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THE ROAD TO LETHE – Written by Jeffrey Neuman; Directed by Betty Hart. Produced by Benchmark Theatre Company (presented at 1560 Teller St, Lakewood) through May 18. Tickets available at 303-519-9059 or benchmarktheatre.com. 

Every theatre company in town has its own reputation, its own signature, its own modus operandi.  Curious does pieces that Miners Alley doesn’t take on; Vintage does things Firehouse wouldn’t touch; Lone Tree starts off a new season of theatre with two old favorites.  And that’s OK and as it should be to accommodate the eclectic tastes of the Denver theatre-going public.  But few in town can touch balls-to-the-wall Benchmark for bold gutsy controversial theatre pieces.  Does it mean they win with each one?  It’s up to your personal preference. 

My personal preference was a little shaky on this new piece.  Don’t get me wrong.  The actors did a fine job with the script they were given; the tech was impressive and there was an interesting story trying to be told.  It just didn’t feel quite like a cake yet.  Jeffrey Neuman is an amazing storyteller.  He did a great job of telling the story of The Headliners last year; I’ve seen several of his scripts that were interesting and enlightening pieces.  

A story drawn from Greek mythology translated into modern sensibility could have used a little pre-education in the publicity or program for those of us not well-versed in the Greek traditions. Research done after viewing the production disclosed that the road to Lethe of the title is one that needs to be crossed by the dead to forget their former life and progress into their next. Those that choose not to make that crossing stay mired in their memories and desire to return through the thin veil back to their former existences to complete unfinished business or impart a message to a loved one. Our hero in this case is Kal, a handyman mourning the loss of his brother. He is hired by three sisters to open and put together whatever is inside a huge box from Prime. The sisters compete for his time and attention using the appearance of power, wisdom and love as their tools. But what is their power? Do they display outstanding wisdom? How can love be so fraught with menace? 

Kal seems a gentle man torn between trying to put a world together as he works on creating a globe at his workbench – and – listening on the TV to a world being torn apart. Behind the thin veil that makes up the back wall of the set, we observe a man walking back and forth beside the unseen river, pondering his future choices and regretting his former acts. He ultimately makes a choice just as Kal is finished completing his task as well while none of the sisters seem to get whatever they wanted from Kal and fade into the background. I hope these observations from my viewing may make it easier for future observers to enjoy the production. 

Kal is created by Arthur McFarlane III, a welcome new face on the Denver scene. It seems he has filtered his own personality into his stage character because of the quiet way he talks and the deliberation with which he tackles his construction project. He never gets upset yet seems to be a man carrying a heartfelt burden. eden origin puts down his dancing shoes (almost) to take on a serious role as a soul torn by indecision and regret. It’s a little hard to imagine Arthur’s gentle giant and eden’s pixie like persona being related, but they make it happen.  

The three sisters are portrayed by Christine Kahane, Barbara Porreca, and Jennifer Condreay – all three talented and dedicated actresses. Again, while in appearance they are unlikely family siblings, they bond together to teach and reach Kal with their life lessons. Barbara wields her candy like a scepter; Jennifer creates a stately teacher who enjoys a lesson in the use of power tools while Christine seduces with her overwhelming empathy. 

The set designed by Tina Anderson, while simple, creates a realistic living room on the border of eternity. Some startling and effective sound and lighting effects were designed by Marc Stith and Neil Truglio. Susan Rahmsdorff-Terry did her usual fine job on finding authentic clothing for the actors. Whoever found that giant box from Prime did a heck of a job with props. Good job, either Colby Bleicher or Haley Johnson. 

Two weeks left in this run. Please share your personal observations about this production in the comment section. I’m truly interested in what you thought. 

A WOW factor of 8.25!! 

A MIDSUMMER NIGHT’S DREAM – Written by William Shakespeare; Directed by Kelly Van Oosbree and Jeffrey Parker; Choreographed by Kely Van Oosbree. produced by the Platte Valley Players (presented at the Armory Performing Arts Center, 300 Strong Street, Brighton) through May 11. Tickets available at plattevalleyplayers.org. 

Out of the cast of twenty players, eleven are making their debut at Platte Valley Players with this production. I mention this only because it says something that so many local actors are becoming anxious to work at (or return to) PVP and the opportunity to be creative with Kelly Van Oosbree. I can’t remember that I’ve ever seen Kelly ON a stage but what she can do with a CAST OF PEOPLE on a stage is not to be missed. To drive that far to rehearse and perform says something about the draw of KVO and Mr. Shakespeare. 

