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THE LAST NIGHT OF RED BARKER – Written by Jeff Neuman; Directed by Amanda Berg Wilson.  Produced by the Catamounts (Presented at the Westminster Grange Hall, 3935 West 73^rd Avenue, Westminster) through November 2.  Tickets available at thecatamounts/well-attended.com. 

Lloyd (Red) Barker was a titular member of the infamous Barker Gang of the 30’s and 40’s Midwest.  Titular because he was born into the family of Arrie (Ma) and George Barker, but rarely took an active part in their bank robberies or kidnappings.  An early attempt at robbing the mail landed him in Leavenworth for 16 years, a sentence that taught him the error of his early ways and kept him (for the most part) on the straight and narrow after release. 

The audience knows this is Red’s last night going into the adventure.  Our journey is to find out why.  We meet Red (Jason Maxwell) at his last job – as a bartender at the Denargo Grill, probably close to the old Denargo Market in LoDo.  It is obvious that he is concerned over the phone calls he keeps getting from his upset wife until his boss Charlie (Sam Gilstrap) puts an end to her disturbance.  Even then, Red defends her to Charlie and acknowledges that she has “spells” that he has learned to live with.  When Charlie leaves, the Spanish character that symbolizes Dia de Muertos comes calling with her siren song.  She leads Red and the audience on a stroll through an adjacent park where scenes from Red’s life are revisited. 

At the first stop on our ghostly journey, we meet his younger brother Herman (John Hauser) who is neck-deep in the gang’s work and tries to recruit Red back into the fold.  Herman has been deceased since 1927 when he committed suicide to keep from being taken in by the police.  We next see an interaction between Red and his cellmate in Leavenworth (Don Randle), a man so desperate for proof that there is a world outside prison that he begs to read Red’s letters from his mother and smells them first, just to remember what outside smelled like.  Each stop along the way illustrates another thing that Red has learned. 

The third stop gives us a scene between Red who has gotten a job as a guard at the Ameche Internment Camp during WWII and one of his female detainees (Min Kyung Kim).  She wants to go outside the gate to get a medicinal plant that would help her father.  He stops her but when he hears her story and talks to her about her art, he lets her go.  It was such a touching scene that I wanted to tell him that it was a nice thing he did but found that I was so choked up that I couldn’t.  We’ve learned along the way that Red has a gentle soul and trying very hard to be a better man. 

Inside the Grange Hall, we finally meet Ma Barker (Emma Messenger) who was killed in an FBI shootout in 1935.  She has a great deal of affection for Red but doesn’t agree with his lifestyle and doesn’t like the woman he married.  She warns him that the only women men can ever trust are their Mothers.  But her love of her sons seems wrapped around what they can do for her without consideration of what it is doing to them.  He finally has a cookie and heads for home to confront his angry wife.  It is there that he meets his maker as we hear three gunshots after he enters the house.  A final scene memorializes Red for all of us as we have become his last friends. 

It’s a thoughtful piece about the decisions that people make that can impact the rest of their lives.  By virtue of Jason Maxwell’s considered understated performance as Red, we have all grown to know him as a good man.  Even his last act, as he squares his shoulders to face his wife and talk her down from her craziness, is an act of hope and kindness.  He just wasn’t successful, and she ended up in a mental asylum.  Everyone else along the way also contributed to our picture of Red as honorable.  John Hauser was a very persuasive younger brother but Red turned away without turning his back on his brother. Don Randle as Red’s cellmate put up a good facade of accepting his life sentence but his anxious body language gave him away.  The scene between Red and the lovely young Japanese girl beautifully illustrated how he had moved into kindness as a way of life despite his position as a guard to people who had done nothing to be locked up.  She had found a way to make their prison tolerable and shared it with him.  Even his conversation with his mother as she washed socks and “other” items allowed him to stand up to her demands and make his own way out the door.  Neuman’s vignettes from Red’s life were well conceived to illustrate his journey from kinda good to much better in a realistic way. 

By day, it’s a lovely park to stroll through.  With the understated lighting by Zoe Gidiere and the live music provided by Nika Garcia as our ghostly guide, it turns into a different setting altogether.  When you go, be sure to take a jacket and flat shoes; part of the path is not paved.  The nights are getting chilly and you are outside most of the time. 

A WOW factor of 8.25!! 

AROUND THE WORLD IN 80 DAYS – Adapted by Mark Brown from the novel by Jules Verne; Directed by Richard R. Cowden .  Produced by the Aurora Fox Arts Center (9900 East Colfax, Aurora) through October 27.  Tickets available at 303-739-1970 or AuroraFoxArtsCenter.org. 

