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GEM OF THE OCEAN – Written by August Wilson; Directed by donnie l. betts.  Produced by the Aurora Fox Arts Center (9900 East Colfax Ave, Aurora) through April 14.  Tickets available at 303-739-1970 or AuroraFox.org. 

The Aurora Fox team kicked off its 2024 season under the new leadership of Richard Cowden with an announcement of their intention to produce August Wilson’s entire 10-play Pittsburgh Cycle in chronological order over the next ten years.  This means we can anticipate a production of MA RAINEY’S BLACK BOTTOM next year and THE PIANO LESSON in the following year and so on through the cycle.  An ambitious undertaking.  While the Denver Center completed the cycle with a production of Wilson’s final script, RADIO GOLF, in 2008, it did not present the stories in chronological order.  

This Aurora Fox production of the play GEM OF THE OCEAN set in 1904 held the potential for an outstanding beginning to this project.  donnie l. betts (lower case deliberate) was given the task of directing this first effort.  His experience in filmmaking, directing and acting is legend in Denver and includes a Henry Award as Best Director for THE MOUNTAINTOP in 2020.  He has directed multiple productions at the Fox, including PORGY AND BESS and COLOR PURPLE. 

A cast of some of the finest Black actors in Denver was assembled to tell this story.  Chris Davenport is familiar to theatregoers as Hoke in a recent production of DRIVING MISS DAISY at Vintage and for his award-winning turn in THE ROYALE for BETC.  Anyone who had the good fortune to see Faith Goins-Simmons perform in PORGY AND BESS at the Fox will never forget it.  Abner Genece has cut a swath through Denver theatres with a recent season as a member of the Black Box Repertory troupe at the Arvada Center and a fun turn at the Savoy in UNDONE: The Lady M Project. Alicia Young is well known in theatre circles as an award-winning actress for her work in THE ROYALE and her recent cabaret-type performance at the Fox in BLUES IN THE NIGHT. Joshua Levy just finished a demanding role in Benchmark’s production of BLASTED.  Chaz Grundy is a familiar name to those of us who go back a few years and Steffen Beal is the new boy in town turning heads.  You couldn’t find a more qualified group of people to bring Mr. Wilson’s story to life. 

The production team at the Fox has been assembled over the years and has created some of the finest produced works in Denver.  The sets by Technical Director Brandon Phillip Case have and continue to astound.  Who could ever forget the revolving bus in PRISCILLA, QUEEN OF THE DESERT and the field of daffodils in BIG FISH, just to name a few?  Jen Orf has been their long time Production Manager and Lighting Designer and knows the space intimately.  El Armstrong has been designing sound for decades and Casey Burnham knows how to make it shine in every production.  Linda Morken has been designing costumes for generations of people on stage, most notably at BDT Stage, right up to the end.  Brett Maughan is a familiar face to Fox folk, while the new people on the staff that Rich Cowden has brought in are some of the best in the business in their field. 

There are some truly memorable things about this production.  Abner Genece plays Caesar, a Black Simon-Legree type constable for the community.  He has become arrogant and belligerent because of the powers bestowed upon him.  Abner’s characterization is bombastic, bigger-than-life, and dynamic.  He doesn’t bother with knocking on the door before he ENTERS a room and throws fear into anyone he finds there.  Except his younger sister Black Mary, played by Faith Goins-Simmons, with quiet dignity and a non-nonsense attitude toward all men.  Especially Citizen Barlow, a newcomer from the South who has come to the house in search of healing but feels a masculine obligation to suggest a liaison to Black Mary.  Steffen Beal plays him as a good man tormented by guilt and a little puzzled by the inhabitants of the house at 1839 Wylie Avenue where they gather.   

Aunt Ester, played by Alicia Young, is a spiritual healer for her community, a woman with deep understanding of human nature and an almost mystical comprehension of the soul of her people.  One of the most moving scenes in the production is a visual journey to the spiritual City of Bones deep under the ocean.  The cast and crew recreate in ritual form a journey deep into the water to visit the place where the bones of those who didn’t make it across the ocean on the slave ships lie.  Aunt Ester describes their journey and the reason they are making it to heal and forgive Citizen. The projections, lighting and music used in this scene are moving and add depth to the whole experience. 

Despite everything working in favor of this production, it did not come together with mind-blowing clarity the way it should have.  Why do we remember moments but not the overall journey of these people? Why, when the actors on stage are relaying something to someone else on stage, do they turn away from them and speak instead to the audience?  Why do so many speeches have a ten-second pause before continuing to the next line? Why does it take three and a half hours to tell this story? 

Part of my purpose as a theatre writer is to tell whoever reads this article for guidance about what you are going to experience when you attend this (or any) theatre is to tell you what to expect.  GEM is the first of Wilson’s cycle; that alone should generate your interest as a serious-minded theatregoer.  You have the opportunity to see a script that isn’t done often and is part of an honored piece of American theatre.  You are going to see a production professionally presented.  You are going to see some moments of brilliance and you are going to have a loooong theatre evening.  Just saying . . . . . 

