The articles in this blog by Central City Opera are licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License.

Monday, July 21, 2014

The Versatile Karen Federing on her Role as Director of Production

For all its right brain glory, theatre still takes some math. A simple ratio goes something like this  a dozen behind-the-scene workers for every star shining onstage. Designers create the world of the play while the director provides the vision. Wardrobe crews help with quick changes while the stage manager calls the cues. And while all these independent elements begin to intertwine as show time approaches, Director of Production Karen Federing assures that each piece fits together financially, professionally, and artistically. Simply put, Ms. Federing is the cranium to Central City Opera.

Director of Production Karen Federing sits on the porch
of her colorful home in Central City, The Pink House.
“It’s a multifaceted job,” Federing explained before unleashing her daily helter-skelter schedule of events only she and the Energizer Bunny could oversee with such zest.

July may conjure images of balmy beaches and idle evenings, but Central City is abuzz with performances, rehearsals, and photo shoots during its most dramatic month. Before the working day begins, Federing likes to check in with Festival Services Manager Allison Taylor on van runs for errands, scheduling details, and the day’s happenings. Next, she makes her rounds. Federing dutifully checks in with each department, valuing personal presence, one-on-one time, and eye contact. “It can take a while to physically get to my desk,” she said.

Whatever follows varies from day to day. Federing may be handing out waitlist tickets before a matinee or initialing tomorrow’s schedule as approval. She might check in backstage to see that a show is running on time or hold meetings with interns. And then at some point, like all mortals, she stops to eat. “Sometimes lunch is thankfully catered during recitals, which forces me to not go anywhere,” Federing laughed.

Evenings bring more excitement. By sunset Federing has visited Festival Hall, the company’s nucleus, for a third time. “Sometimes being a personal presence as opposed to an email is more helpful to people,” she said. Then the curtain rises at 8:00, but not before Federing can relish a favorite part of her job.

Just before the Opera House opens its birch beer-colored doors, thirty minutes before curtain, Federing stops traffic and leads her seven uniformed interns across Eureka Street as proudly as a mother goose chaperones her chicks through a busy stream. "Hit it," Federing beckons once her interns are on safe ground. The interns then chirp their witty Usher Song as Federing jovially bops along in the street, mouthing along to the tune. Later at 11:00, as the cast takes their bow, Federing rises from her desk and returns home.
Federing smiles with some of her 2014 Interns before
leading them across Eureka Street to sing their Usher Song.
From all of these interactions – with problem solving aplenty along the way – it is clear why Federing talks fast, thinks fast, and acts fast. She has perhaps the most interactive job at Central City Opera, a fact she initially did not connect to her degree in anthropology from George Washington University. Federing first wanted to be a primatologist, but she has recently discovered how her current job is indeed sociological in nature. “The truth is, in whatever environment you work there’s a culture associated with it,” she said. “We all have this one agenda, so you have to bring everyone together to move forward. You have to be curious about people and enjoy working with people.” Her college classes may not cross her mind much nowadays, but Federing, as personal in tête-à-têtes as she is gregarious at parties, still benefits from her anthropological core.

Federing is charismatically kinetic, even in the off-season. She spends the remaining eight months at her home in Yonkers, which she lovingly calls her “satellite office.” Now in her thirteenth summer with Central City Opera, Federing has been a year-round employee for about four years.
Federing poses with Festival Services Manager Allison Taylor
on June 28, the Opening Night for the 2014 Festival.
In October she’s organizing the coming season’s budget. By November she’s checking in with staff to see who will return. After the holidays she’s Skyping hopeful interns, and come springtime she’s answering umpteen emails asking, “What will my housing be like?” She chuckles at this one, knowing its answer takes at least a phone call to justly explain Central City’s quirk and charm. And finally in May, Federing’s the first non-local employee* to arrive in Colorado  but not before making the three-day, cross-country drive from waterside Yonkers to alpine Central City with clothing and shoes galore. “I pack less and less every year,” she assured. “I used to bring out bags of hangers until I thought, ‘Good lord, Federing, buy some hangers! You’re schlepping them across the country like a crazy woman.’”

The off-season may be slightly more languid, but Federing still prefers summertime's buzz. It all starts on one of Federing’s favorite days: when the young interns arrive. “It’s just the excitement of the season beginning,” she shared. “Everyone’s well-rested and enthusiastic. They may be huffing and puffing from the altitude, but they’re ready to roll.”

