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SCHOOL OF ROCK – Book by Julian Fellowes; Lyrics by Glenn Slater; new Music by Andrew Lloyd Webber; Directed by Katie Reid Milazzo; Music Direction by Michael and Amy Pickering; Choreography by Madeline Shaffer. Produced by Parker Arts (Presented by Veritas Productions at the Parker Arts Center, 20000 Pikes Peak Drive, Parker) through February 10. Tickets available at 303-805-6800 or parkerarts.org. 

Who would have thought that the author who wrote DOWNTON ABBEY and the composer who created the music for PHANTOM OF THE OPERA would have collaborated with Mike White who wrote the movie script for Jack Black?? And it would all end up in a production of said collaboration on a stage in little ol’ Parker, Colorado? Yet here we are, tapping our toes and shooting our hands in the air and shouting “Stick it to the Man!” Ain’t life grand?! 

What a delightful way to spend an afternoon or an evening watching talented young people and a few ol’ fogies live out their dreams of Rock Stardom. Veritas Productions and Parker Arts chose well for their first collaboration. In bringing this charming script which appeals to both older and younger artists, to their stage, they are guaranteed to please every member of the audience. 

The stage belongs to Caleb Reed who brings the frenetic energy of the original Dewey, Jack Black, to the stage while also allowing him a sweet, shy and hopeful side as well. He doesn’t care how old or young you are, if you like music, you’re a friend. He passes on his enthusiasm easily to the receptive kids and treats them like the semi-adults they want to be. The kids sing “If Only You Would Listen” about their parents and Dewey came into their lives and listened. The results were amazing. 

Next, we have the student ensemble – the heart of the show. Fifteen extremely talented young performers from the Parker/Castle Rock area were found who could play an instrument, sing and dance. While all participated and played their parts loud and proud, recognition must be given to the ones who stepped forward and said, “I can do this.” First there was Summer (Gabrielle Gueck) who became an immediate thorn in our hero’s side with her constant questions and dependence on the “rules” of the school. Needless to say, she fell into the lure of “being in the Band” even though she admitted she couldn’t sing. But she took on a patter song that would have put Lin-Manuel Miranda to shame. Then there was silent Tamiko (Sariah Smith) who never spoke till she sang. Then Zach (Christopher Gawlikowski) started the music with his electric guitar. His middle name should be Riff. Soon he was joined by Katie Burt – another guitarist, Freddy (Sean O’Malley) on the keyboard who was not cool enough to be in the band until he was, and Liam Dodge on percussion keeping the Rock rolling with a vengeance. To create a sense of belonging among them, Dewey wisely gave every person in his class a job and then backed off and let them do it, making each job as important as the ones playing instruments. 

Dewey and the Band are supported by a group of adults who take on the roles of both parents and teachers of the kids. While they were hidden under long wigs and tight leathers making them nearly unrecognizable, I think I could pick out Patrick Brownson, David Kouts, and Kevin Eksterowicz as members of the No Vacancy rival rockers in the Battle of the Bands. Rosemary Smith as Ms. Sheinkopf, a member of the school staff, stopped the show several times with her smart mouth remarks and comic timing. Dewey’s best friend and benefactor Ned, played by Erik Thurston, made a frustrated rocker come back to life under the inspiration of Dewey despite his shrewish wife, given bitchy life by Miranda Byers. Another standout performance was given by Sara Metz as the principal of the Horace Green School. She displayed the versatility of her voice by using it for both Mozart and Stevie Nicks. 

As always, the team at Parker keeps the show rolling. Especially important for a show involving loud rock music, the Audio team (Curt Behm, Matt Koenig, Mason Campbell, Ross Hullender and Ari Kutzer) along with the five piece “pit” band on stage (led by Michael Pickering) achieved the desired effect of enthusiastic musicians without breaking anyone’s ear drums. Christy Izmirian created clever glitter touches to the kid’s school uniforms for the big Battle of the Bands. Matthew Crane’s scenic design created a set that moved somewhat easily between bedroom, living room, school room and teacher’s lounge. If only there was a way to get tables and chairs off and on more easily; although this cast and crew were like a hill of worker ants getting stuff done quickly. Almost as choreographed as the real dance numbers. 

