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FIERCE SATIRE AND MEDIOCRE SEX – Written by Edith Weiss; Directed by Susan Lyles.  Produced by And Toto Too Theatre Company (Presented at Buntport Theatre, 717 Lipan, Denver) through February 28.  Tickets available at AndTotoToo.org. 

“Pastiche – In literary usage, the term denotes a literary technique employing a generally light-hearted tongue-in-cheek imitation of another’s style; although jocular, it is usually respectful. Pastiche has become positively construed as a deliberate, witty homage or playful imitation.”  

As I was watching Edith Weiss’ collection of short plays, this was the word that came to mind.  She writes with a light-hearted touch that engenders many smiles and occasional belly laughs.  I’m thinking now of Jeff Jesmer’s frantic lovesick cricket trying desperately to find a willing partner to have sex before his time runs out.  I will never again see someone rubbing their hands together without thinking of his mournful mating call.  Edith has an eclectic mind that finds humor in everything from suicide prevention hotlines to high-borne game shows to loopholes in the path to heaven.  She has provided laughs from way back in the Chicken Lips days.  You know you’re from Denver . . . . 

My understanding is that these particular skits were written, in the most part, as part of the annual fundraising Play Crawl And Toto Too sponsors each year.  Local female playwrights are invited to submit short plays that can be performed in a store, a boutique, a restaurant in a neighborhood while the audience walks from one location to another to observe and laugh.  So as they all enjoy the same whimsical sarcastic humor, there is no tie that binds them all together.  Edith, acting as the Therapist for the audience, introduces each and then lets it roll.  

 

Hence, you are witness to a game show at which the contestants are all female Shakespearean characters answering questions about the Master himself.  A novice answering the phone at a suicide prevention clinic has just the right amount of nonchalance to provide just the right amount of prevention.  St. Laurence argues with a lazy God about overcoming certain loopholes about getting into heaven and, the aforementioned Cricket, who realizes his time is limited and he wants to get one good one in before he goes.   

What you also get is an invitation to partake in the Play Crawl this year in June to witness the new set of short and sweet skits as you walk around one of Denver’s real neighborhoods.  Watch for further announcements and plan to join in the fun. 

In the meantime, warm up to the humor of Edith Weiss and the cast she has assembled (Jeff Jesmer, Meredith Young, Sophia Badia, and Chris Kendall) to provide a winter treat at the Buntport Theatre before this short run is over. 

A WOW factor of 8.25!!  

BURNING BLUEBEARD – Written by Jay Torrence.  Produced by The Catamounts Theatre Company (Presented at the Dairy Event Center, 2590 Walnut Street, Boulder) through February 21.  Tickets available at 303-444-7328 or thedairy.org. 

In January of 1903, a consortium of composers, comics, and collaborators put together a burlesque set of scenes very loosely based on the folk tale of Bluebeard, a notorious nobleman who marries women, beds them, and then kills them.  The script contained comic depictions of the women and their reluctance to marry, a few musical numbers, and a supposed happy ending leading to the demise of the villain.  It was considered successful in its initial run and became a staple for various travelling burlesque stock companies.

One such company took it with them to Chicago later in 1903 when they were hired to be part of the opening acts at the brand-new Iroquois Theatre in downtown Chicago.  While struggling to reach an audience early in the run, when the holidays were finally over, and school was still out, the houses began to fill up.  On the day before New Year’s Eve, the house finally filled.  Its normal capacity of 1600 seated on three levels was sold to overflowing that day, with an estimated 2100 people filling the standing room only and seated in the aisles to watch the frivolity. 

Midway through the production, right after the intermission, as the comic Eddie Foy was entertaining the audience, an arc light high in the fly space above the stage flared and caught a curtain on fire.  It didn’t take long for it to spread, and flaming bits fell to the stage below.  Efforts were made to calm the audience, lower the fire curtain (it got stuck on the way down), and extinguish the fire . . . to no avail.  In no time, the interior of the theatre was filled with burning fabric, smoke, and flames.  When a backstage door was finally forced open to allow the performers to escape, the gush of wind created a fireball, that flew into the gallery and balcony area, immediately incinerating the people trying to escape but trapped. 