A WOW factor of 8! 

NOISES OFF – Written by Michael Frayn; Directed by Geoffrey Kent.  Produced by the Arvada Center (6901 Wadsworth, Arvada) through May 5.  Tickets available at 720-898-7200 or arvadacenter.org. 

NOISES OFF was the first show I remember literally falling out of my chair laughing.  It was a touring production and I think I was sitting in the last row of the old Auditorium Theatre watching the madness on stage and hardly believing what I was seeing.  There was a magnificent production a few years back at the Colorado Shakespeare Festival which featured the imminent director of this production.  But this current show at the Arvada Center pulled some of the best actors in Denver together with a director who knows the show intimately, a set designer and crew of builders who know how to put a set together that isn’t going to fail any of the raucous stunts it must support, a team of designers that know how to work together to create a work of freaking art, and a theatre producer that isn’t afraid to pull out all the stops to bring this complicated show to its audience. 

An octopus only has eight arms with which to move through space.  This octopus of a show has nine crucial moving parts – each as important as the next.  I would like to call your attention to each of these arms which will wind around your funny bone.  On stage first is Dotty Otley, the benefactor of this touring production who is making a last stand against retirement as an actress and just trying to “put a bit beside” for her old age pensioner days.  Kate Gleason gives her an optimistic hopeful air that slowly disintegrates when her ego overtakes her thoughts of the future.  She is, after all, the “star” of this show, the one everyone is coming to see because of her long career in a telly sitcom.  [Sorry, Dotty, you are going to be working well into your dotage if you’re counting on this show to finance anything.]  Next comes Brooke Ashton, a ditzy blonde who recites her lines robotically and doesn’t dare deviate from the path carefully laid out for her because she’s not smart enough to get back to the path once lost.  Her loose contact lens, her willingness to disrobe, her steadfast delivery of lines gives Noelia Antweiler a chance to shine.  You must be really smart to play that dumb.  Jenna Moll Reyes plays the hapless Assistant Stage Manager Poppy who gets caught in an unwilling love triangle and is willing to jump into any role if required.  Jenna’s portrayal of a weary and somewhat bewildered girl in a sort of starter position with the theatre company leads to many “Ahs” and “Oh Oh’s” as her part of the story plays out.  The final female in the troupe is Belinda Blair, who, as played by Shannan Steele, seems to have a modicum of good sense and realistic expectations from the whole touring experience . . .. until her gossipy “I have to know everything first” side comes out.  Her “fixing” does no one any good and occasionally further complicates an already complicated situation.  She does try, however, 

The members of the company are being directed by noted (at least busy) director Lloyd Dallas, given sarcastic life by Gareth Saxe (whose acting range is incredible as he goes from part to part all over Colorado).  His appearance from the back of the auditorium carrying a mic to talk to the cast rehearsing on the stage; his movement on and off the stage in authentic directing mode; the reveal of his busy off-stage life; and his final disintegration is a wonder to behold.  The oh-so-professional lead actor with his rote delivery of lines and gestures and undisguised but unfortunate admiration for Dotty is created by Adam Schroeder in a debut role in Denver.  His agility and willingness to perform some of the stunts required of him is breathtaking.  Rodney Lizcano, long recognized as one of the best in Colorado, does a slow take on the other lead in the play on tour.  His need for praise leads him to self-deprecate and proclaim stupidity with every other line, only so someone in the company will give him the ego boost he wants.  He really is a little dense and doesn’t realize the harm he is doing to the whole company with an innocent friendship with Dotty. He plays “seeming oblivious” very well.  And then there’s Teej Morgan-Arzola, one of my favorite graduates from DSA making a name for himself here at home.  He brings to life the bone-weary Stage Manager/Make Up Designer/Fight Choreographer/Dialect Coach/Props Master/Light Board Operator/Deck Crew and everyone’s understudy in the company.  He seems to be walking around in a daze as Lloyd shouts orders to him and Selsdon hides from him.  But when the time comes for him to step up, he’s there. 

And the last member of the company is the gender-bending Leslie O’Carroll who loves breaking the rules occasionally by donning the garb of a gentleman. Playing the most experienced actor in the company – the one legitimate trodder of the boards – not the one who found mediocre fame on television – Selsdon Mowbry. She makes the most of this role of the resident drunk in the cast. Her eternal search for the next full bottle becomes a pivot point for much of the humor. 

Act One introduces us to all the characters, their interdependence, and their roles in the play they are rehearsing to tour with everyone being SO sweet to each other, SO understanding of forgotten lines and misplaced sardines, and SO hopeful for a successful run. 

Act Two takes place halfway through the tour with the set turned around so we (the audience) are watching what’s going on backstage as the play is performed on the stage. In a word, CHAOS. Director Kent has created a kaleidoscope of activity depicting how far those sweet loving people we met in Act I have fallen. The gymnastics swirl around a fire axe, a full bottle of booze, a cactus, and multiple plates of sardines. There is so much happening onstage, your eyes cannot take it all in. There is so little time between silent sight gags and screamingly silly stunts that if you look at one too long, you’ll miss two or three on other parts of the stage. But the general picture of dissention in the ranks and the specific animosities that have been developed are revealed with clarity. 

