I was 5 years old. And that experience with her in my college, learning the craft and her technique and her life lessons really, kind of sent me to New York, which was a big move for me.
John Moore: Didn't she also teach Kristin Chenoweth?
Kelli O'Hara: She did, and a lot of other amazing singers. I wouldn't be here without the mentoring through education that I had with Florence.
Brian d'Arcy James: I grew up in Saginaw, Mich., which is in the middle of the state. I was surrounded by arts through my school and through my community. I contend that arts education is the chance for some young person to find their voice and express themselves and learn about who they are, which I think strengthens their outlook on life and their confidence in themselves to step forward into their future. That is a really remarkable thing that arts education provides. I was able to satisfy my curiosity about the theatre through my arts education in my community and my school.
Kelli O'Hara: I think if you learn from an early age what you're feeling and how to put words to it and even sometimes if you're doing it through different channels, which art creates, there's a release and there's a growth that can happen from that release, which you might not be getting at home.
John Moore: Why was it important for both you to be here in Denver tonight?
Brian d'Arcy James: It makes me proud to think that I've been asked, along with Kelli, to be any kind of magnet that would allow people to feel like they want to support this particular event. But also, more importantly, to support the larger idea of arts in the community. We're here because of what we learned and what we were able to achieve as young people in the arts. If we have any chance to support that or to inspire people to continue to think that is a good idea, it makes me very proud.
Kelli O'Hara: By following our dreams, we have witnessed what art can do, not only for ourselves, but also for children. I know the changes that happened in me, just from having some support once I found it. That's something I really want to drive and push and support. We both have kids of our own now. We want the best for them, and we want them to have this added freedom to communicate. And the arts are the way to do that. We're artists, so we already think that - but I've watched it happen with many people who aren't artists, too. Photo by John Moore for the DCPA NewsCenter. Random Trivia:
Kelli O'Hara's husband, acgtor and songwriter Greg Naughton, is the nephew of actor David Naughton (An American Werewolf in London).
Brian d'Arcy James sang a medley honoring songwriters who hail from his hometown of Sagninaw, Mich., including Stevie Wonder and Isham Jones. Check out more of our Colorado theatre coverage
"I started with gymnastics when I was 8," said Hernandez, who soon expanded his repertoire to include everything from tap dancing to jazz to ballet. His experience in all of those disciplines has come in handy in Newsies, which is known for its acrobatic and physically demanding dancing.
"Absolutely," said Hernandez. "There is a lot of athletic dancing and tumbling in this show. So yeah, it's a perfect fit."
Hernandez had an idyllic childhood growing up on a rural farm with horses. But after taking summer classes with the Colorado Ballet, he decided to graduate from high school early to accept a one-year apprenticeship that changed his life.
"My parents set me up in an apartment in Aurora, and they were in touch with me every day," Hernadez said. "I was lucky because I had all kinds of people who were looking out for me through the Colorado Ballet and family friends."
While with the Colorado Ballet, Hernandez danced at The Ellie Caulkins Opera House right next to where he will perform in Newsies for his Colorado homecoming. The first show he ever saw at The Buell was in 2008. It was the national touring production of A Chorus Line. It was helmed by Associate Choreographer Michael Gorman, a fellow Coloradan who is now his Newsies castmate.
"He is so great," Hernandez said of Gorman. "He has had this phenomenal career, so it is really cool to be able to work with people like Michael in our cast. It's great to pick their brains."
Working with professional dancers at the Colorado Ballet every day "sparked my work ethic as far as trying to elevate my career," said Hernandez. When his apprenticeship ended, he joined 7 Dancers, a wing of the Cherry Creek Dance Performing Company. From there he joined the David Taylor Dance Theatre (now known as David Taylor's Zikr Academy) before moving to Los Angeles.
"And now I have such a huge appreciation for ballet, I feel like it's the core of everything I am doing," he said.
Hernandez has been with the Newsies tour since its inception in 2014. He is a "swing," which means he must be at the ready at all times to fill in for any of 14 other members of the Newsies cast. He says he typically appears in about four performances (out of eight) each week. He's eager to show friends and family – most of whom now live in Grand Junction – the Newsies phenomenon first-hand. His birthday happens to be the tour's opening night at The Buell Theatre on March 23.
"Newsies is just a very relatable show," he said. "Everyone loves an underdog, and that's what this show is all about. It's about these kids who are treated poorly and unfairly, and so they band together to strike against two of the richest men in New York City.
"We have so many fans — we call them 'fansies' — who are completely fanatical about the show. They write us letters and thank us and tell us how we have changed their lives. It's funny because when you are up there singing and dancing, you can forget how influential this show really can be on people. It's pretty special. I am glad that I am a part of it." That's Stephen Hernandez 'Seizing the Day' front-row center in Disney's 'Newsies.' Photo by Deen van Meer.