Indeed, Federing may be more than just the ever-pulsing cranium to Central City Opera. “Another ideal day is when [company members] start coming in telling me the work they’re going to do next,” she reflected before taking an unconventional pause. “I’ve watched people’s posture change with confidence; you can see that over two-and-a-half months. You watch somebody bloom,” she said, her eyes glistening. “You do the math – that’s fourteen interns over thirteen summers. To me that’s a lot of lives to touch.”

*During the off-season, the Central City Opera reduces to approximately a dozen staff members in the Denver administrative office, keeping the company running all year long and offering year-round programming throughout Colorado and Wyoming.

Wednesday, July 9, 2014

DEAD MAN WALKING's Jennifer Rivera on Balancing Music, Motherhood, and Morality

Jennifer Rivera
(Sister Helen Prejean,
Dead Man Walking)
Jennifer Rivera barely leaves the stage. In the past year alone, she’s performed in Boston, Omaha, and Milwaukee. Now she’s starring as Sister Helen Prejean in Central City Opera’s Dead Man Walking where, during a nearly three hour tour de force, she leaves the stage for a twenty-five second costume change. When she does leave the stage (and then the Opera House), Rivera is fulfilling another full-time job: she’s the mother of a year-and-a-half-old boy.

“This is the hardest role I’ve done since having my son,” Rivera said, a fact no one is arguing.

It’s more than the stage time that makes this role, based off of the experiences of the real Sister Helen Prejean, so demanding. In Dead Man Walking Sister Helen writes to, befriends, and ultimately redeems Joseph De Rocher, a fictionalized murderer and rapist on Louisiana's death row. She travels through Bible Belt heat only to be frozen by the questions of the victims’ parents. She climbs the prison system’s endless bureaucratic ladder only to faint from exhaustion. And she instills warmth and forgiveness in De Rocher only to see him injected with lethal poison.

“I balance because my parents are both here,” Rivera explained. “That’s how I manage. They’re here not to just help me take care of my son, but for emotional support as well. My dad after the opening said, ‘My gosh, now I understand what you’ve been going through.’”

Jennifer Rivera, as Sister Helen, stars in Central City Opera's Dead Man Walking.
Photo by Mark Kiryluk.
Despite these challenges, mezzo-soprano Rivera approached the role as any professional would – by reading the eponymous book upon which Jake Heggie and Terrence McNally’s opera is based. “The thing I took away from her book was Sister Helen’s basic idea of compassion and dignity for all human beings, and yet it’s easy to not think about it because when you’re dealing with criminals you forget about their humanity.”

Rivera further humanizes her Sister Helen by physicalizing her doubts and understanding the justice the opposing side craves. “I was associating a lot with the parents because I’m a mother, so the scenes with the parents asking, ‘How can you possibly counsel this person who killed my child?’ really resonated with me,” Rivera said. “Those parts upset me; I could understand what the parents were saying.”

Luckily, Rivera juxtaposes the heavy opera with Colorado's scenic delights. "It's bucolic here," she said. With rehearsals ended she now has more time to spend with her son and family in Central City and on day trips.

This is a difficult show, however, to not ponder after the curtain call. Aside from trying to make sense of the opera’s moral gray area, Rivera has heard how the show also divides its audience. Capital punishment is still legal in Colorado and 31 other states, though many sympathize with its victims. Others feel differently. “My husband did tell me that there was a guy sitting next to him who was really stoic all night and only applauded when the paralegal announced that the death sentence would stay,” Rivera shared.

Regardless of opposing views, Rivera found ways to fuel Sister Helen’s altruistic spirit. First, she created easy camaraderie with Michael Mayes who plays the imprisoned De Rocher. “We’ve known each other for years, and then we worked together this past fall,” she stated. Naturally, the characters’ emotional journeys further brought them together. “He’s very convincing. I was giving him hugs during the breaks!” said Rivera.

Jennifer Rivera in a scene with Michael Mayes who plays
death row inmate Joseph De Rocher in Dead Man Walking. Photo by Kira Horvath.
She also met composer Jake Heggie after a dress rehearsal. “He could not be nicer or more supportive,” she beamed. “It kind of comes out in his music too; his music’s very compassionate.” Heggie also gave Rivera a pointer after the show – he wanted her to find Sister Helen’s inner joy. This was not a difficult shift for the contagiously warm Rivera, but a particular phone call certainly helped make her understand Heggie’s note.

