By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
Donovan Marley has been the artistic director of the Denver Center Theatre Company for twenty years, but this season -- which just opened with John Patrick Shanley's Dirty Story -- is the last under his leadership. When he announced his pending departure last year, a seismic shiver went through the local theater world. Because whether admired for its artistry and professionalism or criticized for stifling the work of smaller, less-affluent companies, the DCTC has always been at the center of the local arts scene.
A major regional company like this plays a huge role in a metropolis. It can underline the still-vivid relevance of Shakespeare; encourage the form-shattering work of young playwrights; examine politics; bring writers of both sexes and varied races and nationalities into the fold; retain the faithful theater-goer; attract new, young audiences; show us productions currently creating a furor in London or New York; provide an understanding of what theater has been and where it's headed; and bring a sense of urgency and excitement to the community. The new artistic director will decide which of these goals to emphasize, and -- through example, challenge, the loaning out of actors and sometimes direct aid and advice -- will powerfully influence the tone and style of Denver theater.
Naturally, there's profound interest in the selection process, but the company's board, along with founder and chairman Donald Seawall, are being extraordinarily coy. While members could hardly be expected to name candidates under consideration, they are refusing to discuss even such elementary topics as timeline, process and the qualities they're seeking. Will Denver get a sophisticated Brit, an ironic Eastern European, an anti-colonialist, the director of a solid regional company, a savagely blunt-tongued smasher of furniture and convention, a young titan on her way to greatness? Will the new artistic director cooperate with local theaters and audition Denver actors, or remain aloof? No one is speaking in anything but platitudes.
"We're open to differing levels of experience," says Dorothy Denny, vice president of communication. "We want someone who will maintain our current wonderful mix of contemporary plays and classics."
Seawell, speaking through his publicity department, says only, "At the present, it's an ongoing search."
"My part was to give them a list, and I gave a list of 24," says Marley. "After that, my responsibility is to answer any questions I am asked." He adds, "I think they're looking for someone who is capable of leading a complicated multi-venue organization. There are many people who have experience running companies in which there's basically one theater and sometimes a second that may have a developmental program. But a theater like ours, that has four venues, all used for central programming -- there are not very many theaters like that."
Marley will remain available as a consultant through the transition.
One of Marley's primary achievements has been to assemble a strong permanent acting company. Actors who can focus on their art because they're assured of a regular salary are rare these days, when most major theaters hire at need. A permanent company serves theater-goers as well as actors. It's fun to watch an actor mature over time or stretch his technique to fit differing roles. It's also fun to see someone who's just starred in a production take a tiny role in another. You feel the pleasure of recognition and a sense of ownership. Sports fans may have John Elway, but theater-goers have Jamie Horton, Annette Helde, Randy Moore, Bill Christ, Kathleen M. Brady, Jacqueline Antaramian and several others as good as anyone you'll see anywhere.
Younger roles are cast from the Denver Center's own school, the National Theatre Conservatory. This is laudable, but in practice it means that most of the young actors you see on Denver Center stages are far less talented than the middle-aged company members.
There's something a little safe and middle-aged about much of the company's repertoire, too. It's wonderful to see Molière, especially in Nagle Jackson's witty translations, and Noel Coward is always a pleasure. As a regular, you'll discover such contemporary English talent as Martin McDonagh, but you won't learn much about the new generation of American playwrights. And every now and then, there will be a production that just isn't worthy of a company of this stature -- a weak Hamlet, a misconceived Merchant of Venice, a neutered Picnic.
On the other hand, there have been many triumphs. Marley is committed to the work of August Wilson and has staged vivid, multi-layered productions of eight of the Pulitzer winner's ten plays, under the directorial hand of Israel Hicks. Marley himself directed Chekhov's The Three Sistersa couple of years ago. This production, which set the action in the Civil War South, was criticized by some purists, but it was beautifully acted and conceived, and it brought the play to pressing life.
The tech at the Denver Center tends to be spectacular -- and this is no minor or secondary achievement. Sometimes the costumes are so startling, inventive and elaborate, or the lighting so moodily beautiful, that these elements themselves make the evening worthwhile. And there are less flashy successes, like the tech for Visiting Mr. Green, a slight, charming piece that gained resonance not only from first-rate performances, but because of the tech designers' loving attention to detail: the grubby marks around the kitchen-cabinet handles, the blue light through the window, the mezuzah on the door.