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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! 

POTUS or BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM ALIVE. – Written by Selina Fillinger; Directed by Jada Suzanne Dixon.  Produced by Curious Theatre Company (1080 Acoma, Denver) through October 13.  Tickets available at 303-623-0524 or curioustheatre.org. 

OK  – I’m trying to think of a word that describes the picture created by the women of POTUS.  Energetic isn’t it – although it certainly takes energy and stamina to perform this script.  Energetic just sounds too much like a session at the gym. Chaotic isn’t it either – these ladies were much too organized in their thinking and committed to their task to be considered losing to chaos.  Although it does creep in around the edges.  You are left with the impression that many of their days are spent in similar activity.  This particular day we are watching is just a little more demanding than usual.  Frenetic!  That’s it – they were frenetic!!  Defined by the dictionary as “fast and energetic in a rather wild and uncontrolled way.”  A somewhat controlled but spontaneous session of problem-solving described this day. 

Another thing to be VERY clear about – this is not a play for children or the easily shocked or offended.  Men over 16 will be amazed to discover the way women’s minds work and their ability to tackle a problem as a “committee.”  Women over 16 will recognize themselves and their friends solving their own daily problems . . . perhaps not as world-shattering as this group’s problem but problems, nevertheless.  Usually involving the men over 16.  Leave the young ones at home.  They wouldn’t understand the humor and there are parts that might be frightening to them.  Seriously. 

Yes, we are talking about an American President of the United States in the title of this script.  Not any real President representing any real political party.  You are left to fill in the blanks for yourself.  The cast of characters is meant to represent the seven women whose daily task is to get the President through one day at a time . . . with no bombs going off. 

In importance to the President, they are: 

1- Harriet, his chief of staff – the one in charge (sort of) who takes her work seriously and has political aspirations of her own.  As played by Tara Falk, she is tough, determined, pissed off a lot of the time, but a leader who knows she can’t do it alone. 

2- Jean, his press secretary – the one who guards his public persona, takes the words out of his mouth that shouldn’t have been there in the first place and finds herself too often on a sinking ship.  C. Kelly Leo comes back to the stage after too long an absence to become this authentic (but terrified) voice of the nation. 

3- Stephanie, his secretary – one of the funniest women in Denver theatre gets to take on one of the funniest characters in this play.  Leslie O’Carroll as Stephanie is a bulldog guarding the President’s office.  At the same time, she is insecure in her role beyond guarding the door and has a daily fight with her fear of failure.  A bottle of “medicine” nearly does her in, but she too lives to serve another day.  Ms. O’Carroll stuns once again in her willingness to take on a physically demanding role and do it well.  No holds barred. 

4-Dusty, his “friend” – Dusty is a sort of surprise guest at the White House on this crucial day.  While she is known to the President, there are others on staff who are a bit taken aback by her presence.  She is, however, willing to put out for the team when she understands the problem and becomes a valued colleague.  Rhianna DeVries creates both an airhead and a conscientious citizen in this one character. 

5- Bernadette, the Prez’s sister who has been promised a pardon by her brother but jumps the gun a bit by weaseling her way out of prison based on that promise.  She is an embarrassment to the Prez and his family and staff as she is an unremittent drug dealer and has “a guy” for everything.  Mackenzie Beyer gives her both an unquenchable toughness and a vulnerable sweetness in her relationship with one of the other Magnificent Seven.  Her voice is bigger than her heart – or is it? 

6- Chris, a journalist – Kristina Fountaine probably has one of the toughest assignments in this production.  The character of Chris is a new mother who is tasked with pumping her milk, dealing with a babysitter over the phone, and fighting off the incursion of a male colleague into her valued position at the White House – all the while trying to maintain a professional demeanor.  While well known to all, she is not normally on the “inside” of the behind-the-scenes day-to-day.  It’s an accident of sorts that she gets drug into this frenetic day.  Being somewhat at fault for some of the things that happen, she is more or less forced to go along with the proposed solutions. 