“He got me in contact with Sister Helen,” Rivera said. “She’s all the things you hope she would be – she’s a good listener, very compassionate, very down to earth. She said she feels a kinship with all the women who play her because she feels like we go through her emotional journey in a certain way. You can’t really compare acting this scenario to living it and witnessing people die, but she was like, ‘You know, it’s kind of the same thing. You’re experiencing it in your own way,’ which is a pretty generous way of thinking about it.”

Their real life experiences may be unique, but Rivera is truly not so different from her role’s namesake. Both women are tireless, passionate, and work to broaden their respective audiences’ outlooks. “The show makes me want to talk about this subject,” Rivera said. “It makes me feel proud to be a part of it because I feel it could affect someone’s opinions.”

Dead Man Walking runs through July 25th at the Central City Opera House.

Tuesday, July 1, 2014

What to Listen for in THE MARRIAGE OF FIGARO

Today's blog post is from an article in our 2014 Opera Insider Festival Resource Guide, written by Education & Community Engagement Coordinator Emily Murdock.

Music & Class Status

Mozart’s librettist for The Marriage of Figaro was Lorenzo Da Ponte. This was their first collaboration (of three), and it’s often said that Mozart and Da Ponte were the Dream Team of opera. Da Ponte adapted Beaumarchais’s 1784 play La folle journée, ou le Mariage de Figaro into a tight, clever libretto. But since Da Ponte was well aware that Beaumarchais had gotten into hot water over his politically charged play, he was careful to avoid any potentially inciting scenes and lines in his libretto. Instead, this controversial content played out in Mozart’s music. 

In the Classical era (as we now know it) of opera, it was conventional for the noble and upper class characters to sing a recitativo accompagnato, or accompanied recitative, before their major aria. Recitativo accompagnato is recitative that is accompanied by the full orchestra, not just the harpsichord and basso continuo (usually played by the cello). It gives the impression that the singer is commanding the response of the orchestra or vice versa – very much a dialogue between the two musical entities. It was not conventional for a character of a lower class to sing this particular form. But in The Marriage of Figaro, Mozart gave all four of his main characters – the Count, the Countess, Figaro, and Susanna – accompanied recitative and arias. This put the servants on equal footing as their masters – an idea that was blatantly obvious in the French play, but made more subtle in the opera. Consider also the order in which Mozart has the characters singing their arias:  the Count in Act 3, scene 4 (“Hai già vinta la causa”…”Vedrò mentre io sospiro”); the Countess in Act 3, scene 8 (“E Susanna non vien”….”Dove sono”); Figaro in Act 4, scene 8 (“Tutto è disposto”…”Aprite un pó quegl’occchi”); and Susanna finally in Act 4, scene 10 (“Giunse alfin il momento”…”Deh vieni non tardar”). Does this order mean that the servants get the last word? And in addition to that, do the women get the last word over the men? This is a possibility, and the idea very much underlines the themes in the play.

Another convention that Mozart broke is through his use of rustic meters in unexpected contexts. Rhythmic meter in music is the organization of music into regularly recurring measures or bars of stressed and unstressed "beats.” “Rustic” meters were those that had the feeling of triplets, like 6/8. They were to be used exclusively for lower class characters in certain situations, like peasant dances or shepherds singing, for example. Possibly to put his two heroines on more equal footing, Mozart uses the 6/8 meter in the famous duet between Susanna and the Countess, Sull’aria”…“Che soave zeffiretto,” when they are writing a letter together to deceive the Count. 

It may be one of the most beautiful and serene-sounding duets of all time, yet it is in the meter of a lower class. 

Mozart does this again in Susanna’s aria “Deh vieni non tardar” near the end of the opera. After singing her “noble” accompanied recitative, Susanna sings a beautiful aria about anticipating love – set in a rustic meter while she is dressed as the Countess. Conversely, Figaro’s aria “Se vuol ballare” in Act 1 is set to a noble dance meter, the courtly minuet in 3/4. 

Figaro sings the words “If he wants to dance, my dear little Count, I’ll play the guitar for him, indeed.” The fact that a servant sings these impertinent words to a noble dance meter clearly turns the tables on who is in control in this lower class/upper class relationship. These kinds of musical nuances may be lost on today’s audiences, but they were certainly pushing boundaries in Mozart’s time.

