Lincoln Song
as performed by Tosin Morohunfola

Teddy Roosevelt Song
as performed by Tosin Morohunfola and M. Tyler Horn

See the remount this summer at CRT!

Read all about it – and the other awards we got this year:

http://www.denverpost.com/theater/ci_19604222

Jessica Jackson and I were manning our booth for Creede’s annual Chocolate Fest this November. We set up in the Ruth lobby (to keep warm!) and to give folks the opportunity to tour our new space. A woman walked in and asked if we had been involved with the tour show “The Wright Stuff.” We said, “yes,” and introduced ourselves. She continued to tell us that her 5 year old son came home from Kindergarten in Alamosa excited after having just seen the play. He was holding the book that he received from one of the actors after the show, and he gave his mother a virtual “tour” of the play, flipping through the pages and reliving his favorite moments. At the end of the book we printed the blueprints for the original Wright Flyer. The little boy looked up at his mother and begged her to help him build the airplane!
This story tells me a few things about the outcomes of our Young Audience Outreach Tour program this year: 1) We are capturing the imaginations of children who may one day become theatre patrons, donors, or artists. 2) We are capturing the imaginations of parents who are discovering the magic of theatre through their children’s eyes. 3) We are helping teachers in their efforts to teach core subjects and make reading fun. 4) We are giving children tools they can use to communicate with their families and friends.

And, finally, here is a teacher’s response from our teacher evaluations:
“We can’t thank Creede enough for the experience. Your prep materials [study guide] were used early in the day and tied in beautifully with our aviation theme field day. The books were a HUGE surprise and much loved and appreciated by our students.
Your staff and actors were absolutely professional. Rarely are we able to include our students with severe and profound needs in our activities. We were so happy to be able to bring them, and your actors were so professional that it didn’t phase them to have an unusual crowd right up front.
For many of our students it was their first time seeing a live, professional play. They really enjoyed it and admired your creativity and staging.” Cris Tracy, Teacher, Mt. Garfield Middle School, Clifton, CO

Thank you so much for the work you have done and are doing to ensure that CRT is able to make such an important impact on the lives of children!

The Wright Stuff - 2011

Renee

Click here for song:
Mornin’ Bringin’ the Day

Kate Berry in The Bad Man by Steven Cole Hughes, 2011

On our Mainstage

The Drowsy Chaperone
Music and Lyrics by Lisa Lambert and Greg Morrison
Book by Bob Martin and Don McKellar
PG
The ingenious Broadway hit for the musical-lover in all of us

Is He Dead?
A new comedy by Mark Twain, as adapted by David Ives
PG
The wildly hilarious “new” farce from the father of American wit

Harry the Great
By John DiAntonio
PG-13
A world premiere romantic comedy about magicians, their egos, and why you never, ever reveal how it’s done

The Presidents
Book and Lyrics by Steven Cole Hughes
Music by Jessica Jackson
G
Forty-four presidents in 45 minutes! For kids of all ages.

In the new Ruth Humphreys Brown Theatre

Ghost-Writer
By Michael Hollinger
PG
The novelist has died, but his secretary goes on typing. Is she channeling his spirit – or is the truth even stranger than that?

Mrs. Mannerly
By Jeffrey Hatcher
R
Irreverent and hilarious, this comedy reveals what it takes to have the best manners

Boomtown Improv Comedy
PG-13
A totally unscripted show inspired by you!

http://www.tcg.org/publications/at/nov11/critical_juncture.cfm

 -from The Bad Man by Steven Cole Hughes

Steven Cole Hughes had no idea when he wrote 2005’s Slabtown that his love story about a gunslinger and a whore would spawn two more plays.  “I don’t know when I first started to think of this thing as a trilogy.  I know that when I first started writing Slabtown (ten years ago!) I felt like I had finally found my voice as a writer.  After finishing Slabtown, and especially after seeing it produced, I knew I wanted to write another Western, and I liked Billy and Bessy so much as characters, that it seemed obvious to just write another play about them.  Somewhere in the middle of writing Billy Hell I knew it had to be a trilogy.  You can’t just have two – like Pringles^TM.”