The upshot of the tragedy was 602 deaths, many children and their mothers, many trampled as they tried to get out the one front door or down improperly installed fire escapes.  It was a tragedy not surpassed in the United States until the incidents on 9/11.  Of course, there were arrests made because of graft covering shoddy workmanship, and bribes delivered for unreported safety issues.  None of which helped the people who came that day looking for a little bit of song – a little joke or two.  It also didn’t help the troupe of entertainers who, in spite of every effort to save people and expedite escape, were forced instead to watch as their audience died.  

Jay Torrence has recreated that fateful day in history to give the players in that troupe one last chance to finish the Act Two of the afternoon and, perhaps, just maybe, change the outcome.  Maybe if they can finish their performance, the ending will be what everyone expected and not the horrendous true events of the day.  So, they explain to this audience on this day what they hope to do and start by going back to the beginning of MR. BLUEBEARD, the skit they were performing on that day.   

 
Corny jokes and musical numbers start the performance.  Bluebeard (Sam Gilstrap) bumps off two or three of his one night only wives.  But then it’s intermission and Act Two must begin.  Try as they might, the fire starts again.  Robert Murray (Mark Collins), the Stage Manager, describes the conflagration and its progress as it is happening.  Eddie Foy (Rakeem Lawrence) tries to get everyone to calm down and return to their seats, only to condemn them to a fiery death.  Nellie Reed (Maggie Tisdale) was an aerial performer whose act was to drop in a harness from high in the wings, swinging out over the audience and dropping carnations into their laps.  She was trapped in her harness, unable to free herself.  In this version, even the Faerie Queen (Noelia Antweiler), whose magic wand was supposed to have all the answers, couldn’t help. A coda is added to the tale that offers the tiniest little bit of hope that if they continue perfecting their act, maybe someday it will come out differently. 

This is a hard play for theatre people to watch.  As a result of this event, safety measures in theatres all over the world have been regulated and improved.  Doors can only open outward; only certain kinds of paint can be used; lighting equipment has changed; safety for the performers and audience members are protected by law.  But still.  As the players sat staring out into the house with the lights of the fire playing across their faces, as a responsible theatre person, you begin thinking, “Is my theatre protected?  Could I get our audience out in time?” 

While this is a gruesome topic, it is a well-told story, wondrously performed with authenticity and tenderness by the people of Catamounts.  They are each physically committed to telling the story the way it happened over and over again, no matter how hard it is on them spiritually.  In addition to the people named, Joan Bruemmer-Holden plays the classic clown of the troupe, instrumental in getting the players to fulfill their roles from beginning to end.  This is a true ensemble as they pull the pieces together to tell both halves of the story.  In a strange, beautiful way, it is told with lyrical overtones, lovely traditional costumes, and lighting that both enhances and horrifies. 

You are left with the hope that maybe the next time they tell this tale, it really will end differently. 

A WOW factor of 8.75!! 

FOOL – THE HILARIOUS TRUE STORY OF KING LEAR – Written by Austin Techenor; Directed by Daniel Mothershed. Produced by the Greeley Garage Sale Theatre (Presented at the Family of Christ Presbyterian Church, 2410 35th Avenue, Greeley) through February 14.  Tickets available at 970-573-6332. 

I heard about the Garage Sale Theatre Company a few years ago, but I had never been able to find out when and where they were doing a show until it was over.  I was delighted when Director Daniel Mothershed reached out and let me know they were opening a show. I finally got to see one. Folks, this is high-grade community theatre. 

The group performs in a small, but apparently very active church.  They have given over the sanctuary to the huge two-story set for the show and – I am told – give their sermons from the stage.  This is a truly remarkable act of support for a production described as bawdy.  An adjective that only begins to describe the naughty fun they are having on this stage. 