Check out the 2014 Opera Insider for the rest of Emily's article, as well as history on the productions and what inspired the composers and librettists to write them, interviews with the artists, conversation-starting questions and activities….even a musical version of Sudoku!

Monday, June 30, 2014

Central City Opera Begins 2014 Festival with a (Dynamite) Bang

The mining town of Central City runs reliably like clockwork: ominous clouds followed by only light rain between 2:00 and 4:00 in the afternoon, then a bustling Eureka Street at 5:00, and finally a starry sky at midnight above the Rockies. On June 28, however, there was only sunlight, the traffic consisted of waltzing fathers and daughters, and the night was starry per usual, but this time alight with the dazzling cast and crew of Central City Opera’s The Marriage of Figaro.

Opening Night for Central City Opera’s 2014 Festival ran without a hitch. Denverites enjoyed the balmy weather as they arrived in Central City on Saturday afternoon in summer dresses and tuxedos. Children and grandparents, patrons and Guild members sauntered up and down Eureka Street, annually closed off for the opening’s festivities where cameras snap and champagne pops. The historic Johnson House and budding Teller House Garden hosted the opera patrons as they lounged in the sun before the day’s events began.

The Opera House basks in Saturday's sun on its 2014 Festival's Opening Day.

The familiar dinging of the Opera Bell rang for the first time this season at 4:50 PM – Festival Staffer Austin Abernathy announced that the Flower Girl presentation for the Yellow Rose Ball, Colorado’s oldest debutante ceremony, would begin in ten minutes. Powerful as the Opera Bell is, it was the booming dynamite blast at 5:00 PM from the staff of Hidee Gold Mine that truly kicked off the Festival. Chairman Emeritus Lanny Martin then introduced each of the 24 Flower Girls as they gracefully descended from the top floor of the Teller House down into its garden. Donning white gloves, the teenagers looked lovely in lavender as they assembled one by one in front of the Opera House, accompanied by their dapper escorts, for a photo op.

The 24 Flower Girls and their escorts pose in front of
the Opera House for a photo shoot.
Finally, General/Artistic Director Pelham "Pat" Pearce opened the Opera House and welcomed everyone to the 2014 Festival to near-dynamite applause. Pearce then directed everyone’s attention to the steps of St. James Methodist Church where the ushers sang their cheeky preshow tune. “We’re the ushers who show you to your seat, then nonchalantly we step upon your feet,” they sang, marching to the front of the Opera House.

Once the ushers finished their song, Central City Mayor Ron Engels presented the Opera Bell to Nancy Parker, Central City Opera’s current president. Parker rang the bell which signaled the St. James’ chimes to open Eureka Street for the Yellow Rose Waltz. Escorts then presented the Flower Girls to their fathers. Fathers and daughters began waltzing, then mothers joined in, and finally the rest of the guests until Eureka Street was swaying in three/four time, a harmony of lavender dresses, black tuxedos, and glimmering jewelry.

Festival Services Manager Allison Taylor (blue dress)
poses with this year's ushers/interns.
Guests next enjoyed a sumptuous meal (provided by Kevin Taylor Restaurant Group) in the Teller House before The Marriage of Figaro’s 8:00 curtain. At intermission, Flower Girls handed out yellow nosegays to patrons so that they could be tossed onto the stage during curtain call. By the time lead performers Michael Sumuel and Anna Christy (as lovelorn servants Figaro and Susanna) took their bows, the stage and orchestra pit below were flooded with flowers. The cast – joined by conductor Adrian Kelly, director Alessandro Talevi, and his talented team of designers – beamed as some tried to snatch the whizzing nosegays.

“[It’s a joy] watching the principal artists rehearse and perform. As a young artist, I love observing how they interact with the director, maestro, fellow principals, crew, and chorus,” said Kelsey Park, a Studio Artist who plays a maid and other ensemble roles in Figaro. “We also have a blast backstage – getting ready in the dressing rooms is an exciting adventure. We ladies enjoy a lot of laughs.”

Fathers waltz with their daughters, the Flower Girls,
on Eureka Street on Opening Night.
Following the performance, the company congregated on the second floor of Williams' Stables for the after party. Still maintaining Figaro’s 1920s Spain concept, Lifestyles Catering provided a themed meal complete with vegetable paella and panzanella salad with sangria, concocted by Events Assistant Sarah Harrison complete with oranges, lemons, and limes.