Speaking of Mr. Shakespeare, I am confident that he is standing backstage at his celestial Globe smiling down at his friends in Brighton and laughing at their antics. This interpretation of MIDSUMMER includes rock ‘n’ roll, sultry blues music, a rousing rendition of “I Would Walk 500 Miles,” bubbles and assorted variations of wackiness – in addition to the familiar humor built into the script from the beginning. 

The cast is more than up to the task and have, no doubt, contributed little bits to the fun as rehearsals progressed. While MOST of the dialogue is Shakespeare’s, it is performed in a modern style that aided in understanding. The ten-year-old sitting next to me was giggling at all the appropriate places. First timers and purists both will approve of this treatment of the sacred script. 

So much rests on the shoulders of the feuding lovers of the story. This quartet of players – Aspen McCart as Hermia and Dallas Slankard as Helena are paired with Sam Werkema as Lysander and Tyler Strickland as Demetrius – trade places and tempers with abandon. Starting as warring lovers before falling under the power of Puck, they end up in a tumbled pile of sleeping children. With a lot happening in-between. 

The other group that is so crucial to the humor of the show is the Mechanicals – tradespeople who want to gain prestige and pennies by entertaining Theseus (Daniel Mothershed) and his bride Hippolyta (Jennifer Grahnquist). Their choice of plays is a “tragical comedy” called Pyramus and Thisbe, a storyline originally fashioned by Ovid in 8 BC, then stolen by Shakespeare and centuries later, turned into THE FANTASTICKS by Harvey Schmidt and Tom Jones. The Mechanicals and their parts within the play-within-the-play are Greer Caldwell as Wall, Kris Graves as Lion, Rick Long as Moonshine, Chase Ralston as a reluctant Thisbe and Charlie Schmidt as the over-acting Pyramus, all directed by Adam Luhrs as the “director.” They each bring a unique look and style to the parts in the play, as well as retaining the innocence of tradespeople unschooled in the ways of the theatre. Their enthusiasm is laugh inducing; their performance brings belly laughs. 

As always, the mischievous Puck is behind all the confusion and chaos. Denver’s own magical imp brings her special charm to the role. Rachel Graham is athletic, conspiratorial, subservient yet independent, and squeezes all the humor from Shakespeare’s words and then finds additional laughs with her body language and eye-rolling facial expressions. 

Special kudos must go to Terri Fong-Schmidt for the beautiful costumes which include rich robes for the royalty, innocence personified by the white garb of the lovers and comical costume depictions of the characters in the Mechanicals turn on stage. I’m not sure who to give credit to for the brilliant choice of music to accompany the madness – Ryan Michener, the Sound Designer or Kelly, the director – but every bit of it elicited laughs from the audience as recognition set in.  

PVP is making its mark on Denver theatre. Don’t be the last one to find this out for yourself. This show has a very short run, but tickets are still available for next weekend. 

A WOW factor of 9!! 

THE FULL MONTY – Book by Terrance McNally; Music and Lyrics by David Yazbek; Directed by Nick Sugar; Musical Direction by David Nehls. Produced by Miners Alley Playhouse (1100 Miners Alley, Golden) through June 2. Tickets available at 303-935-3044 or minersalley.com. 

Let’s get it straight right off the bat! FULL MONTY as done by the men of Miners Alley is an absolute HOOT! Full of fun, charm and a little bit of skin, there’s something for everyone is this delightful production. While totally recognizing my own dotage, the truly elderly woman I sat next to on a recent Sunday afternoon was grinning through the whole production and only covered her eyes once during Ethan Walker’s opening performance as Keno, the professional Chippendale. This is a musical comedy, folks; it’s not a genuine male strip show. As a matter of fact, they don’t even list a choreographer for this show that talks about and leads up to a bunch of men demonstrating how they can barely dance (see what I did there!). Which means the actors themselves must have come up with the steps they did at the end. 

This is totally part of the charm of this piece. You may have seen some of these guys (and girls) in other shows and know that they can dance. They can act sophisticated and suave. But for this production, they personify the man off the street drawn into a situation they never thought possible; absolute fish out of water. If they didn’t all sing so well, you could believe that they all met in a bar and decided to do this show on the spur of the moment. 