Several years back, another group of friends created the Reduced Shakespeare Company, based on the success of their first script, the Complete Works of William Shakespeare, which took three slackers through the entire portfolio in 90 minutes.  If you’ve ever seen one of their scripts (including the History of the World, the Movies, the Bible, etc.), you will be prepared for the irreverent, fast-paced, totally hysterical, Loony-Tunes way they look at our most respected history.  In FOOL, playwright Tichenor has taken this Shakespearean tome over the top. 

FOOL is a Shakespeare-adjacent tale that turns the tragic story of Lear on its head by introducing a wicked little nymph called Pocket (loosely based on Puck, methinks) who maneuvers the characters in new directions to unpredictable conclusions.  It helps if you know a little about the original plot, but it is not dependent – nor really cares – if you can follow the machinations of Pocket, King Lear’s fool or clown. 

Cordelia’s sisters are still the bad guys; Lear still shouts at the wind and ends up with more relatives than he started with; and Gloucester still loses his eyes on stage.  But all portrayed on stage with comic effect, instead of the usual doom and gloom 

The added character of Pocket rules the roost.  A dancer who revels in stylized movement is entirely at home in breaking the fourth wall to explain and illustrate the reworked story.  K. Dionne has that naughty twinkle in their eyes that invites the audience to come along on this silly adventure with them.  And we do . . . gladly.  So what if they have created a new character?  They have also created a new section of back story for Lear, a back story for Pocket’s origins, and a second new character called Drool. 

Every one of the remaining eight actors – by virtue of quick changes into new costume pieces – plays as many as five other characters.  Seth Willis brings a quiet dignity (most of the time) to his Lear, despite playing a Nun in a later scene.  Leah Rohlfs sets a high mark in differentiating her four additional characters, as well as serving as Cordelia.  The other daughters – Goneril (Eli Schamane) and Regan (Amy Long) also play multiple male and female characters.  Rob Walker deserves special kudos for designing, creating, and then wearing the giant puppet character Drool.  Don’t ask, I know.  No one in Shakespeare’s plays drool. 

The set is a magnificent edifice designed by Jen Ford involving a pulpit-like second story and a small, but efficient playing space below.  The Costumes designed by Priscilla Sawicki accommodated the quick changes and kept the audience grounded in the story. 

I’m aware that one review will likely not persuade any reader to drive to Greeley to see a show.  But, remember them and, at the very least, if you do have occasion to go through Greeley, check out if they are doing a show.  I hope it reminds you that excellent theatre is being done in every hamlet in Colorado from Trinidad to Grand Junction; from Crested Butte to Creede.  Make theatre a part of your travels when you take pleasure in our beautiful state.  Not only do we have great vistas, great adventures, and great restaurants, we have great theatre all over the state.  Even in Greeley. 

A WOW factor of 8.25!! 

EXIT, PURSUED BY A BEAR – Written by Lauren Gunderson; Directed by Tamarra Nelson.  Produced by Shifted Lens Theatre Company (presented at the People’s Building, 9995 East Colfax, Aurora) through February 1.  Tickets available at thepeoplesbuilding.com. 

What do you get when you mix a stripper who quotes Shakespeare, an animal-loving wife on the verge, a gay cheerleader/best friend, and a philandering husband?  You get Lauren Gunderson’s EXIT CHASED BY A BEAR now playing at the People’s Building.  And you have a fun night out. Playwright Gunderson is known for her witty provocative look at unusual situations.  Denver audiences have enjoyed productions of THE REVOLUTIONISTS (four women during the French revolution taking refuge from the guillotine together), THE SILENT SKY (the journey of female “human computers” who tracked the stars), and THE BOOK OF WILL (a play about Shakespeare and how his plays were saved).  Her active imagination has filled theatres across the country. 

