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DISCLOSURE – This is the review I wrote of THE WHO’S HOLIDAY last year. It is being performed once again by Jenny Weiss in the same corner of the same theatre at the same time playing again until January 31st. Check the website for dates and times.

THE WHO’S HOLIDAY – Written by Matthew Lombardo; Directed by Heather Frost. Produced by Vintage Theatre (1468 Dayton, Aurora) through December 31. Tickets available at 303-856-7830 or vintagetheatre.org. 

You Say you’re not in the Christmas spirit?? 

It could be your head isn’t screwed on just right – 

It could be perhaps that your shoes are too tight. 

Are you not getting toys? 

Can you not stand the noise? 

No matter your hatred of all that humming,  

you just can’t ever stop Christmas from coming. 

A visit to Vintage is just the right trick. 

If that doesn’t work, you really are sick! 

Cindy Lou Who – all grown up and fine – 

Will soon have your heart back on the line. 

Sweet Jenny Weiss will charm and enchant 

Feeling sad? She’ll say, “Oh, no you can’t!” 

She’s sexy and naughty and pretty and nice. 

To see her perform, don’t even think twice. 

You will giggle and laugh and may even blush 

Coz you see little Cindy is a bit of a lush. 

In spite of her life, Cindy’s still very breezy. 

She makes celebrating Christmas seem awfully easy. 

So here’s hoping your Christmas includes food for a feast 

And maybe the Grinch will carve your roast beast! 

Whew – well, that’s enough of that. But I hope I got my point across. Watching Jenny Weiss describe the life of the grown-up Cindy Lou Who from the classic Dr. Seuss children’s book, then animated movie, then live movie, then everything else, is a treat all adults owe themselves sometime during the commercial madness that the holidays have (too bad) become. It will put back the mistletoe in your heart and spark up your holly. Jenny’s ease with talking to her audience, her determination to make the metre of the poem work and the surprises in the script are all enchanting. A Barbie-decorated corner of the lobby where she works at a recent performance was filled with laughter and smirks. NOW STOP THAT! 

A reasonably priced ticket, a 75-minute performance, and an open bar make for a great way to spend an evening. Treat yourself! You deserve it, you ol’ Grinch. 

A WOW factor of 8.75!! 

LITTLE WOMEN – Written by Kate Hamill; Directed by Kate Poling.  Produced by Firehouse Theatre Company (7653 East 1^st Place, Denver) through December 22.  Tickets available at 303-562-3232 or firehousetheater.com. 

Kate Hamill, the playwright, has created a reputation for herself by taking classic novels and turning them sideways.  She tells a familiar story with a modern insight illustrating – in this case – that the March women from the Civil War era had some of the same issues as women today.  They too are dealing with poverty, postpartum depression, sibling rivalries, gender bias, and the lack of women’s rights.  This version of the story belies the sentimental movies of the past and adds more humor and reality. 

This script moves from place to place with the primary playing space as the March living room.  Through a clever set of movable doors, a fireplace that turns into a piano and minimal but appropriate furniture, plus a well-trained cast who silently move the pieces into place for each new scene, the story moves swiftly along.  There is no designated set designer but I have it on good authority that the sets are usually a collaboration between Kate Poling, the director who has the vision, Jeff Jesmer who has to build it, and Megan Davis, the resident stage manager, who paints it.  Together they make Kate’s vision work for the actors. 

The quartet of women who comprise the March sisters each bring a special charm to their roles.  It remains, of course, Jo’s story – the surrogate for novelist Louisa May Alcott. Claylish Coldiron brings an energetic boyish charm to the role of swashbuckling adventure writer who is taught gentleness by the little sister who wants her to “tell me a story.”  Claylish bounces all over the stage, jumping on the furniture, stick (sword) in hand, fighting off the dastardly Roderigo.  She hates all the girly stuff she is expected to do and can’t abide the fact that she needs a man to negotiate for her with a publisher.  She is a joy to watch maneuver through the difficult life and the times throws at her. 

Her nemesis is her sister Amy, the younger prettier sister, spoiled and selfish beyond belief.  She doesn’t talk – she whines.  Sophia Badia is so funny in this role, using every opportunity to be a brat, that you can’t help but love her.  When she does finally begin to grow up, she displays a hard realistic honesty about her approach to life.  All illusions aside, she knows on which side her bread is buttered.