Let me introduce the main players. Nick Rigg Johnson plays Jerry who is driven to desperation to raise child support so he can keep seeing his son. If there’s any doubt as to his determination, listen to the words of his lullaby to his son in “Breeze Off the River.” There’s Alejandro Gutierrez playing Dave, a part that has to be assigned to an actor with bulk to his body and a tender singing voice. Alejandro bravely fits the bill as he serenades his sleeping wife with “You Rule My World.” Next we have Rory Pierce, a Miners Alley Favorite, as Harold who has kept his unemployment from his wife and needs to raise money to pay for their next cruise. He joins Dave, making “You Rule My World” a duet as he sings of his love for his wife. The fourth member is Malcomb (Caleb Wenger) who Jerry and Dave save from an attempted suicide by outlining the better ways of doing it with “A Big Ass Rock.” The Hot Metal dance crew add Horse (Dwayne Carrington) and Ethan (Alejandro Roldan) through a hilarious audition process. Also adding youth and heart to the production is Greyson Allensworth (himself a high school junior) as Jerry’s son Nathan who slowly understands why his dad is doing this crazy thing. 

The women in their world are also ably performed by Kayleigh Bernier as Pam (Jerry’s ex), Julia Tobey as Vicki (Harold’s unsuspecting spendthrift wife) and Leiney Rigg as Georgie (Dave’s loving wife). In a show-stopping role as the pianist who shows up to play for the men’s rehearsals (piano and all) is the unforgettable Annie Dwyer. What a treat to see her perform “Jeannette’s ShowBiz Number” where she tells the men how inadequate they are and recounts her own adventures as accompanist to the greats like Frank Sinatra, etc. 

Miners Alley has learned to use their small playing space by creating set pieces that move off and on stage quickly from the wings. It keeps the pace moving steadily and puts the emphasis on the story itself, rather than the “look” of the stage. Scenic Designer Johnathan Scott-McKean and Prop Designer Samantha Piel created the pieces of this process. Kudos as well to Sound Designer and Mixer John Hauser for balancing the music of the offstage five piece live band (led by David Nehls) and the singing of the actors on stage. 

I would be remiss in not mentioning the original creators of this piece who seem to have been left out of the program. The script for the musical which was adapted in 2000 from the script of the original British movie which came out in 1997 was written by the brilliant Terrence McNally who wrote nearly forty plays before his recent death, many of whom you have seen. David Yazbek found just the right note with his music to infuse the production with heart and humor. Any composer who could come up with “Big Ass Rock” and “The Goods” as well as “You Walk With Me” and “Let It Go” deserves the Tony he was nominated for. This is the hot ticket in town right now – don’t let it get away without seeing it!! 

A WOW factor of 9!! 

CHEYANNE – Written by Cipriano Ortega; Directed by Phil Luna.  Produced by Control Group Productions (Presented at the People’s Building, 9995 East Colfax, Aurora) through May 5. Tickets available at thepeople’sbuilding.com/tickets. 

What an absolute joy it must be to have your first actual play find its voice and tell your story! Cipriano Ortega is a local actor who has worked for a long time on this script and finally sees it through to finish. And then act in it himself and speak the words he worked on for so long. Congratulations, Cipriano! He has had the added joy of performing with and writing for his friends who join him in the cast. 

Angel Mendez Soto is a steadfast member of the Su Teatro company and has graced dozens of scripts with them. As a stage elder, he continues to bring meaningful characters to life with ease. In this tale, he plays the father of Cheyanne, confined to her apartment by physical impairment and creeping dementia. A fine artist who could not make a living for his family in that field, he turned instead to painting houses for most of his life. Now in his dotage, he can’t stop painting all the walls he sees – even in their living room. Angel gives his character dignity, affection and understanding for his daughter and a righteous opinion about everything left in his life. 

Angel is joined by Iliana Lucero Barron, well known to Curious and BETC audiences, as Cheyanne, a noted fine artist who, for some unknown reason, thinks it’s a good idea to “collaborate” on a painting with her boyfriend. As soon as she finishes one section, he comes to the canvas and paints over it or “fixes” it. Whoever thought that would be a good idea?? She contains her frustration (barely) and there seems to be very little love left in their relationship or partnership in paint. She is irritated all the way through the evening, except with her father, then has a marvelous breakthrough right at the very end of the story. 