7- And, finally, Margaret, FLOTUS, the First Lady is given a grand and glorious portrayal by Natalie Oliver-Atherton in a lovely wardrobe completed by flashy pairs of Crocs (in her effort to appear “earthy”).  While designated as the least important to the President, she nevertheless steps up and does what needs to be done – though begrudgingly – to protect him.  She has been doing this the longest and knows what needs to be done to save the day.  Never mind her personal dignity. 

And there you have it.  But words cannot adequately express the delight – the fun – the amazing humor these madcap ladies bring to their roles.  Of course, the complicated blocking, the setups of comic scenes, the building of a tribe for this production would not have happened without the sure-handed direction of Jada Suzanne Dixon, the director.  You can see little bits of Jada’s handprint on each of the ladies, the way they join together to solve a problem they didn’t make, and in the way she builds in a breather for them by occasionally slowing the pace with a moment of sincerity or companionship. It’s as though Jada cloned herself seven times. 

Technically, Curious always excels.  The movable set designed by Tina Anderson moves easily, creating a variety of rooms in the White House.  Brynn Starr Coplan-Sater’s costumes are flattering to the cast, immediately identifying their character and roles in the proceedings.  The lighting design by Emily Maddox enhances the chaos and rewards the hard-working cast with a winning tableau at the finale.  Stage Manager Rachel Ducat and her crew keep the backstage frenetics under control and never allow the energy to flag.   

You don’t want to miss this one. 

A WOW factor of 8.75!! 

JERSEY BOYS – Book by Marshall Brickman and Rick Elice; Music by Bob Gaudio; Lyrics by Bob Crewe; Direction and Choregraphy by Matthew Dailey; Music Direction by Alex Burse.  Produced by Town Hall Arts Center (2450 Main Street, Littleton) through October 6.  Tickets available at 303-794-2787 or townhallartscenter.com. 

Sometimes serendipity steps in and puts the right people in the right place at the right time.  While the national tour of this musical history of Frankie Valli and the Four Seasons was ongoing, local theatres were shut out from performing it.  However, one of the lead players in that national tour just happened to come from Denver and just happened to choose to come home instead of hanging around New York after the tour.  He just happened to have friends at Town Hall who knew his history and his killer skills as a performer at the time they were hoping to add this script/songbook to their season.  Matt Dailey has come home in a big way.  His understanding and intimate knowledge of the moves and music of this piece have lent a special air of authenticity to the production.  Its dance steps are as sharp as the pleat in the singer’s slacks while the music matches note for note the original singers. 

One of the best jukebox musicals, this production is an homage to this music which lives in the DNA of everyone who grew up in the 60’s and 70’s. What makes it different and more appealing is the story line which doesn’t sugarcoat their rise to fame.  The story is told – the search for a name, the in-fighting, the life on the road with its temptations and frustrations, the mafia connection, the money problems – as well as the triumphant concerts and record deals.  Warts and all, book writers Marshall Brickman and Rick Elice tell the story as it was lived.  Because it seems to be telling the truth, it allows the audience to root all the harder for their success. A sigh of recognition and murmurs of joy escape the audience as each new “favorite” song arrives. 

Let me explain the difference between an understudy and a swing in the world of the musical.  An understudy is an extra hire who learns a part in case the person doing that part gets sick or can’t go on for some reason.  They learn the music, the dance steps, and the blocking  – knowing they may never have to go on.  A swing is performing in the production in a part originally assigned to him or her but takes on the task of learning not only his or her part but also additional roles in case they are needed.  They may end up never having to perform those additional roles – just their own assigned place in the ensemble.  But in a role as demanding as Frankie Valli who sings in 28 songs, several being solos, and rarely leaves the stage during the evening, you can only imagine the difficulty of maintaining that stress on your vocal cords for the duration of the run.  The swing for this production becomes incredibly important to give the lead actor’s voice a break.  I happened to attend the night that the swing, Logan Traver, was scheduled to replace Jake Bell who normally sings the role of Frankie.  But I didn’t learn that until after the production.  Then I was amazed and proud of Logan for having learned his own roles of Joe Pesci and backup roles in the ensemble as well as the music and dance steps for Frankie.  How scary that must have been to sing the difficult role for the first time in front of a full house.  You done good, Logan. 

