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MORIARTY – Written by Ken Ludwig; Directed by J. Blanchard.  produced by Theatre Silco (460 Blue River Parkway, Silverthorne) through July 7.  Tickets available at 970-513-9386 or The Silco.org. 

Five actors take the stage, and the fun begins.  Two are more or less constant playing the roles of Sherlock Holmes and Dr Watson but the other three are in a constant swirl of changing costumes, changing accents, changing characters, even changing into animals right in front of your eyes.  I tried to keep track of how many people moved off and on the stage to aid in telling this story and lost count at 29 because I was laughing so hard. 

Ken Ludwig loves to do this to his actors – entice them into taking on A (supposedly single) role in a script and then slamming them over the head with a frenzy of motion and fast-paced dialogue.  Let’s, however, make it very clear that with this cast there was no confusion as to who was who and why they appeared on stage at the time they arrived.  Each character – whether there for only a few lines or making multiple appearances and becoming crucial to the story – was clearly and completely drawn.  And each actor was having serious fun in their playground. 

Kiernan Danaan’s Sherlock was in turns stuffy, pompous, and child-like in his slightly goofy and completely puzzled attraction to Irene Adler, an American actress.  His energy propels much of the story forward in his determination to solve the mystery. His final scene expressing profound grief and incredible relief is a gift to the audience. 
  

His partner in crime Christopher Joel Onken as Dr. Watson keeps the story on track and moving forward.  He is charming, much more tolerant than Holmes, and witty.  He is a good friend and keeps Holmes grounded and human. 

Patrick Halley and Ben Griffin are whirling dervishes of activity playing villains, serving maids, constables, too many pop-up characters to count.  Patrick makes a delightfully evil title character, just on the edge of smarmy and devilishly handsome.  Ben’s bloodhound brought the show to a stop as he went sniffing up into the audience on the hunt. 

Laura Cable as the lone woman in the ensemble holds her own, switching from a sweet Southern accent to a straight up Cockney for other parts. She is sure-footed in her portrayal of the various women in the story and breathtakingly luminous as Irene Adler. It’s no wonder that Sherlock became so suddenly smitten. 

As an ensemble, this group takes the prize. Within the choreography of getting to the right place on the stage in the right costume with the right prop in your hand and the right words coming out of your mouth, they have no parallel. Which means, of course, that the tech side of the show had to work like clockwork as well. The Sound Design by Garrett Gagnon greatly enhanced the action and mood of the show, adding drama to foggy London and menace to a nearby waterfall. Coordinated by Nicole Harrison, the bits and pieces of costume that were worn in each new scene clearly established who the actor had become and added realism to each new character. The lighting design by Nita Mendoza created the mood of a flirtatious afternoon or a dreary London back alley with equal reality. The simple but comprehensive set designed by Jon Young allowed the action to flow seamlessly from one scene to another without slowing down the action. Not a simple task but well thought out. 

A show like this doesn’t work the way this one did without backstage help. So, kudos to Stage Manager Brendan Cullen and the unnamed dressers, furniture movers, prop holders, light and sound operators, and sweat wipers who enhanced the show with their helping hands. 

While the story was clearly told with a wink of the eye at the silliness of it all, the joy of this show is in watching the actors have so much fun. None of that would have happened without the clear-eyed and sure-handed direction of Josh Blanchard. He knew what he wanted the show to look like and what the audience should experience and guided his actors to achieve it. Not a beat was missed – not a potential laugh overlooked – not a misstep anywhere. I hope you give yourself the opportunity to drive over the hill to Silverthorne to see this wonder. 

A WOW factor of 9!! 

POTUS – OR BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM ALIVE – Written by Selina Fillinger; Directed by Kate Gleason.  Produced by Thunder River Theatre Company (67 Promenade, Carbondale) through June 30.  Tickets available at 970-963-8200 or thunderrivertheatre.com.  

It’s not often you find yourself laughing out loud just reading a script. But such was the case when I read this hysterical new play last year. I couldn’t wait for someone to get the rights to do it and knew I would drive anywhere in the state to see it. The first Colorado performance is now taking place in the wonderful little Thunder River Theatre in Carbondale, ten miles south of Glenwood Springs. So, yes, I did hie myself up the mountain one Sunday afternoon to partake of this stunningly funny 95% riotous comedy/5% message. 

 

You understand by the title that this is basically a scenario about the women who are behind the President of the United States. Not necessarily the current president or the immediate past president – but an amalgamation of perhaps the last seven or so presidents. No political affiliation is mentioned; no first names of staff members or wives are similar to people living or dead with the same jobs; no animals were harmed in the making of this performance. It is bold, profane, raunchy, not suitable for children, and includes discussions of various sex acts with cold, clinical reasoning. You’ll love it!!  