Act Three turns the set around again to show their final performance at tour’s end. Everyone is hell bent for leather and the knives are out. The only hope is that all the actors on tour make it out alive. As one playgoer remarked, it was the actor Olympics as the action and the dirty tricks get even more violent, dangerous and hilarious in the hands of this talented cast. 

The set is a two-story authentic depiction of a typical touring set on a turntable that moves flawlessly from front of house to backstage and back. Everything looks perfect, works perfectly and supports the many demands of this script. All the special effects – flying phones, disappearing sardines, a movable cactus – worked without a hitch. One of the most amazing parts of the production was the choreography that allowed everything to get to the right place at the right time to complete the joke. It was a jigsaw work of art. 

This is the MUST SEE show for March and April!! 

A WOW factor of 9.25!! 

CUARENTA 7 OCHO (48) – Written and Directed by Anthony J. Garcia.  Produced by Su Teatro Cultural and Performing Arts Center (721 Santa Fe Drive, Denver) through March 23.  Tickets available at 303-296-0219 or suteatro.org. 

As a piece of nearly forgotten history, Tony Garcia’s script sheds light on those events without providing answers, as he himself confesses, “just speculation.”  As a theatrical evening, the same script entertains and supposes an interesting scenario at what “might” have happened back in 1974. 

In May of that year, in an effort to have their grievances heard, a group of Mexican American students took over an office building in Boulder on campus.  Anticipating being arrested and being able to make public statements when that happened, they were disappointed when the school administration basically ignored them and didn’t try to make them leave.  After two weeks and graduation which left the campus deserted, the stand-off was at a draw and the protesters began talking about standing down.  On the 27^th of May, the night was shattered by the sound of a bomb going off near Chautauqua Park.  Three young Hispanic students were killed when their car exploded.  48 hours later, a second bomb was detonated in another part of town also killing three Hispanic students.  Theories abounded about how that could have happened.  Deliberate sabotage of their cars or accidental detonations by students planning their own acts of rebellion?? 

Tony’s script supposes one possible theory about what might have occurred in those 48 hours through the eyes of four students involved in those activities.  An act of kindness pulls one female student into the maelstrom of activity around these events and the story spills out.  Told in the language of the young and the imagery of the 70’s, this unsolved mystery gets a re-telling.  

Four young actors – Paola Miranda, Lucinda Lazo, Camilo Leura, and Brian Sanchez – illustrate the cross-section of students involved in the incident. Rosa is the novice, brought into the story almost by accident.  But because of her non-participation previously, she was the voice of the innocent to whom theories and history had to be explained.  Sylvia is the firebrand female – the voice of the angry.  Miguel is the intellectual one who knows the history and talks like he knows exactly what’s happening and how it’s going to end, if only everyone would listen to him.  Salcedo is angry but mostly just wants to get high.  They are abetted by three other characters who act as a sort of Greek chorus, adding to the story with impassioned speeches and music at graduation and memorials.  Davey Gonzalez, Nina Marti, and Natalie Fuentes fulfill their roles as the voice of the reasonable but angry students well.  You could see them becoming the negotiators as the protest winds down. 

From a purely historical standpoint, Su Teatro has upped its game in terms of technical support of its productions.  The evening is graced with projections that ominously mark the passage of time with periodic day and hour announcements projected against the walls accompanied by a ticking clock that creates a sense of anticipation.  Scenes in the second act take place in a forest clearing made realistic by a three dimensional yet surreal representation of trees with light filtering through to create an ominous “what’s going to happen in the woods?” kind of feeling.  The explosions are authentic and startling. 

 The twist at the end was kept a surprise even from the actors during rehearsals so that they would not inadvertently give it away earlier during the production.  Only days before opening, the last six pages of the script were given to them to learn. 

So is this what was actually going on?  Or was there something else operating behind the scenes?  You have now entered the Twilight Zone. 

A WOW factor of 8.5!! 

ELEANOR – Written by Mark St. Germain ; Directed by Christine Kahane. Produced by Vintage Theatre (1468 Dayton St, Aurora) through March 27. Tickets available at 303-856-7830 or vintagetheatre.org. 

I have the deepest, most profound admiration for women (or men) like Jessica Robblee, Betty Hart, Billie McBride, Adrienne Martin-Fullwood and others who have the moxie to stand up on a stage alone with the thought in their mind that “I am going to tell this story and tell it well. Help me, Goddess!” Now we underline and rewrite the name of Deborah Persoff to that list. Deborah’s first solo outing (that I’ve seen) was an epic story about Rose, a Jewish woman who immigrated to Florida. Now in the cabaret setting of the Berg-Young Theatre in the lobby of Vintage, she lives out the high points of the life of Eleanor Roosevelt. 