Check out more of our Colorado theatre coverage
DCPA is the nation's largest not-for-profit theatre organization dedicated to creating unforgettable shared experiences through beloved Broadway musicals, world-class plays, educational programs and inspired events. We think of theatre as a spark of life — a special occasion that's exciting, powerful and fun. Join us today and we promise an experience you won't soon forget.


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Short Cuts
Author and Publisher - Catholic Online
martyred in Kemet. I was born at Dirshaba, and practiced my faith. I professed Christ at Atrib. In Roman Emperor Diocletian's persecutions. I was beheaded at Alexandria. 5 Sept. Coptic Calendar.
Saint Brigid was born Brigit, and shares a name with a Celtic goddess from whom many legends and folk customs are associated. There is much debate over her birthparents, but it is widely ... continue reading
Saint Monica, also known as Monica of Hippo, is St. Augustine of Hippo's mother. She was born in 331 A.D. in Tagaste, which is present-day Algeria. When she was very young, she was married ... continue reading | shop
St. Elizabeth was born in Hungary in 1207, the daughter of Alexander II, King of Hungary. At the age of four she was sent for education to the court of the Landgrave of Thuringia, to whose ... continue reading
St Pantaleon came from Nicomedia, near the Black Sea, in Asia. He was such a famous doctor that the Emperor himself chose him for his own doctor. Pantaleon was a Christian, but the bad influence from ... continue readingMore Saint of the Day
Although we have evidence that Agatha was venerated at least as far back as the sixth century, the only facts we have about her are that she was born in Sicily and died there a martyr. In the legend of her life, we are told that she belonged to a rich, important ... continue readingMore Female Saints
Saint Michael the Archangel isn't a saint, but rather he is an angel, and the leader of all angels and of the army of God. This is what the title "Archangel" means, that he is above all the others in rank. St. Michael has four main responsibilities or offices, as we ... continue reading
David, the youngest son of Scotland's virtuous queen, (Saint) Margaret, succeeded his brother to the Scottish throne in 1124. David's friend, (Saint) Aelred, abbot of the English monastery of Rievaulx, was later to recount David's religious devotion and his generosity ... continue reading
Abbess and model of the conventual life. Agnes was a friend of the poet Venantius Fortunatus, who visited her in the Holy Cross convent in Poitiers, France. Recognized for her holiness and intelligence, she was named abbess of the convent by St. Radegund, a princess ... continue reading
By Deacon Keith Fournier
This great defender of the faith insisted on the central claim of Christianity: God can be known and loved-indeed, that is why He came into our midst in the person of His Son; so that through a relationship with Jesus Christ, man could participate in the very ... continue readingMore Christian Saints & Heroes

subset: commoncrawl


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We started with Q&A. Technical documentation is next, and we need your help.
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1796 $2 1/2 No Stars MS62 NGC. The 1796, one of 963 ...Click the image to load the highest resolution version.
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Rarely Seen MS62 1796 Quarter Eagle1796 $2 1/2 No Stars MS62 NGC. The 1796, one of 963 pieces minted, is one of the few transcendent rarities in U.S. coinage that is well known outside the circle of gold specialists. The 1796 No Stars quarter eagle is a coin with many firsts. It is a well-known, one-year type coin that has a distinctive design unlike any subsequent quarter eagle (all of which stars), it is the first date of the denomination, it is the first issue to ever showcase a heraldic eagle on the reverse, and it is the first coin struck with sixteen reverse stars honoring Tennessee's admission to the Union. Quarter eagles were authorized by the Mint Act of April 2, 1792 which required a weight of 64.5 grains. While half eagle and eagle production commenced in 1795, the quarter eagle, a less favored denomination, had to wait until 1796. The first dies were hastily prepared by Robert Scot with some assistance from John Smith Gardner. The obverse design was similar to that of the 1795 half eagle and eagle, but the stars were omitted from the periphery. Possibly 80-100 pieces are extant today in all grades, but only half a dozen or so examples are believed known at the MS62 grade or higher, making this coin of the greatest rarity and desirability to gold specialists.