The seven women trying to keep POTUS alive politically because of his careless thoughtless disrespectful comments about women in front of a delegation are in order of importance: His chief of staff (China Kwan); His press secretary (Jenna Moll Reyes); His secretary (Missy Moore); His mistress (Sonya Meyer); His sister (Toddy Walters); A journalist who covers the White House (Jasmine Jackson); and his wife (Janae Burris). The timeline encompasses one frantic day from a breakfast meeting with the delegation from Bahrain through the day of frantic covering up finally to an evening reception for the FML (don’t ask!). The setting is an anteroom outside the President’s office.  

Their collective efforts to keep the President’s verbal faux pas and dubious health issues under cover start out slightly shocking and go downhill from there. This is a true ensemble performance, in spite of the fact that logically there should have been rabid competition between some of the members of the group. Both a girlfriend and a wife working together to literally save their man’s ass?? Would that happen? A journalist looking for a leak and the press secretary trying to stop a leak?? Where’s the common ground there? But it all makes some sort of crazy logic when you see it played out.   

Each and every woman brought her A game and her best work to the stage. China as the tough as nails chief of staff with the “everything’s under control” mantra sports a mannish haircut in an effort to fit into the male dominated world in which she has chosen to work. Her on-the-spot solutions would probably succeed if she could control the actions of everyone else. Too many of them are a little beyond control. Jenna as the Press Secretary never forgets what the last thing that happened is going to look like to the world outside . . . . should it get that far. And does the best she can to make sure it doesn’t, including lying through her teeth. Jasmine the journalist has fought hard to win her seat in the Briefing Room, and I’ll be darned if she’s going to let some upstart male rookie shove her aside just because she’s a new Mom and needs to constantly pump her milk for her unseen baby.   

The surprise arrival of Sonya playing the President’s latest dalliance with her cheerleader looks and blue lips (from sipping on blue slushies) creates a whole new level of chaos to the proceedings. Yet she’s usually the most pragmatic and level-headed one of the bunch. Then we have Janae, the President’s wife with her oversized clogs and power suit, protecting her image and trying to keep her cool. Toddy as the President’s sister has just been given a pardon (kind of) by her brother and gotten out of prison. She was there for selling drugs and resumes her old business as soon as she hits the door of the White House. Her description of a bottle of hallucinogenic pills as only Tums leads to one of the funniest bits of the whole she-bang. (see what I did there?)  

Missy Moore, in a showstopping role as the President’s secretary, starts the fun early on with her power stances and determination to be the BEST secretary she can be by protecting the door of the Oval Office. But we also see her insecure side when she misinterprets some information leading her to think she is about to be fired. Then she accidentally ingests some of the Sister’s “Tums” and turns into a raving loose cannon while slowly disrobing and wandering around with blood on her hands. This is a master class in comic timing and wide-eyed wonder as only Missy can perform it.  

No slamming doors in this farcical jaunt, but, once it gets rolling, this becomes a frenetic energetic rollicking descent into chaos. But when the dust finally begins to clear and the endgame is in sight, we discover that this group really has rallied around the dumbass they are trying to keep alive. The woman power and herd mentality triumphs once again as they end this day and get ready for the next. 

Now look, I know that Carbondale is a nice three-hour trip up into the mountains. Would you drive that far to see a show? Maybe not. But maybe you have a trip to the mountains planned during the next couple of weeks as part of your weekend summer activities. Carbondale is just minutes outside Glenwood Springs if you are going up for a soak in the pools or a leisurely drive through the canyon. If so, I want to call your attention to this hilarious production and encourage you to check out what will probably be a new theatre for most Denverites. It is worth the drive.  

A WOW factor of 9.5!! 

RIPCORD – Written by David Lindsay-Abaire; Directed by Adam Stepan and Gavin H. White.  Produced by Springs Ensemble Theatre (Presented at the Fifty-Niner Speakeasy, 2409 West Colorado Avenue, Colorado Springs) through June 23.  Tickets available at 719-357-3080 or SpringsEnsembleTheatre.org. 

I have the greatest admiration for theatre groups who take on big projects with limited resources but through creativity and determination pull it off.  Such is the case of SET who operate out of a tiny space in an old speakeasy behind a storefront in the Old Town part of the Springs.  Their stage looks to be about 20 feet square.  It is, however, an efficiently outfitted theatre space with a competent and dedicated crew bringing theatre to life for Colorado Springs patrons. 

