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HELLO, DOLLY – Book by Michael Stewart; Music and Lyrics by Jerry Herman; Directed by Carrie Colton; Music Direction by Mason Siders; Choreographed by Christine Zimmerman.  Produced by Candlelight Dinner Playhouse (4747 Marketplace, Johnstown) through April 4.  Tickets available at 970-744-3747 or ColoradoCandlelight.com.

Let’s start with this: I love Candlelight!  It’s one of the youngest theaters on the Front Range, so to speak, but it has that old-fashioned “real” theatre feel about it.  The generous lobby, the way you are checked in from a list of names and greeted as an old friend, the ample seating, the smell of food cooking as you arrive, the giant stage.  But, most of all, the gorgeous sets and costumes, the live band, the chance to chat with your actor/waitperson, and the total absolute professionalism of the whole place.  The productions have been a pipeline for talented UNC students/graduates to improve their professional craft and provide a harbor for Denver performers and BDT alumni.  The performers come on stage well-directed, well-trained in the dances, and well-versed in the music.

So it is with incredible sadness that I have to say that their current production of HELLO, DOLLY just missed the mark for me.  I would have thought it was just me – that I expected too much from a familiar script.  But my guest, who had never seen the show on stage, and the two perfect strangers at our table (subscribers who had seen everything for several years) had the same reaction.  At intermission, we looked at each other and said, “What’s wrong with this picture?”

There is much good about this production.  The set is well-planned and pretty.  Everything moves in and out smoothly.  The Harmonia Gardens restaurant is brightly beautiful, in spite of some sticky curtains which I’m sure have been adjusted by now.  The costumes get an A+ for color and style.  The nine-piece band provided a rousing overture and splendid support for the musical action.

The singers and dancers were well prepared and seemed to be performing exactly as directed and choreographed.

My mind goes to the lovely “Elegance” that opens Act II.  A charming, understated quartet of impostors pretending to be upper-crust snobs and having fun doing it with a simple dance.  The amazing voice of Brooklyn Buhre, who plays Irene Malloy, the milliner in the younger love story, sang the touching “Ribbons Down My Back.”  The grace of Jerod Mose as Cornelius, who knew what he wanted and found it in Irene.  His rendering of “It Only Takes a Moment” is unforgettable.  Roy Marcus, making a Candlelight debut, captures the agitated confusion of Horace, a man being backed into a wedding he didn’t know he wanted.  And, of course, Melissa Williams, who displayed the loneliness of a woman alone, the longing for love, and the seriousness of her role as resident busybody.

So what’s wrong, you ask?  It seems that, in-between those winning numbers, in an effort to add funniness to the proceedings, it was decided – as recorded in the director’s notes – to infuse the production with “the long tradition of clowning.”  It feels like, in the hope of creating burlesque-style slapstick moments with silly voices, funny walks, and Keystone Kop-like antics and dancing, the honest, sweet humor of the characters and situations they found themselves in got a little lost.  Which left the audience, at least the ones at my table, confused and a little bewildered.  Is this Commedia del’Arte, a panto, burlesque, or Dolly as we know and love her?

This is only one person’s opinion.  Please don’t let it keep you from this production.  The people at the table next to us were laughing all evening and enjoying themselves.  I’ve said, for years, that your enjoyment of theatre all depends on what you bring to the table.  I just found this production not up to the standards Candlelight has set for themselves and what I have come to expect in their productions.  But I can’t wait for ANYTHING GOES!!

A WOW factor of 8! .

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!! 

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!! 

THE SHARK IS BROKEN – Written by Ian Shaw and Joseph Nixon; Directed by Luke Rahmsdorff-Terry.  Produced by Vintage Theatre Productions (1468 Dayton Street, Aurora) through February 15.  Tickets available at 303-856-7830 or VintageTheatre.org. 

The art of conversation.  Put three men in a room (or a boat) with time to kill and what will they talk about.  What they’ve done in the past – what they want to do in the future – the women they’ve known – the women they would like to know.  Once you get past the superficial, it narrows down to their insecurities, their fears, their desire for legacy, and silly pub games. 

What makes it interesting is when the men are three actors involved in the making of a low-budget movie in various stages of their lives and careers.  During the making of JAWS, the principal actors – Richard Dreyfus, Roy Scheider, and Robert Shaw – are often relegated to the prop boat cabin that had been constructed for the movie. Because of the constant repairs that had to be made to the three mechanical sharks used for the shoot, they ended up spending a lot of time together.   

Dreyfuss was at the beginning of his career (then 28), a little bit in awe of the men he shared time with, and anxious for a big role that would make him a star.  As portrayed by Graham Bryant, he was cocky, yet insecure, all at the same time.  He captured Dreyfuss’ nervousness perfectly by scratching, running his hands through his hair, and talking endlessly about himself.   It’s uncanny how much Bryant looked like Dreyfuss and caught his essence at this time in his life.  The reviews Dreyfuss got mid-shoot for the movie he had just finished bolstered his confidence and made him even more arrogant.  But with good reason.