Both Eleanor and Deborah have displayed amazing resilience and determination to live their lives to the fullest. They both seem to possess the ability to wield a hammer while wearing velvet gloves to quietly and with the gentlest possible public voice accomplish exactly what they think is the right thing to do. I’ve heard Deb’s backstage voice when she feels someone is being wronged (not necessarily herself) or something is bound to go wrong if it’s not changed. I’m guessing Mrs. Roosevelt possessed those same traits and that same determination. Based on what she accomplished during her long public life, we know of her outstanding philanthropic works and the changes she made that are still standing. Her acceptance of and work for all people of the United States and humanity at large is legend. No wonder Deb wanted to tell this story. 

Sitting quietly on a park bench, she begins by reading to the audience letters she found from Franklin to Lucy Mercer, her friend and Franklin’s lover. Then she went back to the beginning telling stories of her youth, her unusual courtship and subsequent marriage to Franklin Roosevelt and of being thrust into public life. She tells the stories through her own voice and those of others in her life, most notably Franklin’s disapproving mother. An early influence was Madame Marie Souvestre, her mentor at the Academy she attended as a girl in London. Imitations of Winston Churchill, Louis Howe (Franklin’s campaign manager and advisor), Alice Roosevelt (her cousin) and others sprinkle the story. 

Large projects, such as Eleanor’s commitment to civil rights and her work as delegate to the United Nations are explored, as well as small details, such as her and Franklin’s sterile but companionable relationship as man and wife and the care she gave him when he was first struck by a paralysis in his legs. Deb displays her pride in working with unions and in the work she did with those affected by World War Ii and returning veterans. 

Deborah’s quiet voice and joyful first person rendering of the stories of Eleanor’s life make for an enjoyable and enlightening portrait of a woman before her time. Most of us can only remember Eleanor as an older woman still representing woman’s issues and campaigning for Kennedy. This amusing and factual script gives us a view into the private musings of this First Lady to the World, as she was called. 

A WOW factor of 8.5!! 

A JUKEBOX FOR THE ALGONQUIN – Written by Paul Stroili; Directed by Len Matheo.  Produced by Miners Alley Performing Arts Center (1100 Miners Alley, Golden) through April 7.  Tickets available at 303-935-3044 or minersalley.com. 

When you are called upon to write about theatre in Denver, you soon run out of superlatives.  We are having such a good run of excellent shows.  But talk to ANYONE who has seen the current production at Miners Alley and you’ll hear the highest praise about this funny, touching, sarcastic, imaginative, funny (yes, I meant to say that twice) show.  The wonderfully “seasoned” performers in this show have a gift for throwing out a comic comeback or one-liner as if people really talked that way.  Most of us wish we were that quick and clever with a quip. 

As a lively senior myself with one foot in the nursing home, I hope I can find a place as convivial as Placid Acres and a group of comically intelligent folks as the quartet we get to know and love through this script.  Each player brings their own magic to the stage.  Abby Apple Boes does a short bit at the beginning as a daughter checking out the place potentially for her mother but is soon run off by Annie (Edith Weiss) and a decidedly pointed “survey” she administers to all newcomers.  But then Abby comes back as Peg, the new resident who must have the daily routines and how things work explained to her by the ones that have been there longer.  They consist of Annie, who delivers one-liners with a deadpan no-thought-to-it delivery that catches you off guard each time; Dennis, played by Chris Kendall in a wheelchair, whose grouchiness covers a heart of gold and a wicked sense of humor; and Johnny, given life by a sarcastic determined Dwayne Carrington.  Johnny has his daily routine that involves personal habits, doing the daily crossword puzzle, and gathering in the Algonquin Room for talk with his friends.  He knows how important that socialization is and that it’s the little acts of quiet rebellion that keep them all from descending into craziness.  

Abby as Peg is the peacemaker and the shaker who accidentally comes up with their scheme for making money to buy a jukebox for their part of the facility so they can have dances.  Johnny wants to dance with Lena Horn; Dennis wants to dance with Montgomery Cliff. When the group discovers that Peg’s patio has some very interesting plants left behind by the last resident, the men formulate a plan that the ladies – either through Catholic guilt or just plain fear of being caught – resist at first.  And then they don’t!  And then the fun starts. 

I have to say just a few more words about Edith Weiss as an actress.  She is so innocently funny with perfect timing that she makes you smile just watching her walk around the room.  Every move, every line seems so uncalculated and derive from her own sense of whimsy that you forget that she was ever involved in rehearsals.  She projects ditzy just by the way she looks at someone. I’m sure if it were her choice, she would be working constantly in play after play.  So, it must be her decision to only work when she has a worthy project. Use the occasion of this production to fall in love all over again with her. 

The cast is rounded out with Arlene Hicks as Josefina, the harried director of the facility in which they are housed; John Hauser with a decidedly Elvis-look to his demeanor as the handy man and friend to this group; and Paul Stroili as Chuck, the new custodian who is part of a rehabilitation program for ex-cons.  He has an interesting history that slowly reveals itself as he gets into the rhythm of the place and people.  All three enter into the humor of the situation yet remain appropriately a little separate from the residents.  But their individual stories also become part of the big picture of life at Placid Acres. 