Considering that producing a new play is a highly risky venture for any theatre, and that the Western genre, defined on film by its sweeping vistas and wide open plains, is hardly easy to depict live on stage – it was encouraging that Slabtown and Billy Hell played to sold-out houses.   Artistic Director (and director of all three plays in the trilogy), Maurice LaMee, explains: “This is an unusual occurrence for a new play, and even more unusual for two new plays. The trilogy has thus far struck a resonant chord, and audiences have been both entertained and moved by the love story of Bessy and Billy. I hope The Bad Man is a satisfying culmination of their mythic journey, and if it is, I hope we might one day produce the trilogy so it could be seen in one day.”

If someday, CRT audiences are treated to the entire trilogy in one day, they would be watching ten years of work in the span of about six hours.  The trilogy, forged through a long and fruitful collaboration between Hughes, LaMee, and a posse of CRT artists, has an almost epic quality.  “The arc of the story is important to me,” Hughes explains, “How do we get from Slabtown to Billy Hell to The Bad Man, or more importantly, why?  The first two plays take place in 1877, which is the height of what we think of as the Wild West.  The final play is set in 1890, which is the closing of the frontier, the last of the Indian wars, and the dawn of a new era.  Billy and Bessy grow and change in each play – not always together, and not always at the same time, like a marriage.”

Just as the vaudevillian and dream-like Billy Hell was a stylistic departure from the more straightforward Slabtown, The Bad Man is also unique.  For Hughes, each play in the trilogy should be able to stand on its own.  “I started writing The Bad Man as Billy Hell was performing,” explains the author, “The story and the premise have always remained the same, but the plot and characters have changed more than any play I’ve ever written.  It has been a long process, primarily I think, because of the character of The Indian.  I’ve read so many books about the Plains Indians, I’ve watched every Western that has real Indians playing Indians, and I’ve been fortunate to talk with some Native Americans in South Dakota (thank you Emerson Elk of the Minneconjou), but it took me a long time to get comfortable(ish) writing dialogue for a Native American character.”

Challenges aside, Hughes revels in the language of the 19^th century American West: “Newspaper articles are preposterous and racist and un-objective and hyperbolic about anything and everything.  Any time the word ‘true!’ appears in the title of a book or an article or an advertisement in the Old West, you can be assured that what follows is most likely a lie.”  It’s these idiosyncrasies that fuel his imagination.  “I’m interested in the dichotomies of the Old West,” Hughes explains, “Gunfighters embody the clash of the Victorian Era and the Pioneer Era: they were essentially forging a new way of life out in the wild, while also being bound to Victorian mores like chivalry and fancy dress.  In the case of the Plains Indians vs. the US Army, you have the Industrial Age clashing with the Stone Age.”

Though most theatres shy away from Westerns, for CRT, they’re essential.  Maurice LaMee explains: “CRT is in a unique position, given its long history, its reputation and its professional artists, to produce plays that are responsive to this unique region of the country. In the coming years, we intend to play an even bigger role in incubating artists and plays that reflect the stories and culture of the Southwest through our new play development program called Headwaters.”  It is his hope that the plays of The Billy Trilogy are just one (well, three) in a long line of new works that begin here, in what used to be the Old West.  And that these plays continue onward, telling the stories of the West-to-come.

The Bad Man opens Friday, August 12 at 7:30pm, purchase tickets here!

Check out the newest edition of CRsTories – Follow Along the Road to Mecca. Watch interviews with actress Christy Brandt, director, Nagle Jackson and sneak a peek at rehearsal footage! Many thanks to videographer, Bev Chapman.

The Road to Mecca is playing now in the Ruth Humphreys Brown Theatre. Order tickets here!

I saw Road to Mecca yesterday afternoon. Thinking about it gives me goose bumps…. It’s a must see! And the new Ruth Humphreys Brown is a perfect venue for the production. The intimate environment made me feel as though I was in the room with the characters. ….and it’s a bit more comfortable than the black box. All around, two thumbs up (if I had 3 hands, I’d give it 3 thumbs up….really).

– Gigot Hudspeth – July 18, 2011

Master watercolorist, Stephen Quiller  has worked tirelessly to create a 360 degree panoramic mural of historic Bachelor Loop to be housed permenantly in CRT’s Ruth Humphreys Brown Theatre. Steve kept a journal through his painting process and has generously allowed CRT to re -produce sections of it here.

THE MAKING OF A MURAL

Last winter while at the Bachelor crest skiing most late afternoons, I became very interested in doing a 360 degree view and painting. This would be one moment in time and viewed from one spot. Anyway I did five charcoal drawings moving from one segment of the landscape to the next until the last drawing came around to the start. The idea was to do one long painting that would encompass the work. However I did not take the idea further at that point.