Including this witty and thoughtful dramady now playing at the People’s Building for one more weekend.  Nan is fed up with being abused by Kyle, her lout of a husband.  She has devised a plan with her best bud, Sweetheart, who is a Shakespeare lover making a living by stripping at the local joint until her big break.  They are going to immobilize Kyle and force him to watch them act out scenes of his abuse of his wife.  Then they are going to leave him in the chair, cover him with honey and spread fresh venison around the room as bait for the bears that wander around their trailer park occasionally.  Then LEAVE.   

As the evening progresses, we get a glimpse of the abuse Nan has lived through, sweetly but graphically acted by her stripper best friend.  By having her female buddy portray her male husband in these scenes, the audience gets the full picture of Nan’s life, but it’s not as torturous as watching the same scene acted out with the husband recreating the past abusive incidents.  When the true picture of Kyle’s reprehensible behavior is revealed, Nan’s decision to leave is mentally applauded by all involved, including the audience. At times, in spite of herself, Nan weakens, and you are left with “will she or won’t she.”  The fourth character is Simon, another true and loyal friend who is committed to getting his friend out of this house and Kyle’s clutches.  Scenes that revisit the couple’s courtship and early years underline Nan’s mental conflict. 

The cast of this show is extraordinary and displays total commitment to their story.  Maria Cena, as the tormented but determined Nan, makes her mood swings entirely believable and heartbreaking.  Her character’s last name is Carter, and she pays homage to her hero Jimmy Carter throughout the evening by quoting his words that reinforce her resolve to remedy her situation. She is small of stature, but as an actress, tall in talent.  Annalise Farmer, though cast against type, is glorious as a stripper who wants to be an actress and spouts Shakespeare with ease.  Including providing the inspiration for the title, a stage direction from Shakespeare’s A WINTER’S TALE. Her version of the brutal husband somehow manages to be equally appalling and funny at the same time.  Her loyalty is unflagging and her ability to improvise on the spot to control the husband’s bullshit is a joy to behold. 

The men are equally well cast.  Jysten Atom as the unflappable Simon, friend and protector, is comic relief and guardian angel wrapped up in one.  His arrival in the trailer dressed in a cheerleader’s costume with pom pom’s is comic gold.  There is never, in any way, that Jysten Atom, while cast in a supposedly minor role, is ever going to be a minor player.  He goes from role to role, each one crazily different and unique.  As one of John Moore’s “Ones to Watch,” he is cutting a wide swath through the theatrical community in diverse and charming roles.  Aiden Blank wallows in his redneck glory, sweating and cussing.  When that doesn’t work, he puts on the po’ boy charm as equally convincing.  You almost believe him.  The key here is ALMOST. 

The set of the inside of a trailer home is believable with the broken-down recliner and the TV on the wall that announces new scenes and explanations – just in case you missed something.  In homage to this adventure to independence, the play is set on the 4th of July.  Lighting designer Maxwell O’Neil and Sound Designer Ann McCarl created an impressive fireworks display. 

This evening provides many opportunities to root for all the characters.  It also keeps the suspense alive; you never quite know how it’s going to end.  It also frequently moves in unexpected directions.  Which means you are going to be guessing and pondering all the way through.  You LOVE that, don’t you!? 

A WOW factor of 8.50!! 

MONTY PYTHON’S SPAMALOT – Book and Lyrics by Eric Idle; Music by John De Prez and Eric Idle, Directed by Robert Michael Sanders; Musical Direction by Trent Hines; Choreography by Ronni Stark.  Produced by Town Hall Arts Center (2450 West Main, Littleton) through February 22.  Tickets available at 303-794-2787 or TownHallArtCenter.org. 

There seems to be a current trend toward revisiting older shows.  SHREK (from 2008) just opened in Parker.  NINE TO FIVE (also from 2008) is in rehearsal at Vintage after a successful run of MERRILY WE ROLL ALONG (debuted in 1981) last year.  BONNIE AND CLYDE (Broadway debut in 2011) opens at the People’s Building in March.  And SPAMALOT (from 2005) just opened at Town Hall Arts Center. When you haven’t seen these shows in several years, it’s fun to revisit the things that made them popular in the first place.  The witty one-liners, the now slightly-familiar music, the updated dialogue or situations that easily slide into contemporary society.  So don’t discount these shows just because you think you’ve already seen them.  Trust me when I say that these directors and players bring a new point of view to these productions.  They have found ways to make them even funnier than the first time you saw them.  Humor sometimes has a new meaning in the current social environment. 