I can’t tell you how much you fall in love with these feisty ol’ folk and enjoy the camaraderie they share with each other.  All of us wish for friends like this.  All of us – especially those who attend the theatre during matinees – hope that we have the companionship of people like this when our time comes for slowing down.  It’s heartening to see them controlling their own environment and creating a place that’s theirs and theirs alone.   

The Algonquin Room created by Scenic Designer Jonathan Scott-McKean and his crew is appropriately stark, yet hospital friendly.  The devise of an invisible fish tank is carried off well and creates funny differences in how each of the residents “feed” the fish.  Vance McKenzie’s lighting design creates a black-out that also creates chaos for the residents.  John Hauser’s sound design introduces the music they all long for.  The costumes by Crystal McKenzie are comfortable and casual – just what you would wear when no one cared much what you wore. 

If I were as good a writer as these people are actors, you would all be reaching for the phone to call for tickets.  EVERYONE I’ve talked to in the last two weeks since the show opened has raved about how delightful the whole experience was and how touchingly funny the characters carried off their parts and the brilliant words of the script.  We all enjoyed the added charm of having the playwright himself in the cast and I KNOW he must be pleased with what Miners Alley has done with his new script.   

The message you walk away with is that your quality of life is what you make it.  You can either enjoy your last years or live in sadness for the time gone by. This one is a true NOT-TO-BE-MISSED. 

A WOW factor of 9.25!! 

125 NO’S – Written by the members of the Buntport Theatre Company.  Produced by the Buntport Theatre Company (717 Lipan, Denver) through March 23.  Tickets available at 720-946-1388 or stuff@buntport.com. 

The one truly constant thing you can count on every time you take a chance on a new Buntport show . . . . is that it’s going to be remarkably creative, off the wall, charmingly witty and laugh-out-loud funny. Those of us that have been fans for years have fun recounting our favorites and we generally add a new one with each new show. My past personal favorites have been TITUS ANDRONICUS (out of the back of a van with a tick board for every new murder), THE REMBRANDT ROOM (a remarkable one-woman tour de force by the incredible Erin Rollman), and COYOTE, BADGER, RATTLESNAKE (set in a diorama of a Natural History Museum). But each show has its own special joy for the audience. 

125 NO’S is no exception. A cunning piece that involves being backstage at a movie with some of the crew as a scene – nay, a word – is shot over and over again in search of the perfect “NO.” Poor Greer Garson was saddled with this responsibility in her movie called “Desire Me” with Robert Mitchum back in the 40’s.

Our crew – the make up lady (Hannah Duggan) is bored and irritated at having to refresh Ms. Garson’s nose every ten minutes; the lady from the censors from the Production Code Administration who is bored and has to make sure there were no curse words or licentious behavior (Erin Rollman); the sound man (Erik Ekborg) who is bored and always concerned if there was enough fog, and Brian Colonna who is bored but excited at playing an authentic fisherman playing an extra playing an authentic fisherman. All are making small talk to kill time during the No’s being filmed. Occasionally they will break the fourth wall to use their knowledge about movie-making to explain to the audience some function of their job or some juicy gossip about some of the people involved in this shoot. With the use of clever drop down microphones and props, they add the trademark comic enlightenment and trivia that makes a Buntport show the joy and learning experience they always are. 

The fifth member of the troupe – SamAnTha Schmitz – provides the skill to keep all the jokes rolling that depend on sound effects, music, lights and, in this case, props swooping down from the ceiling. Hers is no small task, but she is a pro. Everything always runs so smoothly that you tend to forget her crucial role. It’s also fun to know that Diana Dresser (noted local actress known for Creede and Denver Center productions) provided all the recorded “No’s.”  

This bored group of seasoned movie artisans take great pleasure in sharing their hard-won knowledge with the newby extra while he is most concerned about whether his (real) hat looks like a “real” fisherman’s hat and his walk looks like a “real” fisherman’s walk. He spends the greater part of the evening practicing his walk and ends up walking like the Munchkins from THE WIZARD OF OZ. A conversation about the physical attributes of Ms. Garson end with a contest about alternate titles for this little gig. Which would be better – The Falsie Fiasco or the Decolletage Debacle?? But both men agree she is indeed something to look at. The morals monitor begins to loosen up from her normal strait-laced self and share stories of her own part in the process. By evening’s end, they have bonded in boredom. 

An opportunity to watch a new show (or even an older one reproduced) at Buntport is a sure guarantee of fun. 

A WOW factor of 8.5!! 

YOU GOT OLDER – Written by Clare Barron; Directed by Neil Truglio. Produced by Benchmark Theatre Company (1560 Teller Street, Lakewood) through March 16. Tickets available at Benchmarktheatre.com. 