Your kids will love this one. Bring them along. 

A WOW factor of 8.75!! 

FUN HOME – Book and lyrics by Lisa Kron; Music by Jeanine Tesori; Directed by Emma Rebecca Maxwell; Music Direction by Alec Michael Powell. Produced by Vintage Theatre Company (1468 Dayton, Aurora) through February 18. Tickets are available at 303-856-7830 or Vintagetheatre.org. 

First of all, congratulations to the leadership and creative team at Vintage Theatre for having faith that they could stage this small musical with big themes in their intimate Bond-Trimble Theatre. Just physically, it seemed a huge task to get all the components of the set on that small stage. And then to add a small but mighty four-piece live “pit” band to the mix! Ouch! But pull it off they did – in spades. 

All the necessary pieces of the set were there. A full-sized coffin that allowed the young Bechdel kids a playful hiding space yet kept the specter and reality of death always present. “Fun Home” was how the three irreverent Bechdel children referred to their father’s busy funeral home. The set also had room for a small piano at which Mrs. Bechdel practiced for her musical theatre roles, a college dorm bed that rolled in and out, a faux front seat of a car, a representation of the preparation room of the funeral home AND a semi-comfortable seating area for the musicians. Who – by the way – did an excellent job of balancing the accompaniment of song against the size of the room – supportive without being overpowering. Not an easy task even for a bigger group in a bigger room. Kudos to Katie Burns, Alec Michael Powell, Ethan McGraw and Russ Callison for pulling this off. 

Director Emma Maxwell in a directorial debut maneuvered her cast through this maelstrom of emotions, discoveries, music and movement with the understanding of theatrical dynamics she has gained from her own years of performing. Whoever didn’t see her Puck in Phamaly’s MIDSUMMER missed the performance of the summer last year. Her comprehension of the delicate situations depicted in this script was complimented by her understanding of how to stage it with sensitivity and humor. 

Of course, it helps that she put together a terrific cast. The musical biography of Alison Bechdel, graphic cartoonist, is told by Small Alison (Mac Vasquez the night I saw it), Medium Alison (River Hetzel) and just plain Alison (Maya Ferrario) as the adult narrator. By dividing the growing-up-story this way, we experience Alison’s gradual understanding of herself. Young Alison only knew that she admired a female delivery person for her “swagger and [her] bearing and the just right clothes [she’s] wearing.” The wonder of first love exploded in Medium Alison with the cute realization that she wanted to “change her major to Joan.” It was the adult Alison that came to realize the delicate dilemma of her conflicted father – afraid of discovery and yet unable to control his urges toward young men. 

In this difficult role, Lars Preece walks the fine line between concerned father and slightly smarmy predator. His outbursts toward his confused children and his disappointed wife revealed his own inner terror and sorrow. Lars’ beautiful voice gave life to these feelings in “Edges of the World.” 

Alison’s frustrated and sorrowful mother is created by Adrienne Asterita. Beautiful and talented in real life, Helen was a noted actress in local productions. It is easy to imagine how escaping into a role and away from her own dismal home life could have brought her relief. Adrienne illustrated the dichotomy of Helen’s life with grace and understanding. Alison’s siblings were played by Aliyah Dickerson and Henry Duffany. One of the most delightful musical numbers of the evening was the commercial the three came up with for the Bechdel Funeral Home extoling “Welcome to the Fun Home.” 

The final two players were Marlene Hall who had the difficult task of providing a sameness yet a slightly different look for each of the father’s young men. Interchangeable and temporary in their role in his life. Joan (played by Elise Brianne Todd) has the excitement of introducing Medium Alison to the joy of sex and of being a strong influence toward maturity for her. 

If you can score one of the remaining tickets to this sterling production, grab it. You won’t be disappointed. I just heard this afternoon that they may add another weekend. Get on it!! 

A WOW factor of 8.75!! 

