UA loop, Walden give home to kids’ theater

Five original prod'ns to be performed at Playhouse

DENVER — Exhibitor United Artists Theaters is teaming with Walden Media to produce live children’s theater at the Walden Family Playhouse.

Off nights and free afternoons, the Playhouse becomes a movie house.

The theater, with 476 seats and a 57-foot-wide stage, is located in the 16-screen United Artists multiplex at the Colorado Mills Center in Lakewood. It was launched in mid-March, with the promise of five original productions during the year.

New York City-based Walden Media, parent of the Walden Family Playhouse, owns the Kodak Theater in Los Angeles, site of this year’s Oscar presentation. Owned by Denver’s high-profile Phil Anschutz, Walden plans to become a major player in theater, film and television.

Construction of Walden Playhouses in other cities will provide a theater chain for such original productions as “Rock Odyssey,” which opened the season.

Television and theater producer Douglas Love is producing artistic director of the Playhouse.

Actors will be paid $370 a week, equal to Equity requirements for a Theater for Young Artists. The Playhouse has a guest-artist contract with Equity and plans to use an Equity cast in its next production, “Merlin’s Apprentice.” Book is by Susan Kim, who adapted Amy Tan’s “The Joy Luck Club” for the stage; lyrics are by Stephen Cole and music by Gary Pozner.

Theater is in the mode of new United Artists houses with stadium seating, cup holders and state-of-the-art lighting.

Popular on Variety

More Legit

  • Sanctuary City Martyna Majok

    Listen: How Off Broadway Is Coping With Shutdowns From Coronavirus

    It’s not just Broadway that’s been affected by New York City’s shutdown due to the coronavirus pandemic. Off Broadway productions went dark too, cutting short the already limited runs of plays and musicals at venues all over the city. Listen to this week’s “Stagecraft” podcast below: One of those plays is “Sanctuary City,” the latest by Pulitzer [...]

  • U.K. Freelancers

    U.K. Government Faces Pressure From Industry on Economic Measures for Freelancers

    The U.K. government is facing increasing pressure from the creative industries after it emerged that economic measures set out for the self-employed last week by Chancellor of the Exchequer Rishi Sunak have yawning gaps in them. The measures may have come as a welcome move for many creative industries workers, but not all are eligible [...]

  • Tessa Thompson MIB International Premiere

    Tessa Thompson, Michael Urie and Celia Keenan-Bolger to Appear in Play-PerView Fundraiser (EXCLUSIVE)

    Tessa Thompson will appear in a live reading of Ryan Spahn’s comedy ​”Nora Highland” in order to raise money for arts organizations impacted by the coronavirus. “Nora Highland” is being featured on Play-PerView, a new live-streaming initiative that was co-founded by producer ​Jeremy Wein​ (NYC PodFest)​ and actor and producer ​Mirirai Sithole (“Black Mirror: Smithereens”). [...]

  • Mark Rylance Oscars 2016

    'Bridge of Spies' Actor Mark Rylance Leads Union Drive for Coronavirus Relief Donations

    U.K. entertainment industry union Equity has pledged £1 million ($1.2 million) to support its members who have been affected by the pandemic-induced industry shutdown. Equity is asking for more donations, stating that the vast majority of its 47,000 members earn modest sums and do not have savings as a fall-back option. The appeal for further [...]

  • Directors Coronavirus

    Economic Package For Freelancers Elicits Mixed Response From U.K. Industry

    The long-awaited economic measures for the self-employed revealed by U.K. Chancellor of the Exchequer Rishi Sunak on Thursday have elicited mixed response from the film and TV industry’s predominantly freelance workforce. Self-employed individuals can claim 80% of their average income over the last three years up to £2,500 ($3,000) a month, which is taxable. To [...]

  • The Inheritance review

    Critic’s Notebook: The Night Before Broadway Went Dark

    Let me preface this by saying the story I’m about to tell is not the smartest thing I’ve ever done. Two weeks ago, I rushed to New York City to catch “The Inheritance” before it closed on Broadway. I’d been tracking the play by Matthew Lopez — a multigenerational, six-and-a-half-hour monument that resurrects E.M. Forster [...]

More From Our Brands

Access exclusive content