The published synopsis of this script did not prepare this audience member for what was shown. “A woman goes home to care for her father and to fix herself.” It did not prepare the audience for the walk through Cancerland and the family dynamic it so often revitalizes. With only slight variations, this was the story of my last 15 months. The variation being that I went home to take care of my daughter instead of the more normal arrangement portrayed in the show. So, this was a little too close to my heart for objectivity. 

Clare Barron wrote so tellingly of this experience because she went through a form of it herself. A break-up with a long-time boyfriend who then – because he was her boss – had to fire her too. Reeling from these changes in her life, she then got the news that her father had cancer and went home to take care of him. Her own feelings and fantasies fueled the character of Mae’s inner life in the script. The uncertainty – the hanging on to the slightest optimistic remark from the doctors – the loneliness of a caregiver – the occasional joy of a supportive family – the looking back and looking forward. A young woman, Mae (Courtney Esser) feels strongly the absence of a man in her bed, indulging in romantic novel-like fantasies with a rough-hued cowboy who goes from hero to predator in the blink of an eye. Orion Carrington fits the bill of this big bad boy beautifully. 

The script is realistically written to proclaim those moments of triumph in her father’s journey. The rite of passage that signals the end of treatment is one significant stop along the way to recovery for many. Each chemo lab has a gong that the patient gets to ring raucously to announce an ending and the start of a new phase. The joy that Dad (Marc Stith) and all cancer patients feel at that moment was contagious as portrayed by Mae, her father and her siblings.  

Courtney Esser navigates the knife’s edge between panic and patience with the grace of a tight rope walker. She expresses the inevitable awkwardness of returning home to the familiar yet foreign new set of circumstances. She is now supposed to be strong for her father who has always been the strong one. Marc Stith, always a bear of a man in every sense of the word (from teddy to grizzly) in the parts he plays, displays a gentleness and hesitancy that reveals his own confusion over this new state of affairs. Christopher Berghoff enters the scene as Mae seeks relief in a local bar when he mistakes her for her sister and tries to renew a friendship he never really had with her. But their mutual angst unites them and leads to yet another awkward scene in her bedroom. Mae’s siblings (James Giordano, Lauren Bahlman and Jacqueline Hahn) gather to wait by Dad’s bedside after an operation to remove the cancer. They display the easy familiarity of family with shared memories and grudges. They are here for Dad but it’s obvious they all have lives outside the hospital room, where Mae at this point does not. 

Benchmark’s on-the-small-side playing space works to accommodate the demands of the script by providing a small garden, Mae’s bedroom, a hospital room, a tavern, a back porch and the space for a long distance phone call. While utilizing all the space efficiently, the movement into and out of the different scenes broke the rhythm and continuity of the action of the play. The credit for the light and sound design which greatly enhanced the production goes to uncredited members of the company. 

The cast brings all the joy and humor they can to this set of circumstances. Old friendships (sort of) are renewed; siblings unite over a family difficulty; decisions are made about the future. But cancer has his own surprises. And, yes, cancer’s gender is male. At the time of the first production of the play in 2014, Barron’s father was still in remission after four years. I hope he made it through the next ten. I’m told by Benchmark personnel that people who have had cancer in their lives are either comforted by the happy scene at the end or angered by the outcome. Just be forewarned that it’s a tough yet tender two hours. 

 
A WOW factor of 8.5!! 

CRAZY FOR YOU – Music and Lyrics by George and Ira Gershwin; Book by Ken Ludwig; Directed by Steve Wilson; Musical Direction by Richard Shore; Choreography by Shawna Walker.  Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through April 7.  Tickets available at 970-744-3747 or ColoradoCandlelight.com. 

If you love a show with non-stop dancing including long stretches of some of the best tap dancing you’ll ever see, women dancers pretending to be bass fiddles, and outstanding lifts and twirls, this is the show to see. Choreographed by Shawna Walker, this cast of seventeen get the workout of their lives with nearly continuous movement wrapped around sight gags and a sweet contentious love story – the best kind. Sara Kowalski and Matthew Dailey lead the dancing but are followed by a charming quintet of Follies Girls who teach another quintet of cowboys how to move their boots. It’s all light-hearted fun and warms these still cool nights.  

The strength and beauty of an able-bodied male dancer lifting his partner with ease and grace is hard to beat. The years that Matt Dailey spent touring with JERSEY BOYS and MISS SAIGON show in the confidence with which he tackles the most complicated of routines. He is smooth, joyful, strong and professional in all styles of dancing. He’s not hard to look at either. When he’s on stage with Sara, his dance partner in most numbers, and Patric Case, who plays his reluctant producer, there’s so much charm on stage, it could almost make your eyes bleed. 

This is a cast that can do it all. Sing, dance, emote, even do old-fashioned Marx Brothers mirror routines. All to the glorious George and Ira Gershwin music written between 1918 and 1937. How can that music and those lyrics still be relevant, you ask? The playwright that brought us the comic scripts of LEND ME A TENOR, MOON OVER BUFFALO and THE GAME’S AFOOT, to name just a few of the Ken Ludwig catalog, took 19 of the Gershwin tunes and carved a show out of fluff and fun. No relevancy needed. Just a razzle-dazzle dance fest. 