Cuauhtemoczin – Written by Diego Florez-Arroyo; Directed by Phil Luna. Produced by Control Group Productions (Presented at the People’s Building, 9995 East Colfax, Aurora) through January 20^th. Tickets available at ControlGroupProductions.com. 

As a learned professor said recently on NPR, “If Hispanic people can learn to say, ‘Worcestershire sauce,” Anglo’s can learn to say “Cuauhtemoczin.“ Some have; I’m still struggling. Cuauhtemoczin was the last leader of the Aztec people before a difficult surrender to the armies of Cortes. As a true leader, he asked Cortes to take his own knife and kill him on the spot, a “death before dishonor” move. However, Cortes respected bravery in a warrior and spared him, allowing his soldiers to return to their villages. He took the warrior king with him on his next campaign, but later trumped up a supposed plot by Cuauhtemoczin to have him assassinated. This led to his torture and eventual hanging. He is honored throughout Mexico as the person who kept his people and his culture alive by hiding it from the conquerors, yet within themselves. 

A noble story worth being told to unknowing Anglos, its connection to this modern-day theatrical production is somewhat tentative. In the beautiful Aztec costume used at the beginning of the show behind a scrim, it was impossible to see who was wearing it. Learning only after the show that it was the main character Dante (Jozer Guerrero) made the desire he had for the culture of the warrior and the leader he wished to emulate obscured by the feathers and mask. The bulk of Dante’s life is lived in prison because of his desire to protect his family. Barring military life, this is nearly the only way a man in this century can demonstrate his heroic tendencies. But was it really what his family needed of him? 

While the audience only sees Dante’s outside time through short scenes with the females in his life, his desire for family and an honorable place in his society seems difficult to achieve because of the strength of these women. In their short scenes of visitation in prison, their determination to go on, their continuation of a life outside without him, seems only to bring him more dishonor.  

The prison scenes that explain Dante’s life and his desire to escape the spiral of recidivism he’s caught in. His relationships with his fellow prisoners are sometimes brutal, sometimes funny, always thoughtful. These characters in this location have the potential of a spin-off production of their own. They have a casual attitude about who and where they are; some wish to learn and better themselves; some plan a life outside; some know they will never leave. But the relationships between the men seemed authentic and nearly improvised in its naturalness. I wanted to know more about them. 

Especially Juanito, a bookworm who tried to get everyone interested in reading played by Jesse Lee Pacheco. Could Juanito be given the task of teaching the prisoners about the life of Cuauhtemoczin as part of his pitch about reading more? It could have explained the need for a culture of masculine strength which seemed prevalent in this situation. A capo de capo type came into the prison during the second act (David Rodrida) who emanated menace with every line. The other inmates were given authentic characterizations with various reactions to imprisonment, but their names were not always evident in the dialogue. Their real-life names are Dillon Autry, Kian Way, and Sid Madrid and they all did a good job. 

The women in the production introduced energy and purpose into the picture. Their short scenes were pithy and conveyed with intent how they felt about their errant relative and the situation he had gotten himself into. His grandmother (Megally Luna), his mother (Jordan Hull) and his sister (Hannah Victoria Pacheco) made the scene come alive and reinforced what Dante was missing on the outside and the place he had in their lives. 

Technically this show needed help. The gaps between scenes were deadly; the endless moving of table and chairs to indicate different places in the prison was unnecessary in an area as large as the People’s Building playing space. There was plenty of room for two tables and multiple chairs that would have cut down on the need to move one table and the same chairs from one end of the room to the other. It would have allowed for the dialogue to be tightened up and the pacing made stronger. On the plus side, the endless loop of prison noises created by Taylor Brake and Steve Sundberg that played quietly in the background kept it real; but a recurring theme of music between scenes would have kept us connected during the few times movement of scenery was actually required. An interesting video that scanned a brief history of Hispanic culture through the ages brought us from Aztec to America.  

All told, this was a good second production of a work in progress. It will keep getting better and better. 

A WOW factor of 7.5!! 