Both of the painters, Cheyanne and her boyfriend, are represented by an art agent and gallery owner played over-the-top by Megally Luna. This is a real break from the ordinary for Megally whose characters are usually either distressed or comforting, played with sweetness and heart. Her part in this play brings out her saucy side with her flamboyant clothing, her compulsion toward the bottom line (money, not art), and her two-faced approach to her problems with these two painters who don’t seem to be able to finish anything. She’s a hoot every minute she’s on stage and provides the catalyst for the final showdown. 

Cipriano plays the boyfriend himself and gives a touching performance of one who really seems to care for Cheyanne, but is getting frustrated by her plow-ahead attitude when all he’s really interested in is painting what the gallery wants and getting the money. Oh, and marrying the girl might be kind of nice too. He’s caring with the father, but the father sees through it to his true motives. I got the sense that he was on the down slope of this career while Cheyanne was on the rising side of hers. 

The four of them tell an interesting story of family commitment, art vs. Industry, ambition vs. surrender. The story could be a sharp saucy story told in about 40 minutes or so; the current production runs for a normal length two act play which seemed a little stretched out for the dialogue that needed to happen. I like it that the cast is comfortable with no dialogue for stretches at a time while action only with no words is taking place on stage. It’s hard to be on stage and not talking; these guys make it work. But the bottom line is that the whole show comes down to a one-word sight gag that we never see. Is that enough of a mystery to pique your interest?? Come on down to the People’s Building this weekend and see for yourself. 

A WOW factor of 8.25 !! 

THE SECRET GARDEN – Book and Lyrics by Marsha Norman; Music by Lucy Simon; Directed by Shelly Gaza; Music Direction by Katie Hughes; Choreography by Adria Maria.  Produced by Candlelight Dinner Playhouse (4747 Marketplace, Johnstown) through June 16.  Tickets available at 970-744-3747 or ColoradoCandlelight.com. 

The music and lyrics from THE SECRET GARDEN by Marsha Norman and Lucy Simon (as taught and conducted by Katie Hughes, Music Director) is absolutely lush and illustrates an uplifting story. A girl left orphaned by cholera thrust into a new strange unwelcoming world. Two brothers who loved the same woman who died in childbirth. A son isolated from his father fearful he had inherited a disability. All brought back to life by the love of the absent mother, the presence of a curious young girl, and the miracle of a magical garden. How could you not love that? 

Candlelight’s production delivers on telling the story and performing the music beautifully. While the young actors are double-cast, the duo I saw, Alianna Glorioso as Mary Lennox and Gus Gaza as the sickly Colin, were outstandingly strong performers. With precise diction, strong voices and commitment to their characters, the young people charmed and moved the story from dark to light with grace and ease.

The adults were ably represented as well with Patric Case as the broken-hearted Archibald and BDT alumni Scott Severtson as Neville, the two brothers. Their rendition of “Lily’s Eyes” with its mind-blowing octave drop in the middle of a verse easily moved the female half of the audience to tears. Amazing! The woman they are singing about – the absent Lily – was beautifully sung by Maryann Aurie who shares a lovely duet with her sister Rose (veteran Candlelight performer Sara Kowalski). 

The supporting performers are a mix of first-timers and long-timers including Chas Lederer as a delightful Ben, the gardener; Sarah Forman as Martha, the housekeeper and friend to the children, and Eric Heine and Hugh Butterfield playing members of the doomed India Company. Newcomers welcomed to the fold include Ariana Duran as Ayah, an Indian nurse; Jerod Mose as the Fakir, Jazz Mueller and Jennasea Pearce (both fresh from BDT) as the lively Dickon and the harsh Mrs. Winthrop; and Jason Rexx as Albert, Mary’s deceased father. 

There were lovely moments in the staging, such as the guardians watching over Mary as she moves into this new world and begins to make friends. Figures dressed in white behind a scrim that neither guided nor interfered – just watched hopefully. The camaraderie between the young Dickon, the older Ben and Martha, the housekeeper, seemed authentic and enjoyable. But there were also moments that disappointed. The healing ceremony for Colin seemed out of place and poorly illustrated through dance. An almost bizarre comical ritual in the midst of an English garden. The climatic duet between the deceased Lily and her grieving husband was beautifully sung but unimaginatively staged. This was not enough to spoil the production for the enthusiastic audience, and it shouldn’t deter any of you reading from seeing the production. Candlelight ordinarily sets the bar so high that sometimes it’s hard to meet their own standards. 