What can you do with about eight boxes of varying sizes, some old rugs and blankets, and a few ropes?  Under the brilliant guidance of Director Richard Cowden and the technical genius of Brandon Case and his team, you can make a runaway train, a hot air balloon, and an elephant among other things.  These were all part of Phineas Fogg’s trip around the world in an 80-day journey.  It is estimated that a flight around the world today would take a little more than 46 hours. But this story is set in 1872.  

That sets up the script.  Then throw five incredibly talented actors into the mix and you’ve got a show. Director Cowden kept the cast moving through the character-building exposition, the discussion among friends that prompted the impromptu trip, and then the journey itself.  While we do not doubt that Fogg and his newly hired valet, Passepartout, will be able to complete the trip, the adventures they have along the way could not have been predicted.  To complicate matters, a Scotland Yard detective named Fix is following them because of a mistaken belief that Fogg was traveling with stolen money.  Then to make the journey even more perilous, in India, they rescue a woman about to be burned on her dead husband’s pyre and take her with them. The tale is replete with obstacles that need to be solved and overcome in creative methods. 

All five actors are making their Aurora Fox debuts, but how easily they work together as a cast telling the story while making all the set pieces out of the above-mentioned boxes, etc. In front of the audience.  Bill Diggle is a methodical, almost prissy Phineas Fogg.  He is unflappable with faith that all difficulties will be resolved by either ingenuity or money.  His growing relationship with his valet and his new traveling companion takes a little of the stiffness out of his upper lip, but he remains true to his character to the end. 

Matthew Murry is fast becoming one of my favorite actors to watch on stage. His turn as E.M. Forster in THE INHERITANCE was a study in calm deliberation.  This role has him running, jumping, and performing all sorts of crazy stunts as well as being in the subservient role of a valet.  He did it all with charm and athleticism.  Maya Jairam also makes an impressive debut at the Fox after gaining considerable experience in Fort Collins theatres.  She riffs between street people and the rescued East Indian woman Aouda with flexibility.  She is charming in both a sari and a proper English woman’s suit. 

I’m pleased that I was present on the day that the swing for the character of Detective Fix – Joseph Steiner – took a turn in the role.  Normally played by Grant Bowman who this day took on the task of putting the boxes in the right place at the right time to represent the modes of travel.  Joseph did an excellent job of portraying the frustration of Detective Ha Ha Fix as he plays catch up to Fogg on their mutual journey.  Fix too is a very athletic role that Steiner took in stride.  I’m sorry I didn’t get to see Grant in the role, but I’ve seen him perform any number of characters in nearly every theatre in town.  I know how good he is. 

This leaves Brian Watson who describes his character(s) as “Everyone Else.”  This includes gnarly sailors, English gentlemen, cowboys, and train engineers – in other words, fourteen versions of the necessary everyone else.  He too proved to be an athletic actor performing quick costume changes, adapting boxes into set pieces, and making the whole thing come together.  Brian is a versatile actor who, as far as I can tell, can do darn near anything he wants on stage and does it well. 

True brilliance was shown in the construction of this show.  The simplicity of the sets was complimented by an amazing set of projections against the screened back wall.  I’ve not seen anything in Denver as beautiful as the ocean scenes were toward the end of the show when they are rushing to get home in time.  A very subtle sound design by Patricia Mondragon allowed you to believe that the water was breaking on the shore and was close enough to come over the edge of the stage.  Truly subtle and amazing – good work!  Linda Morken also provided a full range of costumes for all 39 characters from top hats to cowboy hats. 

This season at the Fox is getting off to a great start.  This is a great way to spend an evening at the theatre. 

A WOW factor of 8.50!! 

ROCKY HORROR SHOW – Music, Lyrics and Book by Richard O’Brien; Directed by Kelly McAllister.  Produced by Stagedoor Theatre Company (25797 Conifer Road, Conifer) through October 26.  Tickets available at stagedoortheatre.org. 

Let’s be perfectly clear from the get-go: ROCKY HORROR SHOW is not my favorite show.  In fact, it’s pretty high on the list of shows I’m not crazy about.  But some shows seem to have a mystique about them that actors who have performed in them adore.  Rocky seems to be one of them.  Since its premiere in London in 1973, it has gained cult status with multiple productions across the country usually around Halloween.  Its longevity and honored place in the catalog of shows every theatre MUST do at least once has moved it to the top of the mountain of cult favorites. 

It was bold and ground-breaking in 1975 when the movie version was released.  To the outsider, it is ridiculously campy, misrepresentational of transgender folk, outdated in its attempts at shock value, and hopelessly convoluted plot-wise.  Before I go all crazy on the piece, let me state that I understand the social significance of works like Rocky.  It was written 49 years ago in 1973 when outward gayness was rewarded with time in jail. When cross-dressing was a criminal perversion.  When women wore aprons and men only wore dresses in the privacy of their bedroom.  Rocky’s outrageous costumes (or almost lack thereof), language, sentiments, and sexual statements helped break the mold – open the door – for the community at that time. Even today, the freedom of self-expression, sexual freedom, fluid gender identities, and other-ness acceptance is an ongoing struggle.  If Rocky speaks to teenagers and “others” who are slow in finding their place in the world, then more power to it.