 

Meg, the older sister, is given a strong voice by Yarmony MacTaggart Bellows.  In her first Denver role, she is a welcome addition to the local acting pool.  Her Meg is the quiet voice of reason for the family.  Her romantic relationship with the tutor of the boy next door is sweet while still highlighting the difficulty of moving from a girl in a family to the mother of her own, from a house with a servant to being the mistress of her own household in a very funny scene. 

And then there’s shy sickly Beth, the youngest.  Ashley Somers imbues Beth with an innate sweetness that you feel certain must be an extension of her own personality.  She is the heart of the story, the one having the most positive effect on Jo.  Her understanding and love of her sisters is present in everything she does.  Her heart – as it turns out – is too big for her body. 

The men in the cast pull their weight in telling the story.  Sam Evins does a lovely job as the boy next door smitten with Jo.  His confusion over her choices is very well played and heartbreaking to watch.  James Giordano is the tutor, Mr. Brooks, who wins Meg’s heart.  He also plays the Doctor who takes care of Beth and has a hysterical turn as Aunt March’s PARROT.  One of the funniest animal acts I’ve seen in a while.  Versatile Jeff Jesmer rounds out the male cast playing the elderly next door neighbor who has a soft spot for Beth; Mr. March, the father of the family who returns from the war wounded; and Mr. Dashwood, the discouraging publisher.  He also has a very funny walk across the stage as a guest at the Mingott party. 

The older but essential roles of Marmee, the girls kind-hearted mother, and Hannah, the housekeeper are lovingly portrayed by Carla McBride and Shannon Hayes.  By the way everyone plays together, it’s easy to tell that this is one of those casts that have formed a temporary family. This is a delightful departure from the usual holiday fare that the whole family will enjoy.   

A WOW factor of 8.75! 

BLACK NATIVITY – Written by Langston Hughes; Directed by Jo Bunton Keel; Musical Direction by Reverend Daryl Walker and Ervia Davis; Choreographed by Janice Guy Sayles and Novuyo Masakhane.  Produced by Vintage Theatre Productions (1468 Dayton Street, Aurora) through December 29.  Tickets available at 303-856-7830 or vintagetheatre.org. 

Such a joyful noise coming out of the doors at Vintage these nights.  BLACK NATIVITY is a ‘gospel-inspired celebration” in Langston Hughes’s own words and he wasn’t kidding.   It’s a simple production that blends music, dance, light, sound, poetry, history, and joy into a true celebration of the Biblical origin stories of the birth of the baby Jesus. 

The Prologue visualizes the creation of Earth in a lovely montage of James Weldon Johnson’s poetry, with startlingly beautiful illustrations by Lighting Designer Logan Foy (executed by Board Operator Jennifer Schmitz) and Audio Engineer Russ Kirby. It truly is a breathtaking way to start the show. 

As the show commences, we follow Joseph and Mary on their trek to Bethlehem, the birth of the baby Jesus, and the arrival of the shepherds and the three kings through music and dance.  A selection of traditional spiritual songs follows highlighting the beautiful voices of the women in the ensemble.  

The second act brings the male members of the cast into the spotlight and features gospel songs in a glorious choir.  The music then moves into modern times including rap and spoken word poems.  Krisangela Washington provides a dance interpretation of several of the numbers. 

It’s hard to say exactly why this works so well but it does.  There were gasps of pleasure during the opening Creation segment at the visualization through light and sound added to the spoken word of Hugo Jon Sayles (as the Breath of God) and Mary Louise Lee (as Mother Africa).  Verbal delight greeted the birth of the baby.  The audience spontaneously joined in the clapping when the gospel songs rose.  The ensemble movement (choreographed by Janice Guy Sayles) was simple enough for the non-dancers but added strength to the music.  

 

The costumes, curated by Holly Kai Hurd, were a blend of African robes, choir surplices, and modern dress. The production was blessed by the sure-handed direction of Jo Bunton Keel, for whom this production was like visiting an old friend. It was great to revisit this piece with her at the helm. The success of the evening may be hard to pinpoint, but it is there nonetheless. The audience left smiling and humming, made joyful by the noise. Jeffrey, you would be proud.

A WOW factor of 8.5!! 