 Dreyfuss has had a long and successful.  My prediction is that Bryant will as well. 

Evan Marquez as Roy Scheider provided the calming presence needed between the annoying Dreyfus and the hot-headed Irish Shaw.  With a book in his hand and a knowing smile, he would watch the two others spar until he had to step in between them.  This Scheider had already broken through to leading roles such as THE FRENCH CONNECTION a few years before and was secure in a career that led him to featured roles in 61 movies and an equal number of television roles.  Marquez’s Scheider was quiet, calm, willing to contribute to the conversations, but also equally at home on his own. 

Robert Shaw, on the other hand, had had a successful career by this time in both movies and theatre.  He was a prolific writer as well, completing screenplays, theatrical plays, and novels.  He was older (then 48) having worked at his career since he was 24.  He was tired of making films and not willing to put up with much foolishness.  Austin Terrell gave him just the right amount of gruffness and fatigue, both mental and physical.  Shaw actually died only three years later. Terrell brings a hardiness and a confidence to his character born from his own prolific career. 

Director Luke Rahmsdorff-Terry brought the funny out of his actors and found the heart of the script.  The audience genuinely likes all three characters by the end of the evening and wishes them well on their continuing careers.  He is ably supported by Lexi Renfro , who designed and built “a bigger boat” for the show.  Russ Kirby created a sound ambience that greatly enhanced the sense of being on or near the ocean. His use of the creepy clips from the infamous soundtrack brought the whole thing home.  Somehow, the giant oceanic mural, painted by Bernie Richard, combined with the lighting design by Emily Maddox, seemed to gently move behind the boat.   

A fun evening providing a backstage look at a favorite film – who could ask for more? 

A WOW factor of 8.75!! 

DRACULA, A COMEDY OF TERRORS – Written by Gordon Greenberg and Steve Rosen; Directed by Gordon Greenberg.  Produced by the Denver Center for the Performing Arts Cabaret (Presented at the Garner Galleria Theatre, 14th and Curtis, Denver) through May 10.  Tickets available at 303-893-4100 or DenverCenter.org. 

I’ll say this for him – Marco Alberto Robinson is the prettiest vampire you’ll ever see.  And he knows it!  He loves flaunting his super-naturally gorgeous physique.  The shirt is off at the slightest suggestion.  Move over, Tom Cruise.  Marco’s in town!  It doesn’t hurt that he has a wicked sense of humor, impeccable timing, and a self-deprecating attitude that delights. 

The cast of this hysterically bloodthirsty comedy is bolstered by a number of equally pretty players, including Marco’s beautiful and talented wife, Adiane Leigh Robinson; Sean Scrutchins (no slouch in the looks department himself); the always hilarious Leslie O’Carroll; and the versatile cutesy pie, Zach Kononov.  Between the five of them, they create at least a dozen wildly diverse characters and various sound effects.  It’s a quick-change costume comedy aided and abetted by puppets, breakaway costumes, and (I’m guessing) a backstage crew of helpful hands. 

A fast-moving show such as this, while listing no choreographer for dance moves, most certainly had one for costume changes.  Unless you count getting out of his shirt and re-dressing, Dracula himself is the only one who doesn’t take part in this backstage tango.  Probably because it would be impossible to quick-change those tight leather pants. 

The story follows loosely the original Bram Stoker novel – for the most part.  Being told by an abbreviated cast means that women play male characters and men don curly wigs throughout.  Occasionally on stage.  There are sight gags, double entendres galore, and enough naughtiness that it’s best to leave the kids at home for this one. 

It takes a village to put up the simplest of shows.  But this show ain’t simple.  Even though it looks like the cast is doing most of the work, Stage Managers Alina Goodman is calling the shots from the booth while Kaden Dolph is keeping the backstage under control.  To say nothing of the work that went into pulling the show together in the first place.  The versatile set and the helpful puppets were designed by Tijana Bjelajac. There is original music and sound effects by Victoria Delorio, both were assisted by long-time DCPA designer Lisa Orzolek.  The “easy on-easy off” costumes were designed by Tristan Raines, assisted by local designer Meghan Anderson Doyle.  The whole shebang was kept moving and kept funny by the playwright Gordon Greenberg in the directing role.  This is a village that worked well together with the cast to create an out-of-the ordinary production for the holiday season and beyond. Denver is blessed with a long run for this witty superlative comedy, giving everyone an ample opportunity to catch the fun.  But no kidding – leave the kids at home. 

A WOW FACTOR of 8.75!!