This theory is proven concretely in Robert Michael Sander’s direction of this new production.  He pulled together a cast of mostly new-ish faces who happily followed him down new trails to Camelot.  They were brave enough to explore the joy of fart jokes, to improv at costume malfunctions, to find new ways to engage the audience.  The tropes that entertained us the first time around are still present and polished to perfection. 

One such delightful convention is the way they mimic other traditional Broadway shows.  For example, King Arthur’s introduction to the Lady of the Lake, who helped him with his sword, allows them to break into a song called “A Song That Goes Like This.”  What would normally be a sweet love song in any other show becomes an homage to every love song by describing how it is sung, how they are to interact and stand, the always-there change of key in the middle, and on and on.  The last mimic mocks how long it goes on and on.  A later song explains why “You Won’t Succeed on Broadway” without the omnipresent participation of the Jewish community.  Because Broadway is filled with “very talented people who sing and dance, often at the same time.”  Which initiates a search for supportive Jews while staring at the audience. 

In true ensemble mode, cast members change from costume to costume (all beautifully provided by Nikki Harrison and Kamla Presswalla) to become everything from Laker girls to Knights of the Round Table to Monks to Vegas show girls . . . and it all makes sense. The ones who caught my eye with their versatility include Alejandro Gutierrez whose unfortunate gastric distress created humor; the reliable Brian Murray who took on both male and female roles; Chrisnel Akele who goes from a peasant named Dennis to Sir Galahad is one swell foop; Joshua Thomason playing Lancelot who likes to dance-a-lot; Luke Fish who plays the ultra-British historian to introduce the story, then comes back as the mis-gendered Prince Herbert.   

The female ensemble members are not to be ignored for their contribution to the fun.  The six dancers (Chelly Canales, Alissa Spooner, Chloe Wheeler, Jenny Weiss, Jessica Eckenrod, and Stephanie Hesse-Howard), while light on speaking roles, danced their little booties off in ever-changing costumes.  Laker Girls, dancing mermaids, can can dancers, and Broadway characters – they fill the bill, even occasionally stepping into being hooded or masked characters of indeterminate origins. These ladies could dance! 

The lead roles were also ably filled.  The multi-talented Ben Stansy gave us an athletic King Arthur as he galloped on stage on his trusty steed, danced on Broadway and lead the search to “Find the Grail,” all the while maintaining a Kingly demeanor.  He never lets the audience forget what he and his knights are all about.  Sherean Samimi comes back to Town Hall to sing the Lady of the Lake and bemoan her unreasonably small part in Act II.  Her strong, pure voice brought life to the comic songs she was assigned. I can’t wait to see her next show.  Always my favorite character, the faithful Patsy, is ever by King Arthur’s side, even when he is not noticed.  His diligence in fulfilling every need and his demeanor in Arthur’s song “I’m All Alone” is my favorite part of the show.  It takes a lot of heart to make a good Patsy.  Caleb Reed has it. 

I also must give kudos to Ronni Stark and Kelly Kates for their choreography for the show.  Their combined experience in Broadway dance styles made the show even more fun to watch.  From cheer-leading moves to the bottle dance from FIDDLER ON THE ROOF, they incorporated appropriate styles and taught the dancers well.  Trent Hines’ hand in the musical direction is also very present.  A Hines musical signals precision, harmony, and style. 

So, all you would-be fish-schlepping, Grail-seeking, French-taunting, cow-dodging. Broadway-singing Knights Who Say Ni, gallop on down to Littleton and sing along while you look on the bright side.  You won’t be alone anymore!! 

A WOW Factor of 8.50!!