Everyone done good.  The energy in this production would be hard to match.  The story moves along quickly, interspersed with the familiar music all the way through.  The other Four Season members, Brandon Jesus Lopez as Nick Massi, who definitely (despite his real name) looks like he came off the mean streets of New Jersey; Caleb Wenger as Bob Gaudio, the songwriter; and Elton J. Tanega as the black sheep of the group, Tommy DeVito, all perfected the slick tight moves of the quartet as well as the incredible harmonies we’ve all grown to know.  The girls who played wives and backup singers added their own little bounce of joy to the production:  Hazel Kachline, Jenny Weiss, and Piper Lindsay Arpan excel. Carter Edward Smith filled in for Logan in the ensemble pieces and as Joe Pesci (Joey Fish to the boys) with the ease of an experienced performer.  It’s always so enjoyable to see Scott McLean back on stage at Town Hall, this time as Bob Crewe, a hard-nosed producer integral to the Four Seasons success.  All in all, the ensemble work was a joy to behold. 

The set with the on-stage seven-piece band, under the direction of Alex Burse, kept the music flowing.  They were seated on a set that gave the initial impression of a dive bar but ended up giving levels and space for all the work needed to bring this script to life.  The costumes designed by Linda Morken were authentic and stunning.  Curt Behm as Sound Designer did his normal terrific job in keeping the balance between the singers and the band. 

This is an especially joyful evening of song for those of us over forty but equally in a different way for those younger than forty.  We old guys feel sorry for you that you didn’t have this music as the background of significant firsts in your lives as teenagers.  Too bad. 

A WOW factor of 8.75!! 

DELLA DOUCET – Written by Kirsten Dahl; Directed by Paul Jaquith.  Produced by Vintage Theatre (1468 Dayton Street, Aurora) through September 22.  Tickets available at 303-856-7830 or VintageTheatre.org. 

You’d think when a girl had a play named for her, it would only be about her.  But this sweet romance gives nearly equal time to her new friend who helps her forge a path to independence. Johanna Jaquith, who plays Della, has been away from the stage too long as this exciting performance proves.  Who can ever forget her heart-breaking turn in BABY DANCE?  While this script calls for a little less histrionics, she nevertheless calls it up when it’s needed. 

Della has a sweet mix of self-confidence and uncertainty.  She’s a talker, knows no strangers, and is enamored of everything about New York.  She fits in anywhere and even if not everyone falls in love with her, they at least notice her and fall under her spell. 

Abid Hassan is her new friend Sam who turns a one-night date into much more than that.  Della has left her husband and kids back home and struck out alone to New York, not so much in search of fame and fortune as just trying to escape her oppressive husband.  She has a one-year work assignment and hopes that the separation will help her sort her life by then.  Sam is a big help. But it’s not all peaches and cream.  This is not a total Hallmark movie, but it leans that way a little.  Only instead of going home to a small town to find peace and the man of her dreams, Della goes to the big city. 

The remaining cast members fill important roles in Della’s journey.  Corinne Landy is her workmate and new best friend Erin.  A prickly artist working up to her first big solo show, Erin learns a valuable lesson in marketing and self-confidence from Della.  Wade Livingston is cute as a kind of smarmy uncle to Sam with an eye for the younger ladies in the room.  Watching Della sell him one of Erin’s art pieces was a delightful scene to behold, both for Della’s amazing salesmanship, but also for Erin’s dumbfounded delight in watching her work her magic.  Mike Moran has the difficult role of playing all the rest of the needed men to tell the story – cab driver, bartender, conductor and more.  And Linda Swanson Brown brings her own charm to the role of Sam’s assistant, Angie. 

The script and the production have created some very nice moments.  We root for Della in a quiet supportive way and watch her make difficult decisions.  Until . . . . she finally lets loose on her husband in a terrifying scene over the phone.  Then the audience literally broke out in applause and mentally pumped our arms in the air.  We too have grown so fond of her that we are excited for her breakthrough. 

