The Denver Center for the Performing Arts Blog

Posts tagged August Wilson

Page to Stage video highlights: Kim Staunton with John Moore

Who doesn’t need an hour with Denver Center Theatre Company actor Kim Staunton in their lives? No one. Next best thing: Seven minutes of highlights from our hour with Kim Staunton at the Tattered Cover Bookstore.

Staunton is an open-hearted actress is known for leaving blood on the floor while playing tough roles such as Blanche in “A Streetcar Named Desire,” Rose in “Fences” and Mama Nadi in “Ruined.”

Tony Todd: “Candyman” clamps his hook into Denver Center stage

Meet the cast, episode 49: Tony Todd, star of “Candyman” and “Platoon” is making his Denver Center debut in the world-premiere drama, “black odyssey,” playing Jan. 17 through Feb. 16.

By John Moore

Whether commanding the silver screen or stalking the stage, Tony Todd always seems larger than life.

To moviegoers, Todd was loved and loathed as The Candyman, a murderous soul with a hook for a hand. In the Denver Center Theatre Company’s new world-premiere play black odyssey, Todd’s 6-foot-5 frame and menacing voice strike fear into the hearts of gods and audiences alike as he declares to Deus, “As long as (my son) is in pain, so will your great nephew, Ulysses!”

Todd plays Paw Sidin, god of the sea and king of the fish. That’s pronounced “Poseidon” (get it?) in Marcus Gardley’s inventive reimagining of Homer’s classic, “The Odyssey.”

Fences Built to Last

By Dan Sullivan

David Alan Anderson in Denver Center Theatre Companys production of Fences.A great play. The phrase comes to mind at once in discussing August Wilson’s Fences, not to mean “a terrific show” or “an all-time Broadway hit,” but as a simple statement of fact.

Fences was, in fact, a considerable hit back in 1987, partly due to James Earl Jones’ giant performance as Wilson’s garbage-collector hero, Troy Maxson. But none of Wilson’s plays have broken box-office records or inspired major Hollywood movies. In fact Hollywood turned Fences down when Wilson had insisted they give it to a black director, Lloyd Richards.