They took on RIPCORD, a delightful comedy that would task any group wishing to take it on.  It requires multiple set changes and complicated special effects to tell its story.  One sentence synopsis:  Two elderly women in an assisted living setting are fighting for the coveted bed by the window.  Don’t laugh – they are dead serious.  Or so it seems.  But there is a little more complicated war going on under all the jokes and weird set-ups.  They have placed a secret bet between them, the winner of which gets the coveted bed.  One must scare the other before her roommate makes her mad.  A proverbial ODD COUPLE scenario that encompasses a new setting and new ages. 

But leave it up to the playwright to pull you along by the nose creating wilder and wilder efforts by both of them to scare or anger the other to the point of the absurd.  The staff at the facility and the families of both participants get drug into the doings and soon you’re asking yourself, “What’s next?”  But through all the jokes and laughter, family secrets come oozing out and the developments become a little more serious and revealing.  Some of the most powerful scenes are when there are just quiet conversations between two people that tell the story underneath the story.   

The two contentious “old” ladies are played by the seasoned and experienced actresses Melissa Hoffman as the gloomy dour Abby and Barbara Summerville as the determinedly upbeat Marilynne.  They are a great match in opposing styles and temperament.  You have the feeling that, once they get through this rough spot, they will probably end up as good friends.  Maybe not roommates, but friends nevertheless.  Their pranks against each other are original and complicated, much to the delight of the audience.  And the subtext for each is quietly revealed and beautifully portrayed by both. 

The medical technician Scotty who brings them their pills and befriends both of them is given delightful life by Nate Woodroof.  He is entirely believable as a novice thespian and a doting health aide.  Cody Van Hooser gives a touching performance as a voice out of Abby’s past that causes a cataclysmic change in her life. Completing the cast are Marilynne’s daughter (Autumn Schindler) and son-in-law (Patrick Rogers) who become embroiled in their mother’s efforts to scare Abby.  

Even with the limited playing space SET enjoys, they used it and their talent very well to create an enjoyable evening for their patrons. This is the little theatre to watch in Colorado Springs. 

A WOW factor of 8!! 

THE LIGHTNING THIEF – Music and Lyrics by Rob Rokicki; Book by Joe Tracz; Directed and Choreographed by Nick Sugar; Music Direction by Andrew Fischer. Produced by the Aurora Fox Arts Center (9900 East Colfax Avenue, Aurora) through June 23. Tickets available at 303-739-1970 or AuroraFox.org. 

Based on the popular Percy Jackson Young Adult series of books by Rick Riordan, this is definitely a family friendly production. Sitting in an audience of twenty-somethings during a recent performance, it was obvious that they had grown up with these books and these characters doing these adventurous things. For someone not familiar with the stories, it’s a sort of complicated plot involving a young man who knows he is different but doesn’t know why. Finally, his mother confesses that he is a demigod – half human (from his beloved mother) and half God (from his father who he has never met). As soon as he discovers this, his life is changed forever. He is accused of having stolen Zeus’ lightning bolt, he becomes friends with other demigods, he is accosted by a minotaur, he is warned of betrayal by an oracle, and off on a quest to clear his name and return the lightning.  

You can begin to see how this jumble of Greek mythology and magic would make a good story. That’s exactly how the whole thing started. Rick Riordan had a son that because of his ADHD and anxiety felt isolated and “different” – just exactly what a preteen kid doesn’t want to feel. So, he started telling his son about the Greek gods as bedtime stories. When he ran out of ancient stories to tell, he started making up a story about a boy who was a demigod who just happened to be the same age as his son. And Percy was born. And grew like Topsy into a series about 30 books deep. 

In this musical version, Percy (Chase Ralston) is helped by his friends, Grover (Sean Johnson), Annabeth (Antigone Biddle) Clarisse (Jamie Molina) and Luke (Nick Rogers). They are all in the same boat as far as parents are concerned, but the friends have known of their origins for a long time and are able to guide Percy through the whole discovery process and aid him toward understanding. It’s one of those “friends for life” situations – like Harry, Hermione and Ron. The young actors telling this story bring enthusiasm and energy to their parts – in some cases, jumping from one character or monster to another. 

The adults in the mix include Faith Angelise Goins-Simmons as Percy’s mother (and the Oracle) and the very funny Brian Watson as almost all the other characters including a centaur. He’s a graduate of the Monty Python Ministry of Silly Walks and plays half a horse with pride and dignity. He also jumps into the role of the Hawaiian-shirted beach bum Poseidon who ends up being Percy’s errant father. 

