I streamed “Hamilton” earlier this month — in fact, on Aug. 6, the day the musical celebrated its 10th birthday — compelled by my partner’s confession of never having seen the smash Broadway show (gasp!).

He later admitted to being surprised by how much he enjoyed it. I found it nearly as exciting, as thrilling as when I first saw the production, from a high balcony seat in the Richard Rodgers Theatre on Broadway in October 2017.

Except that this time, I knew all the words to the songs. (To an obnoxious degree.)

How does a bastard, orphan, son of a whore and a Scotsman, dropped in the middle of a forgotten spot in the Caribbean … . 

The way I look at it, you’re either a hard-core fan of the Lin-Manuel Miranda creation, or … you’re wrong.

The proof is in the numbers: the hip-hop musical won , among dozens of other accolades.

Ayo I’m just like my country, I’m young, scrappy and hungry, I am not throwing away my shot … .

And even after a decade, “Hamilton” (based on a 2004 biography of Alexander Hamilton written by Ron Chernow) is as fresh — as revolutionary — in subsequent viewings to me because, above all, it entertains. Hard.

I remember that after that New York performance, I sat stunned at what I had just witnessed, then being jarred back to my senses by the roar of the standing ovation. Wow.

I’ve been a Broadway series subscriber at the Denver Center for decades, and no other performance before or since has had me so, well, high on the art. When the national touring company performed “Hamilton” at the Buell Theater in 2018, and again in 2024, I was there. When it came to Disney+ in 2020, of course I got a subscription so I could revisit the magic. (Yes, I used the word “magic” and Disney in the same sentence.)

And every time, I am driven anew to read up on the facts behind the man and the history. Some things you may not know about “Hamilton”:

• It took the lyrics and music for the smash Broadway musical, and a full year to 
• in the original cast, including the off-Broadway version.
• Hamilton did, in fact, advise his son to not fire his weapon in the duel that led to the 19-year-old’s death.
• George Eacker, who fired that fatal shot, died of tuberculosis two years later, at the age of 29.
• Hamilton and his wife, Eliza Schuyler, had eight children. Their second child, Angelica, suffered a breakdown after Philip’s death and spent the rest of her life in an asylum.
• Miranda every time “Hamilton” is performed. He currently is .
• Miranda played Hamilton in the , starting with its debut in 2015.
• Despite its popularity, “Hamilton” is not the highest-grossing Broadway show of all time. That honor goes to
• Hercules Mulligan, Alexander Hamilton, John Laurens and the Marquis de Lafayette didn’t actually meet at the same time in a pub in 1776, as depicted in the musical. (“Raise a glass to the four of us, tomorrow there’ll be more of us.”) .
• While it’s hard to tell from “Hamilton,” the American Revolution lasted eight years.
• Aaron Burr was the grandson of theologian and preacher Jonathan Edwards.
• Hamilton did engage in flirtatious correspondence with Angelica Schuyler, the sister of his wife, Eliza. (The cad.)

Are there problems with “Hamilton”? Sure. Critics accused Miranda of downplaying the role of slavery and. While many lauded him for casting Blacks as major characters (Washington, Mulligan, Lafayette, Angelica Schuyler and Thomas Jefferson, for example), others, like Cheryn Hong of The Michigan Daily, said “Hamilton” takes the

Historical inaccuracies are also brought up, such as that there is no inkling that Hamilton, who once worked on a slave ship, was actually against slavery at all (in fact, few whites of the time came out against the heinous practice). While the musical implies that he was pro-immigration, his support for the Alien and Sedition Acts (which restricted immigration and citizenship) weakens that argument.

So much for the most humorous line: “Immigrants, we get the job done.”

However, one common complaint is a stretch: that the. Um, it was the 1700s, remember? (I thought Miranda did his best to give Angelica Schuyler opinions and grit, for what it’s worth.)

“the Broadway hit that coupled hip-hop music with the Founding Fathers — an unlikely pairing that forever changed ticket prices and spurred an era of race-conscious casting.”

Soon, as part of the 10-year celebration, fans can see the musical — recorded with nine cameras and more than 100 microphones, according to The Times — .

And I will likely be there. Because, when it comes to “Hamilton” — and taking the liberty (get it?) to paraphrase King George III — I’ll love you ’til my dying days.

Monday-Jan. 29. See snow artists at the free International Snow Sculpture Championships������ Breckenridge. The 34th event brings the best snow-sculpting teams from around the globe as they carve 12-foot tall, 25-ton blocks of snow by hand. Last year’s was Team Mexico, which swept with a gold medal, the Artist’s Choice, and People’s Choice awards.