A CHRISTMAS CAROL – Adapted by Richard Helleson from the novel by Charles Dickens; Directed by Anthony Powell; Music Direction by Dan Graeber; Choreography by Grady Soapes.  Produced by the Denver Center Theatre Company (14^th and Curtis, Denver) through December 29.  Tickets available at 303-893-4100 or DenverCenter.org only. 

Attending the Denver Center’s version of A CHRISTMAS CAROL is the traditional opening to the holiday season.  It always brings the familiar story to glorious life with color and music.  Redemption never looked so good.  There’s a certain comfort to knowing that – no matter what has happened in the outside world in the past year – Scrooge will start out a grump and end up a saint.  Tiny Tim is going to be as cute as a button; Christmas Past is going to have a beautiful white gown; Fezziwig’s Ball is going to be fun; the Cratchits are going to start with a small bird for dinner and end up with a big one; and Christmas Future is gonna put the fear of God in everyone.  It means that what the rest of the world is doing, for two hours, all is right in the world of the audience. 

We have a new Scrooge this year in the person of David Studwell, an experienced thespian who travels the world doing lead roles all over the country.  He is a ferocious Scrooge in the first third of the production, shouting at street singers, being truly nasty to his clerk who just wants another chunk of coal and Christmas Day off work, his nephew who only wants to invite him to dinner, and two gentlemen who are only collecting for the poor.  He is almost overwhelmingly spiteful, yet seems to accept the presence of even the first Ghost calmly without surprise.  It takes him a while but, by the time the Fezziwig’s Ball is over, he’s begun to understand where his life went wrong. 

A show like this – large cast, long run, Equity house – is always a magnet for those actors who travel to perform in multiple theatres all year.  This cast is a mix of ten local actors, twelve visiting performers, and eight child actors. (And a partridge in a pear tree – joking!) They all work together like a well-oiled clock. 

Among the local actors, Geoffrey Kent is a heartfelt Bob Cratchit, full of love for his family and even good-natured toward his crotchety boss.  His tenderness with Tiny Tim is tear-inducing and his incredulity at the change in Scrooge is fun to watch.  Jacob Dresch gets to make a truly amazing entrance as the ghost of Marley.  He clanks his chains around the stage like a supermodel on the catwalk.  Brian Bohlender, a relatively new face but making a welcome splash in productions from Boulder to Lone Tree, plays multiple parts.  The award for Best Variety in Roles goes to Marco Robinson who makes a very handsome young Ebenezer, but then scares the bejesus out of Scrooge and the audience when he appears out of the dark as Christmas Future.  The night I saw the production, a young girl in the audience literally screamed when he appeared! Christian Ray Robinson who has appeared in shows in the Springs and Fort Collins charms as a guest at both Fezziwig’s Ball and Fred’s Christmas party.  Denverites Justin Walvoord (who understudies Scrooge), Landon Tate Boyle, Katie Jackson, and Jack Wardell lead the understudy team. 

While this Anthony Powell-directed production seemed a little darker both in tone and physical color, he captured the humor and the heart of the story.  There are always a few little new things and lots of old familiar landmarks in the set pieces and costumes, but the falling snow during the curtain call always brings a lump to your throat. 

Start your Christmas with this show this year and you’ll start a new tradition for your family. 

A WOW factor of 8.5!! 

DRUNK CHRISTMAS – Adapted by Ren Manley from the novel by Charles Dickens; Directed by Macbeth Richardson.  Produced by Audacious Theatre Company (various breweries – see their website) through December 22.  Tickets available at 720-445-242 or info@audaciousimmersive.com. 

What the dickens have they done to Dickens??  You’d think ol’ Charlie would be spinning in his grave but I’ve heard it rumors that he was a bit of a tippler himself.  So, he’d probably be there throwing “snow” at the Ghosts with the rest of us. 

The basic story that the Audacious (in every sense of the word) players are telling is the same being played out in theatres all over the country.  The difference is that both the actors and the audience (because of the brewery and bar playing spaces) are allowed –nay, encouraged – to drink while participating.  It certainly adds to the fun and is vaguely reminiscent of old Fezziwig’s party. 

