by Mark Smiley | Jul 22, 2016 | General Featured
Cirque du Soleil’s New Show Entertained Crowds At The Pepsi Center
by Megan Carthel
From Montreal to America, July 20 marked the one-year anniversary of the new Cirque du Soleil show TORUK — The First Flight, which is based on James Cameron’s 2009 movie Avatar. Avatar grossed $2.7 billion worldwide making it the 
largest grossing movie of all time.
TORUK is a multimedia spectacle that takes place thousands of years before the events of Avatar and before any humans visited Pandora. Led by a storyteller character, the show follows three young adults — Ralu, Entu, and Tsyal — and tells the story of the first flight of the Toruk (the dragons they rode in the movie).
One of the puppeteers who controls Toruk during the show is Nick Barlow, from Australia, who just finished his first year as a Cirque performer.
“It’s very exciting,” Barlow said, “It’s definitely the biggest thing I’ve ever been a part of. It’s so amazing to go out every night with thousands of people there just really excited to see the show.”
While Barlow certainly loves his job and puppeteering, it wasn’t always his intention to become a puppeteer. While in school in Australia, he studied theater and “fell” into puppetry — the rest has been history ever since. Before Cirque, he was a puppeteer on the Australian tour of War Horse and worked as a physical performer with Polyglot Theatre.
“That wasn’t my intention, I just fell into it and found that I loved it. Especially the fact that you can play so many different things as a puppeteer,” Barlow said. “As an actor, you’re often typecast by your look and your age, so as a puppeteer you can play a whole matter of stuff.”
In the show he handles five puppets including the Viperwolves; the Direhorses; his personal favorite, the Ostripeed, a pink bird designed specifically for the show; and the main puppet, Toruk, which takes all six puppeteers to maneuver. The Toruk puppet is the largest on set weighing in at 240 pounds with an aluminum frame and a carbon fiber covering. Luckily for the puppeteers, the movement of the creature is automated, but they bring it to life. While six minds work at once, a puppet becomes an animal on Pandora.
“We all have to kind of think and breathe as one to make that creature come alive,” Barlow said. “By now, we’re just in tune with each other. We can feel when it’s going to go this way or that way or move together at the same time, which kind of creates that idea that it’s one big idea, not just six different thoughts going on.”
The puppeteers also have a crucial part of the show — playing Eywa, the spirit of the Na’vi. Dressed in black their character represents the shadow of the Na’vi clan that brings life to the planet of Pandora — a symbolic metaphor for the job of a puppeteer.
“As that spirit, we also have other jobs in the show of bringing life to other parts of the set,” Barlow said. “Or, being that spirit presence in the space, which is ki
nd of part of the story — this connection to the spirit world of Pandora.”
It takes a lot of time and energy to bring the world of Pandora to life. Each week the cast and crew travel to a new city, setting up the stage on Wednesdays. Shows run until Sunday, with double features on the weekends. Before each show, performers stretch, warm up in their traveling gym, and rehearse different parts and new moves.
“The show isn’t ever completely locked down,” Barlow said. “We’re always trying to make things better and add things here, add things there, and tighten things up.”
The performers all do their own makeup, which takes about an hour. For puppeteers, sound checks and mics are an additional preparation as they make all of the animal sounds and noises audiences hear. Then after the last show Sunday night, the crews pack up the stage and it’s immediately on the road again with Monday and Tuesday off in a new city.
“It’s hectic, but it’s interesting and you see a lot of America,” Barlow said.
This is Barlow’s second time in the U.S. after touring with another show, and his first time in Denver. During his days off, he was able to get a bike and ride along the Platte River, exploring what he could. The Mile High City’s elevation and thinner air affects the performers running around the stage and some props that have to fly in the air.
The cast and crew travel, work and live together the entire tour, creating a type of family for the performers away from home, but Barlow still misses his own family in Australia.
“It’s a really close-knit group, which makes life on the road a lot easier because it’s hard,” Barlow said. “I’ve got a real family back home in Australia. That’s the hard part of touring is being away from them.”
“The people who work for Cirque du Soleil are in general very like-minded individuals, the cast, crew, staff, everyone,” said Laura Silverman, Publicist, Cirque du Soleil, TORUK — The First Flight. “They obviously have a passion for entertainment, creativity, [and] travel. And this show specifically, everyone on the show, the cast and crew is really extraordinary. Everyone gets along really well and they all have the passion to put on the best show possible.”