NEWSIES – Music by Alan Menken; Lyrics by Jack Feldman; Book by Harvey Feinstein; Directed by Bernie Cardell; Choreography by Rebecca Scott Dean; Musical Direction by Heather Iris Holt. Produced by Performance Now Theatre Company (Presented at Lakewood Cultural Center, 470 South Allison Parkway, Lakewood) through January 21. Tickets available at 303-987-7845 or Tickets@Lakewood.org. 

I’ve always thought that knowing about a show’s origins can give you a little more understanding about what you are watching. This musical started way back in 1899, the year of the original Newsboys Strike in New York. This gem of an idea of a group of ragtag newsboys scratching out a living (barely) by selling newspapers on the street standing up to the publishers – one of whom was Joseph Pulitzer – to get a few more pennies a day and better working conditions had to be appealing to the writers of the movie that grew out of this incident. Bob Tzudiker and Noni White took the story of Kid Blink, the real-life ringleader for the strike, and wrote a movie script that was turned into a film released in 1992 – almost 100 years later. Not a successful movie financially, it only made about $3 million when first released, but, of course, has now become a favorite of those who like strong masculine dancing and watching Christian Bale in his breakout movie.  

What about the other people that appeared in the movie? Did they fare as well as Bale because of their appearance in the flick? Of the 25 dancers in the movie, sixteen went on to make a life in the theatre. Two have won Emmy’s; some became dancers and choreographers for Michael Jackson and Madonna; one was even lucky enough to marry Idina Menzel. Others stayed in the movie industry but became sound designers, editors, voice talent, actors and dancers in not as well-known movies and TV programs, but working, nevertheless. The original movie cast included Trey Parker (and we all know how successful he’s become) who played Kid Blink, but the part had been reduced to a small role with the lead character becoming Jack (Christian Bale). Another notable in the movie was Deborra-Lee Furness, until quite recently married to Hugh Jackman. It should be noted that Jackman was still at University in Australia in 1992 and married up in 1996 when they met on the set of his first TV role. Adult roles were played by Bill Pullman, Robert Duvall and Ann Margret. 

But enough of the past. This cast of dancers and singers continue the tradition of strong masculine dancing with leaps and athletic moves performed by both men and women in the ensemble of newsboys. Choreographer Rebecca Scott Dean created a seventeen-soul ensemble that exuded confidence and swagger. They yelled with their bodies, “We can do this!! They can’t keep us down!” so strongly that the audience was rooting for them before the first dance was over. Since this show is all about the dancing, they came through like a well-trained synchronized harmonic army. They “Carry the Banner” with pride using slides, high-jumps and flips. This made the times that they began to think they were going to lose their battle or when their numbers were sent to jail even more touching.  

Levi Randolph as Jack and Sarah Atkinson as Katherine gave us sweet attraction and equally sweet love songs. Jack’s dream of travelling to “Santa Fe” where there’s space, not just air, adds another layer of longing to his life. In a touching duet, they reveal that neither ever thought they would find love, but “now I have something to believe in.” 

One of the newsies struggles with a limp which makes it hard for him to walk and keep up with the other boys. Crutchie’s struggle is authentically portrayed by Eli Schroeder who sings a poignant song from the prison he’s been thrown into begging Jack to come rescue him and coming up with an impossibly elaborate scheme for how they could make that happen. Another character Medda Larkin played by Micheala Murray who owns a burlesque house also helps Jack survive and has one hotsy-totsy number called “That’s Rich.” 

The combination of the administrative and technical team of Performance Now Theatre Company and the Lakewood Cultural Center work well together and provide a professional production well lit, well dressed, with a balanced sound design and an outstanding 8-piece pit band. Special praise is to be heaped on Propmaster Kelly Mann for this outing. This show calls for the creation and destruction of hundreds of newspapers for each performance. Kelly always makes her arduous task look easy. But it’s not! As an organization, they just get stronger and stronger and deserve your attention. 

A WOW factor of 8.75!! 

HOLLY, ALASKA! – Written by Matt Zambrano and Frank Oden; Directed by Matt Zambrano. Produced by BETC (presented at the Diary Center, 2590 Walnut Street, Boulder) through December 31. Tickets available at 303-444-7238 or thedairy.org. 