While the event begins on Monday, Jan. 20, the busiest times will be Friday, Jan. 24 through Sunday, Jan. 26, and timed entry reservations will be required on Jan. 25 from 10 a.m. to 4 p.m. There is no cost for a timed entry, but availability is limited. Sign up at .

Sonic is even funnier in person

Sunday. Despite being the voice of Sonic the Hedgehog in the recent, billion-dollar movie franchise of the same name, Ben Schwartz (“Parks and Recreation”) remains a comedic improviser at heart. The 43-year-old actor returns to Denver on Sunday, Jan. 19, for his biggest Colorado show yet with Ben Schwartz and Friends.

The road-tested lineup features suggestion-based improvisers from the L.A. comedy scene in a hilarious, wide-ranging yet surprisingly tight show (if past visits are any indication). 7 p.m. Sunday at the Buell Theatre, 1350 Curtis St. in Denver. Tickets: $52-$144 via . Note: While the show is all-ages, expect some adult humor.

Broadway songs, far off Broadway

Saturday. This weekend promises fun for fans of Broadway musicals — minus the cost of a Broadway ticket. On Saturday, Jan. 18, the Broadway Rave returns with a show at downtown’s Marquis Theater, encouraging music lovers to sing and dance along to “the best in showtunes and musical theatre.”

That’s not allowed at actual Broadway performances, so you can blow off steam to songs from “Hairspray,” “Six,” “Dear Evan Hansen,” “Hamilton,” Wicked” and many more. Also: “We’ll have surprise guests from some of your favorite Broadway stars!” producers wrote. 9 p.m. Saturday at 2009 Larimer St. in Denver. 18-and-up. Tickets: $27.50-$40 at .

Cowboy culture in Golden

Friday-Saturday. Also celebrating its 34th anniversary is Golden’s Colorado Cowboy Poetry Gathering, which is “carrying forward generations of cowboy heritage, traditions, and entertainment,” as organizers put it. The art form borne of campfire stories and cattle-drive ballads welcomes a bevy of award-winning performers such as 3 Trails West, Valerie Beard, Patty Clayton, Doug Figgs, Emmy winner Peggy Malone, and the family-friendly The Russellers, among many others.

It’s not just poetry: Western singers and old-fashioned yodelers will also be in attendance at the gathering, which takes place across various matinee and nighttime shows on Friday, Jan. 17 (with a free, 5-6 p.m. open mic) and Saturday, Jan. 18. All events at the Buffalo Rose, 1119 Washington Ave. in Golden. Under 18 is allowed with a parent or guardian. Tickets: $25-$35 via 720-638-5597 or

At least, that is, if you aren’t a subscriber to Denver Center for the Performing Arts. If you are, a members-only sale will run June 11-17, based on availability. After that, public tickets go on at 10 a.m. on Tuesday, July 9. Call 303-893-4100 or visit to buy.

The runs Oct. 16-Nov. 24 at the Buell Theatre. Here’s what else you need to know, according to DCPA officials:

• There is a maximum purchase limit of 9 tickets per account for the engagement.
• When tickets go on sale on July 9, prices will range from $49 to $199, with a select number of premium seats available from $229 for all performances.
• There will be a lottery for 40 $10 seats for all performances, and those details will be announced closer to the engagement.
• Visit — which is different than the ticket-sales site linked above — for more details as they become available
• The show is considered an “added attraction” for the regularly scheduled, 2024-25 DCPA season. Visit dpo.st/3VwdmqU for the full season’s schedule and more information.

“If you’re thinking about broad themes, it’s a very high-energy season with a sense of joy and humor,” said , executive director of Broadway at Denver Center for the Performing Arts. “The ultimate example of that is a show like ‘& Juliet,’, with confetti cannons and that sort of high energy production, and ‘Some Like It Hot,’ which just has amazing dancing and choreography.”

The balanced season, as Ekeberg called it, has been cobbled together through his visits to see new works in London and New York, but also the success of returning shows such as “Hamilton,” “Book of Mormon” and “Mamma Mia!” Like last season’s movie adaptations and touring veterans, they bring in the crowds while also supporting more adventurous works.

Ekeberg also worked with the producers of “Kimberly Akimbo,” to bring the show to Denver for its national tour launch. The city in the past has hosted pre-Broadway runs and tour launches from Disney titles including “The Lion King” and “Frozen.”