To make a quick stumbling synopsis of the confusing story, two innocents – Janet and Brad – find themselves stranded on a dark and stormy night.  They seek shelter in a dark and stormy mansion populated by a mixed set of aliens and sexually ambiguous creatures.  The top dog is Frank-n-Furter who has created a perfect male robot named Rocky as his sex toy.  But Rocky’s naivete and willingness to experiment with his new body gets him initiated into the pleasures of the flesh pretty quickly.  Taking many of the other characters with him.  Until they all fly off into space to return to their home planet. 

The recent production at Conifer’s Stagedoor Theatre encourages – nay, almost demands – audience participation.  This means the audience is taught the Time Warp dance before the show and encouraged to get up and dance in the aisles when it arrives.  They also encourage bringing or buying prop bags that contain tools like glow sticks, confetti, toilet paper, playing cards, and other assorted items that could be hurled onto the stage on designated lines.  There were call-and-response gambits throughout that were to be delivered by the audience on cue.  For instance, every time Janet’s name was uttered, the whole audience responds by shouting “Slut!”  and so on.  This gave the audience a lot of fun, but even the actors admitted to me after the show that it was a little distracting to those on stage.  Even when they knew it was coming.  They felt like they had to wait for the audience’s response before they could move to their next line. It was also confusing for those members of the audience who were Rocky virgins and didn’t know the secret language. It made the evening feel choppy and disjointed.  But that’s the way it’s supposed to be done, according to the Rocky rules. 

 Roger Ebert, a noted film critic, described the movie made from the original script in 1975 as “a horror-rock-transvestite-camp-omnisexual-musical parody.” That just about sums it up.  Even the staid BBC asks in a review of the original play: “Will it appeal to everyone? Certainly not. But for those willing to experiment with something a little bit different, a little bit outré, The Rocky Horror Show has a lot to offer.”

So, if you are curious or determined to see one of the Rocky’s being performed on this 49^th anniversary year, there’s plenty to choose from in this Denver Halloween theatre scene. The Conifer version is a lively, energetic, very sexy, compelling production that both the actors and audience seemed to enjoy sharing. Ignore the caution of an old lady. 

A WOW factor of 8!! 

CABARET – Book by Joe Masteroff; Music by John Kander; Lyrics by Fred Ebb; Directed and Choreographed by Kelly Van Oosbree; Music Direction by Bonnie Simcox.  Produced by Platte Valley Players (presented at The Armory, 300 Strong Street, Brighton) through Oct 19.  Tickets available at plattevalleyplayers.org. 

Any passionate play-goer worth their salt probably sees this show at least once every few years.  We all know the story of Sally and Cliff, the young lovers; Fraulein Schneider and Herr Schultz, the younger lover; and the puppeteer Emcee pulling the strings.  No point in explaining the story that you already know.  I will barely mention how relevant the story seems this year and this month. 

It remains only to tell you about the cast you will see creating these familiar characters.  Director Kelly Van Oosbree has gained a reputation for putting way-above-average productions together, attracting the best performers, creating tightly synchronized dancing ensembles, devising creative ways of adding to while telling the story, and building a village with people who can’t wait to work with her again.  Every Van Oosbree show is carefully designed with no detail overlooked. 

This is really Sally’s story.  In Abby Kochevar, the director has found a dancer whose every move, with or without music, is a statement in grace and confidence.  Even with Sally’s facade of a devil-may-care showgirl from England in pre-Nazi Germany, you still get flashes of the fear underneath.  An early hint is her admission to Cliff (Tyler Strickland) after she has bulled her way into his flat that she was terrified that he would not let her stay.  Such a poignant tone to her confession of needing to be needed.  As time passes and a sort of love blooms, the audience still detects her insecurity, her fear of the future, and her hesitancy to commit.  At a pivotal point, she must face who she is and what it is she has with Cliff.  As the emcee sings “I Don’t Care Much,” her path to a decision is written across her face as tears roll down her cheeks. 

The same is true of Jeffrey Parker as the Emcee.  Aware but unbothered by the coming troubles.  “What does it have to do with me?”  Being too smart to believe his own declarations, he seeks to solidify his safety by playing the game.  He includes anti-Jewish songs and jokes in his cabaret and becomes the gayest (as in fun-loving) guy on the block.  But still in the slight hesitations that creep into his dialogue, in his forlorn looks out into the audience, we learn that he knows what’s happening.  This doesn’t keep the stunned “What happened?” look off his face when the end comes. 