I’ve never met Matt Zambrano, but I feel like I know him anyway. Through his creation of the lovely ultra-suburban village of Holly, Alaska and the people who live there, he reveals his own heart, kindness, and gentility. Through his humor and slightly cynical eye on the world, he announces his own humanity and hope. Combine his obvious love of people and theatre with the extra-ordinary comedic talent that is Frank Oden as a writing partner and you’ve got a brand new show with an exceedingly gracious heart and a view of the world I found compelling. If BETC is smart, they will bring this show back year after year to brighten the holidays of all who are lucky enough to find it. 

The show has a heart that beats with the constancy of a Salvation Army bell-ringer. It has a grace and an authenticity of locale that created an instant familiarity to all home town dwellers. With his characters, they created a family of players that we all wanted to know better. We wanted to be in their show. 

Difficulties wrapped around not enough time to rehearse and problems with scheduling the cafegymnatorium of the local school means that the Annual Holly Holiday Spectacular may not take place this year. But this year is more important than most as it is the 120^th anniversary of the show; the result of a competition that started that long ago when twin brothers had a falling out. One brother stayed in place and founded Holly; his brother moved 50 miles away and created a town called Ivy. They have been competing ever since. Both towns are vying for the Guinness Book of World Records for the title as the “120^th continuous holiday show performed in a town with a population of under 500 in a non-contiguous state in the United States.” (Or something like that!) 

The quartet that was to make up the cast has learned the songs and kinda learned the dances, but there is so much to be done – sets, costumes, props, programs, et al – and no time and people to do it all. But, as you knew they would in the great tradition of Judy Garland and Mickey Rooney, the show does finally go on. But in the meantime, the audience is treated to all the backstage machinations and maneuvering to hold the cast together and get the show on its feet. The excitement even includes a marauding moose that manages to get the stage door open in an attempt to be the star of the show.  

The music by Frank Oden is catchy with clever lyrics – most funny and some sweet. He has provided music for (almost) Broadway type dancing, solos for each of the performers and country style harmonies. The music has such a familiar air that it feels like, given a little push, you could be up on stage singing with the cast. I’m just not sure what Susannah McLeod, Archer Rosenkrantz and Heidi Carann Snider, in addition to Frank, would think should you be inclined to act on your impulses. 

I’m sorry to say you’ve only got one more week to catch this delightful offering by BETC. Apparently under the newly minted direction of Mark Ragan as Managing Director and Jessica Robblee as Artistic Director. BETC is branching out in locations and types of shows. Shows coming up will take place at the Savoy Event Center in Denver as well as at the Dairy Center and will feature one-person performances, radio comedies and improv. Visit their website to keep up with this fast-moving company. 

A WOW factor of 9!! 

THE GREAT AMERICAN TRAILER PARK CHRISTMAS MUSICAL – Music and Lyrics by David Nehls; Book by Betsy Kelso; Directed by Piper Arpan. Produced by Miners Alley Playhouse (1100 Miners Alley, Golden) through December 31. Tickets available at 303-935-3044 or minersalley.com. 

What a treat! A Brand-New Musical by old reliable David Nehls in a Brand-New Theatre in lovely downtown Golden. A word or two about the new space Miners has been working on so diligently. The hard work has paid off. It’s a quietly elegant space with a large welcoming facade. An immense box office is right inside the door with room for several people to be working simultaneously to welcome patrons as they come to a show. To your left is a beautifully stocked and arranged bar and an area for mingling while to your right is a small seating area, the rest rooms and a coat rack.  

Entering the theatre, you are on house right with the seats in three (right, center and left) sections. Only about six or seven rows so the stairs are minimal (that’s important to old folk like me) and the seats are comfortable. Finish your drink before you go in, however, no cup holders. The playing space is spacious and tall. It doesn’t seem to have a lot of backstage or wing space, but that may be deceptive. There was, at least, room enough for a trailer park represented by two almost life-size hand-built trailer units. 