 Late last summer (2010) I was shown the skeleton structure of the inside of the new Creede Repertory Theatre  that is due to open in July of 2011. Earlier I had been asked by the theatre board to do a mural on the exterior south wall. After thinking about it I turned it down or at least delayed the decision mainly because the south light would be too harsh on the paint. But when I entered the building I was struck by this incredible blank wall in the lobby and knew that is where the mural should be. The wall is protected from too much direct light and is the perfect space and dream space to do a work. I felt like Gully Jimpson in “The Horses Mouth,” finding a wall to do his painting. And although the artist circumstance was different I am sure the feeling I had was similar to his when finding the wall. Not only was this a great space but I became immediately aware that this is why I had been doing those drawings at Bachelor hill the previous winter. What I realize now is that I have been painting this mural for many years- I just did not know it. The shapes, the color, the paint application all are set in place and I just need to fill in the blanks. It seems that I am always a few days ahead of myself and seeing what needs to be done and where the mural should go.

 My next thought is, “how was I going to claim two months or more to do this project uninterrupted and still create some income to keep us going?”  While in my hotel room late one night in Myrtle Beach, SC it came to me. I had been there for a week teaching a workshop and in a still and meditative moment that night the idea came to me. Why not select a few dedicated patrons that are closely connected with my work but also with Creede and the CRT. Ask each one to contribute $2500 and honor them with a plaque by the mural. I did not want a lot of income but enough to pay for the panels, paints and supplies, mounting on the wall and the final framing.

So I set to work on the project. And at a fortuitous time I found myself in New York to help jury the AWS 2011 exhibition. I say it was perfect timing as things come when you ask or when you need them if you are open. While there a few friends and I went to the American Hispanic Museum to view the Sorolla paintings and mural. The mural is 144 ft. and surrounds the room. It had recently been cleaned and the room renovated for perfect viewing. The mural is incredible and really got me charged up. What I did notice is how he sifted the shape of the mural when it was over a door and then how he brought it down on the right side. It seemed to be a great idea for my mural as the landscape rhythm moves from the valley floor to the Bachelor crest and back! So that got me thinking. I had been in the CRT building and measured the wall space. The height that I had to work with was 7 1/2 feet and the length was 32 feet. This was the perfect space for this idea. I began sketching out shapes for the space and decided to use Ampersand’s aquabord panels for the support. I found the largest they make the panels is 4’ X 8’ so the composition needed to fit within this boundary.

After many compositional sketches considering the wall space and the panel relationships and numerous calls and emails to the Ampersand company, I decided on this shape: The center panel would be 4’ X 11’. This would be actually two panels placed together and connected on a back frame held together with wood glue and counter sunk finish nails that would be covered up. Connected to each side of the center panel are two 3’ X 5’ panels that are flush with the middle panel at the top but go 1’ further down on the bottom side. Then connected to the outer sides of these panels are two 3 1/2’ X 7’ panels. All of these will eventually be connected with a 1” X 4” frame underneath. The segments of these frames need to be in place before I begin so Duane Lewis, my building guy that is now constructing our garage, will do this as soon as the panels arrive.

 The panels arrive and Dwayne and his daughter Alicia constructed the frames that the panels were mounted on. The were glued and nailed with a finish nail gun and the frames and the panels fit perfectly. Dwayne did one other thing that it seems was masterful. He placed “biscuits” to connect each panel to the next and lined them up perfectly.  When I began painting I could lock the following panel to the one I was working on and then have a perfect transition. 

 I set up my studio in the space above the gallery. There is plenty of room and good light and I can still use my studio out at the house for other works and projects. The added benefit of working in town is this is a public project. As opposed to working in isolation in my main studio so that I do not have interruptions, I welcome people from the community to view this work in progress. I want people talking about the mural and checking it out. 

So I have begun this project. At this time I am two and one half panels of the six fairly far along. So far it is a dream. The surface of the clay board is like magic. The paint melts like butter  on the panel and it lifts easily while still damp. The temperature is cool in the space, even with two heaters going full blast and on a cloudy day it does not warm up. But most days the sun burns through and warms the space. I think there is an advantage of keeping it cool. If the paint and panels are at a low temperature the water does not evaporate as quickly giving me more time to work. 