Author Kirsten Dahl does a clever thing in letting a needed reconciliation be left in the hands of Della’s best friend Erin, rather than giving her the need to fix things on her own.  And the way Vintage staged this scene in a subway car was also very clever.  A clothing rack was rolled on stage with wrist straps attached to the upper bar.  We watch as Sam and Erin discover each other at opposite ends of the car and slowly bump toward each other and conversation.  What a clever way of avoiding building yet another piece of scenery yet visually satisfying the watcher. 

But Kirsten also didn’t figure out a way to avoid the plague of short scenes that require a set change between each one.  This led to the “bed ballet” in which a complicated dismantling of a huge bed in the middle of the stage and re-assembly occurred at least three or four times.  While the people doing the up and down with the bed did it with great deliberation and speed, it nevertheless couldn’t help but slow the pace down and break the mood. 

Kortney Hanson designed an interesting set that gave an overall impression of a somewhat grungy New York apartment, workspace, art gallery, and all the other locations needed.  Susan Rahmsdorff-Terry made the clever choice of dressing Della in sweet Southern pink for every occasion – until she had made her emotional break with the past.  And then watch the red come out!   

Paul Jaquith, the director, and Johanna Jaquith as Della are a husband and wife team who obviously understand the dynamics of a loving relationship and work well together.  Let’s see a little more of that . . . . soon. 

A WOW factor of 8!! 

THE ANDROID’S NEW SOUL – Book by Dana Cain and Jeff LaGreca; Music by Dana Cain and Mark Putt; Directed by Jeff LaGreca; Music Direction by Mitch Samu; Choreography by Rachel Lessard.  Produced by Dana Cain Entertainment (Presented at The Bug Theatre, 3654 Navajo Street, Denver) through September 15.  Tickets available at DanaCainEntertainment.com. 

I had the extreme pleasure of watching a dream come true tonight.  Dana Cain as a teenager in 1974 had an idea for a musical that incorporated all the late-night movies she watched that were the aftermath of atomic bomb tests creating giant mutant bugs.  She mixed in a hard rock beat like the groups she heard on the radio and MTV – ELO, Genesis, Kiss, Led Zeppelin.  Robotics were in their infant stages but endlessly fascinating in their possibilities.  Mix all this together with a beautiful medical technician as the lone survivor of a Big Bomb and you’ve got the outline for a rock musical that took fifty years to finish.  But that is still as fresh, creative, and relevant as when it burst from her imagination.  Her dream of seeing it come alive on a stage happened tonight at the appropriately named Bug Theatre. 

Rock music does not often lend itself to coherence and lucidity. But Ms. Cain wrote melodies that are easy on the ears and singable.  Her lyrics actually told the story with clarity and were cleverly rhymed without torturing the syntax.  She gave the singers music they could put their hearts into.  She created hard-pounding anthems (“What Happened?”), a blatantly raucous make-out song (“FDASS; Funky Disco Android Sex Song”) and heartbreaking ballads (“Please”).  Her work incorporates all the “I Wants” of a Broadway musical. 

Her work with Jeff LaGreca on the book for the show highlighted their tongue-in-cheek humor, love of in-jokes, and knowledge of how to make satire work.  At one point, Stacy and her Android lover Christopher found themselves in an abandoned mansion and decided to stay.  He prepares a monthiversary dinner for them and comes on stage in a sparkly jacket he found in a closet asking her, “Does anyone know who Elton John is?” The dialogue is fast-paced, witty to the nth degree, and heartfelt when it needs to be. 

Special kudos must be given to the tech crew assembled for this production.  It appears that no expense was spared; everything was done first class.  A complete multi-layered set designed by Matt Graff and Tim LaGreca gave dimension and drama to the action.  They also designed the ominous-looking weapons and whimsical puppets used throughout.  The unique costumes designed by Nicole Watts are a wonder to behold.  We have Androids in silver suits and helmets; Clones in warlike garb that look like something out of an early Game of Thrones prequel; Disco dollies in puffy miniskirts; and Mutants with three arms, squid and lobster hands, and grass growing out of their heads.  OMG – you let it all out on this one, didn’t you!   