Harrison had the laborious task of planning the party and making sure that everyone, from the interns to the principal performers, enjoyed themselves in the stables-turned-dancehall. “I had a lot of various details in my head from logistics to food and decorations, so putting everything together and finalizing everything was definitely the most challenging part. Seeing it all gradually come together has been incredibly rewarding,” Harrison said.

The Marriage of Figaro continues through July 26th. The second Festival production, Dead Man Walking, opens July 5th and runs in repertory through the 25th.

Wednesday, June 25, 2014

Preview of our Singers from our First Dress Rehearsal of FIGARO!

The cast of The Marriage of Figaro is quite excited to finally be in costume! Susan Kulkarni did a beautiful job designing the 1920s inspired costumes, and we're excited to share them with a live audience on Opening Night, June 28. Until then, take a sneak peak at our social media-savvy singers tweeting, Facebooking and Instagram-ing themselves in costume backstage!

From Joseph Gaines, Tenor's Facebook page

Thanks for viewing, and we hope to see you at one of our 2014 Festival performances!

Tuesday, June 24, 2014

Central City Opera Perks Up: Gift Shop Now Sells Cholua Brothers' Coffee

Central City Opera patrons are used to the gift shop’s usual souvenirs. Homemade fudge, jewelry, and t-shirts with the summer's shows printed on them comprise the habitual goods. There are even some ornate and educational coffee table books, from Opera in the Rockies to Theatre of Dreams, yet there has never been any coffee. This year, the 2014 Festival is finally getting a little more caffeinated.

Brothers Dave and Anthony Cholua never meant to kick-start a coffee business. “Coffee roasting was just a hobby,” spokesman and co-owner Dave Cholua said. The brothers and their family always enjoyed crafting homemade coffee liquor, a creamy recipe gleaned from their ancestors, but their business never went farther than gifting the liquor to friends at Christmastime. Well, until they started experimenting with coffee roasting.

Brothers Dave (left) and Anthony Cholua display their
Naturally Flavored, Medium Roast and French Roast coffees in their store.
“People would tell us, ‘Do you realize you have the smoothest, boldest taste in the coffee business?’” Cholua said, and so the brothers considered opening their own company. Anthony had enough saved from bartending in Black Hawk, which also allowed him to perfect the liquor recipe, and Dave had the marketing know-how as a graphic designer. The business idea percolated into Cholua Bros. Mining Co., their fully realized and self-owned coffee store located in a centurial barn in Black Hawk. The brothers also enjoy recreational mining – their family emigrated from Poland in the 1800’s searching for gold – and often sport helmets and Western attire reminiscent of the gold rushes, hence the company’s title. “We get people trying to sell us mining equipment,” Cholua humorously lamented, “so we subtitled the business, ‘An Old Time Coffee Store.’”

The brothers’ rather spontaneous career shift became an even quicker reality. “The city of Black Hawk welcomed us with open arms,” a grateful Cholua said. The brothers had been selling their products online since last May, but when Black Hawk approved their lease they put the business in the barn, opening their doors on October 20.

Cholua Bros. Mining Co. is located on 470 Gregory Street in Black Hawk
in a historic barn that is more than one hundred years old.
The coffee beans hail from Brazil, but the brothers credit their natural flavors – vanilla, hazelnut, and pure caramel – and the high altitude roasting to their steaming success. The mountainous elevation and cool Rocky air are ideal for roasting as it produces a quicker coffee at a lower temperature, which prevents scorching. “We started roasting at 10,000 feet,” Cholua said. At such a high elevation, the brothers may be making coffee at the highest altitude in the United States. “That was our ore,” he smiled.

While Cholua Bros. Mining Co. also sells local barbeque sauces, pickled green beans, and even gold canning kits made by a professional geologist, the brothers emphasize that they run a coffee store and not a coffee shop. There are tables to sit at, but coffee is only sold in bags. If a customer wants to sample a flavor, however, the cup is always on the house. By this fall, one year from their grand opening, the brothers also hope to sell their famous coffee liquor. “It makes Kahlúa taste like cough medicine,” Cholua joked. Perhaps this will be another treat sold in the Central City Opera Gift Shop for the 2015 Festival.