 The first panel is a horizontal 3 1/2’ X 7” shape representing the meadow of Bachelor. Moving to the left down slope the “upriver valley” is represented while to the right the tree patterns have a syncopated beat that move to the vertical panel. The sun is setting and burns edges of the ridge in yellow-orange to red-orange. All else is in shadow.

 The second panel (7’ X 3’) connects to the first but is heavily wooded with aspen and spruce. This also is in shadow and is the path that I use to enter the woods when cross-country skiing. Some tracks are faintly represented. Hints of sunset light touch a few branches and aspen trunks- hints of warm against predominant cool. The fun of the cool is the warm and cool cool. I am playing with a true neutral gray mixed with phthalo blue and pyrrole orange and then use strong ultramarine (warm blues) against phthalo (cool blues) throughout the snow patterns. The paint application is very juicy and Impressionistic. I must say that so far the mural seems to be painting itself. I am just there to obey and fill in the blanks. Every step seems to lead me and tell me where to go and how to go about it. Each evening after painting I go to ski at Bachelor and usually do some sketching and photographing to prepare for the next session. I am usually two to three days ahead.

 The third panel is 4’ X 3’ and is part of the next panel that is 4’ X 8’. Thus it is truly a 4’ X 11’ shape that is the center of the composition. It transitions from the previous panel of aspen and spruce patterns in shadow to the ridge of alpenglow moving to the La Garitas. I have been working on this panel for the last two days and so far it goes well. Tomorrow I hope to complete and begin the transition to the largest shape. I spent the evening skiing and from 5:15 PM to 5:45 I sketched the mountains and witnessed the alpenglow. I am ready!

Steve’s mural is now up in The Ruth, but totally hidden from public view. Visit CRsTories to see Steve discussing his painting with CRT Director, Mo LaMee.

AND, don’t forget to take part in the Quiller Mural Unveiling at 1PM on July 16 at The Ruth Humphreys Brown Theatre. The Creede Arts Council is hosting a delightful reception with special guests including Mr. Quiller and many more!

CRT has been featured in The Pueblo Chieftain and actor Kate Berry was interviewed for the article. You can see Kate in three key roles is season: Topaz Mortmain in I Capture the Castle, Elsa Barlow in The Road to Mecca (starring Christy Brandt and directed by Nagle Jackson!), and Bessy in The Bad Man. Kate is a fine artist, a good friend and a most excellent pie maker!

Come see Kate in one or all of these productions. Buy your tickets here!

Thanks to a generous gift from the family of a remarkable woman, CRT is proud to announce the opening of the new Ruth Humphreys Brown Theatre.  The opening of this second venue two blocks south of CRT’s Mainstage will be celebrated July 15-17 with numerous events and performances.  The new theatre’s flexible configuration seats 150-200 (more than doubling the capacity of CRT’s old third floor facility) and provides an intimate, accessible venue that allows CRT to run performances simultaneously on different ends of Main Street.  The new facility’s climate control allows for year-round use, providing a much-needed space for events within the Creede community.

The life of Ruth Humphreys Brown was varied, full of generosity, and never dull.  It was defined by her love of family, friends, and her appreciation for the outdoors – in particular Wagon Wheel Gap, where she spent her summers.  She was born Nov 11, 1921, the daughter of A.E. and Ruth Boettcher Humphreys of Denver and was a theatre major at Finch College in New York City.  In 1943, she was accepted into the Women’s Air Force Service Pilots program.  In 2010, she and her fellow WASPs received the Congressional Gold Medal for service during World War II.

She returned to Aspen after the War, where she lived until her marriage to DRC Brown, a founder and president of the Aspen Ski Corporation.  During her many years in Aspen, Ruth helped start the Tri County Medical Center, the Brown Ice Palace, the Aspen Recovery Unit, the Bold Ski program for blind skiers, and the first Outward Bound Program in the U.S.  She lived on a ranch in Carbondale and raised her family there – spending part of her summers and some Christmases in Creede.  The famed Ruthie’s Run on Aspen Mountain was named in honor of her efforts to find a better way down the mountain for intermediate skiers.