The tech crew for this production deserves a separate round of applause for their work on creating the special effects for the show. Especially impressive was the round of puppets of all sizes and characters who became part of the story. From an aggressive little squirrel who pointed the way for the group to the threatening and truly scary Minotaur. One particular character changed from a badly behaved woman on a field trip to a bat-like creature with wings and the head of a mouse right in front of our eyes. The evening was ripe with mythical characters jumping out of the scenery unexpectedly. So, congratulations to Brandon Phillip Case, Casey Burnham, Adena Rice, Wesley Schwarz, Olivia Kong, Amelia Mindlin-Leitner and Colby Bleicher for all their hard work on making the magic come alive. 

Want to get your kids excited about live theatre? This would be an excellent way to do it. A story they are familiar with, characters both scary and silly, music that’s easy to follow, kids their own age as the actors, and adults acting funny. What more could you ask for?? 

A WOW factor of 8.5! 

SWEENEY TODD – Music and Lyrics by Stephen Sondheim; Book by Hugh Wheeler; Directed, Music Directed, and Choreographed by Tanner Kelly.  Produced by Stagedoor Theatre Company (25797 Conifer Road, Conifer) through June 30.  Tickets available at 303-838-0809 or StageDoorTheatre.org. 

Well, I knew this would be good, but it surpassed even my expectations.  Why did I know it would be good?  First of all, start at the top.  Tanner Kelly has fast become one of my favorite directors.  He takes a creative approach to each new project, infusing it with his own imagination.  His production of ONCE, also for Conifer’s StageDoor Company, was one of my top five best shows of 2023.  Now he brings that same critical eye to SWEENEY TODD to ask, “Can we make this familiar story fresh and original?”  And he just did. 

Spoiler alerts will pop up throughout this discussion.  But no one who isn’t familiar with SWEENEY will be reading it – so it’s OK.  Tanner starts the show with a kind of zombie parade.  A dead-eyed slow-moving cortege from the cast quietly enters the stage area from all directions and moves the set pieces off the stage, clearing it to make room for the large opening number.  As they are retelling the story after it has already happened, Sweeney’s victims return periodically as ghostly presences to do stagehand work and move the story along. 

The fun starts when Sweeney arrives in London on his vengeful mission and discovers Mrs. Lovett’s Pie Shop in his old neighborhood.  Cooper Kaminsky slides into the role of Sweeney as tho putting on a well worn pair of boots.  Their Sweeney has a realistic sense of humor and a steadfast determination to right the wrong done to him by Judge Turpin.  Cooper allows Sweeney to have a little fun and respond to Mrs. Lovett’s self-deprecating digs at her own “worst pies in London” and later when she schemes to make her pies a little more meaty.  Their reaction (or non-reaction) to her flirting and of plans for their future range between mild amusement and outright dismissal. But they never lose sight of his own vengeful goals for coming back to London of finding his wife and daughter. Nothing gets in the way of that. 

Jessica Sotwick was born to play Mrs. Lovett. Her wicked sense of humor and lush body creates a character who knows what she wants, had little chance of getting it until this man came along, and isn’t afraid to use everything she’s got to make him stay. Jessica’s ability to give new meaning to many of her lines and add her own little appropriate ad libs and physical gestures to move the story along and solidify her relationships with the other characters adds charm to her portrayal of a desperate woman. Yet when her plot begins to unfold, she can sing “Nothing’s gonna harm you” to the gullible Tobias; then turn on a dime and announce, “the kid’s got to be next [in the oven], he knows too much.” Her failure to reveal the truth about Sweeney’s wife proves to be her undoing. But, Lordie, what fun to watch her mind at work every moment she’s on stage. 

Sean Davis’ strong but sweet singing voice as that gullible Tobias created a charming naive character played with great innocence and neediness. The over-confident and arrogant Pirelli is given tall life by Silas Vasquez. The talented Isabelle Duran is literally unrecognizable as the broken Beggar Woman. The dastardly Aaron Paschall and Nicholas Marshall were equally fine as the smarmy villains, Judge Turpin and Beadle Bamford. You could almost see them salivate waiting to get their hands on the innocent Joanna. The young lovers, Joanna and Anthony (played by Savannah Vidovatti and Brandon Metoyer) meld their voices in nearly perfect harmony while scheming to free her from the clutches of the Judge.  

This is a script that calls for an inventive stage design to accommodate all its requirements. These technical demands also require a steadfast commitment from the actors that have to go down the chute under the barber’s chair. Sliding into the darkness after you’ve been “killed” and trusting that there’s a soft spot to land and a helping hand to get you on your feet requires an undying trust in your fellow cast and crew members. This cast achieved surprise and perfection with each murder. Congratulations, victims! 