The projections, designed by Brian Essig-Peppard and manipulated by Kevin Smith, lent a movie-like quality to the proceedings and moved the whole production two levels (at least) higher.  During the battle scenes, laser beams were flying overhead, bombs were bursting in air, and all hell was breaking out.  One addition to the sound design created by Wayne Kennedy was especially moving.  The sound of a wave crashing on the shore as a band of survivors moves together toward hope and the ocean lets us all know that some things are still the same. 

But all of this technical and musical bravado would have been for naught without the kickass, balls-to-the-walls, totally committed group of performers who brought the whole thing to life.  It never let up for any member of the cast.  They were on and off stage in various costumes and characters for the full two hours.  The lead characters of Stacy and Christopher, the human doctor and her robot lover, rarely leave the stage and get to remain in their original costumes nearly all the time.  There was that one scene . . . but everyone else had multiple roles that required getting into and out of complicated costumes every few minutes.  They are to be applauded for their unstinting energy and commitment to their roles and their support of Stacy and Christopher’s love story.  Everyone in this cast deserved their moment in the spotlight and got it!  I hope when this show goes Off-Broadway, this cast gets to go with it. 

Good job, everyone!  This is a very short run, folks, in a pretty small theatre.  You better get your tickets this weekend, because you won’t be able to get any next weekend. 

A WOW factor of 8.75!! 

CRUEL INTENTIONS – Created by Jordan Ross, Lindsey Rosin and Roger Kumble; Directed by Lexie Lazear; Musical Direction by Tanner Kelly; Choreography by Erin Carrino.  Produced by Shifted Lens Theatre Company (Presented at the People’s Building, 9995 East Colfax, Aurora). 

Once again, it’s too late to see this show.  But I want to let everyone know about this new theatre company that has formed and will be performing with some degree of regularity in the People’s Building in Aurora. 

Lexie Lazear and friends have opened the door to bring diversity and opportunity to perform to talented singers and dancers who might not get the chance otherwise.  And perform they did in their first production of CRUEL INTENTIONS.  This was a musical remake of the old 1988 movie Dangerous Liaisons brought forward to today in an exclusive private school full of conniving, back-stabbing Heathers.  Both sexy and seductive, it looked like a lot more fun than my high school.   

The 90’s was not my era for music.  So, while the music sounded vaguely familiar and was well performed, it seemed immediately recognizable to the younger members of the audience.  However, I do still have an NSYNC CD that I do housecleaning to and recognized “Bye Bye Bye.”   

The production also introduced a very talented cast of relative newcomers to their audiences.  While sporting impressive resumes and experience in theatre, this production certainly expanded their exposure to Denver/Aurora audiences and the larger theatre community.  I had been forewarned that the performance I attended was the understudy performance – a sometimes theatre tradition that gives the people who have learned one or two parts additional to the one they regularly perform a scheduled opportunity to show their stuff.  I went in anticipating that all the leads were being performed by the understudies and was amazed at their professionalism.  I didn’t find out until after the show that Dani Morris-Tate was the only understudy performing that night and she blew the ceiling off the People’s Building singing the lead seductress. 

Too often finances and lack of resources plague early productions for a new company.  However, the set that was put together for this show was charming, sharply dramatic, and appropriate. The black and white decor set the mood for the decadent activity and quickly identified the good and the bad boys and girls.  The costumes were cute school uniforms and over-the-top sexy catsuits – both appropriate to the characters. 

Ms. Lazear has achieved a great start for her new company.  I’m sorry I couldn’t tell you about the show before it was over.  But I highly recommend that you watch what this talented company takes on next.  You won’t be disappointed. 

WAITRESS –  Book by Jessie Nelson; Music and Lyrics by Sara Bareilles; Directed by Lynne Collins; Music Director Susan Draus; Choreographed by Taeler Cyrus.  Produced by the Arvada Center (6901 Wadsworth, Arvada) through October 13.  Tickets available at 720-898-7200 or arvadacenter.org. 

There is some “Kick-Ass Pie” being baked up at the Arvada Center.  Jenna (played by the luminous Anne Terze-Schwarz), a waitress in a small restaurant, finds comfort and fulfillment in baking, as did her mother before her.  They both used the serenity of a warm kitchen and the flour, sugar, and eggs in pie dough to escape the reality of their unhappy, emotionally abusive marriages. 