“When we started conversations about it we wanted to acknowledge that everybody has different sensibilities and tastes, and what speaks to them is different than what speaks to me,” he said. “But if someone takes a look at the season, they’ll find things that stand out to them.”

Single tickets for the 2024-25 season shows will not go on sale until a later date, DCPA officials said Monday, but are on sale now to subscribers at .

Here’s the full list:

DCPA 2024-25 Broadway season

“The Second City: Comedian Rhapsody”
July 17-Aug. 11, 2024 (Garner Galleria Theatre)

“Erma Bombeck: At Wit’s End”
Sept. 4-22, 2024 (Galleria)

“Kimberly Akimbo” (national tour launch)
Sept. 22-Oct, 5, 2024 (Buell Theatre)

“Hamilton”
Oct. 16-Nov. 24, 2024 (Buell)

“Gutenberg! The Musical!”
Nov. 2, 2024-May 4, 2025 (Galleria)

“Rudolph the Red-Nosed Reindeer: The Musical”
Nov. 29-Dec. 1, 2024 (Buell)

“Mannheim Steamroller Christmas by Chip Davis”
Dec 6-8, 2024 (Buell)

“Funny Girl”
Dec. 10-22, 2024 (Buell)

“Back to the Future: The Musical”
Jan. 22-Feb. 9, 2025 (Buell)

“Mean Girls”
Feb. 25-March 2, 2025 (Buell)

“Life of Pi”
March 18-30, 2025 (Buell)

“The Addams Family”
May 2-4, 2025 (Buell)

“The Book of Mormon”
May 6-18, 2025 (Buell)

“& Juliet”
June 4-15, 2025 (Buell)

“Mamma Mia!”
June 25-29, 2025 (Buell)

“Some Like it Hot”
July 8-20, 2025 (Buell)

“Moulin Rouge! The Musical”
Aug. 5-10, 2025 (Buell)

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The nine-time Tony-winning production — created by “South Park” creators and now Casa Bonita co-owners Matt Stone and Trey Parker with “Avenue Q” creator Robert Lopez — has announced a ticket lottery system for their upcoming Denver run, which .

The limited number of lottery tickets will give fans a chance to see the show at a discount, as all 16 performances are nearly sold out. Available tickets range from $35 to $155.

Audience hopefuls will have to to enter for two rounds of lotteries. The first set of entries, for performances running June 21-25, must be received by 10:30 a.m. on June 16. The second, for performances June 27-July 2, must be received by 10:30 a.m. on June 23.

Winners will be notified by email at around 11 a.m. for each deadline, when they will have a limited window to purchase up to two tickets. A valid photo ID matching the name listed on the winning Lucky Seat account will be required for ticket pick-up.

The lottery system, which will be available on every stop of “The Book of Mormon” national tour, is commonplace for popular musicals like “Hamilton” and “Wicked.”

For more details, go to .

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“We’re trying to prevent rampant scalping and rampant re-selling and get these tickets into people’s hands,” said Don Strasburg, co-president and senior talent buyer at Denver-based promoter AEG Presents Rocky Mountains, whose parent company Anschutz Entertainment Group also owns AXS. “But what happened with the Skrillex show is relatively rare.”

Last week, AXS took the unusual step of for the April 29 Red Rocks concert from dubstep artist Skrillex due to what officials said was fraudulent activity. That meant recovering passes that had already been sold, then re-selling them through the company’s lottery system.

“What Zach Bryan did at Red Rocks is a really good example of (lotteries),” Strasburg said. “He used FAIR AXS right out of the gate, and went one step further by delaying transfer of the tickets until the day of the show.” Bryan, a rising alt-country star, is one of the hottest tickets in the country right now. He will play Red Rocks on June 26.

Prices, and frustrations, are at an all-time high right now as music fans and artists decry a broken system in the wake of face-planting failures by ticketing companies.

The most notable dustup of late was when Ticketmaster wasn’t able to successfully offer pre-sale tickets for Taylor Swift’s latest tour. Ticketmaster blamed “staggering” demand for its repeated website crashes, and subsequent decision to cancel the presale after it was already launched, locking out countless fans who had waited all day for the chance to buy.

That 2022 debacle instantly caught the attention of lawmakers across the U.S., who have for years investigated companies like Ticketmaster, to little apparent effect.