The other technical aspects of the show were also well conceived and carried out. The costumes by Jennifer Middleton were spot on and well-tailored. The lighting design by Jon Weeks contributed to the gloominess of their inner lives and the sunshine of the London streets. Periodically red laser lights flashed across the scene to create an added sense of chaos. And congratulations to Dean Arniotes and Biz Schaugaard for designing a set that not only looks good, but also answers all the questions posed by this script. 

I know you’ve seen SWEENEY several times already and there’s a lot of good theatre in Colorado this month, but if there’s any way possible to fit this excellent production into your schedule, you won’t be sorry. You’ll leave the theatre with “wasn’t that good!” and “Did you see . . . ‘s” on your lips. Maestro Sondheim would be proud of this production! 

A WOW factor of 9!! 

THE HOMBRES – Written by Tony Meneses; Directed by Dana Hart Wright. Produced by Vintage Theatre (1468 Dayton St, Aurora) through July 7. Tickets available at 303-856-7830 or vintagetheatre.org. 

Now what would you expect from a production entitled THE HOMBRES. A little mustache twirling – a little leering at girls – a lot of machismo. Sorry to disappoint! THE HOMBRES is a thoughtful, well-articulated discourse on how men grow, if given the opportunity. Playwright Tony Meneses revealed in a recent interview that most of his earlier plays had to do with female characters and situations (as in GUADALUPE IN THE GUEST ROOM and THE WOMEN OF PADILLA). He took on the challenge of writing a play about male friendship with an all male cast as a personal test. He also wanted to challenge the stereotype of Hispanic men raised in machismo by putting them to the test. 

He does this using the device of a gentle gay yoga instructor catching the attention of construction workers on a nearby building. The oldest of the men see the women from the yoga classes leaving the building looking revitalized and happy. Since his wife has asked him to leave their house because of his rough temper, he is intrigued by this transformation. But the shame of doing something as girly as yoga holds him back. His co-workers find out what he’s been doing behind their backs and confront both he and the instructor.  

But what gives this story of male “bonding” its charm is two things. One – the nature of the instructor. He is a genuinely good person and seriously interested in helping his first construction worker client. To the point of breaking the rules of his contract to do so. And two, as portrayed by newcomer Conrad Mata, as an audience member, you never doubt his motives and you trust his good heart and intentions. It’s easy to believe that Conrad just traded his street clothes for a costume and came into the theatre to act out his life. It’s that authentic. This is a young man with both acting and dancing chops; I can’t wait to see what he does next. 

A long time actor from Su Teatro, Joaquin Liebert’s age and rough edges also lend authenticity to the role of Hector who wants desperately to get back with his wife. The scene where the two meet for the first time and circle each other mentally trying to figure out what each wants from the other is a delight in understatement. To watch their friendship grow is to watch the crumbling of walls. 

Brandon Lopez and Brandon Billings bring the pot to a boil, letting their old prejudices guide the way for far too long as the younger workers Pedro and Beto. Fearful that somehow their manhood is jeopardized by their friend’s actions, they take a hard stance. But the good will and understanding of Julian along with the guidance of Hector leads to an unexpected happy ending. The play could have ended quite respectfully one or two minutes before it did. But playwright Meneses found a way of adding a coda to the whole experience that expanded the delight of the evening. 

Michael Gurshtein plays Miles, another lost soul trying to make a friend and find his place in a troubled world. While his place in the scheme of things is not as clearly defined as the other roles, he plays a man unsure of himself and struggling to find himself who also falls under the gentle guidance of Julian.

Ladies and gentlemen of the jury, this is actually the kind of theatre that can change minds. It gives you a peek into human nature at its best, that racism cuts both ways even when it doesn’t have to, and with patience and humor, it is possible to overcome your fears. This is one not to miss. 

A WOW factor of 9!!  

Written by Erika Dickerson-Despanza; Directed by Jada Suzanne Dixon. Produced by Curious Theatre Company (1080 Acoma Street, Denver) through June 15. Tickets available at 303-623-0524 or boxoffice@curioustheatre.org. 

Three generations of one family of strong-willed women share a house and a situation. This is dramatically illustrated by the cascading walls of empty water bottles and tick marks on the wall counting off the days they have survived without clean water. They cook with and drink from bottled water; they bathe in, eliminate into, and clean with the “colored water” of the title. They have coping mechanisms for everything but the anger. 