A WOW factor of 8.25!!  

EMMA – Written by Kate Hamill (Based on the novel by Jane Austen); Directed by Meredith McDonough. Produced by the Denver Center Theatre Company (14^th and Champa, Denver) through May 5. Tickets available at 303-894-4100 or DenverCenter.org. 

When I think of this delightful production, the words “spritely” and “whimsical” come to mind. There is such a lightness, such an honesty about it. Amelia Pedlow playing Emma Woodhouse is a force of nature to be reckoned with. She flits, she dances, she berates the audience, she flirts, she is a ball of energy all over the stage and in everyone’s face. As an Emma Stone look-alike, she has an animated face and nature that seems totally at home on the stage. She’s having a long conversation with the audience, explaining, cajoling, blaming us for her mistakes, and allowing us to rejoice at her triumphs. We go along for the story step by step with her. 

Her co-workers along this journey enter into the frivolity wholeheartedly, sometimes playing multiple roles, sometimes absorbing Emma’s wrath or dictates, but along for the ride, no matter what. Annie Barbour is the dreaded Jane Fairfax (to be said with disdain in your voice), Emma’s sometime rivel for the affection of the man she doesn’t even meet until later in the show, Frank Churchill (Marco Robinson). Everyone has raved about this superman and how he was bound to fall in love with her so much that she couldn’t understand why she wasn’t immediately attracted to him. But by this time, even the audience has figured out Emma’s problem. It has to do with her “old” friend, George Knightley, the patient and handsome Carman Lacivita. 

Emma is an educated and thoughtful woman, bored to death with the sedentary life she is forced to live as a born and bred member of the upper class. She gets into matchmaking as a side hustle and soon realizes that she’s very good at it. Her first outing was a successful matching of her former tutor (Joey Parsons) and a local widower. However, it isn’t hard to believe that the two would have gotten together with or without Emma’s assistance. Her success with her first experiment leads her to take on a new project with Harriet Smith, a girl from the local school who is almost catatonic in her shyness. Emma discourages a match with someone she considers lowly and pushes her toward a match with a man everyone knows is unsuitable for her. But in the process, she bolsters Harriet’s confidence to the point that she ultimately stands up for herself and determines her own path. Samantha Steinmetz’ transformation from bumbling terrified pupil to confident and determined young lady is a miracle to behold. Watching Emma work her wiles and Harriet responding to this new world was fun beyond words. 

The whole evening is just a delight. Using modern music and dance moves in the transitions and as wedding music immediately determines our mindset toward fun. As always, the sets are magnificent and move into place silently and smoothly. While the costumes reflect a Regency air, most of them could also be worn on the red carpet today. Costume changes are carried off on-stage with an almost unseen gracefulness. 

Emma learns a valuable lesson in humility along the way with the audience tracking right with her. We all know how this is going to end; Emma even questions the audience with “You think you know where this is going, don’t you?” But it’s so much fun getting there. You don’t need to know the novel to enjoy the frolic; Don’t be a snob. Jane Austen is the Nora Roberts of her day. 

A WOW factor of 9!! 

E MOUSETRAP – Written by Agatha Christie; Directed by Sam Gregory. Produced by Lone Tree Arts Center (10075 Commons Street, Lone Tree) through April 21. Tickets available at 720-509-1000 or LoneTreeArtsCenter.org. 

“Written by Agatha Christie.”  Quite often, that’s all it takes to get someone to walk through the door of a theatre.  The devious twists and turns of the plot – the suspense that builds throughout the performance – the possibility of any of the characters being the murderer – the old English atmosphere . . . . all signposts of Mrs. Christie’s work. 

But this particular potboiler has had a long and colorful history.  After a short tour around the provinces in 1951, THE MOUSETRAP began its London run in November of 1952 in the Ambassador Theatre where it played to nearly sold-out houses for 22 years.  Continuing the tradition, the show then moved to the St. Martins Theatre where it has added to its history by performing continuously for 68 years, until Covid shut it down.  After a closure of 14 months, it was the first show back on the boards in London. 