The show brought back three of the lead characters and actresses playing them from the original GATPM – Betty (Julia Tobey), who is the manager of the park and the leader of the pack; Linoleum (Preston Adams), still smart mouthed and mourning her husband recently executed at the nearby prison; and Pickles (Jenna Moll Reyes), now pushing the baby carriage from her “hysterical” pregnancy. They are all still the best of bad-mouth friends with pithy views on the world around them and gossip about everyone. 

They are joined by Darlene (Leiney Rigg), another resident who, as the result of an electrical accident, turns anti-Christmas despite the efforts of Rufus (Nick Rigg Johnson), her ho-ho-ho happy neighbor, to cheer her up and change her mind. Throw in Damon Guerrasio as the villainous Jackie Boudreux, the actual owner of the trailer park who is ready to sell the whole kit and kaboodle and evict everyone and you’ve got a full deck of cards. Move over, Scrooge, Jackie’s back in town!! Of course, because it’s a musical comedy, a romance has to bloom between the antagonists and there must be a happy ending. That’s all you get in terms of clues to the plot. You want more – go buy a ticket. 

The cast performed admirably and with such confidence that you’d never predict the show had never been done before. They were all full of smart-ass energy; David wrote great lyrics and bouncy music for them to perform. The dialogue was full of down-home humor that kept the audience in stitches all the way through. To add the cherry on top of this Christmas Sundae, the composer himself led the four-piece band situated on top of the trailers. Director Piper Lindsay Arpan kept the good times rolling and the audience laughing. 

For a not-so-Christmas-like evening out for adults, here’s your ticket.  

A WOW factor of 8.5!! 

MATILDA – Book by Dennis Kelly; Music and Lyrics by Tim Minchin; Directed by Steve Wilson; Music Direction by Donna Kalpan Debreceni; Choreographed by Carrie Coulton. Produced by Town Hall Arts Center (2450 Main Street, Littleton) through December 31. Tickets available at TownHallArtsCenter.org or 303-794-2787. 

WOW! What a night!! Recently the theatre community turned out enmasse to support the Denver Actors Fund and their friends in the Town Hall production of MATILDA on an Industry Night performance. Several in the audience who are currently in their own shows in other theaters gave up their own only night off to be there. So, the audience was stoked and pre-primed to have a good time. And a GOOD time they had. 

To those of you who keep track of such things, make a note to watch out for these nine talented young performers. These kids are Broadway stars in the making: Lily Allred, Mason Mertz-Hutchinson, Sam Bird, Ellie Plenk, Emmalyn Garces, Owen Plenk, Alex Hagar, Camille Richards, and Blake Channing Taylor. These talented artists are going to rule New York very soon, if that’s what they choose to do. They gave the show a monumental amount of energy; they kept up with and often led the adult dancers; they allowed their individual talents and personalities to come through in fully developed characters; and they had fun every step of the way. All the while, they were keeping up with their schoolwork, going through their first semester finals, and trying to get ready for the holidays. I know this because four of these little wonders are from my school – Denver School of the Arts. Good job, Maggots!! 

These kids let themselves be locked up in the “chokey,” an Iron-Maiden-like device used for discipline, be flung around like a discus by their braids, be forced to eat a whole chocolate cake, and be generally tormented by the Big Kids and Ms. Trunchbull, the head mistress. And, in some cases, by their parents. 

The hero of this is Matilda, a young student with immeasurable calm, presence of mind, patience, and hope for the future. She LOVES books and what books can teach her. On the night of this special performance Ellie Plenk took on the role and made it hers. Town Hall, taking no chances, has no less than three understudies for the role. Ellie had a quiet confidence about her that belied her youth – both as Ellie and as Matilda. She has a strong singing voice and an appealing charm. However, her English accent – like several in the cast – was so pronounced, it was difficult to comprehend her lines – both spoken and sung – on occasion. 