Meanwhile, instant sell-outs for high-demand Denver shows from artists such as Pretty Lights and Maggie Rogers have forced some fans onto the secondary and third-party markets, where prices can balloon to many times the price set by the artist.

Fees are also causing heartbreak for music fans. In some cases, they can make up one-third of the overall price of a ticket, as fans complained when The Cure’s policy of affordable, fixed-price tickets was instantly undermined by Ticketmaster and re-sellers. Singer Robert Smith the band had reclaimed about 7,000 tickets obtained by apparent bots and re-sellers.

“I have been told: StubHub has pulled listings in all markets except NY, Chicago, Denver (i.e. cities in states that have laws protecting scalpers). Please don’t buy from the scalpers. There are still tickets available — it is just a very slow process,” Smith Tweeted in March.

The Cure is set to play Fiddler’s Green Amphitheatre on June 6 as part of its 30-date tour.

Ticketmaster officials declined to do interviews for this story.

Still, some experts see optimism in a series of new, evolving systems that limit fees and third-party sellers — not just for concerts, but Broadway shows, sporting events and more. Promoters say a little extra research and patience is all it takes to prevail in most online buying situations.

“Situations like Skrillex are relatively uncommon,” said Strasburg, whose company books more than 100 annual shows at Red Rocks. “Maybe under 3 or 4 percent of every event we do.”

Fans remain unconvinced. “This is the new normal in live music,” wrote a Reddit user in the r/Denver subreddit. “It sucks.”

Legislators seem eager to make meaningful changes. Colorado lawmakers are now considering a bill introduced in January that sponsors say would protect ticket buyers. would force ticket-sellers to list the total price at the beginning of the transaction. It further defines “deceptive trade practices” such as selling tickets that re-sellers don’t actually possess, and targets bots, third-party sellers and others that take advantage of open sales and anxious fans.

The bill has the support of Live Nation — Ticketmaster’s owner — and AEG, as well as several major local venues, Strasburg said. But consumer groups have argued it’s a bad sign and that Ticketmaster, for example, would gain greater control over the secondary market as a result of its passage, with purview over any sales that originate on the site, but that go bad during the process.

Ticketmaster is already a quiet but major player on the secondary market and , say it should be investigated for antitrust violations. (The company has repeatedly denied allegations of a monopoly.)

“Once again Ticketmaster is gaslighting its customers and government officials, this time with the Colorado bill,” said Jason Berger, board director at the Coalition for Ticket Fairness, a New York-based consumer group.

“‘It is a pro-consumer bill,’ they say. Then why is almost every consumer protection organization against it? Name another product that you purchase, that is nonrefundable, and the price you can sell it for, to whom, when and how is entirely controlled by one company?” he asked.

The Colorado bill remains under consideration and has not yet been voted on.

As the debates rage, here are a few suggestions for how to get the cheapest and least-frustrating concert tickets — keeping in mind that demand for some shows is so high that instant sell-outs are assured, regardless of the process or seller.

• Digital literacy. Learn to differentiate legit ticket-sellers from re-sellers. That can be difficult when websites use addresses such as fillmoreauditorium.org, which is not related to promoter Live Nation or Ticketmaster, or the similarly misleading theredrocksamphitheater.com (note the “the” in the URL). Don’t use the first results on Google searches, which are typically advertisements, and instead look for links to major ticketing companies — or follow links on the artist website’s tour listings. Don’t buy or use presale codes from anyone but the artist, venue or first-party seller.
• Custom alerts. Fans can get the heads-up when artists, teams or venues have upcoming events. Major ticket sellers support this because it gives artists and credit-card sponsors a chance to gauge interest and reinforce loyalty to and reliance on their systems. In some cases it may also give you the leg-up you need. Visit the account settings page on your ticketing account and tweak them to your interests. Following promoters and artists on social media also occasionally offers an advantage.
• Lotteries. Yes, the odds are inherently low. But some fans have gotten to see “Hamilton” during its Broadway tour thanks to $10 tickets they won after signing up for the random drawings. AXS FAIR’s ticketing system, which the artist can choose to use, promises unbiased selection for fans — although promoters admit its roll-out during Mission Ballroom’s opening weeks confused some, leading them to pause the practice for the most part. Sign up whenever you can.
• Devices and accounts. Use only one tab per device when you’re waiting in an online queue, and don’t refresh or navigate away from it. It’s tempting to have your phone, laptop, tablet and other hardware trained on the same on-sale page to increase your chances, but it can also confuse the software and invalidate your wait by having the same IP address (your personal digital location) attacking from all sides. Use only one account per device, and enlist other people you know to wait for the same on-sales to increase the odds.
• Membership. Most ticketing websites have a next-level option that artists can choose for their sales — with Ticketmaster it’s called — and the results are more favorable in terms of blocking bots and re-sellers, due in part to pre-filled forms from fans. This also forces you to update your payment options and other preferences so you’re not slowed down by them during the buying process.
• Patience. This is typically in short supply, but it could yield affordable tickets. Most shows don’t sell out, and even the ones that do may have additional tickets made available closer to the show — owing to readjusted needs from the artist and promoter, changing capacity and other factors. Set alerts to revisit the ticketing page and experiment with different price levels and seating a few days or weeks after the initial on-sale. You might be surprised at what you’re able to find, whether it’s a dirt-cheap obstructed view or last-minute front row seat that’s opened up.
• Don’t give up hope. Along those same lines, it’s understandable (and typically justified) to feel cynical about the entire process. But since some fans have found that physical tickets can materialize hours before the show, or that walk-up box office sales can sometimes yield results, it’s not all doom and gloom. With some due diligence, you’re more likely to prevail with affordable tickets and avoid buying that $350 secondary-market ticket to a show that went on sale for $70.