In 1939, the cast gave a performance to the Wormwood Scrubs Prison to entertain the inmates.  Two prisoners took advantage of the distraction and managed to escape during the show.  In 2002, Queen Elizabeth attended the 50th anniversary performance.  In 2012, a touring company in the UK featured such noted actors as Hugh Bonneville (DOWNTON ABBEY), as Giles, the husband; Julie Walters (BILLY ELLIOT) as the nasty Mrs. Boyle, and Patrick Stewart (STAR TREK) as the mysterious stranger Paravicini.  What fun to have seen that production! And most noteworthy, in the summer of 2021, a visitor from Denver attended the 28 thousand something performance on her first trip to London since 1966.  And it’s still going strong. 

Even though you have probably seen the show before and may (or may not) remember who the killer is, it’s just fun seeing the story acted out again in the hands of a director who knows what he is doing and a cast that revels in the tradition.  The current production at the Lone Tree Arts Center is tight, well presented, pretty and extremely professional.  This cast could absolutely stand shoulder to shoulder with the London cast I saw during that recent visit. 

Among the cast of ten, only three are making their Colorado debut.  Alex Esola and Erika Mori do a fine job as the married couple nervously opening their brand-new guest house to a mixed bag of patrons.  Their ease with each other before the guests arrive provides a contrast as suspicion raises its ugly head later in the show.  Guest No. 1 is Sean Johnson who plays the skittish over-the-top pseudo-architect with a full helping of nervous energy and wildly fluctuating mood swings.  Guest No. 2 is the mean-spirited Mrs. Boyle (Tara Falk) who complains endlessly about the lack of a full time staff to see to her every need.  She makes herself a target of derision from the other guests because of her rudeness.  Guest No. 3 is the mild mannered and quietly efficient Major Metcalf (Brik Berkes) who moves into action when the lights go out.  Fourth is Rachel Darden as Miss Casewell, a cool professional woman who goes her own way and makes her own rules. 

A winter storm leads to two unexpected guests.  Mr. Paravicini (Soren Oliver) claims his car ran off the road into a snow drift and he has walked through the snow to the house (although his coat displayed no clue of having been exposed to snow) (hmmmm?).  The last to arrive on the scene is Sgt. Trotter from the local constabulary who skied to the house to warn everyone of the danger in their midst (played by Colton Blair). 

Sam Gregory, the director, has found the humor in the script and created some character bits to devise even more comical situations which the actors seem to relish unleashing.  The single set is the Great Hall in Monkswell Manor, and it is Gorgeous.  Designed by Kevin Nelson, built by Jen Kiser and her tech crew, painted by Mallory Hart and Sherry Hern, dressed by Katie Webster, lit by Jon Dunkle, and provided with appropriately creepy Three Blind Mice music by Jason Ducat, the Manor is Grand, Gracious and Grandiose.  Elegant with a capital E. 

It seems a shame to only run for two weekends after you have spent all that effort to rehearse and build.  But that seems to be the case. If you want to revisit your old friends at Monkswell Manor, you’ve only got one more weekend left to get there. 

A WOW factor of 8.75!! 

THE COMPLETE HISTORY OF AMERICA (ABRIDGED) – Written by Adam Long, Austin Tichenor, and Reed Martin; Directed by Mellisa Taylor.  Produced by the Wheat Ridge Theatre Company (5455 West 38^th Avenue, Wheat Ridge) through April 21^st.  Tickets available at 720/244-5204 or WheatRidgeTheatre.com. 

Three insanely talented and quick-witted guys got together in college and decided to take on an examination of Shakespeare as seen through the eyes of hippy-dippy beach bums.  They reduced the entire Shakespearean folio (sonnets included) to a mock football game, a cooking show, and a backwards/forwards version of ROMEO AND JULIET.  Their frivolity left audiences bent over in pain laughing and began to make them serious money as they toured the United States and had a NINE YEAR run in London.  So what did they do then?  They formed the Reduced Shakespeare Company and kept going with Abridged versions of everything they could think of, like the History of Comedy, Hollywood, Great Books, a prequel to HAMLET, the Bible, Sports, and Western Civilization . . .  to name a few.  They have not run out of humor yet; Wheat Ridge Theatre bring their popular Reduced  History of America to life in their current production. 

Instead of three guys doing this one, WRTC has chosen two rapid-fire women and one quick on the draw man to explain American History from Columbus to Clooney.  No, wait, further back than that – from the cavemen crossing the Bering Strait to Lady Gaga.  From George Washington to George Bush and beyond.  From the Revolutionary War to STAR WARS.  In vaudeville like skits, often featuring song and dance, they move through American History like a knife through butter.  In-between all the frivolity and nonsense, you might actually learn something.  Not required, but an interesting side effect. 