The audience gets a pretty quick idea of the humor of life in the diner when the other waitresses push Jenna into taking a pregnancy test in “The Negative” and when Jenna’s first visit to her doctor gets her inducted into “Club Knocked Up.”  Jenna’s journey to self-awareness is aided and abetted by her friends in the diner, Becky (an impressive Arielle Crosby making her Denver debut), Dawn (the effervescent Jenna Moll Reyes who performs all over Colorado), and Joe, the owner of the diner, brought to life by Arvada favorite Colin Alexander.  Together they see her through her problems with her selfish husband Earl, her new doctor, and her ambivalence about becoming a new mother.   

The cast features only two “imports” – Juli Biagi who plays Jenna’s mother and dances in the ensemble and Arielle Crosby playing the warm and understanding Becky and expresses her own path through life in the solo “I Didn’t Plan It.”  It’s wonderful to welcome new players to the Denver theatre scene.  Especially when they add so much to the production. 

It is even more wonderful to see a superb cast of local talent take to the boards and rock the walls.  Anne created a poignant, confused, sweet, but determined Jenna that had the whole audience rooting for her.  Her version of “She Used to Be Mine” will break your heart.  A shout out to Jenna Moll Reyes who bounds around the stage like an untrained puppy, even while she is bemoaning her fear of online dating.  What is he going to think “When He Sees Me.” Luckily her first date was with the equally exuberant Bryce Baxter who steals nearly every scene he’s in with his energy and enthusiasm for Dawn.  She needn’t have worried.  Nick Rigg, who in real life is one of the nicest guys you’ll ever meet, had to work hard to convince us of his insecurity and selfishness.  He’s made to say some of the saddest lines ever uttered on stage when he forces Jenna into the impossible promise that she won’t love the baby more than she loves him. The whole audience was mentally shouting “What a jerk!” 

The visits to the doctor’s office become much more than listening to the baby’s heartbeat because of the handsome and charming Dr. Jim, played by the equally handsome and charming Marco Alberto Robinson.  He shows Jenna that there could be a different future for her.  His feisty nurse is given a sharp tongue and a knowing eye by Megan Van De Hey, who always makes the most of every part no matter how big or small.   

An ensemble of singers and dancers – trained by first-time Arvada choreographer, Taeler Cyrus – kept the pace up and supported the story as customers and friends.  As always, Brian Mallgrave’s set is colorful, inventive, and created to move the story along smoothly.   Susan Draus’ work as Music Director and Conductor was evident throughout and kept the juices flowing. Director Lynn Collins sat at the end of my row through the performance with a proud smile on her face. Well deserved pride.

The story behind the story of this script is both heartbreaking and inspiring.  Adrienne Shelly was an up-and-coming actress who wrote the original story for the film, and produced and directed it with a budget of $1.5 million. Right after it was accepted into the Sundance Film Festival, she was accosted in her office by a would-be robber and murdered.  The movie went on to gross over $19 million.  As an homage to Shelly’s work, the original Broadway version of the film-turned-musical had a mostly all-woman administration and crew, a tradition that has continued through each future production – including this one. 

There are a couple of scenes in this script that might be a little embarrassing or scary for the youngsters in the family.  Forewarn them that it is only a play or take them to see ONCE UPON A MATTRESS later in the season.  They will love it! 

A WOW factor of 8.75! 

A CHORUS LINE – This show closed the day after I saw it. Too late to write a review to encourage readers to run out and get a ticket. So rather than a review, this is a love letter to Phamaly: 

Dear Friends in Phamaly: 

How extraordinarily proud you must be of your magnificent accomplishment in producing and performing CHORUS LINE.  Audience reaction and media coverage have reinforced your personal recognition of what a truly incredible event you have pulled off.  I’m only sorry that I couldn’t have gotten to see it earlier in the run so I could have returned a second time. 