To put on a great show, the venue and stage need to meet the needs of the artists. Just as the world of Pandora is large, so is the stage. Toruk — The First Flight stage is the largest ever to be used in a Cirque show. The entire arena is used as the stage, giving all the performers a huge space to work with. In all, Toruk — The First Flight is a unique Cirque show unlike any other, with a larger stage, a narrator and storyline a
nd more technological displays than acrobatic.
Cirque, which is known for acrobatics, has received mixed reviews from critics in the cities it has performed in since it debuted in December 2015. Recognizing that fans have come to expect acrobatics in cirque shows, there have been changes over the last six months.
“We do the best we can to manage expectations in advance,” said Silverman. “The show has evolved. All cirque shows are constantly evolving because we tour with an artistic director and his job is to make sure that it’s relevant and looks the best and we take what we learn from different audiences. So this show has more acrobatics in it now than it did six months ago.”
“We have 18 shows performing around the world right now,” said Silverman. “[This show] is the biggest departure from what the company was built on. But each show of those 18 is going to stand out from the others.”
TORUK — The First Flight had a successful run in Denver, adding a matinee performance on Friday, July 22. “Denver has proven to be a really great market for Cirque du Soleil and we will continue to come here,” said Silverman.
The show heads to four different cities in August: Chicago, Indianapolis, Birmingham and Nashville. For a complete listing, visit www.cirquedusoleil.com/toruk /tour-dates.
by Mark Smiley | Jul 22, 2016 | Editorials
by Mark Smiley
The Bull & Bush opened its doors in 1971, and ever since they have been at the forefront of the microbrew business. August marks their 45th year in business and they are celebrating with a series of limited release beers inspired by local bands. Each limited edition bottle will include a special music sampler download for each band. Those bands will perform at the Bull & Bush Brewery Saturdays in August.
The Bull & Bush started brewing their own beer in January 1997. The first beer brewed was Extra Special Bitter (ESB) and it is still on tap today joining 39 other rotating flavors. The seven-barrel system allows the Bull & Bush to produce 30 kegs of beer at a time to keep up with demand.
The brewpub’s first 26 years in business featured beers that were difficult to obtain. Anchor Steam was offered at the Bull & Bush in 1974 to lukewarm reviews. “We were on the cutting edge
back then even before we were making beer,” said David Peterson, co-owner of the Bull & Bush Brewery. “He [Dale Peterson] convinced Fritz Maytag [owner of Anchor Steam] to send the distributor 50 kegs of Anchor Steam all at once.”
Customers were not accustomed to beers other than Miller, Coors, and Budweiser so they felt this brand was “too dark.” The same held true for Boulder Beer which had their own beer on tap in the 1970s as well.
Eventually, curiosity prevailed and customers flocked to the Bull & Bush. “Glendale was the hotspot in the ’70s and ’80s and there was nothing else around our pub,” said Peterson. “People’s curiosity lured them into the Bull & Bush.”
Wynkoop Brewery started the brewpub craze in 1988 and brewpubs popped up all across the metro area and the state. By 2005, most had disappeared. Now microbreweries, without kitchens that feature craft beer, have lower overhead and a better product.
The Bull & Bush has weathered all of these storms relying on their kitchen and tasty craft beer. They have also changed with the times by adding a patio, remodeling their kitchen, installing new carpeting, bottling their beer, and distributing their bottled beer throughout the state. All of these major developments took place in the last 10 years.
Bull & Bush enthusiasts can find the beer in close to 80 bars and restaurants across the state and in most major liquor stores. At first, the Bull & Bush distributed their bottled beer within a 10-15 mile radius. With demand so high, co-owners and brothers David and Erik Peterson hired a distributor to send the beer across the state.
Amidst all of the changes and improvements, David Peterson notes that one thing will never change at the Bull & Bush — the green chile it has been serving since 1971 will never be compromised. “We will never change the recipe,” said Peterson. “A lot of people would be upset if we did.”
Aside from modern televisions, new carpeting, and more taps for beer, the Bull & Bush looks very much the same as it did in 1971. That is just the way the Petersons and their guests want it. The Bull & Bush has been a Glendale tradition for close to half a century with no signs of stopping.
Tickets to the concerts in August are $19.71 each. Visit bullandbush.com/collec tions/45th-anniversary for more information and to purchase tickets.
by Mark Smiley | Jul 22, 2016 | Editorials, Feature Story Middle Left
by Bob Gardner
Coloradans: Would you like all your health care decisions for the next three years to be made by 15 unelected government bureaucrats? That’s what Amendment 69, which has qualified for this fall’s ballot, would mandate.