Sheryl McCallum as Big Ma, the matriarch of the family, displays the resignation of living a long life of injustice and the acceptance of being unable to make changes. She has a gentility that rings true and is too often thrown into the unwilling role of mediator.  

Her two daughters Marion (a dynamic Alex Campbell) and Ainee (a ferocious Kristina Fountaine) have very different attitudes toward the neglect of their political community to help them. Water filters are promised; changes are always “coming,” yet there are no solutions, and more tick marks are added to the wall. A recovering addict dependent on her family, Ainee’s anger boils over into outright rebellion in the form of becoming a test case for a class action suit. She is unaware that this unwanted action could call attention to her a long-held secret of her sister Marion. Marion is caught between providing for her family or becoming a whistle-blower.  

The two younger members of the family are played by Daja McLeod (Reesee) and Sade Houston (Plum), the helpless victims of bad decisions of those charged with providing their safety. The five women embrace the reality of their family life by laughing when they can, fighting when there is reason, forgiving when they must, and loving when it can’t be helped. Plum is fighting cancer caused by her exposure to the tainted water while Reesee, so disappointed by her reality, has retreated to the mystical beliefs of the ancestors. 

The spectacular set – designed by Tina Anderson and built by the well-trained workers at the DU Department of Technical Theatre is a recycled miracle. Walls are created by strings of empty water bottles beautifully lit in blues by Light Designer Emily Maddox. It almost gives the illusion of living inside an iceberg. “Water, water everywhere – but not a drop to drink.” The four rooms of the shared house – including living room, kitchen, the young girl’s bedroom and a bathroom – fit the limited space and gives the appropriate one-step-above-shabby appearance of a struggling middle-class family with one working member. 

A hard unsolved lesson is illustrated by this story. The political maneuvering around the disgraceful way the Flint Water Crisis was handled by the local and state government is given a real face with this production. The neglect at the top of the “trickle down” has created unsolvable disastrous results for this family – a scenario re-enacted in hundreds of Flint households. 

A WOW factor of 8.75!! 

THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE – Music and Lyrics by William Finn; Book by Rachel Sheinkin; Directed by Carter Edward Smith; Musical Direction by Alec Steinhorn; Choreographed by Joyce Cole. Produced by Vintage Theatre (1468 Dayton St, Aurora) through June 9. Tickets available at 303-856-7830 or VintageTheatre.org. 

Ah, the power of words. As children, my brothers and I were not allowed curse words. Indeed, I never heard my parents’ curse. As a result, when I heard words from other sources and innocently used them myself, I often got my mouth washed out with soap. In retaliation, we discovered that it wasn’t so much the word as it was in how you said it. We developed our own private set of “almost” curse words. My favorite was “Phenobarbital” (a prescription medicine). With just the right inflection, it can sound like “Damn it all.” Deluded my parents for a little while, at least. 

So is it any wonder that a play about words and their impact on people should delight. This group of six actors reenacting the joy of competition, the chance for recognition, the hope of pleasing the adults in their lives, and the fear of failure strike chords of memory in everyone watching. We’ve all gone through some test of our mettle at some point in our lives, whether it be in a sports arena, a classroom, a performing space, or . . . a spelling bee. 

While ostensibly a simple plot – who wins? – it becomes about much more in terms of personal growth for these six participants. William Barfee (Barfay, if you please!) (Grant Bowman) has convinced himself that his “magic foot” technique of spelling will see him through. But he learns that he has the power to spell and achieve without the use of any kind of magic. Olive Ostrovsky (Ava Arangua Francis) – who has vocal chops that belie her tiny structure – has seemingly lost her parents to spiritual searching and work demands. She displays a heart that has room for everyone, even her competitors. Logainne Schwartz and Grubenierre (Lily Horst) finds her own space in her world dominated by two fathers with different parenting skills – both of which place incredible pressure to succeed on her. Her moral compass is stronger than both her adult models. Leaf Coneybear (Cal Meakins) is a free spirit from a hippy family who fell into the Bee through a fluke but delights that he’s there at all. Marcie Parks (Charlotte Quinn) is an over-achiever who is a little bit tired and bored with it all until she discovers, during the middle of a word, that achieving or not is really up to her. Chip Tolentino (Andrew Wilson, Jr.) was the winner of the 24^th Annual and believes he will skate to a win again, only to be betrayed by his developing puberty. Watching this talented group of faux middle-schoolers navigate their early life challenges allows the audience to remember how they negotiated their own tribulations and eventually thrived. 