A ten-second synopsis: Bobby Child, a frustrated office worker who just wants to dance but can’t get cast, is assigned (by his mother) the task of foreclosing on a non-producing property she owns out West which just happens to be a theatre. Of course, when he gets there, he falls in love with the daughter of the owner of the theatre, goes into Mickey Rooney mode and decides to put on a show to raise the money to save the theatre. Five chorines arrive from New York, teach the cowboys how to dance and the show must go on. But SO MUCH fun strung in between those little bits of plot. More schtick than you can shake a stick at. 

The complicated set involving a two-story hotel with a bar in the lobby was well designed by Brian Watson and built under the guidance of Todd Welch, Tech Director, and his crew. Deb Faber continues her long run of turning out almost perfect costumes for every show at Candlelight . Brett Maughn created some magical moments and kept our eyes in the right place with his lighting design. Richard Shore, functioning as Musical Director, polished the cast’s harmonies and got a deeply resonant sound from the ten-piece orchestra that provided the music. And the whole kit and kaboodle was lovingly pushed into place by Steve Wilson, Director extraordinaire. 

The kitchen, as always, pleases with their themed menu including a lovely Shepard’s pie and, in loving homage to the now departed BDT Stage, a cordon bleu chicken dish. Who Could Ask For Anything More? 

A WOW factor of 9!! 

THE LEGEND OF GEORGIA McBRIDE – Written by Matthew Lopez; Directed by Troy Lakey.  Produced by Vintage Theatre Productions (1468 Dayton St, Aurora) through March 24.  Tickets available at 303-856-7830 or vintagetheatre.org. 

The prolific Matthew Lopez strikes again.  Denver has enjoyed performances of his scripts before and now has yet another chance to take one in. Just to give you a taste of the versatility of Mr. Lopez and his creative mind, let’s look at his output so far.  THE WHIPPING MAN follows two slaves after the Civil War who have been taking care of the family plantation to have one of the sons return and assume he can take over again.  SOMEWHERE follows a Latinx family in the wake of WEST SIDE STORY who believe the future of their young people lives in dance. REVERBERATION creates a tentative recovery story between a shell-shocked soldier and the woman who moves into the apartment above him.  KING CHARLES III imagines what he thought would happen when Queen Elizabeth passes away and her unprepared son is forced to take the crown.  Don’t even get me started on the brilliance that was THE INHERITANCE, given such a fine production at Vintage last year. And then we have THE LEGEND OF GEORGIA McBRIDE, the current offering at Vintage Theatre. 

GEORGIA follows perhaps the strangest path of all.  A tale about a reluctant entertainer forced by financial demands to abandon his sparkly white Elvis jumpsuit and adopt female spangles as a drag queen at a roadside cabaret in Panama City, Florida, Lopez’s hometown.  He is coached by Miss Tracy Mills, an experienced Queen who takes pity on him and his panic-stricken incredulity at finding himself in this situation.  His wife is pregnant, his boss at the roadhouse doesn’t want Elvis any longer, and there only seems to be one answer in his come-to-Jesus moment.  Learn to be a Queen. 

The journey is not without its bumps (and grinds) but he’s diligent and determined as a new daddy-to-be can be.  What is hard and humiliating for Casey, our intrepid hero, is funny for the audiences as we watch him struggle through his early attempts to learn the songs of Edith Piaf and the moves of the Spice Girls.  He (and the audience) learn along the way not to judge by appearances the mettle of a person, that clothes don’t necessarily make a man (or a woman) and that you are braver than you think you are when the firing squad is loading their rifles. 

This production takes a supreme Mama Queen to assume the role of mentor to the Princess wannabe.  They have found it in Stuart Sanks, himself a gifted actor in straight (no pun intended) plays and an experienced Drag performer known professionally as Miss Shirley Delta Blow at brunches, bingos, and book-readings.  Stuart has this role in his bones; he knows exactly what needs to be said and how to say it.  His flippancy with the situation and life in general provides much of the humor and much of the heart.  At long last, Stuart is getting a chance to let the world see him shine.  You’re gonna want to be a part of this. 

Casey, the new entry on the drag stage is played by Matthew Combs, who originally seems as ill at ease at donning a sequined costume as Casey himself.  An excellent lip sync artist, Matthew gives it his all as Casey works to become worthy of Georgia McBride, his made-up name for his brand-new character.  Once he commits, he tackles the role of Georgia together with the helpful Tracy, never looking back.  There are some men that, while good-looking as a man, don’t really fit the mold of a pretty woman, no matter how hard they try.  Matthew fits that category; while he is a handsome man, even in the most glamourous outfit, he would never pass for a woman. His lip syncing, however, is flawless and he moves well in high heels. 