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The sense — the hope — that the pandemic had finally receded wasn’t the cause for the electricity coursing through the Buell Theatre. No, the charge came from what was on stage. In what turned out to be one of its finest shows since “Hamilton,” the Denver Center for the Performing Arts found a perfect way to launch what looks to be a fall season in which audiences can concentrate on and relish the musicals, plays and immersive experiences set for the city.

The biggest of those: the world premiere of David Byrne and Mala Gaonkar’s “Theater of the Mind.” The immersive dive into the exceptional noggin of the artist, musical creator, composer and former frontman of the legendary Talking Heads promises to take us to the river of memory via neuroscience.

Here’s what the fall season holds in store for theatergoers, from world premieres to new-to-the-region shows, to welcome revivals.

World premieres

The Denver Center. “Theater of the Mind.” One of the chief reasons the Denver Center announced the elevation of its funky-genius Off-Center programming in July is the inspired work of Charlie Miller, who was promoted to executive director and curator of Off-Center at the same time. It was Miller who wrangled  Byrne and Gaonkar’s work — which began as an art gallery exhibit about neuroscience and memory — into a full-blown, immersive experience about time, identity, perception and, best of all, tenderness. The event unfolds at a warehouse in northeast Denver repurposed for the curated amble through Byrne’s mind — and ours. (Through Dec. 18; denvercenter.org)

Control Group. “Canopy.” The experimental performance group hits the road with the Playground Ensemble for a ruminative bus ride of stories, sounds and fall colors. (Oct. 7-9; controlgroupproductions.org)

Control Group also is co-producing the Japanese Arts Network’s immersive production “ZOTTO,” which considers the history of three generations of Japanese women by consulting spirits, ghosts and demons. (November; ja-ne.org)

Local Theater Company. Earlier this summer, the Boulder company announced that Nick Chase and Betty Hart would join founder Pesha Rudnick in guiding the inventive company in its quest for the next great American works as co-artistic directors. For their fall show, they tap the local talent. GeeRee Hinshaw wrote and performs “Raised on Ronstadt,” her loving consideration of the iconic singer from Tucson, Ariz. (October-November; localtheaterco.org)

Wonderbound. The dance performance company is certain to make the dreadful delightful with “Penny Dreadful.” Company founder and choreographer Garrett Ammon sets the tale of everybody’s fave vampire in Paris with a playlist from the 1980s. (Oct. 20-30; wonderbound.com)

Regional premieres

Arvada Center. “The River Bride.” As her sister’s wedding approaches, Helena’s life and feelings are altered when her father fishes a man out of the Amazon River in Marisela Treviño Orta’s romantic fable set in Brazil. (Sept. 30-Nov. 6; arvadaCenter.org)

Aurora Fox Arts Center. “Futurity.” Writer César Alvarez and the band the Lisps give peace a chance in this folk-rock fable that starts during the Civil War with an invention that makes peace a reality: the very machines that might create peace. (Oct. 7-30; aurorafoxartscenter.org)

����Գ��󳾲�����.��Ruby Rae Spiegel’s drama “Dry Land” finds high school swim team members becoming closer in this timely production of a play about friendship, abortion and trying to stay afloat in a world with few options. (Sept. 16-Oct. 8; benchmarktheatre.com)

