On February 7, a group of people gathered at Germinal Stage Denver to remember Al Brooks and the theater that he and his wife, Maxine Munt, had run on Champa Street for more than thirty years. The group included actors, directors, dancers, writers, visual artists and Brooks's nephew, playwright Michael Smith, along with Smith's son, named Albert after his great-uncle. Some participants remembered Brooks as the man who had started their artistic careers; others commented on his commitment to a life in art; painter Charles Parsons spoke of first seeing the woman who would become his wife on the stage of the Changing Scene. Parsons also remembered Brooks attempting to parallel-park his brown Studebaker, smoking, hitting the car behind him, smoking, hitting the car in front of him, smoking, all the while talking non-stop. One of the most moving comments came from a playwright: "Everywhere, doors were slamming," he remembered. "But Al Brooks said, 'Come here. This is my space. Come here and work.'"