Even though the playing space is carved out of the restricted space available in drinking establishments, the players make it work.  The only hang-ups (literally) in a recent performance at the Fiction Brewery on Colfax was a cape caught in a trunk opening and the Ghost of Christmas Future bumping its head on a low hanging chandelier.  Most of the props come out of said trunk while most of the costume pieces are hung on hat racks at the corners of the stage.  Everything seems to be lovingly curated to make changes and transitions run smoothly.  The sound design by Ren Manley added a special air of spookiness as thunder rocked the building.  The costumes are a combination of steam punk and thrift stores and lovingly put together by Macbeth Richardson. 

You have two more weekends to catch this raucous good fun.  Or you’ll have to wait till next year to get drunk with Dickens. 

A wow factor of 8!! 

ONCE UPON A MATTRESS – Music by Mary Rodgers; Lyrics by Marshall Barer; book by Jay Thompson, Dean Fuller and Marshall Barer; Directed by Kenny Moten; Choreographed by Christopher Page Sanders; Musical Direction by Jordan Ortman.  Produced by the Arvada Center (6901 Wadsworth Boulevard, Arvada) through December 29.  Tickets available at 720-898-7200 or ArvadaCenter.org. 

Sometimes you just need a laugh.  The holidays are a good time to partake of this life-affirming practice, often indulged in by families and friends gathered over food.  Even occasionally on family treks to the theatre in a time-honored tradition of re-visiting yet another production of A CHRISTMAS CAROL.  Does the Arvada Center follow tradition?  Not always.  This year their light-hearted holiday offering is the very charming ONCE UPON A MATTRESS, a musical riff on the Princess and the Pea legend.  Not a sprig of holly or a Ghost of any Christmas in sight. 

To illustrate the silliness of this script, our heroine, Princess Winnifred (Fred to her friends), enters the scene with a song proclaiming “I’m Shy” as she bounces around the stage like a kangaroo, winning the hearts of all the courtiers in the castle with her extroverted charm.  There is nothing shy about this exuberant performance by Alana Watters, returning to Arvada after playing the statelier role of the Fairy Godmother in last year’s CINDERELLA.  She is down-to-earth, practical, full of joy, susceptible to kindness, and oblivious to the offhand cruelty of her nemesis, Queen Aggravain.  The interplay between the two women and the Prince looking for a wife is glorious. 

Joanie Brosseau-Rubald is such a joy to watch in everything she does.  Straight role or musical, she grabs it the hair and heart to make it her own.  As she does with the maternal role of the Queen who wants to keep her son to herself.  Therefore, she does everything she can to sabotage all the “real” princesses who come to audition for the role of the Princess Bride.  Joannie’s prickly Queen sets the almost-but-not-quite over-the-top mood of the production. 

A subplot reveals the dilemma of two members of the royal court.  Tradition demands that couples cannot marry until Prince Dauntless, the Queen’s son, gets wed.  Therefore, the frantic search for a Princess is abetted by the rather desperate and frustrated members of the court.  Lady Larken and Sir Harry have a particularly pressing reason to desire an immediate wedding.  Performed by Elizabeth Halren and Mathenee Treco, their relationship is feisty and fun and their duets breathtaking. 

EJ Dohring returns to Arvada and puts on his best pair of doofus shoes to bring us Prince Dauntless.  By the time all the other Princesses-in-waiting have been sent away by the equally dauntless Queen, the Prince has had all of his daunt drained by disappointment.  But the sight of Winifred making her dramatic entrance decidedly not dry delights him.  He is captured by her difference-ness, becomes dreamy and, once again, full of daunt.  EJ personifies a goofy teenager in the throes of first love.  So much fun to watch. 

These primary characters are ably supported by Brian Watson as the narrator/Minstrel; Megan Van De Hay as the wise and womanly wizard; Colin Alexander as the silent King Sixtimus and the Jester, David Otto.  David is one of those hard-working actor/dancers who has filled ensemble roles with quiet grace and competence for years.  It’s wonderful to see him get a breakout role like this and take the lead in the dance number “Very Soft Shoes.” 

Director Kenny Moten always seems to recognize and reward the truly talented members of his casts, giving each a few moments in the spotlight.  He brings the thirteen members of this ensemble to the forefront to showcase a taste of their talent.  All are given lines and solo moments in the dance numbers.  Kenny has diligently worked his way into becoming one of the busiest and most in-demand directors in Colorado.  Deservedly so – but let’s just say I first met Kenny as a dancing candy cane in yet another holiday extravaganza.  And he was brilliant in that role as well. 