�����հ�.��Last year, the Boulder Ensemble Theatre Company rechristened itself the Butterfly Effect Theatre of Colorado, mindful of the ways 2020 suggested how connected we truly are, and how devastating to our survival disconnection can be. Under the stewardship of producing artistic director Stephen Weitz, the theater kicks off its fall season with British playwright Lucy Kirkwood’s environmental thriller “The Children,” about three nuclear physicists wrestling with professional and personal complications. “It����ap everything we look for in a play,” said Weitz. “It asks profound questions of us individually and collectively, while keeping the themes it explores embedded in its rich relationships.” It doesn’t hurt that it features three terrific actors: Sam Gregory, Martha Harmon Pardee and Gina Walker. BETC follows “The Children” with Marco Ramirez’s boxing drama “The Royale.” (“The Children,” Sept. 15-Oct. 18, and “The Royale,” Oct. 27-Nov. 19; betc.org)

�䲹�ٲ����dzܲԳٲ�.��If you have a basketball jones and love musicals, then “Small Ball” should score points. The surreal, playful musical — book and lyrics by Mickle Maher, music by Merel van Dijk and Anthony Barilla — finds a hoopster by the name of Michael Jordan playing with Lilliputian-size teammates.  (Oct. 29-Nov. 30; thecatamounts.org)

Curious Theater Company. The town’s indispensable indie theater opens its 25th anniversary with new artistic director Jada Suzanne Dixon at the ready. “We are always looking for great storytelling that elevates or challenges the issues that we as a society are grappling with,” she said of this season’s theme: “What does it mean to be an American?” It����ap a question asked — and answered — in different ways by Will Arbery’s “Heroes of the Fourth Turning,” about friends who return to the town of their conservative Catholic college seven years after graduation with a lot on their minds and plenty of debate club skills to say it, and Lloyd Suh’s “Franklinland,” about fathers and sons, specifically Benjamin Franklin and his illegitimate son, William Franklin. (“Heroes,” Sept. 10-Oct. 15, “Franklinland” Nov. 5-Dec. 10; curioustheatre.org)

Denver Center for the Performing Arts, Broadway. “Hadestown.” Anais Mitchell’s retelling of the Greek tragedy about Orpheus and Eurydice makes for a do-not-miss night. (You have until Sept. 11.) Then, after its touring company pulls up stakes, the hits will keep coming. First: “Come From Away,” the irresistibly moving musical about airline passengers grounded on 9/11 in Nova Scotia and the locals who welcomed them. Then, the jukebox pleasure “Ain’t Too Proud to Beg: The Life and Times of the Temptations.” Here, Detroit����ap own wonder and MacArthur Fellow, playwright Dominique Morriseau, steps in to tell the story of one of Motown’s best. Sergio Trujillo won a Tony for best choreography.

The Denver Center Theatre Company. “The Chinese Lady.” In telling the story of Afong Moy — the first recognized Chinese woman to come to the United States — Lloyd Suh’s drama reckons with her exhibition and exploitation. And, thanks to Moy’s insights, we learn about the character of the nation she traveled across and where she was displayed as an object of curiosity. (Sept. 9-Oct. 16; denvercenter.org)

The Newman Center brings the Oakland, Calif.-based vertical dance troupe Bandaloop to town, and it wants to make sure you see the high-wire act. So check out the free performance on Sept. 29. While you’re at it,  see what else the smartly programmed season holds. (Sept. 29, newmancenterpresents.com)

�ʳ󲹳�������.��Denver’s groundbreaking theater company of people with disabilities ends its season with “Vox Vergere.” For this installment of its celebrated Vox series, the company commissioned writers to address “intersectionality.” And the writers are a heady bunch: Ryan Haddad, AA Brenner, Simone Brazzini, Sxr OM Dxtchxss-Davis, Kalyn Heffernan, Sheila Traister, Twanna Latrice Hill and Marcelina Ramirez. (Oct. 13-23; phamaly.org)

Revivals

Arvada Center. “Into the Woods.” This production of the Stephen Sondheim-James Lapine delight announces a marked change at the arts hub with Lynne Collins taking the helm as artistic director after Rod Lansberry’s retirement. (Sept. 9-Oct. 9; arvadacenter.org)

BDT Stage. “Buddy: The Buddy Holly Story.” Dinner and a jukebox tribute to Charles Hardin Holley before the day the music died. (Oct. 21-Jan. 28,  bdtstage.com)