Poor Matilda was born into a family that wasn’t expecting her and didn’t want her. Her father insolently called her “Boy” and forbade her books when he insisted everything she needed to know, she could learn from the telly. Mike Martinkus has made a solid career in musicals all over town, but he tops if off with his larcenous used-car-salesman-reluctant-father role. He has a monologue at the beginning of Act Two where he reprimands the audience for their bad behavior during Act I. He was so convincing that my companion turned to me and said, Is this part of the show or is he really mad?”  

Matilda’s mother isn’t any better. She denied that she was pregnant until she couldn’t. “We have one kid. We don’t need any more!” A narcissistic shallow enabler for her husband and son, more concerned with the dance competition she has entered than anything else, Jamie Molina rocks this role with her slinky dance moves and disregard for her needy daughter. She is ably assisted by Joe Bernard as Rudolpho, her arrogant dance partner. Joe has no bones in his body or if he does, they are made of rubber. His Latin dance moves must be seen to be believed. Her only sibling is Michael, an older brother played by Ben Davis. He’s as big a doofus as his parents are meanies and so tall that it becomes a sort of running joke every time he stands up. These parents make a strong statement about emotional abuse of a child that would be hard to watch were it not so over the top and so damn funny. It helps that Matilda is turning out sweet and smart despite them 

There are two other helpful role models in Matilda’s life. The first is Mrs. Phelps, the librarian that appreciates the good stories that Matilda devises out of thin air. Mrs. Phelps is a happy soul played by a happy soul – SonsharaeTull – who waits impatiently for the next chapter in the current story, giving Matilda encouragement in her made up world of caring parents. The second role model is Ms. Honey, her teacher at the Crunchem Hall. Ms. Honey as played by Cara Lippitt is a sweet unassuming woman who stays at the school under Trunchbull’s thumb because she genuinely cares for the kids and is fearful of what might be done to them if she weren’t around. Her eventual role in Matilda’s story about the loving acrobatic couple makes it seem as though Matilda conjured Ms. Honey into being. 

Now we come to the crux of the story – the mean, ugly, despicable vengeful Ms. Trunchbull, the hated Headmistress. She is Simon Legree, Cruella deVille, Scrooge McDuck and the Wicked Witch of the West all rolled into one. As this show was born out of Roald Dahl’s book and set in the UK, the role is usually played by a man in the “panto” tradition, but when Trunchbull walked on stage for the first time, I was convinced Town Hall had broken tradition and cast some unknown older woman in the role. A quick glance at the program assured me that – in, indeed – it was our very own Brian Merz-Hutchinson in a fantastically tortured wig, an exaggerated set of “girls,” an enormous hump on her back (move over, Igor) and a convincingly sour expression on her face. In addition to the afore-mentioned cruelties she created for the kids, she also swings from the ceiling, jumps on a trampoline, sings like a – well, not a lark – maybe more like an ostrich, and dances in combat boots. You may have noticed a similarity in name between Ms. Trunchbull and one of her charges. Yes, Brian and son Mason are performing together. Mason as Bruce is the chocolate cake eating student in a scene which personifies fun. The whole audience was rooting for him screaming “Bruceeeee” at every bite. 

Everyone involved in this production gave it their best work. Nikki Harrison’s costumes were on point; the set designed by Brian Watson was a quaint classroom with movable parts; and the magic tricks orchestrated by James Lopez were artfully arranged. The choreography by Carrie Coulton created an ensemble that was in sync throughout the complicated dance numbers on the small Town Hall stage. 

I hope Denver Actors Fund made a boatload of money that night because the cast and crew worked their little buns off, and the audience was over the top in their vocal appreciation and applause. 

A WOW factor of 9.5!! 

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT – Music by Andrew Lloyd Weber; Lyrics by Tim Rice; Directed and Choreographed by Bryan Bell; Music Directed Janice Vlachos. Produced by Candlelight Dinner Theatre (4747 Marketplace Drive, Johnstown) through January 28. Tickets available at 970-744-3747 or ColoradoCandlelight.com. 