Juxtaposed against the story of fated love is played a corresponding story of two older people who have found a late-in-life joy with a little schnapps and a little fruit.  Joel Silverman and Jennifer Burnett bring smiles and tears with the predicament of a German citizen depending on government permission for her livelihood loving a Jewish (while also German) shopkeeper.  Jennifer’s rendition of “What Would You Do?” – a most difficult story song – is one of the best I’ve heard.  Joel’s pleading to her breaks his heart and yours. 

The supporting cast of Kit Kat Boys and Girls provide strong backup for the novelty club songs.  Adam Luhrs is a suitably smarmy Ernst; Sarah Kit Farrell is a hoot as a horny and hard-working Fraulein Kost. 

The Armory provides a perfect space for the action with the 15-piece Kit Kat Band on the stage behind a glittery curtain and the area in front of the stage easily becoming a dance floor, Cliff’s humble room, Fraulein Schneider’s flat, and all the other locales required.  The glittering marquee designed by Arvada Center’s Brian Mallgrave creates a false sense of gaiety and class.  The proceedings are greatly enhanced by the lighting design of Mandy Heath augmented by multiple follow spots and a very light fog that moved the whole picture out of reality. The pretty costumes designed by Nicole Harrison are almost too nice for the occasion.  My thought was that Victor, the club owner, must be doing very well to afford such pretty outfits for the dancers. 

It’s only about a 20-minute drive to Brighton.  Lots of great restaurants up and down Bridge Street.  You won’t regret a trip north to see this accomplished cast and beautiful production. 

A WOW factor of 8.75!! 

SHERLOCK HOLMES AND THE ADVENTURE OF THE ELUSIVE EAR – Written by David MacGregor; Directed by Heather Beasley.  Produced by Miners Alley Performing Arts Center (1100 Miners Alley, Golden) through November 10.  Tickets available at 303-935-3044 or minersalley.com. 

Sherlock Holmes has met his match!!  And he loves it.  This latest saga in the Holmes catalog of cases takes place later in his life after he and actress Irene Adler have found each other and are living together on Baker Street, much to the chagrin and embarrassment of Dr. Watson.  But what a delightful threesome they make.  Working together to solve crimes to make enough money to keep the wolves from the door.  Watson puts a great emphasis on finding interesting cases to solve so he can write about them so they can pay the rent.  While Holmes and Adler seem content to just be together and indulge in a little hanky-panky.  

But as fate would have it, good cases seem to fall in their lap and, once again, the game is afoot.  But for this one they don’t even have to leave their delightful flat on Baker Street.  And what a homey place it is in which they live.  The resident set designer Jonathan Scott-McKean and Set Dressing pro Samantha Piel outdid themselves in creating this lovely Victorian habitat complete with the bits and bobs that one picks up on a well-lived and well-traveled life, as well as the signature props from the Holmes history.  It is comfortable, colorful, and charming. 

Vincent Van Gogh comes a-calling asking for help to find the “elusive ear” that he chopped off.  Despite the stories that circulated as to why he would commit such self-destruction, the truth was he yearned to give his lady love a “piece of himself,” but then lost it in the hubbub the act created.  The lady love in question, Marie Chartier, shows up herself but not to help look for the ear.  She has a devious long-term plan regarding Van Gogh’s art, not his heart.  She also has her own personal ax to grind with Holmes but chooses to use a rapier instead of a hatchet.  In a charming twist, the ear is found in the most unexpected place and the truth comes out (somewhat) about the devious Marie.  Along the way, Oscar Wilde also shows up to share a bon mot or two and a little opium with Watson. 

The actors in the company are having so much fun telling this story and invite the audience into the parlor to join in the festivities.  It is a little odd to see your old favorite Holmes behaving as a young man in love, but it also makes him more human and likable, less stuffy than usual.  Christian Ray Robinson finds all the levels of this familiar character and makes them his own.  He may be a new lover, but he is also a serious detector of the facts and analyst of the clues.  Just a little less serious this time around; I very much like this new Holmes.  The reason for the changes is the beautiful and equally talented Irene Adler, played with a whimsical sense of humor and a down-to-earth outlook on life and moralities, even in Victorian days.  Colleen Lee is beautiful, smart, and an excellent swordswoman.  She creates a totally new environment in which the familiar characters of Holmes and Watson live.  Denver favorite Chas Lederer gives a rousing portrayal of Watson, fussy over bills, embarrassed over the behavior of his flat-mates, and bewildered by this turn of affairs. 

The historical figures introduced into the script are given authentic life by John Wittbrodt as a scruffy desperate Van Gogh and Ryan Omar Stack as an outrageous and colorful Wilde.  What a pair of opposites they are!  The evilness herself Marie Chartier is a new character brought to active and devious life by Erika Mori.  One can only hope that she will show up in the continuing adventures of Holmes, as his villains so often do. 