Once again, the technical crew and backstage workers at the Arvada Center come through professionally in their support of this production.  It’s always a pleasure to welcome Christopher Page Sanders back to town for the style and charm of his choreography.  Justin Ortman conducts the big sound of music which comes forth from under the stage created by his eight-piece orchestra. Another beautifully layered set designed by Brian Mallgrave has been brought to the stage by Nick Cimyotte and the carpenters and painters on his crew.  The colorful and beautifully made costumes were designed by Madison Booth and constructed by the drapers and stitchers on her crew.  Although I never did quite figure out the Wizard’s look.  The props and set dressings were collected and curated by the three members of the prop shop while Casey Burnham and Jon Olson brought the sound and light designs of Max Silverman and Kate Bashore to life with the assistance of board and spotlight operators.  Everything was kept running smoothly by the expertise of Christine Rose Moore and her crew of ninja warriors, both front of house and backstage.  It takes a village to create a kingdom. 

A WOW factor of 8.75!

CONFEDERATES – Written by Dominique Morisseau; Directed by Marisa D. Hebert.  Produced by Curious Theatre Company (presented at 1080 Acoma St, Denver) through December 8.  Tickets available at 303-623-2349 or at curioustheatre.org. 

A set of circumstances beyond my control has prevented me from writing about this show earlier in the run.  I apologize as I would like to have encouraged more people to see, feel, and contemplate this exciting production.  As with all Curious productions, CONFEDERATES will bring you a riveting story that thoughtfully explores the good, the bad, and the ugly of modern life often using the past as a starting point.  They generally encourage recognition of and contemplation of solutions to the problems that – no matter how far we have advanced – still exist.

This production and script illuminate one such comparison. It offers a lot to absorb.  The dialogue is dense and the emotions expressed are complicated. 

Also, you can always safely anticipate an outstanding cast that brings the script to thoughtful life. Such is the case with the current production.  The cast of five represents characters from both the life of the enslaved during the Civil War and the modern dilemma of a university educator caught in the crux of a dilemma not of her own making.  The cast moves easily – with the device of on-stage costume changes and small adjustments to the set – back and forth between each person’s story.  Kenya Mahogany Fashaw as Sandra gives a riveting performance of a tough but fair professor.  She is knowledgeable, humane, and demanding of the best from her students.  The thoughtlessness of two of her most promising students puts her in an untenable position for which there is no easy solution. 

Kristina Fountaine is feisty and funny as a fellow educator with high expectations for friendship based on nothing more than their mutual skin color.  She doubles as a devious house servant in the home of a Confederate officer.  Tresha Farris plays Sara, another house servant, who enlists her brother Abner (Cameron Davis) in a plan to enter the war as a soldier.  Cameron also doubles as Malik, an excellent student being mentored by Sandra.  His poor judgment initiates the situation that evolves out of control.  Rachel Turner originally provides a subtle touch of humor as a sexually awakened daughter of the Confederacy who REALLY wants Sara to like her – and – a student trying REALLY hard for a good grade from Sandra in her second role.  The two stories move in tandem to a frustrating but realistic conclusion. 

A beautiful set that doubles as both the plantation library and a university office was designed by Mathew Crane.  Richard Devin’s lighting allows for subtle differences in location and adds drama to the costume changes.  Nicole Watts design for the versatile costumes of both eras allows for smooth transitions and authenticity. 

You’ve got one weekend left to catch this exciting new play. 

A WOW factor of 8.50!! 

EYES OPEN – MOUTH AGAPE – Written and directed by Buntport Theatre Company.  Presented at Buntport Theatre (717 Lipan, Denver) through November 23.  Tickets available at 720-946-1388 or buntport.com. 

No one ever forgets their first time. That surprise that something could be so good.  Such an unexpected delight.  And you suddenly can’t wait for the next time.   You wish that those talented kids at Buntport did shows more often.  What? What did you think I was talking about?  Those of us who are old-timers exist in anticipation of their next production – even if it’s revisiting an older script.  Their older scripts are better than other writers’ brand-new scripts.   