Buntport. “Coyote. Badger. Rattlesnake.” Denver’s ingenuous theater-makers reprise their witty and wily comedy about two colleagues at work on — and bickering about — a diorama at a natural history museum. (Sept. 30-Oct.15; buntport.com)

Lakewood Cultural Center. “A Grand Night for Singing.” Think of it as Richard Rodgers and Oscar Hammerstein II’s B sides. (Oh, how that dates us.) While this revue features tunes from lesser-known musicals — “Allegro,” “Me and Juliet,” “State Fair” and “Pipe Dream” among them — it can’t help throwing in hits from the likes of “Carousel,” “Oklahoma!” and “The Sound of Music.” (Sept. 9-25; lakewood.org)

Miners Alley Playhouse. “Hair.” The Golden theater is letting the sun shine in this timely production of the classic about hippies, peace, love and friskiness in the shadow of the Vietnam war. (Through Oct. 2; minersalley.com)

Town Hall Arts Center. Why pop Xanax when you could drop by this Littleton playhouse for a dose of “Xanadu,” Douglas Carter Beane’s effervescent adaptation of the 1980 movie that starred Olivia Newton-John. Then, one of musical theater’s titans is celebrated with “Putting It Together. A Staged Concert Featuring the Music and Lyrics of Stephen Sondheim.” (“Xanadu,” Sept. 16-Oct. 16; “Putting It Together,” Oct. 27-30; townhallartscenter.org)

Stories on Stage. The beloved staged reading series commemorates Banned Books Week with “The Banned Books Club,” a collection of short stories from some of the American Library Association’s list of “challenged books,” read by Seth Dhonau, Jose Guerrero and Camryn-Nailah Torres. (Sept. 11 in person at Su Teatro, 711 Santa Fe Drive; virtually beginning Sept. 15; storiesonstage.org)

Vintage Theatre. The Aurora mainstay joins with the Performance Now Theatre Company to mount the Tony Award-winning romp “The Drowsy Chaperone.” In Vintage’s smaller house, Julia Cho’s chilling story about an aging teacher, “The Piano Teacher,” promises to tinkle dark notes once Mrs. K reaches out to her former students. (“Chaperone,” through Oct. 9; “Piano Teacher,” Sept. 16-Oct. 16; vintagetheatre.org).

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Leaders at Colorado Ballet, Colorado Symphony, Opera Colorado and Denver Center for the Performing Arts made the decisions in response to low COVID-19 positivity levels, officials wrote in a series of coordinated press statements. Each company will begin its policy on a different date this month.

The decisions were made with guidance from local, state and federal officials, and the residents of the city-owned Denver Performing Arts Complex will “continually monitor CDC, state and local health requirements and make adjustments as necessary.” In addition, officials wrote: “Individual touring productions may have their own health and safety requirements.”

Opera Colorado and Colorado Symphony’s requirements will lift on March 14, followed by Colorado Ballet on March 22 and Denver Center on March 28. Students also no longer need to show proof of vaccination or wear masks during classes.

While these companies — all of them residents at downtown’s Denver Performing Arts Complex — are making face coverings optional, “we ask our guests to respect individuals who choose to wear masks as a precaution,” according to a Denver Center statement, and stay home if they’re feeling unwell.

Indoor, seated public performances have been among the last to return to pre-pandemic culture amid the country’s swift return to mask-free policies in recent weeks, prompted by the lifting of state and city mandates. Concert venues, comedy clubs, art galleries, museums, movie theaters and other businesses relaxed their requirements weeks ago, and just last week, the Paramount Theatre and Ball Arena leaders said they’re lifting their COVID-19 entry protocols.

The Paramount and Ball Arena changes went into effect on Saturday, March 12, but the staggered start dates for the newly relaxed policies at the Arts Complex allows Denver Center, for example, to make its changes between runs of Broadway’s touring “Hamilton” and “Tootsie,” which will “provide a common experience and consistent messaging to patrons attending each show.”

Seated, public performances for most of these companies only restarted last fall, or in the case of Denver Center’s touring Broadway and in-house plays, in late fall and early winter. Visit for more.

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Submissions for the #Ham4Ham ticket lottery, which usually accompanies each stop of the Tony-winning sensation, opened on Friday, Feb. 4, and close on Thursday, Feb. 10. They cover the opening, Feb. 16, performance of “Hamilton” at the Buell Theatre.