This is a pleasing orange-gold example that is a bit weakly defined in the centers but sharp at the peripheries. Subdued, satin-like luster covers each side with very few abrasions, none of any note, with just a few shallow adjustment marks in the center of the reverse. This is an exceptional opportunity to acquire this legendary rarity in Condition Census quality. Population: 3 in 62, 2 finer (11/03).(#7645) (Registry values: P10) (NGC ID# 25F2, PCGS# 7645)
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Alan Menken Gives A Christmas Carol the Broadway Musical Treatment
Davis Musical Theatre Company, in Jean Henderson Performing Arts Center 607 Pena Dr. Davis, CA 95618
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Davis Musical Theatre Company ushers in the holiday season with Alan Menken's A Christmas Carol. Menken (The Little Mermaid, Beauty and the Beast, Little Shop of Horrors) and Tony-winning lyricist Lynn Ahrens (Seussical, Ragtime) seamlessly blend unforgettable tunes into this Broadway-style telling of the beloved and familiar tale. Join Ebenezer Scrooge, Jacob Marley, Bob Cratchit, Tiny Tim and the ghosts of Christmas past, present and future in Charles Dickens' classic tale of redemption and forgiveness that captures the true spirit and magic of the holiday season for the whole family.
* Additional fees apply. No coupon or promo codes necessary to enjoy the displayed discount price.
All offers for A Christmas Carol have expired.
The last date listed for A Christmas Carol was Saturday December 8, 2012 / 8:15pm.
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Predator Drones and the Military Mindset Explored in Powerful New Play
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"A Christmas Carol"
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The show was great. My 6 year old loved it but my 3 year old was a little scared of Mr. Scrooge. The DMTC assigned us seating, the seats were very good. The tickets were easy to pick up at the box office. All and all good experience.
attended Nov 30 2012
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Every cast member did a great job. Every seat in this theatre is a good seat. Kicked off the holiday spirit for us. Very enjoyable.
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Paper No. JAWRA-09-0035-P of the Journal of the American Water Resources Association (JAWRA). Discussions are open until six months from print publication.
The Role of Riparian Vegetation in Protecting and Improving Chemical Water Quality in Streams1
Version of Record online: 15 MAR 2010
DOI: 10.1111/j.1752-1688.2010.00419.x
© 2010 American Water Resources Association. No claim to original U.S. government works
JAWRA Journal of the American Water Resources Association
Volume 46, Issue 2, pages 261–277, April 2010
Additional Information
How to Cite
Dosskey, M. G., Vidon, P., Gurwick, N. P., Allan, C. J., Duval, T. P. and Lowrance, R. (2010), The Role of Riparian Vegetation in Protecting and Improving Chemical Water Quality in Streams. JAWRA Journal of the American Water Resources Association, 46: 261–277. doi: 10.1111/j.1752-1688.2010.00419.x
- 1
Publication History
- Issue online: 31 MAR 2010
- Version of Record online: 15 MAR 2010
- Received February 17, 2009; accepted July 23, 2009.
- Abstract
- Article
- References
- Cited By
- assessment;
- biogeochemistry;
- buffers;
- legacy effects;
- nonpoint source pollution;
- resilience;
- restoration;
- rivers/streams;
- soils;
- watershed management
Dosskey, Michael G., Philippe Vidon, Noel P. Gurwick, Craig J. Allan, Tim P. Duval, and Richard Lowrance, 2010. The Role of Riparian Vegetation in Protecting and Improving Chemical Water Quality in Streams. Journal of the American Water Resources Association (JAWRA) 46(2):261-277. DOI: 10.1111/j.1752-1688.2010.00419.x
Abstract: We review the research literature and summarize the major processes by which riparian vegetation influences chemical water quality in streams, as well as how these processes vary among vegetation types, and discuss how these processes respond to removal and restoration of riparian vegetation and thereby determine the timing and level of response in stream water quality. Our emphasis is on the role that riparian vegetation plays in protecting streams from nonpoint source pollutants and in improving the quality of degraded stream water. Riparian vegetation influences stream water chemistry through diverse processes including direct chemical uptake and indirect influences such as by supply of organic matter to soils and channels, modification of water movement, and stabilization of soil. Some processes are more strongly expressed under certain site conditions, such as denitrification where groundwater is shallow, and by certain kinds of vegetation, such as channel stabilization by large wood and nutrient uptake by faster-growing species. Whether stream chemistry can be managed effectively through deliberate selection and management of vegetation type, however, remains uncertain because few studies have been conducted on broad suites of processes that may include compensating or reinforcing interactions. Scant research has focused directly on the response of stream water chemistry to the loss of riparian vegetation or its restoration. Our analysis suggests that the level and time frame of a response to restoration depends strongly on the degree and time frame of vegetation loss. Legacy effects of past vegetation can continue to influence water quality for many years or decades and control the potential level and timing of water quality improvement after vegetation is restored. Through the collective action of many processes, vegetation exerts substantial influence over the well-documented effect that riparian zones have on stream water quality. However, the degree to which stream water quality can be managed through the management of riparian vegetation remains to be clarified. An understanding of the underlying processes is important for effectively using vegetation condition as an indicator of water quality protection and for accurately gauging prospects for water quality improvement through restoration of permanent vegetation.