The Humphreys family has long ties to the town of Creede.  Ruth’s grandfather, A.E. Humphreys, was involved in mining, oil, and manufacturing.  In the 1890s, his mining interests took him to Creede in its heyday and he was there during the time of Nicholas Creede.   Ruth’s grandfather built a summer mountain retreat above Wagon Wheel Gap that remains an important gathering place for generations of family and friends.

This grant from the Ruth H. Brown Foundation will have an enormous impact on the future of Creede Repertory Theatre and the economic and cultural life of Colorado.  The generosity of Ruth’s family, along with numerous private donors, foundations, DOLA and the EDA have made this new theatre possible.

The KID Show program was founded in 2003 in response to the need for local kids to have a creative outlet at CRT.  Participants work with professional actors, directors, teachers, designers, stage managers, and technicians to create various aspects of an original show that is performed on the CRT stage.  This program was born because of a generous gift from The Hitchcock Foundation and continues to thrive due to their ongoing support.

You may remember past KID Show productions of:

An Afternoon of Mime

Roald Dahl: A Puppet Show

The Rainbow Goblins

Emilia’s Tree

Lullaby Bay

Scruff Turbo and the Children of the Future

The Story of Babar

and DRAGONS

In the eight years since it’s inception, The KID Show program has seen participants grow up and begin their creative careers in the world.  Currently, former KID Show students are studying Fine Art in Florence, Italy; have recently graduated from film school in Vancouver; are working in the film industry in L.A.; are active in the theatre communities of Colorado; and pursuing a degree in theatre with special focus on mime and movement; etc.

The KID Show continues to be a free program where kids have a creative voice.  This would not be possible without The Hitchcock Foundation. CRT would like to give a heartfelt thank you to The Hitchcock Foundation for believing in us and in the power of theatre education.

To learn more about The KID Show program please contact Renee Stynchula, Education Director, at 719-658-2540 x27, renee@creederep.com, or visit http://www.creederep.org

]]> http://creederepblog.com/2011/05/02/crt-spotlights-a-sponsor-week-6-the-hitchcock-foundation/feed/ 0 creederep Dragons 2010 http://creederepblog.com/2011/04/29/2011-lawrencekansas-city-friends-of-crt-membership-party/ http://creederepblog.com/2011/04/29/2011-lawrencekansas-city-friends-of-crt-membership-party/#comments Fri, 29 Apr 2011 20:11:25 +0000 creederep http://creederepblog.com/?p=852 ]]>

The Lawrence/Kansas City Chapter of the Friends of CRT held it’s annual membership party on April 21, 2011 in Lawrence, Kansas. CRT would like to give a big thank you to all those who participated, and particularly to Dave and Sue Nutt, Christine Mercer Kraft, Christy Brandt and John Brownie, and Gary Mitchell. Gary and Christy gave a read through of Love Letters, which they will also be preforming this season at CRT!

Thanks to Dave and Sue and Christine for putting it all together. With their help the Lawrence/KC Chapter helped raise over $1,200 for CRT! Sigh…. If we could all have Friends like that!

Join us on May 21, 2o11

at the Antlers Restaurant

for Entertainment, Cash Bar and Hearty Appetizers!

Antlers Restaurant

2622 Hwy 149

Creede, CO 81130

5:30pm to 7pm

RSVP by May 13: sarah@creederep.com or 719.658.2540 x33

Bring a Friend and Share the Joy!

I won’t be back this summer.

There, I said it; even though it’s not an easy thing to type, even now.
I’ve unconsciously put this off I suppose. I waffled over whether it was even needed, this melancholy goodbye. Granted 7 years is a long time, and Creede is now, as much as it ever was, my artistic home. To not return to see the Second Stage open, to miss the final part of Steve Cole Hughes’ trilogy, is a great loss to me. Therefore, I decided, yes, no one will suffer (too much) due to my post and I do have a few things to pass on. And while they may seem trivial, they’re apart of my life in Creede, and I want to see that they’re taken care of. Am I being a little overdramatic? I guess I ask for some indulgence then. I am in the theater after all; a little dramatics is to be expected!

Still, it’s not all sadness and loss. There is the future to look to! And to that end, I wanted to “bequeath” a few things to the returning company members, and maybe give some perspective to the new kids. So without further ado:

To Steve Hughes, I bequeath the Monday night poker game. It’s my baby, treat it well! Don’t worry, Travis has the chips and probably a good set of cards. Hopefully, he won’t be busy at the box office every night and can play! And as Susanna would remind everyone, play nice, no yelling at the table. (If you really want to set a precedent, get Touy to play)

To my dearest Sparkle Yarn, I leave you in charge of Jonathan’s sanity while he’s at work. Very few people know him as well as you do when it comes to not letting him work himself to death, as well as letting him decompress. And Elizabeth needs all the help she can get!