This is not a play that will change the world, but it’s a jolly good way to spend an enjoyable evening laughing with friends on the stage. 

A WOW factor of 8.50!! 

I AM NOT YOUR PERFECT MEXICAN DAUGHTER – Written by Isaac Gomez; Directed by Laura Alcala Baker.  Produced by the Denver Center Theatre Company (Presented in the Kilstrom Theatre, 14^th and Curtis, Denver) through November 3.  Tickets available at 303-893-4100 or Denvercenter.org. 

This production conducts a deep dive into the psyche of a troubled Hispanic teenager who seems to have a lot of life’s tribulations stacked against her much too early.  For instance, the play starts at the funeral of her nearly perfect older sister (by about seven or eight years).  Her personal grief and guilt are overwhelming especially when compounded by a silent father, a critical mother, and the pressures put upon teenagers to “grow up” too fast.  No, she is not perfect, but she is trying to do her best to survive her own life. 

A surprising and unexpected segment of family history is revealed late in the show that offers some explanation for the strained family relationships.  Almost too late to help Julia weather these storms.  From the scenes at the funeral, with the deceased sister weaving in and out of the proceedings, through Julia’s return to school and her friend’s reactions to what has happened to her, to her unwanted Quinceanera, to her first boyfriend, her life bumps along.  After finding unexpected things in her sister’s room, she becomes like the proverbial dog with a bone in trying to figure out who her sister really was.  The woman she uncovers is not the sister she thought she grew up with and it nearly destroys her.  Caring relatives in the homeland teach her unconditional love and provides a positive tipping point in her personal growth. 

The acting in this production by the nearly all-Hispanic cast is outstanding.  Rosa Isabella Salvatierra, while an experienced actress with years of work under her belt, inhabits the teenage Julia with grace and appropriate awkwardness.  Her hesitation at entering a relationship with her Anglo classmate is palpable and authentic.  She is delightfully self-deprecating and realistic about her reluctance to “grow up,” to accept her Mom for who she is, to disagree with her bestie but still love her, and to face that this is a part of her life that she will live through and eventually forgive. 

As parents, her mother, Nicole Betancourt, and father, Alex Alpharaoh, are hard to understand until you learn their own hardship story.  They play both the distant parents and the loving with equal honesty.  Heather Lee Echeverria plays the sister who never really gives up on trying to help Julia from beyond and seems to rejoice in the insights and progress she continues to make.  Her best friends in school are played with sass and over-the-top drama.  Brandon Rivera as Juanga plays a typical high schooler using his gayness for attention while Tanya De Leon is his partner in crime being as outrageous as he is for effect.  The Anglo’s in the cast, John Plumpis as an understanding and supportive teacher for Julia, and Daniel Clark as Conner who introduces Julia to the joys of young love, are also completely authentic in creating the positives in her life. 

As always, the technical aspects of the show are spectacular, using the full capability of the pit under the in-the-round stage with things rising out of the floor and flying in from above.  In one case, the upper part of the staging lowers almost to the ground seeming to literally crush Julia without actually touching her.  A circular stage reminds one of the adage that you can draw circles that keep people in and that can also keep people out.  Julia moves in and out of her own life circles, sometimes closing in but eventually opening to allow her a new place in life. 

A WOW factor of 8.5!! 

STOCKADE – Written by Andrew Rosendorf with Carlyn Aquiline; Directed by Christy Montour-Larson.  Produced by Local Theatre Company (Presented at the Dairy Center, 2590 Walnut Street, Boulder) through October 13.  Tickets available at office@thedairy.org. 

A group of gay WWII veterans have been invited to a weekend reunion by the sister of one of the group who did not make it home.  She had found a satchel of letters he had received from all of them when the service had separated them.  Her intention is to publish them in a biography of her twin brother.  As the script is set in the era of the McCarthy investigations, this is not good news for any of them.  She has no idea what the exposure of their sexuality could do to them – wreck careers, initiate prison sentences as perverts and security risks, destroy marriages, and demolish hopes and dreams. 

The group consists of a closeted rocket scientist; a lesbian communist, a closeted married gay man who works for the government; a potential drag queen and one more pretty far out (of the closet) gay man.  A potpourri of perversity in the eyes of the all-seeing FBI of the day.  Barb, the twin sister to Billy who died under unexplainable circumstances, represents the accepting but unschooled straight population.  She only wants to honor the brother that she loves.  The others loved him too, but their personal fears outweigh their desire to pay homage to their heroic friend.  As those letters reflect their real feelings and desires, they know firsthand the personal danger that exposure could lead to.  One of their number has already spent time in prison because of being found out. 