Before you answer, here’s a few additional facts to help you decide.
These 15 “trustees” — a fancier word for bureaucrats, by the way — would get to say which procedures and which drugs would be covered by insurance and which ones wouldn’t from 2017 until 2020. How would they get that power? Amendment 69 makes it illegal for any other health insurance company to do business in the state of Colorado. And when those companies are all gone, all decisions about any kind of payment to anyone in the health care system fall under the thumb of those unelected trustees.
They’d get to decide how long you should have to wait in the emergency room, how many months your elderly mother should have to wait for hip replacement surgery, and what treatments for your kids will and won’t be paid for.
If you don’t like the sound of that system, you should know there’ll be no opting out. If you’re wealthy, you could pay for health care from your pocket. Otherwise, your family’s care exists solely at the whim of the 15 bureaucrats.
Don’t like it? Move to Nebraska if it’s enacted. Because if we Coloradans go down this road, there’ll be no appeals, no flexibility and no choice in health care in our state.
It gets worse.
In 2020 at the latest, Amendment 69 says we’ll hold statewide elections to replace the 15 appointed bureaucrats with 21 elected bureaucrats.
That’s right — we’ll have giant campaigns across Colorado every other year to pick new health care czars. “A vote for me is a vote for liver transplants!” or “Two nose jobs in every house — vote for me!” An unending buzz of negative TV ads about how the trustee candidate’s evil opponent is trying to take away childbirth reimbursement or how their vote backed up back surgeries.
Sounds ridiculously unappealing, doesn’t it?
Obamacare’s been bad enough — its promised savings cruelly turning into a 13.4 percent average rate increase this year — but Amendment 69 will make things much worse. Its ironclad regime of single-payer health care for every resident of the state, without exception, would almost double Colorado’s state taxes overnight. It imposes an immediate 10 percent across-the-board payroll tax that would cost Coloradans a jaw-dropping $25 billion in additional taxes on top of the $27 billion the state already levies. And the whole system is specifically designed to exist outside of TABOR limits that control state and local government taxation in Colorado.
So who’s behind this nonsense?
Great question. Colorado State Sen. Irene Aguilar has been identified as one of the “leaders” of the campaign, but the funding sources are much more shadowy, with a Boulder psychologist, a Littleton physician, a Denver attorney, and a Fort Collins retiree being identified as collectively donating more than $140,000 to the cause.
Why those four people would have such a burning passion to control our health care isn’t clear to me.
What is clear is that we shouldn’t let them.
The net effect of this disastrous plan would be to drive state taxes through the roof, kill job creation (and likely most economic growth) in Colorado, and institute health care rationing for all Coloradans. All at the hands of a mysterious group of health care ideologues who’ll do their bidding through a shadow “health care Legislature” with literal power over life and death decisions.
Even Gov. John Hickenlooper was caught on tape saying he “can’t imagine there’s any chance (Amendment 69) will pass,” and noting that some large companies considering moving their headquarters to Colorado have put their plans on hold with Amendment 69 even on the ballot. It would make our state singularly economically uncompetitive and hurt the very people it claims it would help.
Just like Obamacare before it, Amendment 69 is an attempt to sell a bill of goods — sweet-sounding words about universal coverage, better benefits, and cost savings from efficiencies driven by an all-seeing, all-knowing government.
And it will turn out just as badly in the end. The difference is that Amendment 69 is a disaster we can all prevent from happening this fall at the ballot box.
Bob Gardner is a Colorado Springs attorney and former Colorado state representative.
This editorial was originally printed in the Colorado Springs Gazette.
by Mark Smiley | Jun 24, 2016 | Editorials
Super Heroes And Comic Book Characters Filled The Convention Center
by Megan Carthel
While over 100,000 attendees found some of their favorite celebrities and characters, a handful of goers found love at the 5th Annual Denver Comic Con. This year the event paired with PrideFest, as both took place over the same weekend. LGBTQ programming took place on Friday and included panels such as LGBT Comics you should be reading and topics like how young adult literature with queer themes can disrupt norms, and how to add diversity to comics, sci-fi and fantasy. The main event was on Sunday, when a group wedding ceremony, open to couples of all backgrounds, took place. Sam Fuqua, executive director of Pop Culture Classroom, the non-profit that puts on Denver Comic Con, said the ceremony was the perfect way to end the three-day celebration of geeky fun.