What do we like about Buntport?  Well, for one thing, the genius of five (used to be six) kids who met in college and banded together to build one of Denver’s most successful theatres, doing only their own original scripts.  The creativity of thought and deed.  The brilliant take on pieces of literature adapted and molded into their own whacked-out version of something barely recognizable but insightful and clever.  The illogical logic of explaining the familiar in new terms.  The turn of a phrase that sheds a light.  The bravery and willingness to do anything for the laugh.  (I’ll never forget the look on the COYOTE’s face when caught in the museum). The confidence that their audiences will go along with their absurdities and understand their motifs.  The feeling that you, the audience member, enjoys when you get it – the mounting “in” joke – the pleasure of recognizing their intelligence and yours because you do get it. 

And no one does forget their first time.  Looking back through their archives, I realize that my first show was called THE ODYSSEY; A WALKING TOUR in 2002.  I’ve been watching Buntport for 22 years and have never been disappointed.  In this first one, the audience donned earphones while a tour guide (“We’re walking – we’re walking”) moved them through visualizations of Jason’s mythical journey.  It featured a giant eye projected against the wall as the cyclops and a pig pen full of transformed sailors.  But then the next was the brilliant and oft-repeated TITUS ANDRONICUS with its chalkboard marking off the murders, the van that made eight-point turns to expose another side and another location for mayhem, and the blood by the buckets full.  After a production of SOMETHING IS ROTTEN (an adaptation of HAMLET), my 12-year-old grandson explained to me that Ophelia had to be a goldfish because then she wouldn’t have drowned.  And my joy in realizing he GOT it. 

But what have they done lately?  They took a relatively insignificant incident that happened twenty years ago in Chicago and made us laugh.  A lone bus driver in a tour bus for the Dave Matthews Band decided to dump his honey wagon through the grid of a bridge not realizing that a sight-seeing open-air boat was going under the bridge at the same time.  The people below got something like 800 pounds of inglorious (even if it did come from the band members) poo dropped on their heads as they sat EYES UP, MOUTH AGAPE.  How do they tell this lurid tale?  A documentary is being filmed about the incident as the bus, the bridge, and the boat are being interviewed about their role in the horrendous happening.  A fifth character – the Willis Tower (formerly known as the Sears Tower) – chimes in with occasional observations from her excellent viewpoint.  The characters soon start bickering about whose fault it was and why they are not to blame, thwarting the camerawoman’s efforts to get the story told logically. 

The original group includes Sam (who provides the outstanding sound and light background for all the shows); Erin who doggedly continues to hope she can get her subjects to dampen their egos and answer her questions; Hannah, the righteously indignant boat full of caca; Erik, the bridge who insists he was an innocent bystander; and Brian, the bus which created the whole mess.  A fifth collaborator for this adventure was Emily Harrison from Square Product Theatre in Boulder, a quite tall Sears Tower with a spire hat and a guitar. 

Let me just close by saying you’ll not find a more creative and talented bunch of performers, search high and low as you may.  Attending Buntport shows is a rite of passage for Denver theatregoers.  And you’ll always remember your first.  Although there was that other one . . . . . oh, and don’t forget the one about the . . . . . .  

A WOW factor of 9!! 

NUNSENSE – Book, Music and Lyrics by Dan Goggin; Directed and Choreographed by Nancy Evans Begley; Music Direction by Andrew Fischer.  Produced by Parker Arts and Veritas Productions (Presented at the Schoolhouse Theatre, 19650 East Main Street, Parker) through November 17.  Tickets available at 303-805-6800 or ParkerArts.org. 

There are shows that even the most casual theatregoer has probably seen.  FIDDLER ON THE ROOF – OUR TOWN – SOUND OF MUSIC – FOREVER PLAID – and, most likely, NUNSENSE, a cherished piece for when your company has more women than men.  So, it’s nice to revisit it once and awhile.  There’s nothing that makes these corny jokes and songs about being a nun very up-to-date, but you find yourself laughing (or smiling loudly) in spite of yourself.  Generally, because the women playing the nuns are having so much fun doing it. 