The digital-request period for subsequent shows will begin each Friday and close the following Thursday for the upcoming week’s performances, Denver Center for the Performing Arts officials said.

According to Denver’s Center website, the Feb. 16-March 27 run at the Buell is largely sold out, and only pricey (in the hundreds of dollars) tickets remain.

The lottery, however, dangles 40 tickets for each show for cash-strapped (or simply unlucky-in-buying) Broadway devotees. It follows with “Hamilton’s” first Denver stop in 2018 —  the date of this year’s returning run.

Here are some tips on getting tickets, via the Denver Center. (Note: Only those 18-and-up can enter):

• Use the official available for all iOS and Android devices in the Apple App Store and the Google Play Store
• The lottery opens at 10 a.m. every Friday and closes for entry at noon the next Thursday prior to the following week’s performances.
• Winner and “non-winner” notifications (the latter’s a hell of term, no?) will be sent between 1 and 4 p.m. every Thursday for the upcoming week’s performances via email and mobile push notification. Winners will have two hours to claim and pay for their ticket(s).
• No purchase or payment is necessary to enter or participate. Each winning entrant may purchase up to two (2) tickets.
• Only one entry per person. Repeat entries and disposable email addresses will be discarded.
• Lottery tickets may be picked up at will-call beginning two hours prior to the performance with a valid photo ID. Lottery tickets are void if resold.

For more information, visit

Tuesday and Wednesday. Look, we’re not here to judge anyone’s food and drink preferences, but combining waffles and wine seems dicey — at least in concept. In reality, it’s so popular that its fourth incarnation, on Tuesday, Feb. 8 and Wednesday, Feb. 9, is already sold out.

Even so, there’s a waitlist for spots at this year’s Galentine’s Wine & Waffles Celebration at Bigsby’s Folly, so take heart. The RiNo craft winery is holding the celebration 5-10 p.m. mid-next-week — well ahead of most Valentine’s Day events — with open seating and a waffle bar from 6-9 p.m.

Tickets are $30 each and include a glass of Bigsby’s Hot Mulled Wine, “and as many trips to the waffle buffet as you want!” Good luck — to all of us. 3563 Wazee St. 720-485-3158 or

Bilingual “La Malinche” gathers iconic works

Sunday-May 8. With a provocative title and works spanning centuries, “Traitor, Survivor, Icon: The Legacy of La Malinche” is a deep dive into La Malinche, the 1500s Indigenous woman reviled and revered for assisting in the Spanish conquest of the Aztecs — but also for surviving slavery and helping create modern Mexico.

To mark 500 years since the fall of Tenochtitlan, the Aztec capital, this bilingual Denver Art Museum show has collected nearly 70 diverse works, from paintings and sculpture to disorienting collages. Some are on loan from institutions in Mexico and France, affording a cross-cultural survey of La Malinche’s ever-changing impact in art, literature and music.

The exhibition opens Sunday, Feb. 6 and runs through May 8. Included with admission, $10-$15, free for 18 and under. Gallagher Family Gallery, Level 1, Hamilton Building, 100 W. 14th Ave. Parkway. 720-865-5000 or

Craft beer, jazz and soul food on First Friday

Friday. Yes, it’s frosty out there, which is why Five Points’ First Friday Jazz Hop has moved inside Spangalang Brewery for its Friday, Feb. 4 edition. This time around it’s also a benefit for nearby Welton Street Cafe, a soul food institution that’s set to close on March 12 before moving down the street to reopen.

That won’t happen any time soon without significant fundraising, owners have said, including this cozy show with the Gayle Leali Quartet. Individual tickets are $20; tables are $200. Southern and Caribbean cooking will be available. 6:30 p.m. at 2736 Welton St.

Musical help for Marshall Fire victims

Friday. The historic Boulder Theater on Feb. 4 will hold a benefit for victims of the devastating Marshall Fire, which only weeks ago destroyed nearly 1,000 homes in Superior and Louisville. “Music for Marshall: A Boulder County Fire Benefit” will feature Drunken Hearts & Friends, featuring members of Colorado jam-band royalty The String Cheese Incident, Leftover Salmon, Elephant Revival and more.

A couple of the guests — including Dave Watts from The Motet — even lost their homes in the fire, organizers said. All are donating their time and energy and proceeds benefit Community Foundation Boulder, Conscious Alliance, Boulder County Fire Relief Efforts, and those directly impacted by the Marshall Fire. Tickets: $15-$18. 8 p.m. at 2032 14th St. in Boulder. 303-786-7030 or

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