“I just think it was beautiful. It represents everything we try to promote at Denver Comic Con and in our year-round work — diversity, pop culture, creating a welcoming space for personal expression of many kinds,” Fuqua said. “Whoever we are, whatever we do, wherever we come from, whoever we love, we can just be ourselves and be together with people who like what we like. I think that’s a lovely thing.”
Ten couples promised their vows in front of an audience in the Bellco T
heatre as Wonder Woman’s rope united their hands. The ceremony was ordained by Andy Mangels, author and co-author of over 20 fiction and non-fiction books including Star Trek, Roswell, Iron Man and Star Wars. Mangels is also an activist in the gay community. He said being the minister for 10 couples from all backgrounds was an amazing feeling.
“In today’s world, we have only recently been able to have LGBT marriages, and to have a marriage that reflected all parts of all couples — that reflected their passions in life, and their passions for each other, it didn’t matter if those passions were for same-sex or opposite-sex, love is love,” Mangels said.
The geek-themed ceremony was Star Trek punny and genuinely touching as each couple said their written vows to their partners. The couples were as diverse as their costumes.
Tonya Smith found her “perfect player” over five years ago. With Rachel, the Ruby to her Sapphire, by her side, the two expressed their love for each other. Rachel and Tonya dressed as characters from the cartoon Steven Universe, a show about a boy who uses his magic gem powers with other super heroes. In the show, Ruby and Sapphire are fused together, much like Rachel and Tonya.
The Smiths have been married for five years, but wanted to renew their vows.
“We’ve been wanting to have a real ceremony for a long time, and it’s just been an issue of having the money to do that. When this came up, it seemed
perfect because not only could we have the ceremony, but it could be the way we wanted it to be — chock full of all the nerdiness we could ever hope for,” Tonya said.
Tonya and Rachel, who is transgender, wanted to renew their vows with Rachel as her true self, something Mangels believes to be the cornerstone of any marriage.
“I think that with any marriage, it’s about knowing to not look to change the person you’re with. You didn’t fall in love with them to change them. You fell in love with them because you liked what they were,” Mangels said. “So for any marriage to be a good long-term marriage, is to be supportive of who each of us is.”
Tonya said this time around, the ceremony was much more meaningful. When they were married five years ago, the couple went to the court house without a ceremony — something they say is more like just going to the DMV, not very ro
mantic.
“This felt so much more real,” Tonya said.
“It was pretty good,” Rachel said. “Just to know that it was more formally acknowledged in that respect.”
The couple has struggled in the last few years, from Rachel’s transition, to being homeless and living out of a hotel, and going through a discrimination lawsuit — all with two young boys. Rachel and Tonya were looking to rent an apartment in Golden Hill, but were denied by Deepika Avanti, the landlord.
Avanti allegedly wrote in an email to the couple stating the reason for denial of housing was the “uniqueness” of their relationship.
“Your unique relationship would become the town focus, in small towns everyone talks and gossips, all of us would be the most popular subject of town, in this way I could not be a low profile,” Avanti wrote.
Tom Warnke, media relations director at Lambda Legal, the law firm handling Rachel and Tonya’s case, said no court date has been set yet. In the Motion for Summary Judgment submitted on June 16 to the U.S. District Court for the District of Colorado, Lambda Legal cited the series of emails Avanti sent Tonya and Rachel reiterating her concerns about how their “uniqueness” would impact her reputation. In a press release by Lambda Legal, the firm states the emails are “clear evidence” Avanti discriminated against Rachel and Tonya on the basis of sex and familial status, in violation of the federal Fair Housing Act and Colorado Anti-Discrimination Act, and on the basis of sexual orientation and transgender status, in violation of the Colorado Anti-Discrimination Act.
Despite of their struggles, the couple has fought their way to get to the loving and stable place they are now, much like their characters Sapphire and Ruby.
“Things were so unsure and so chaotic for so long and so unstable, that now we have stability in our housing and financially, and with each other, with my identity and all that stuff and it’s just like black and white, day and night.”
Rachel describes the past few years as the scene from Pirates of the Carribean when Johnny Depp’s Character Jack Sparrow steps onto land as his ship is slowly sinking to the bottom of the ocean. Tonya, Rachel and their two sons, K
evin and Isaac, are now on land and have a solid foundation with jobs they love, housing, and each other — and a geeky wedding was the icing on the cake.