Even the adults playing the adults at the Bee are not without personal baggage. Anna Hardcastle plays Rona Lisa Perretti, the organizer of the Spelling Bee and a former winner herself. Basking in the glory of a 20-year-old triumph, she provides a sympathetic moderator to the current group of competitors. Luke Rahmsdorff-Terry returns to the Vintage Stage to play Vice Principal Panch who is in “a better place” since his last attempt at participation as the word-reader in a Bee. It is his job to supply the spellers with the words, their definitions, the origins and use the word in a sentence. Laughs abound at Luke’s deadpan delivery of the obscure words and their use in ridiculous sentences. In what could be considered a “throw-away” part, Justin Milner shines as Mitch Mahoney, a “comfort counselor” handing out juice boxes and little bracelets that say “Goodbye” to the departing losers. His character as a man on probation doing community service at the Bee gives him a genuine sense of sympathy for the ones who must walk off stage. His strong voice contributed to two of the sweeter songs in the show – a duet with Logainne (“Woe is Me”) and a song as Olive’s Dad (“The I Love You Song”) as well as his own declaration in “Prayer of the Comfort Counselor.” 

A stripped-down cast gives several the opportunity to slide in and out of various smaller roles such as Olive’s Mom and Dad and Logainne’s two warring Dads, displaying the versatility of these actors. The clever costuming of Susan Rahmsdorff-Terry allowed these to be smoothly accomplished with no break in the pace of the production. Stripped down but authentic was also reflected in the set design by Kortney Hansen. A realistic high school gym is recreated complete with bleachers and an auditorium-like stage. The live five piece band led by Alec Steinhorn provided support for the performers invisibly.  

Maybe your own early school memories weren’t so good. Maybe it would make you feel better about your own dilemmas to learn that maybe you didn’t have it so bad after all. Maybe seeing young people succeed would bring you joy. Bring your “maybe’s” to Vintage and laugh at them for a couple of hours. 

A WOW factor of 8.50!! 

THESE SHINING LIVES – Written by Melanie Marnich; Directed by Kate Poling. Produced by Firehouse Theater Company (Presented at the John Hand Theater, 7653 East 1^st Street, Denver) through June 8. Tickets available at 303-562-3232 or Firehousetheatercompany.com. 

Those of you who have been attending Denver theatre for a while will remember Terry Dodd, long touted as one of the best directors Denver ever produced. If you enjoyed Terry’s work, you have a new director in town to follow. Kate Poling is starting what promises to be a (hopefully) long and productive career as a theatre director in Denver (hopefully). Her work with THESE SHINING LIVES shares the same warm, almost nostalgic and musical quality that brought Terry’s work to life. She moves her actors as though conducting a waltz, using space, time and speech as her tools. There is an economy and grace of movement that carries through each scene and beyond. A script that could have wallowed in its sorrow instead is presented with the joy of friendship, the happiness of a good marriage, the satisfaction of work, and the truth of laughter. Good job, Ms. Poling. Terry would have been proud of you. 

The cast she chose proved her right in her choosing. Her lead, Rachel Barkalow, embodies the fated Catherine with warmth toward her husband, joy at finding a good-paying job, disillusionment at her treatment as a worker and finally, a stoic strength at the consequences of her life. She addresses the audience as interested friends who have not heard the story before.  Her gradual descent into sadness, while hard to watch, is portrayed with honesty. As she takes on her new role as spokesperson, you root for her undying determination. 

Her partners in work and fun welcome Catherine to the workplace and share everything from gossip to bad jokes to disease. They make a good quartet with Charlotte (Babs Karney) as the wild child of the bunch, Frances (Gabby Mann), the “moral compass” that keeps them in line and on track, and Pearl (Shyan Rivera) as the teller of bad jokes with the gentlest heart of all. Each woman brings a distinctive personality to their roles. Together they share the story with the audience, even stepping into supporting roles as newscasters and the judge at an early trial. 

The two remaining cast members are Joey Torrison who plays Tom, Catherine’s loving husband, as well as later becoming the doctor who finally tells them the truth in a devastating scene. Tom’s confrontation with the factory manager illustrates his frustration and pain eloquently. Matt Hindmarch also plays multiple roles as the factory manager who does as he is told and other assorted bad guys. Together the five cast members move around Catherine setting furniture, comforting, and telling their part of her story. It is this moving about to get to the next part of the story while maintaining their basic characters that is so touching to behold. They are not just setting up the next scene efficiently; they are preparing the next part of Catherine’s story. It’s as though they are saying to her “We’re here for you” in everything they do.  