What makes the whole she-bang (see what I did there?) fun is when it is cast with five ladies who know their stuff, as Pace and Veritas Productions have done with this show.  Let’s take the Mother Superior, for instance.  Jennifer Burnett is more than qualified to lead this rowdy bunch.  She has taken leads in productions all over town, been nominated for Henry awards (and won one), toured nationally, and just did an outstanding job in a performance of CABARET.  Her Mother Superior is quietly commanding, generously gruff, and a no-nonsense leader of the pack.  Her introduction to nose candy is quite a rush (whoops! I did it again!) 

Sister Hubert is given an exuberant life by Arabella Beaubrun with a hardy laugh and bouncy humor.  Every musical with any hint of religion must have a big shouty gospel song and Arabella makes the most of hers with “Holier Than Thou.”  She is sympathetic to the trials of her fellow nuns, but still backs up the Mother Superior as in their duet of “Just a Couple of Sisters.”   

Sister Amnesia – so named because she lost her memory when a crucifix fell on her head – gives Jamie Molina a chance to shine.  She is the dippity doo in this crazy little show.  Her memory lapses allow the other nuns to poke gentle fun at her and reveals her personal gift of comic timing.  In a recent production at Town Hall Center, she held her own as the second banana to comic legend Annie Dwyer.  No small feat.  She brings the same commitment and charm to her role as Amnesia and gets the happy ending she deserves. 

Ali Chung is fast becoming a familiar face in Denver’s many theatres.  Here she plays the tough girl nun from New Yawk, Sister Robert Anne, who can strip down a motorcycle and save your soul without breaking a sweat.  Her running joke with the Reverend Mother is that she is not allowed to perform a solo and has to be devious in getting her moment to shine in “I Just Want to be a Star.” Ali is definitely already a star. 

A nun in training is called a novice but Kayleigh Bernier is no novice at musical comedy.  She’s already got lead roles under her wimple – such as her recent performance at the Pace Center as Ellie in LEGALLY BLONDE.  She brings an unabashed charm to her role as the nun-in-the-making with her gentle manner, quiet grace, and sweet voice.  Such is her talent and versatility. A marked change from the high-energy role she just completed in the bigger theatre in Parker. 

Director Nancy Evans Begley picked five differently talented women to complete her cast and then let them show their humor and talents confidently.  Her choreography is simple as suits women in habits yet well taught and performed.  A talented actress and dancer herself, she has now turned her energy to producing and directing.  Lucky us to benefit from her experience. 

A WOW factor of 8.75!! 

MURDERERS; A Killer Comedy – Written by Jeffrey Hatcher; Directed by Bernie Cardell.  Produced by Vintage Theatre (1468 Dayton Street, Aurora) through November 17.  Tickets available at 303-856-7830 or vintagetheatre.org. 

Most murder plays concentrate on WHO dunnit and try to fool the audience with red herrings and subterfuge. MURDERERS is the exact opposite.  One at a time, the audience is introduced to three normal looking people, charming, funny, and murderous.  They readily admit their crime and are anxious to share with the audience how their dastardly deeds got done.  All three episodes are set at Riddle Key Luxury Retirement Living Center and Golf Course and involve residents and staff members.  Offhand, I would say this is not a good place to retire. 

The first murderer is Gerald (Troy Lakey) who got involved in a very complicated scheme with his fiancé and potential mother-in-law to beat the inheritance laws.  The story is full of characters with names like Spiff, Puss and Pepper and way too complicated to try to recall.  Suffice it to say, it all makes perfect sense and is a great way to protect the mother-in-law’s money for her daughter’s family . . . until it isn’t.  Troy reprises his role from the first covid-cancelled production and brings a charming, handsome, easily beguiled man to life while he awaits his execution. 

Our second tale involves a woman done wrong.  Margaret – played by Mary Campbell – puts up with her philandering husband as long as she can.  The kicker is when she finds his viagra in his golf bag – in the little side pocket, you know, where he keeps his balls.  Margaret’s tale of woe is relayed with sass and authenticity as if this were the first time she told the story.  

The third go-around involves a successful serial killer named Minka who works at the Living Center and finds convenient ways to “take care” of inconvenient clients and members of their rotten families.  Mari Geasair brings a subtle slyness to her role that allows you to almost root for her continued success.  Her methods are creative and almost undetectable – but don’t get any ideas.  This is Mari’s third time in the role; she does it very well. 

Three very attractive and talented players explaining three very well-written episodes of three murder no-mystery-here stories. 

A WOW factor of 8.5!!