The cast takes this story to task and brings heartfelt portrayals of this group of people to life.  Their camaraderie and obvious affection for each other, their familiarity with their history, their acknowledgement of the on-going difficulty of the life they are forced to live – all ring true in their personal gift to the playwright.  Yet within this group lurks a traitor and a person who could create chaos for the whole gathering.  Simone St. John takes on a surprising dual role with ease and gives us additional insight into the sweet kind brother she lost.  Alex Gould’s cries from inside his prison cell break your heart.  Lisa Hori-Garcia is a feisty outspoken rebel who must still back away from exposure.  Jacob Sorling sadly plays a man in double jeopardy.  He has both a job and a marriage that he wants to keep.  Rakeem Lawrence is a shy (sort of) would-be drag queen in homage to the likes of Eartha Kitt and Lena Horne.  And Thadd Krueger is a pitiful man caught in a no-win situation until he finds his strength.  He gives us the most powerful three minutes at the end of the play that this viewer has seen in a long time. 

The memories of Billy prove him to be the personal and war hero he was to all his comrades.  He was a mentor, a therapist, understanding, kind, the person you could take your problems to . . . in other words, a true friend to them all. They counted on him and leaned on him. It’s no wonder they revere him and that it’s so hard to give up on the idea of honoring him. 

It seems to be more acceptable and a little easier to live a gay life today. After all, gay men and women have taken notable roles in government, entertainment, and all phases of modern life.  In that respect, the story may seem dated and redundant.  But a conversation with a young person set me straight on the importance of honoring those who came before.  “I didn’t know it was like this.  This play opened my eyes to what people went through so that I could live my open life.”  So even though it delves into a history (hopefully) long gone, it also brings back the specter of what could come again if we don’t keep hold of these hard-fought-for advances. 

A special pat on the back to the unknown person who makes the dramatic final scene so touching night after night.  See the play and you’ll know what I mean. 

A WOW factor of 8.25!! 

DRACULA , A FEMINIST REVENGE FANTASY . . . REALLY – Written by Kate Hamill; Directed by Carolyn Howarth.  Produced by The Arvada Center (6901 Wadsworth Boulevard, Arvada) through November 3^rd.  Tickets available at 720-898-7200 or ArvadaCenter.org. 

Kate Hamill does not let any grass grow under her feet.  In addition to the plays she has in publication, she has at least five or six other projects in various stages of completion.  She continues to act in her own plays and those of other people and is also currently working on a movie script.  Of her considerable catalog featuring original works and adaptations (with a twist) of classic novels, only four (soon to be five with an upcoming November production of LITTLE WOMEN) have been done along the Front Range.  Once you’ve seen a Hamill version of anything, you’re spoiled for any other. 

DRACULA brings a whole new bent to the original Bram Stoker manuscript.  Starting off with the traditional pursuit of feminine victims and subjugation of all to his will, with the arrival of an angry (and pregnant) Mina Harker and a ferocious Doctor Van Helsing, vampire hunter extraordinaire, the pendulum swings.  Watching the forces of evil run smack into a wall of resistance not experienced before brings whoops of support from the female audience members. 

That description, however, makes the whole thing sound deadly serious.  This script and this production walk the tightrope between horror and hilarity.  There is a lot of blood on the floor and all over costumes at the end of the day – but getting there has been a royal hoot.  Director Howarth has caught exactly the right tone of implied danger and sly amusement.  It seems the actors are harboring a chuckle in the back of their throat and saying to themselves, “Isn’t this the goofiest thing we’ve ever done and aren’t we having fun doing it!!”  Watching Dracula (Geoffrey Kent) parading around in his new white suit as though he’s warming up for a runway is too precious.  To watch Dracula’s two female minions (Mel Schaffer and Katrina Stelk) walk around with blood all over their clothes after having “dinner” just makes you groan and laugh at the same time.  It’s so over the top. 

Prentiss Benjamin brings a prestigious ferocity to the usually male character of Dr. Van Helsing.  She is the Sundance Kid, an Easy Rider, Thelma AND Louise, and Mad Max’s Mama all rolled into one.  She and her never-ending supply of silver dust and wooden stakes are not to be discounted as “just a woman.”  Once she arrives, whether he wants to admit it or not, Dracula knows he has met his match.  It’s only a matter of time until one of them turns to dust.  No holds barred in their final match-up. 

Everyone in this cast brings their A game to the party.  Jessica Austgen is a pitiful but hopeful Renfield in her partial strait jacket and her sugar drawings.  Her sarcasm runs rampant, but her longing for acceptance is touching. Jessica was born a sprite, a wisp of light, barely managing connection with the floor at times.  What a joy to watch!   