“Two of the things I’ve heard we needed are ice cream and coffee, and now we have both,” said Wanda Larson, Central City Opera’s Office Administrator and Gift Shop Buyer. “We love having local vendors in the gift shop; I’m very excited to have them.” Larson also added that 100% of the gift shop’s proceeds always return to the Opera.

Stop by the Central City Opera Gift Shop beginning June 28
to buy some of the Cholua brothers' coffee!
Larson heard about Cholua Bros. Mining Co. in a newspaper and has since seen the pair around Gilpin County at various community events, from the Black Hawk Block Party to Madam Lou Bunch Day in Central City. “Hammond’s Candies [in Denver] is also selling our product, and they’re going to try out our liquor for their fudge. It’s a pleasure working with Central City Opera and Hammond’s Candies; these are two vintage landmarks,” Cholua said.

The brothers look forward to appearing at Central City Opera on June 28, the 2014 Festival’s Yellow Rose Ball and opening night of The Marriage of Figaro. They will also be present at each opera performance to sell their product at intermission and meet local patrons.

More than caffeinating, the brothers’ fresh coffee is also rejuvenating. “A little while ago I got a message from a woman in Michigan while in the Indianapolis airport on my way home from a friend’s wedding,” Cholua shared. “She said her husband has Stage IV esophagus cancer and hasn’t been able to drink coffee in two years, but she bought some of our coffee while out here. ‘He’s gone through half a bag!’ she told us and then ordered three bags online. Maybe it’s less acidic…we’re not coffee experts, but that was a pretty cool story.”

For now, the brothers are just happy to have satisfied customers and a uniquely crafted product. “It’s the most labor of love we’ve ever had,” Cholua said. “If we can make enough to retire, we’re the luckiest guys. And maybe that’s why it’s been so successful, because we love it so much.”

The Central City Opera Gift Shop is located in the historic Teller House just downhill of the Opera House in Central City. For The Sound of Music our gift shop will be located in the lobby of the Ellie Caulkins Opera House.

Monday, June 23, 2014

Dead Man Walking stars on public radio this past weekend

If you're a fan of Colorado Public Radio, you might have caught two of our Dead Man Walking artists over the airways this weekend. (They both play nuns, by chance, so we'll call this another honorary "Monday Nun Day" post.)  If you missed them, it's no problem – you can listen to them now online!

Saturday evening , Jennifer Rivera (Sister Helen Prejean, Dead Man Walking) performed on Public Radio International's A Prairie Home Companion. Last week saw the release of her EP album The Garrison Keillor Songs, five songs written by the author and host. Jennifer was featured in sketches throughout the evening, introduced as coming directly from Central City to be on the show. She was serenaded by Keillor with a new song that included her name in it, and performed Handel's "Ombra mai fù" and Cherubina's aria "Non, so più cosa son" from The Marriage of Figaro. (While Central City Opera performs Figaro this summer, Rivera is not in that particular cast.) In addition to participating in several sketches, Jennifer sang "Unification," a song with lyrics written by Keillor, set to music by Robert Aldridge (from the previously-mentioned album). Listen to the entire June 21 A Prairie Home Companion broadcast online now.

This weekend, another public radio program, This American Life, featured the talents of Jeanine De Bique (Sister Rose, Dead Man Walking) during a special musical radio drama episode. As De Bique described it on her Facebook page, her comedic debut was a " broadcast of the true story 'Locked in closet' by my friend Carin Gilfry. I play the Jamaican maid that rescues her! There are elves, german tourists, a bored receptionist and a surprise guest Composer! Watch the trailer!"

THIS AMERICAN LIFE: LIVE AT BAM - Trailer from This American Life on Vimeo.

The New York Times review of the episode included the following description:
Brooklyn Academy of Music’s opera house must have hosted plenty of Valkyries in its time. But Jeanine De Bique is almost certainly the first to stride onstage accessorized with a broom and dishwashing gloves, singing about how much she hates her job. Her angry soprano aria was among the many blissful surprises of “The Radio Drama Episode” — Saturday night’s embraceable live performance for the public-radio show “This American Life” that devoted itself to documentary dramas of true stories.
You can now stream the entire June 20 radio drama episode of This American Life online, with a special video option available as well for a small fee.

Catch both of these talented women in Dead Man Walking at the Central City Opera House July 5 to 25, 2014. Tune in to Colorado Public Radio this coming weekend as well, for the live broadcast of The Marriage of Figaro opening night, Saturday, June 28th.