The audience got a tiny glimpse of what the whole evening was going to be like with the incredible staging of the opening number which highlighted every player.  Jari Majewski Price as the inventive choreographer managed to turn the spotlight on everyone for one brief shining moment.  Casey Myers’ unbelievable tap dance from a wheelchair in “I Can Do That” blew off the ceiling and startled everyone to tears. Those who were expecting a traditional “At the Ballet” were amazed by the work of Teri Westerman Wagner who shaped the dance to fit Laurice Quinn as Sheila, Lily Blessing as Bebe, and Katelyn Kendrick as Maggie into a beautiful homage to the children who persevere and the teachers who inspire.  Juliet Villa’s voice warmed the night as she felt “Nothing” and expressed “What (She) Did for Love.”  Her voice is like pink velvet, quietly taking over the room, leaving no emotion unturned.  Sofie Henry and Phillip Lomeo had everyone laughing as they demonstrated how Sofie could not “Sing.”  Annie Sand was a saucy Val who managed to change the numbers in “Dance: Ten; Looks: Three.”  As the Dance Captain Larry, River Hetzel did their job with a steadfast calmness, yet with a tenderness toward the dancers and an unwavering respect for their boss. Trenton Schindele was the whip-cracking Zach, the man tasked to pick the final eight dancers. The story of Cassie was well told and beautifully danced by Jessica Swanson.  But the world stopped turning for the ten minutes of the final number when the whole company donned spangles and created a giant X formation for “One.” 

The whole evening was transcendental.  An incredibly moving experience.  But I should not have been surprised.  Phamaly has been amazing and moving people for a long time now.  I went to sleep last night thinking about all the beautiful memories I have from your shows.  I’ll never forget the spectacular Lucy as Winifred in ONCE UPON A MATTRESS.  I worked backstage for that show and remember her being laid low by muscle spasms an hour before the show, patiently waiting them out, and then getting up and putting on her costume and performing as if nothing had happened.  I’ll never forget a blind Lion in THE WIZARD OF OZ having the nerve to jump off a four-foot-high rock while singing “If I Were King of the Forest.”  The bravery it took to do that for the first time in rehearsal – it moves me to tears to even think of it.  The vulnerability and determination of Regan as Dulcinea in MAN OF LA MANCHA crawling to her wheelchair after having been beaten.  Everyone in the audience was perched on the edge of their seats, ready to jump to her aid, silently urging her “You can do it,” and exulting when she made it on her own. 

The longer I write, the more the memories pour in.  The crazy lady who played the raucous Miss Hannigan in your ANNIE and the touching rendition of “Something Was Missing” by Leonard Barrett as Daddy Warbucks.  The incredible Tevye that came out of Mark Dissett and his lovely wife who was guided on stage by her daughters.  Danny Traylor and Mark’s work in ELEPHANT MAN was a never-to-be-forgotten experience.  Leonard’s Beast and Jenny’s Belle was how I introduced my grandson to theatre and he’s never forgotten it.  The scarves falling out of the ceiling in JOSEPH – tough little Barbara in SPITFIRE GRILL – the impish Emma Maxwell as Puck – DIVINERS – THE FOREIGNER and on and on and on. 

And I hope it goes on and on and on.  Oh, I have to share one other memory with you.  A hundred years ago, I used to be a grant writer for Phamaly.  Back in the day when there was one granting department for the State of Colorado, we were allowed to sit quietly in the room while the adjudicators reviewed your grant.  As they discussed the merits of Phamaly and what we had requested money for, one of the proudest moments of my life came when one of the panelists asked the question, “Can we give this organization MORE than they have asked for?”  You ask for so little – you give so much.  God bless you all. 

THE SCHOOL OF ROCK – Book by Jullian Fellowes; Music by Andrew Lloyd Webber; Lyrics by Glenn Slater; Directed by Andrew Lloyd Webber; Music Directed by Alec Steinhorn; Choreographed by Samantha Piel.  Produced by Miners Alley Playhouse (1100 Miners Alley, Golden) through September 15.  Tickets available at 303-935-3044 or minersalley.com. 