Annie Barbour and Noelia Antweiler enjoy the ease of old friends with no secrets as Mina and Lucy.  Unfortunately, Lucy’s passionate nature and unfulfilled potential cause her to make choices that lead her down a frightening path.  Noelia exhibits an unusual talent that adds an exciting colorful scene to the usual black and white of the evening.  Lucy is all for fun and pleasure; Mina is serious and growing matronly.  That too takes an exciting turn as she realizes no one else is going to save her; she’s got to do it herself.  Both women excel and move comfortably in the changes of character the roles demand. 

As the two overwhelmed men in the production, Lance Rasmussen is overcome in his role as Jonathan Harker, Mina’s husband and Dracula’s breakfast.  He was not born with the backbone of a vampire hunter and succumbs too easily to have lasted as Mina the Fierce’s husband.  Gareth Saxe (who, may I say, gets better looking with every year that goes by) does his best with the challenge facing him as Dr. George Seward.  As hard as he tries to hang on to the science he depends on, it eventually dissolves with the supernatural happenings for which he can find no explanation.  To watch him finally give in to the mystery he’s living is like watching the world move off its axis. 

As enjoyable as all this work is in the watching, the night belongs to Dracula in the persona of Geoffrey Kent.  Cocky, superior, confident, gruesome, evil but lovable, he’s like a four year old with a new toy.  He never questions that he is indestructible and will ultimately get everything he wants . . . yet takes delighted pleasure when it actually happens.  Then he will turn off the charm and do something so utterly cruel and heinous that you can’t believe it’s the same actor.  No dusty coffins for this Dracula, no gloomy black cloaks and fangs.  He’s like a snowflake in a sunbeam.  No wonder he gets everything he wants.  Almost. 

Such a beautiful environment has been created for all these creepy and righteous characters to play in. Tina Anderson’s glorious curtain draped palace is a wonder to behold and plays against type from the usual Dracula digs.  Clare Henkel’s costumes add to the lightened look of this dark tale with whites (to show the blood) and grimy coveralls for the already-gone minions.  Van Helsing’s leathers and holsters bring to mind a female Indiana Jones.  The whole production is

bathed in light and love.  And blood. 

A WOW factor of 9!! 

RAGTIME –  Book by Terrence McNally; Music by Stephen Flaherty, Lyrics by Lenn Ahrens; Directed and Choreographed by Carrie Colton; Music Direction by Jordan Ortman.  Produced by Metropolitan State University of Denver Theatre, Dance and Music Departments (7^th and Walnut, Denver) through October 6.  Tickets available at King Center Box Office.com. 

Occasionally you will see a show so full of passion and heart that you hardly notice if a voice is a little unsteady or a step is missed in a dance.  The overwhelming joy of performing flows over the footlights and spreads across a steadily increasingly enthusiastic audience like warm butterscotch.  Such was the case on opening night at Metro State’s little Courtyard Theatre’s performance of RAGTIME. Created by a student cast, the evening proved to be a delight . . . in spite of the serious nature of the story. 

Supporting the story of Coalhouse Walker, an early performer of ragtime music, the script weaves together the stories of three people trying to make a place for themselves in a turn-of-the-century world.  Coalhouse represents a newly prosperous class only two or three generations away from slavery.  His music has given him a favored place in the world but not enough to protect his loved ones from the rampant racism that still prevailed. 

The rising tide of European immigration is personified in Tateh who survived the death ships that brought him and his daughter to the American shores.  His artistic abilities saved them both from the fate of so many of his compatriots.  But not before a hard struggle. 

An upper-class family known only as Father, Mother, Grandmother, Younger Brother (of Mother), and Little Boy epitomize the complacent attitude that finds a changing world evolving around them with no idea how to cope with it.  How these three groups eventually interact and support each other (or not) creates the story.  A story filled with fear, change, hope, despair, triumph, loss and, thankfully, more love than hate. 

Director Colton’s understanding of the script was translated into a strong sure-handed performance.  The choreography was authentic to the era while still pleasing to a modern audience.  The dancers embraced the joy of telling part of the story through dance. 

The principal cast stepped into their roles with confidence and talent.  Coalhouse – the lynchpin for most of what happens – was performed by Chrisnel Akele with poignancy and grace.  His feelings for Sarah, given life by Laila Aniyah, mature as he begins to understand love and loss.  Liam Benson as Tateh goes from helpless immigrant to successful moving picture maker through his own cunning and imagination.  His sweet relationship with Mother starts with the chance meeting of their children and ultimately allows the creation of a new family.  Mother – played beautifully by Theron Chagollan – rises above the expectations of her class with her kindness and intelligence.  She becomes the symbol of those women who stepped out of the normal role designated to them by the times and moved the twentieth century into a better future for all. 

In an interesting insight, Director Colton amplified the part of the Little Boy (in this version called Edgar) in Mother’s family and made him the silent observer in all that was happening around him.  In every scene, he is quietly watching, enjoying, and making a record of all that he sees.  The original story of Coalhouse and crew was written by E.L. Doctorow; the “E” in his name stands for Edgar.  Casey Myers gave a thoughtful, often amusing performance as the future author. 