One disadvantage of trying to write about a show like this is that it is so fast paced with so many loony tunes going on that if you try to take notes, you miss too much.  But let me just say that the scenes depicting American history range from corny vaudeville routines to a song about Amerigo Vespucci – from a Civil War slide show to a comparison of the startling statistics linking Abraham Lincoln and John Kennedy.  A bit about WWI morphs into a number by the Andrews Sisters.  The era where radio was King is given life in a scene from Queen for a Day – who remembers that??  We visit with Detective Spade Diamond, Private Eye as he pursues Tony the Tiger, cereal killer.  One of the players ended up taking the blame for all the terrible things that have happened in the last twenty years – Monica! Covid! Watergate!  And on and on. 

The three whirlwinds giving us this history lesson while dressed in red, white, and blue costumes are Camilo Luera, Kayleigh Hudson, and Tara Spires who are all equally adept at this type of humor, moving through each scene with dedication and determination.  They are having fun, and they want you to have fun watching them.   There are tiny bits of audience participation but nothing to be fearful of if you’re sitting in the front row and nothing to set your teeth on edge. Director Mellisa Taylor has mined every bit of schtick out of each “lesson” to guarantee your good time. 

Wheat Ridge Theatre Company is getting its feet under it with each production finding its strength.  The comfort of having their own space for performances gives them the courage to try all sorts of shows and appeal to all sorts of audiences.  For instance, their next play is FUENTEOVEJUNA (literally the Sheep’s Well) about a group of peasants in 1476 who revolt against the tyrannical rule of the military commander sent to their village, written by Spanish playwright Lope de Vega. Then the one after that follows to two elderly gay men who hire a “manny” (not a nanny) to help take care of them in their old age. Follow through all the way to the holidays and we have SCROOGE IN ROUGE, a take-off on a British panto in which the whole cast of CHRISTMAS CAROL becomes sick leaving only three actors to take on the whole play themselves. See what I mean – they aren’t afraid to try anything. 

A WOW factor of 8.5!! 

BIG FISH – Book by John August; Music and Lyrics by Andrew Lippa: Directed and Choreographed by Noah Racey; Music Direction by Victor Walters. Produced by OpenStage Theatre and Company (presented at the Lincoln Center, 417 West Magnolia Street, Fort Collins) through April 20. Tickets available at 970-221-6733 or lctix.com. 

It’s a bit of a slog to drive all the way up to Fort Collins to see a play. But most of the time, it’s worth it. There’s really good theatre going on in the Fort Collins area that needs to be checked out. A leisurely drive up in the afternoon, a nice dinner in one of the hundreds of restaurants in this college town, and then a sit-down with a good show. Great way to spend a day. OpenStage has been doing theatre for generations of Fort Collinsians and it shows. 

Their current production is a lovely mystical story about a father who liked to exaggerate aspects of this life to make it more exciting for his son. Or was it that he was so in love with life that he found everything about it a miracle? Either way when Edward (Scott Hurst as the father) grew older and ill, Will (Brian Wilcox as the son) felt he had to find out how much of these grandiose tales were true. Thus began his journey into his father’s past. 

With a script that takes us back and forth in time to the son’s youth and later life as a doubting adult, we explore the origin stories and what the son found out. What was the truth behind the witch’s insights (Courtney Kofoed) about how Edward would die? Regardless, knowing what his death would look like gave him the courage to live without fear. This led him into adventures with the circus, a town about to be flooded, and a once-in-a-lifetime romance. 

The creativity of the production team brought all the magical aspects of Edward’s stories to life with both whimsy and believability. He had an interesting good-hearted life. So, if he wanted to make it even a little more exciting to teach his son to “be his own hero” and how to “fight the dragons,” no harm done. The audience got to see both the true adventure and the slightly inflated version he shared with others. But there really was a mermaid (Ruby Duka) and a giant named Karl (Cisco Saavedra) and a magical field of daffodils. 