The simplest and most effective of sets consisting of two platforms, basic furniture (including work desks with ominous glowing paint pots), and clocks of every size makes the subtle point of precious time passing. The triumvirate design team from Firehouse, Jeff Jesmer as designer/builder, Megan Davis as scenic painter, and Rick Reid as projection and sound master, created another effective and meaningful acting space for the cast. They were augmented in this production with Samantha Piel collecting the props that gave the ghastly green glow to their workspace, Rachel Finley who created appropriate 1930’s clothing for everyone and Emily Maddox who brings the shine to every production. 

You have three more weekends to catch this all-too-meaningful tale of corporate greed and the ones who pay the price. Try not to think about Big Pharma and the cost of medicine, the profits garnered by the oil companies as they raise the price of gas at will, the misused Covid funds, and your own personal examples of corporate greed as you watch. 

If you find this a “glowing” review, there’s a good reason. This cast literally shines! 

A WOW factor of 8.75! 

THE HEARTBEAT OF THE SUN – Written by Melissa Lucero McCarl; Directed by Patrick Elkins-Zeglarski. Produced by Cherry Creek Theatre (presented at the Pluss Theatre at the Mizel Arts and Culture Center, 350 South Dahlia, Denver) through May 19^th. Tickets available at Cherrycreektheatre.org. 

When attending a recent performance of this exciting new production, I had the pleasant opportunity to say Hello to Kathy Brady, a long-time rock-solid stalwart at the Denver Center Theatre Company back when we enjoyed a true repertory company of actors. The current play at the Cherry Creek Theatre was written expressly to be performed by the two actresses now playing the parts. Kathy Brady also took part in a production that was written for her and fellow DCTC actor Jamie Horton by Nagle Jackson called BERNICE/BUTTERFLY. This would normally be a dream situation for any pair of actors and Mr. Jackson’s play did go on to be published and enjoyed at least one future production. This too is, of course, what playwright Melissa McCarl hopes will happen to her new script – that other seasoned actresses will take on the roles in future productions. But how odd that would be after seeing the premiere performance with our favorites. 

Two women who have given their lives to theatre are now relegated to a care facility with all the normal restrictions and complaints inherent in that sort of housing. But they manage time alone to reminisce about their past glories on the stage, the pros and cons of the commitment to that life, and the saving grace of their friendship. Through the thin veil of time, we watch their younger selves meet, bond and grow together toward experience and professionalism in their chosen field. Through a symphony of scenes, we witness the talent they have nurtured. But at what a price? However, both actresses profess that they wouldn’t have changed anything about the choices they have made. Except maybe the place in which they are now living. 

The featured actresses, Billie McBride and Anne Oberbroeckling (just a heads up, Anne. If you ever go into the movies, that last name will never fit on a marquee!) have appeared in numerous local and national productions, won every award Denver has to offer, and have fans that flock to see everything and anything in which they appear. This production verifies that adoration is well-deserved. Both women can crack wise, drop a delicious one-liner, AND perform Shakespeare with ease and fluency. They catch the poignancy of their present situation, revel in their true friendship (both on and off stage) and demonstrate the pain that comes with growing older and watching the world pass you by. But nothing is passing Anne and Billie by; they are both hard-working theatre professionals to this day and beyond. Slow down? Not in their DNA. 

The actresses that portray their younger selves, Lorraine Larocque as Bea and Maggy Stacy as Althea bring their own special charm to the roles. They provide both a precursor and an echo of the older women and explain their long-term connection. Friendships built on common goals and shared experiences is the best kind. Throughout the play, we hear about Javier, Bea’s grandson, and finally meet him in the waning moments of Act II. But Daevon Robinson is worth the wait as he begins his own theatrical journey under the tutelage of Althea. 

While the portrayal of a theatrical life is certainly illustrated with this script, it is not the life story of either actress. While they have certainly appeared in some of the plays and places mentioned, their own lives have taken different turns. The beautifully poignant ending of the play has certainly not happened. This is a love song to theatre and the people that work on the stage to bring joy to the rest of us.  

The set designed by Tina Anderson is a work of art with a wall-sized cabinet displaying trophies of their past lives and accessories to their present life. The cabinets underneath the shelf unit open to display pull out furniture. And provide a resting place for the animated plants that being to infiltrate Bea’s slide into dementia. A hilarious and unexpected device! If only the play could have been written with fewer back and forth scene changes which – no matter how efficiently made – could not help but interrupt the flow of the story. 

You don’t have to know a lot about theatre to enjoy this production. It will probably answer any curiosity you had about why one would ever choose this life. It is, however, a special experience for those who have welcomed theatre into their life in whatever form. Another short run – only three more performances. Run – don’t walk to get your tickets !! 

A WOW factor of 9!