Everything about this production was well thought out from the lovely costumes coordinated by Connor Sullivan, to the set designed by Kevin Nelson and built by Technical Director Brian Kelley and his student crew, to the Lighting and Sound Designs by Mandy Heath and Curt Behm.  The difficult prop of a full-blown Model T Ford was overcome by cleverly attaching it to the back of Coalhouse’s piano (you’ll understand when you see it).  All in all, it was a delightful performance well enjoyed by a grateful audience. 

A WOW factor of 8.75!! 

HAMLET – Written by William Shakespeare; Directed by Chris Coleman.  Produced by the Denver Center Theatre Company (14^th and Champa, Denver) through October 6.  Tickets available at 393-893-4100 or Denver Center.org. 

There is no need to address the quality of the script for this production as HAMLET has long been honored as one of the most important plays ever written.  It has proven a challenge for the greatest actors of every generation since its first production thought to be in 1600.  It is often the tipping point for many professional actors and some actresses with the needed degree of moxie.  The point at which they go from “upcoming” to “established.”  A badge of honor to be worn through their bios in future programs.  The fodder for backstage stories that start “When I played Hamlet . . . . “ 

So, it’s always fun to see what new twists a group like Denver Center Theatre Company can produce.  When a company has the technical skill to create darn near anything on stage and an acting company drawn from the best talent nationwide, the challenge becomes how to utilize this plethora of riches.  Director Chris Coleman kept it lean and clean.  With a minimalist set (designed by Chika Shimizu) that has echoes of the Northland origins of Elsinore, a decidedly frigidly air about the castle surroundings, with thrones and fire that appear and disappear at will, the pace is not slowed by sluggish scene changes.  With costumes (designed by Denver favorite Meghan Anderson Doyle) that enhance the character’s station without overwhelming them, the delineation between royal and attendant is immediate.  The startling use of light and sound to start and end the production and move the story forward in time utilized the talents of returning Lighting Designer Paul Whitaker and newcomer Lindsay Jones who also created original music for the evening.  With a team like this providing the environment for the actors, it’s now all up to the company to fill the space. 

And fill it they did.  The Ghost of King Hamlet is fearful and ferocious as portrayed by Brik Berkes, rising out of nowhere and disappearing into a cloud of smoke.  Seth Andrew Bridges as Prince Hamlet’s friend Horatio observes the story throughout and remains steadfast to his comrade till the end.  Gertrude (Rebecca Watson) is appropriately torn between her devotion to her son and her need to retain her royal standing.  The character who arranged his sibling’s death and usurped his crown from Hamlet is Claudius, given an unremorseful life by Brian Vaughn.  The remaining court figures are Polonius (Todd Cerveris), his son Laertes (David Lee Huynh), and his daughter Ophelia (Maeve Moynihan).  Polonius is properly fusty and a joke to his children; Laertes is a properly loving brother and respectful son; and Ophelia is a properly confused and dutiful daughter.  Hamlet has been courting Ophelia but in touching scenes between the lovers, his determination to avenge his father’s death causes him to push her away so she won’t be caught up in his scheme.  Which, in turn, drives her mad and to her death.  A weapon in the hands of Huynh, an excellent swordsman, leads to the death of Hamlet in an outstanding duel between the two as a finale. 

But it generally all comes down to the actor playing Hamlet who guides the production and must live up to the legend of the role.  Ty Fanning, along with most of the cast, arrives at this production with Shakespeare under his belt.  But this still must be considered a coup for this young actor.  He attacks the role with the air of a college student brought untimely home for the funeral of his father and the unexpected marriage of his mother to his uncle only days later.  He’s confused and pissed off at his mother for her outrageous behavior, but it’s only after the appearance of his ghostly father does he get a glimmer of what has transpired and grows into his role of revenge.  The recitation of the infamous “To be or not to be” speech is often a tipping point for an audience.  Fanning’s character seems to have gained resolve by then and has a ready answer to the question.  There was no hesitation, no pondering – he seemed to know it was “to be.”  Period.  He set out then to make it happen.  The unexpected residual damage, such as the accidental death of Polonius and the drowning of Ophelia, only fed his desire to bring an end to the reign of Claudius.  Fanning brings a levity to some scenes that only underlined his growing madness.  He too proved to be an excellent swordsman contributing to the final scene with gusto and determination.  A very fitting first Hamlet. 

Other Shakespeare lovers may have their own favorite actors portraying familiar characters.  But for the young audience members for which this is a first experience with either Shakespeare in general or HAMLET in particular, this will be a production that teaches them that words written hundreds of years ago can still be understood today and can still tell a story that moves.       

          

A WOW factor of 8.5!