The remaining characters all assist Casey – eventually – in recognizing his feminine side and encouraging his desire to perform. Atlas Drake plays Jo, his pregnant wife who remains in the dark about his new sideline for quite a while. Clark Jones doubles in roles as his landlord/next door neighbor and the other dancer in the act who has a whole different set of problems to deal with. Matt Hindmarch does a delightful job with the sympathetic but down-to-earth businessman who owns the bar in which they perform. His ultimatum to Casey is what starts the whole crooked drag race.  

The technical crew at Vintage has outdone itself in creating the swift and easy movement from Casey and Jo’s living room to the backstage dressing room for the “girls.” Walls that turn with ease allow scene changes to progress quickly and silently. Just when you think a set problem is going to be unsolvable, Ryan Walkoviak steps up and says, “I have an idea,” which Master Builder Jeff Jesmer and his crew of Bernie Richard, Don Fuller and Mega Davis complete. The whole “can do” attitude of these designers and crew made the completed production a wonder to behold. From the costumes by Cole Emarine to the bountiful music provided by Jessica Jewell and Alec Michael Powell to the two or three dressers back stage that get the actors in and out of their complicated costumes in record time – You better believe [they] “work hard for the money, so hard for it, Honey, so you better treat [them] right.”  Troy Lakey, the director, took on this project as a labor of love and it shows.

A wow factor of 8.5! 

CHARLEY’S AUNT – Written by Brandon Thomas; Directed by Staci York. Produced by Coal Creek Theatre of Louisville (801 Grant Street, Louisville) through March 9. Tickets available at 303-665-0955 or at cctlouisville.org. 

You must give credit to a small theatre that isn’t afraid to tackle a classic older script that gives the audience a look at a show they may have heard of but never seen. This was the personal magnet that drew me to Louisville recently. The chance to see a classic costume production of a rarely done farce of the old school variety. 

Brandon Thomas’ script was first produced in London in 1892 following several try-outs in the provinces. The first major production was a screaming success, playing over 1400 performances in London and quickly spread to theatres large and small all over the country. Thomas himself was a fairly successful actor, making a living out of playing elderly gentlemen characters in performances all over England. But CHARLEY’S AUNT was his money maker. And it’s still cranking out royalties for his estate. 

Coal Creek’s version strained their small playing space by demanding multiple settings including an outdoor garden. But, as usual, the creative scenic designers – Staci York and Jaccie Kitts – with the dedicated volunteer build crew got the job done. Two separate rooms in a mansion and an extensive outdoor space bloomed forth in the gem of a theatre “where every seat is a front row seat.” 

While the language demands of the script proved a little daunting at first, as the evening progressed, the words and attitudes became more natural and relaxed. While the setting is an English college, accents were spotty but unnecessary for the enjoyment of the story. In typical farcical situations, the first half hour needs to be devoted to exposition, explaining relationships, and introducing the culture into which you have wandered. For instance, the absolute necessity of having a female chaperone present when unmarried but romantically inclined couples converge. Hence, explaining why a reasonably intellligent man with his own agenda would agree to don a female costume and pretend to be “Charley’s Aunt” from far off Brazil “where the nuts come from.” 

Although I can’t imagine the same sort of situation developed too many times during that restrictive era, it seems perfectly logical when presented on stage to comic effect. The script has witty dialogue, provides hide-and-seek opportunities for most of the characters, gets laughs from a man trying to fool woman, is slightly romantic in an innocent vein, and is a showcase for the poor lad stuck in lady’s garb. 

Which, in this case, was the feisty Markus Rodriguez-Intulaksana who took the part and ran with it. The stilted language was smoothed out in his version with just the right amount of incredulity and reluctance which morphed into enthusiasm when he began to see advantages for himself. Being pursued by two older gold-diggers (played by local favorite Wade Livingston and Jay Moretz) gave him occasions to revel in the physical comedy of the role as well. The suitors think they are both going to win the love of a rich dowager who will take care of them for the rest of their lives. “Babs” pals Jack and Charley were played by Paul Carrasco and JC Reyes, both making their return to theatre in this production. All the stuffy Victorian characters were mildly ridiculed by the all-seeing butler/aide de camp/chef brought to comic life by Judd Miller who does butler well. 

The two maidens in pursuit and being pursued are Beth Crosby as Kitty and Melissa Baker as Amy. Two late but crucial entries onto the scene are Marcy Rodney in a lovely, understated performance as the real Aunt and Jo Niederhoff as her travelling companion. Their arrivals allow for the nice well-rounded happy ending required of a farce, while stretching the bounds of coincidence. 

I strongly recommend the work being done by the smaller theatres in our theatrical community. Coal Creek turns out creative imaginative productions of both old and new scripts. They encourage new and local playwrights; they have created a volunteer team that work as hard as paid carpenters and costumers to get their show on its feet: the actors rehearse as long or longer as paid actors with their only reward being the sheer joy of performing. While their productions may not achieve the slick look of the professionals, they are nevertheless filled with heart and authentic emotion. While the overall quality may be inconsistent, I guarantee that in each production you will find heartfelt performers and moments of truth. Begin including small theatres on your calendar. If you need a list, let me know! 

A WOW factor of 8!!