Scott Hurst is one of those actors you can always count on to bring his character to startling authenticity. Playing older was a bit of a stretch for him, but so much more effective than having two actors play the younger and older Edwards. His musical journey was made more exciting by Scott’s charm and commitment. His once-in-a- lifetime romance Sandra, who became his patient understanding wife, was brought beautifully to life by Brikaih Flore. Her magnificent voice taught us about the “Magic in the Man” and reminded us that she didn’t “Need a Roof” over her head to be happy with him. 

I’m so happy to see gifted young performers. The very young Will was created by the uber talented Marlon Rothstein who showed no hesitancy about being on stage with the big guys and held his own in the music department. OpenStage is grooming the next generation of performers for Fort Collins. Bryn Frisina gets a nice turn as Jenny, the girl who doesn’t want to leave her hometown that is about to be flooded and must be persuaded to “Start Over.” 

The singers and dancers were provided with musical accompaniment and sound effects by a five-member live band behind the curtains that kept the energy up and the music moving along. 

All in all, it was a joyful musical evening . . . the sort I’m beginning to expect every time I visit this company. It’s not really SO far to Fort Collins. 

A WOW factor of 8.5!! 

THE MUSIC MAN – Book, Music and Lyrics by Meredith Willson; Story by Meredith Willson and Franklin Lacey; Directed and Choreographed by Kelly Van Oosbree; Music Direction by Andrew Fischer. Produced by Performance Now Theatre Company (Presented at the Lakewood Cultural Center, 470 South Allison Parkway, Lakewood) through April 7. Tickets available at 303-987-7845 or Lakewood.org/LCC presents. 

Do we have trouble right here in Denver City? Nope, we sure don’t. What we got is a lively, energetic, professionally performed celebration of the glorious music of Meredith Willson. Can you even begin to fathom the creative depths of a mind that could produce the beautiful love songs of this show, such as “Good Night, My Someone, ““Lida Rose” (what an ear worm that one is!), and “Till There Was You”? Then he turns around and balances those with a nonsense song like “Shapoopie” and a march like “76 Trombones.” This man was a genius. This beautiful story of deception and redemption should be performed yearly to remind us of the power of community and the healing nature of music. 

Mr. Wilson would be shouting “Good for You!” at this cast and crew were he able. Under the always amazingly creative direction of Kelly Van Oosbree, the story unfolds with joy. Her ability – in this case – to get children as young as the second grade and seasoned performers such as Karen Krause and David Novinger all learning the same dance routines and performing them with precision and smiles on their faces – well, let’s just say I’m agog!  

The decision to pare down the technical aspects of the production was a thoughtful and brilliant solution to the many sets normally required by this show. Instead, a gazebo in the upstage third of the stage contained the nine-piece orchestra that provides the music for all this fun. It also provides an appropriate backdrop for the story, with the steps in front creating an acting space for the “indoor” scenes, leaving space for the marching boys band and scenery to be moved in and out smoothly. Keeping the stage uncluttered allowed the focus to be on the story, the music and the dancing. “Good for You!” to whoever dreamed that arrangement up. 

It’s hard to highlight specific members of the cast because all 38 of them moved as a unit and functioned as a family. But if you don’t have a charming Harold Hill and a winsome Marian Paroo for your show, you’re sunk. At first glance, Jeffrey Parker may seem too nice for the role of a conniving duplicitous con man, but he soon shows that there’s a cutting edge under that niceness. His charm is part of the plot as he explains to his former sidekick. He always flirts and flatters the person who might undermine his scheme. In this case, that’s the immediately suspicious town librarian, played by Carolyn Lohr. Winsome with a capitol W, it takes a lot of genuine kindness to her shy little brother Winthrop (an adorable Ethan Hershman) to win her over. But Hill soon finds himself beginning to be won over instead. There are just so many cute touches, sweet moments between the lovers, and the number of talented little kids on that stage. You can’t get the smile off your face. The harmonies of the barbershop quartet, the ladies Grecian urns, the anticipation of the arrival of the musical instruments, watching little Winthrop come out of his shell, and on and on. 

Just one of the things that makes this production out of the ordinary is the number of family members that are performing together. There are husbands and wives, mothers and daughters, fathers and sons – all singing and dancing together as they play the townspeople of River City. Just like they were a real family . . .. and they become one. It’s lovely to behold. 

I could go on and on about this production, but if you’re reading, you’re not picking up your phone and buying tickets. I’ll shut up so you can get to it. This is a good one, folks. Don’t miss it! 

A WOW factor of 9!!