If ever there was a musical written for both real children and adult children, this is it.  Who among us has not wanted to “Stick It To The Man” or wished they could tell someone in their lives “If Only You Would Listen.”  Even to equate a small success in your life or business to “You’re In The Band.”  There were a large number of young people in a recent audience who could be seen playing the air guitar and head bobbing along with their parents.  It’s a joyful recognition of childhood dreams that are never too late. 

Dewey Finn (played on this night by highly qualified understudy Aaron Szindler) is a failed musician desperately needing money.  An opportunity presents itself for him to assume the identity of his housemate and become a faux substitute teacher in a high-end private high school full of stuffy rules and bored teachers. Needless to say, the inventive Dewey by listening, ignoring the tendency to overlook the potential in kids, and sharing what he loves, ends up teaching the joy of music to his borrowed class. Along the way, he teaches self-confidence, determination, and how to advocate for themselves.   

The nine child actors in this cast have resumes in shows that match those of their adult cast mates.  One can only imagine the impact they will have on Denver theatre as they move into their teen years and beyond.  What an amazing experience for them to perform in a full-blown hardcore rock ‘n’ roll musical like this.  We had Beckham Hall on the keyboards, Peyton Moore on the bass guitar, Liam Dodge kept the beat on the drums, shy Emmalyn Garces with a little encouragement became the lead singer and Christopher Gawlikowski rocked out on the lead guitar.  To include everyone in the class in the band, Dewey assigned each a job.  Meika Qutub with her clipboard and Chairwoman of the Board attitude became the band manager.  Evie Sickbert and Adella Weldon with their Janet Jackson moves were the backup singers.  Radley Wright designed their costumes and moaned about not having enough sequins.  Right in front of your eyes, the bored little cell phone game-players they were had become an excited successful band!  Stick to the Man!! 

Ably supported by the adults in the cast who took on the dual roles of the teachers at the Horace Green School and the uninvolved parents.  Katie Jackson played the winsome principal of the high school.  A stickler for a life made up of rules, regulations, and expectations from the parents and herself, Dewey manages to find her softer side with a Stevie Nicks song.  Katie displays an amazing range as she brings an operatic voice to Queen of the Night and a rock persona to the finale.  Dewey is crashing in the basement of his friend, the real Ned Schneebly, played by Matthew Murry who, so far, is known in Denver theatre circles as a quiet reliable gifted performer in straight plays.  He just quietly blew the lid off that reputation by donning leather gear and rocking out with the rest of the crew.  His overbearing girlfriend is given obnoxious life by Courtney Kofoed who is determined to get Dewey out of “her” basement.  If you look in the dictionary for the definition of a “Karen,” you’ll see her picture. 

Enough cannot be said about the all-important role of the understudy.  The actor playing Dewey sings – mostly all-out rock ‘n’ roll – 20 of the 31 songs in the show.  That can wreck a voice doing it night after night.  John Hauser, an excellent actor and guitar player, normally sings the role.  But needs to take a break once and awhile to let his vocal chords cool down.  How lucky he and the theatre are that they have the talented Aaron Szindler to step in and go full Jack Black on Crack when that happens.  Aaron sizzles in this role starting as a sloppy, lazy, disillusioned little-too-old rocker.  But by the time the show has progressed to the end, he has become a beloved mentor, a cleaned-up suitor, and a bit of a romantic lead.  That’s what exposure to the kids and the school environment did for him.  A sweet transformation. 

As usual, Miners Alley always presents an excellent tech team with an easily movable set designed by Jonathan Scott-McKean, appropriate school uniforms and teacher-y clothes by Crystal McKenzie, and concert lighting for the show numbers and visibility lighting for the school by Vance McKenzie.  John Hauser, in addition to his duties on the stage, also worked in the background to make the hard-rocking music audible to the audience.  The stage management crew of Lexi Holtzer and Samantha Piel were augmented by Brandon Brown and Keith Phillips to make the movement of set pieces off and on the stage quickly and smoothly.  It all came together beautifully. 

So, parents and grandparents, take your young ones to see this show to see the performances of their peers and to learn what it means to “stick it to the man.”  You’ll love the results.  Really. 

A WOW factor of 8.5!!