Jax, Boomtown isn’t mine to bequeath, but it’s with a heavy heart that I won’t be joining you again this year. Unsurprisingly, we’re finally doing an away game, the year I won’t be there! To the rest of you Boomtowners, keep those edits sharp and the scenes clipping! (And don’t worry Jax, I have plenty of people in Denver to make fun of me, so you don’t have to worry about me getting off easy without you around.)

To the new acting company I congratulate you on sneaking into a Mecca of art and community. Many great award winning actors have already treaded these boards (I’m talking Tony/Emmy as well as Ovation/Henry) and you are continuing the legacy. To the new tech crew, you have in Bohb, a sturdy soul and a competent leader. Soak in his ease while you can. Very few people attain such proficiency in their craft and remain laid back enough to tell the tale.

To the returning crew and actors, I already miss you. To single you each out for the high praise and respect I have for you would take a lifetime. So let it suffice to say: Hold your heads high, you truly are, pound for pound, the best damn theater company I’ve ever had the honor to work with.

And to Mo. I owe you more than I could possibly imagine. You took me in as a greenhorn and allowed me to flourish in this buffet table that is rep theater. I have retained and honed skills that would have long ago atrophied and sharpened skills (to what I hope is a high level) in the safest atmosphere outside a bubble. You’ve created the theater actors dream of and I am who I am, as much because of your faith in me, as my own effort. I write this with the happy knowledge that I am not the only person who can say that.

I miss you and love you Creede Repertory Theater. You are truly a diamond in the rough.

But wait….you can see this fantastically retro, Mad Men throw back right here at CRT! Join us for the Opening Night Dinner on June 10 at 5pm. Reserve your tickets today!

2011 Friends of CRT Membership Party

When:

Saturday, April 23 at 6-9PM

Hosted by:

The Mansion Bed & Breakfast

1030 Park Avenue

Monte Vista, CO

Stop by and Celebrate,

Make new Friends, Become a Friend of CRT, Bring a Friend and

Share The Excitement!

Find out what it’s all about!

Creede Repertory Theatre

Celebrating 46 Seasons!

RSVP: Jenna at 719.850.1896

In 2011, we are touring with The Wright Brothers: The Science of Flight, another high-energy play by Steven Cole Hughes, the author of our hit 2010 touring show The Presidents!  After each performance, young audience members will receive an original children’s book featuring the extraordinary illustrations of Mathew McFarren. http://www.directoryofillustration.com/ArtistPortfolioThumbs.aspx?AID=4384

A hearty thank you to the National Endowment for the Arts for their support of CRT’s education programming.

If you are interested in bringing CRT to an elementary school near you, please contact Renee Stynchula, Education Director, at 719-658-2540×27 or renee@creederep.com.

http://www.denverpost.com/theater/ci_17849603

JOHN DAVID LENTZ MEMORIAL FUND
The John David Lentz Memorial Fund was created six years ago to honor John’s memory and support the arts at CRT. John was a member of the company in 1992 and had several memorable roles during that season. At the conclusion of the 1992 season, John travelled to San Diego where he enrolled in the Master of Fine Arts program at the University of San Diego. John completed his MFA requirements on April 29, 1994, but was killed in a random shooting in Balboa Park on May 1, 1994.

John’s cousin, David Basler, had the initial idea for the Memorial Fund. Since its inception, the Fund has contributed over $50,000 to play sponsorships and ongoing theatre operations. This year, the Memorial Fund is sponsoring the comedy “Unnecessary Farce,” starring Stuart Gates, Steven Cole Hughes, Mario Cabrera, Gary Mitchell, Caitlin Wise, Adrian Egolf, and Anne F. Butler.

Many thanks to Stan and Julie Lentz, daughter Emily McComas, and the countless supporters each year who continue to celebrate and honor John’s legacy.

Interested in contributing to the John David Lentz Memorial Fund? Contact Cat Lynch, CRT’s Development Director, at (719) 658-2540, ext. 26, or by email at cat@creederep.com.

http://www.denverpost.com/entertainment/ci_17797329