“This was a good way to acknowledge that, yes we’ve gone through a lot of crap together and come out the other side better for it and because of each other,” Rachel said.
by Mark Smiley | Jun 24, 2016 | Glendale City News
by Kurt Woock
Writer for and on behalf of the City of Glendale
When the jumbo screen at Infinity Park lights up, people gather around it like moths gathering around a light on a hot summer night. And for good reason. It’s free, it’s fun, and it’s a timeless experience that people of every age enjoy. It’s more than just something to do. Monday Movie Madness, now in its ninth year, is a sign
Infinity Park Movie Night, Willy Wonka. August 4, 2014 at Infinity Park in Glendale, Colorado. Photo by Seth McConnell
of summer for thousands of Coloradans.
Linda Cassaday, deputy city manager for the City of Glendale, says she continues to be wowed by the reception Monday Movie Madness continues to get. One way organizers engage moviegoers is by opening up each year’s movie selection to online suggestions and voting. This year, Cassaday says more people voted than in any other year.
The crowd is not only growing — it’s diverse. “I’m amazed when I walk in and see who’s coming in,” she said. “It can range from families with babies in strollers to teens to couples who come in for a really cool date night.” While the City of Glendale sponsors the event, Cassaday said people drive in from all over the Front Range to attend. “It’s the new drive-in movie.”
The lineup of mostly classics reflects the fact that Monday Movie Madness is a unique experience. It’s not a movie theater, and it’s not a film festival. These are all movies that are readily available on Netflix or cable, and most households probably have at least one on DVD. The word “movie” is in the event’s name, but the movie itself is just a supporting act to the event itself. People come to feel the grass between their toes, to bring a picnic, to share a blanket with family, to feel the air become cool as the sun slips behind the mountains, to see the moon and stars shine as the stadium lights go down. Everyone, regardless of age, is free to be youthful, to smile and laugh at a scene as if they’re seeing it for the first time, despite the fact they know every word. The event could very well have been named Monday Movie Magic.
This year kicked off in June with the latest Star Wars movie, Star Wars – The Force Awakens. July 11 will bring Mamma Mia! followed by the classic The Goonies on July 18. And the Robin Williams classic Mrs. Doubtfire plays on July 25. The season finale takes place on August 8 with another timeless Robin Williams’ role, Disney’s Aladdin.
The laid-back atmosphere can be traced to how easy it is to attend. Admission is free. Parking is free. Vendors are on site for those who prefer it, but people are welcome to bring their own food and beverages to the stadium (just no glass), making it an affordable way to have a memorable evening.
Like late night ice cream cones, baseball games, and barbeques, Monday Movie Madness is becoming synonymous with summer. It’s more than an event: It’s a summer ritual that people enjoy going to time and again. Cassaday recalls how she at first didn’t know whether such an event would take hold in a world filled with jam-packed schedules and short attention span. Perhaps Monday Movie Madness is succeeding not in spite of those things, but in response to them. In Monday Movie Madness, people have found a place where time slows down for a few hours.
“I just think that we’ve hit something in the culture with this idea,” Cassaday said. “To sit on real grass in a real place and watch a movie on the jumbotron, to be able to let your kids run around and not worry about them: We’re capturing the imagination.”
by Mark Smiley | Jun 24, 2016 | General Featured
Make Your Plans For July 9 Through August 7
by Mark Smiley
With the triumphant return and 60th anniversary of Central City Opera’s own The Ballad of Baby Doe opera, the 2016 Summer Festival, which runs from July 9 through August 7, offers an extraordinary lineup of performances, events, and activities for opera aficionados, newcomers, and tourists alike.
Central City Opera’s corporate headquarters is located in Glendale at 400 South Colorado Boulevard, and Glendale has adopted it as its very own opera company, in concert with Central City as well as Denver and others. Glendale Mayor Mike Dunafon has stated, “Central City and Glendale are small Colorado towns which both punch way above their weight class. We are thrilled to have one of the oldest opera companies in America headquartered here in Glendale.”
The opera company provides special buses that go directly from Glendale to Central City and back for various major performances.
Douglas Moore’s The Ballad of Baby Doe and P
uccini’s Tosca are the company’s two main-stage productions, performed in the historic and intimate Central City Opera House. Celebrating its 84th year, Central City Opera is the second oldest professional opera festival in the country.
Mozart’s The Impresario and John Musto and Mark Campbell’s Later the Same Evening are the featured one-act operas, performed in smaller venues in Central City and creative spaces in Denver, Boulder, and Colorado Springs. These productions are complemented by pre-performance lectures (45 minutes prior to each performance), opera scenes and solo performances, and post-performance socials with the artists.
The air-conditioned Glendale bus to Central City is offered for $20 per person roundtrip or the Boomer Bus is $35 per person and includes additional activities and lunch. The bus is a convenient way to attend the opera without dealing with traffic and parking. The bus leaves at 10 a.m. from the Sports Authority parking lot in Glendale, and between 10:30 and 10:45 a.m. from Simms Steakhouse in Lakewood, on select Wednesday and Sunday matinees. Be sure to check Central City’s website for dates, times and availability of tickets for performances and the Glendale buses.
The Ballad of Baby Doe, 60th Anniversary
The 2016 Festival opens with Douglas Moore’s classic American opera, The Ballad of Baby Doe, which held its world premiere at Central City Opera in 1956. Based on Colorado’s historical figures, Horace Tabor, Elizabeth (Baby Doe) Tabor, and Augusta Tabor, the opera tells the story of love, loss, and loneliness during the mining boo
m in Leadville, Colorado, in the late 1800s. Central City Opera’s most recent production of The Ballad of Baby Doe was staged in 2006 to commemorate the opera’s 50th anniversary. This new production, directed by Ken Cazan, features Anna Christy as Mrs. Elizabeth (Baby) Doe, Grant Youngblood as Horace Tabor, Susanne Mentzer as Augusta Tabor, Donald Hartmann as William Jennings Bryan, and Sarah Barber as Mama McCourt. Timothy Myers conducts. The Ballad of Baby Doe, written and sung in English, has performances from July 9 through August 6.
Tosca
The second main-stage production at the Central City Opera House is Puccini’s powerful thriller Tosca, set in 1800 Rome during the Napoleonic Wars. Tosca tells the story of the jealous and conflicted diva, Floria Tosca, who struggles to free her lover, the painter Mario Cavaradossi, from the clutches of the cruel and wicked police chief Baron Scarpia. With some of the most gorgeous and memorable Puccini arias, this new production of Tosca is directed by Joachim Schamberger and features Alexandra Loutsion as Floria Tosca, Jonathan Burton as Mario Cavaradossi, Michael Mayes as Baron Scarpia, and Donald Hartmann as the Sacristan. John Baril, CCO’s music director, conducts. Tosca, last produced by Central City Opera in 1998, is sung in Italian with English supertitles. Evening performances are on July 16 and July 22, at 8 p.m. Matinee performances are on select dates from July 20 through August 7 at 2:30 p.m.
The Impresario (Der Schauspieldirektor, Wolfgang Amadeus Mozart/Gottlieb Stephanie)
Furthering its commitment to present shorter and more accessible operas in venues outside the traditional opera house, Central City Opera presents Mozart’s The Impresario, a whimsical comedy about a general manager of an opera company and two rivaling divas as they scheme and squabble their way to opening night. This one-act opera, written in German and performed in English, is set in 1948 New York City. The opera is directed by Michael Ehrman and features members of the Bonfils-Stanton Artists Training Program. Aaron Breid conducts. The Impresario will be performed in Central City at 12 p.m. on July 27 and August 3 at the Williams Stables Theatre, and in Boulder on July 28, at The Nomad Playhouse, at 6 p.m. and 8 p.m.
Later The Same Evening (John Musto/Mark Campbell)
Later the Same Evening, by contemporary composer John Musto and librettist Mark Campbell, imagines the lives of the figures in five Edward Hopper paintings and connects them as characters — both directly and tangentially — on one evening in New York City in 1932. This one-act opera, written and sung in English, is directed by Michael Ehrman and performed by members of the Bonfils-Stanton Artists Training Program. John
Baril conducts. Later the Same Evening will be performed in Colorado Springs on July 28, at the Pikes Peak Arts Center, Studio Bee, at 7 p.m.; the Denver Art Museum on July 30, at 8 p.m.; and in Central City on August 5, at the Gilman Studio in the Lanny and Sharon Martin Foundry Rehearsal Center, at 7 p.m.
Festival single-show tickets range from $31 to $108, based on availability. Subscribers who purchase both Central City Opera House shows can save up to 25 percent on additional show tickets, along with additional and more exclusive opportunities. One-act opera tickets start at $34 ($31 for subscribers), and group discounts are available for 10 or more people. All prices are subject to change, based on availability. For more information and to purchase tickets, visit www.centralcityopera.org or call the box office, 303-292-6700, between 10 a.m. and 4 p.m., Monday through Friday.