Once again, how nice to visit our old friend Joseph on his trek through Israel and Egypt to make “Any Dream” come true. As with any show of which you are fond, as each new song begins, your face lights up with the memory of this melody – these words. My enjoyment was even more fun as I was accompanied on this night at Candlelight by someone who had done the show four times in not only America, but also in England and South Africa. His pleasure at remembering old songs was even more fun to watch. 

And while this script is not geared to the holidays, it seemed oddly appropriate with its message of forgiveness and family. For those of you not familiar with the Bible story, Joseph was the favored son of Jacob, which made his 11 other brothers Jealous. They sold Joseph to a traveling band of merchants who took him into Egypt where he ended up in prison. No run-of-the-mill peasant, Joseph had the gift of interpreting dreams. He did so for a member of the Pharoah’s staff which got back to the man himself and ended up with Joseph giving him a reading. When it proved accurate, he was given a high post in the kingdom which, in turn, allowed him to confront his brothers when they came to beg for food. After giving them a hard time when they didn’t recognize him, he revealed himself and forgave them. Happy ending!! Where’s the girl and the riding-off-into-the sunset? No girl – No sunset. Just family back together. 

What a family they have become! The ensemble of men gathered for this production feature some truly amazing dancers performing a variety of styles all choregraphed by Bryan Bell and his assistant, Matthew Dailey – who just happened to be there and stepped in for an absent dancer that night. The brothers who are featured in songs – Levi (Chad Lederer) bemoans the supposed death of his brother in “One More Angel in Heaven”; Reuben (Ethan Knowles) long for the good ol “Canaan Days” when they had food and prosperity (accompanied by Apache dancers Cory Michael Klements and Jessie Mays Hobson); and Judah (Elton Tanega who is popping up in lead roles all over town these days) did a great job on the “Benjamin Calypso” as he tries to convince Joseph that Benjamin didn’t steal anything from him – are all extraordinary in their energy and joy of performance. The dance ensemble is tasked with perfecting Western and Broadway style choreography in addition to the Apache and Calypso already mentioned. And then do it all over again in double-time for the 14-minute curtain call that speeds through the whole show.  

The story is told by the Narrator who leads Joseph and the audience along this journey through song and action. The part is double cast; the night I saw the show, the Narrator was sung by Sarah Forman, a member of the company at Candlelight. On alternate nights, it is sung by Jayln Webb, well known to all Candlelight regulars as talented and charismatic on stage. 

If you can get tickets, this is a great show to take your kids to as it is funny, all music, and very active. Nothing boring is going on here!! Your holiday out-of-town guests will be impressed with the Broadway quality productions they do at Candlelight. We’re not just a cow town anymore! 

A WOW factor of 8.75!! 

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

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

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

It could be perhaps that your shoes are too tight. 

Are you not getting toys? 

Can you not stand the noise? 

No matter your hatred of all that humming,  

you just can’t ever stop Christmas from coming. 

A visit to Vintage is just the right trick. 

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

Cindy Lou Who – all grown up and fine – 

Will soon have your heart back on the line. 

Sweet Jenny Weiss will charm and enchant 

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

She’s sexy and naughty and pretty and nice. 

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

You will giggle and laugh and may even blush 

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

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

She makes celebrating Christmas seem awfully easy. 

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

And maybe the Grinch will carve your roast beast! 

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

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

A WOW factor of 8.75!! 

LETTERS OF SURESH – Written by Rajiv Joseph; Directed by Julie Rada.  Produced by Curious Theatre Company (1080 Acoma, Denver) through December 9.  Tickets available at 303-623-0524 or boxoffice@curioustheatre.org. 

These characters are obsessed with paper.  They are either folding it, writing on it or reading from it.  In a tale about a packet of letters trying to find a home, the audience is introduced to four characters interconnected, yet steeped in isolation.  The story starts not with the writer of the letters but with someone who is trying to return them to the writer.  Melody (Desiree Mee Jung) has inherited a blue box containing 10 or 12 letters written to a deceased uncle by a man named Suresh (Hossein Forouzandeh).  She writes to him inquiring if he would like them returned and ends up spilling her own heart out.  Despite not hearing back from him (because, as we learn later, he is not at his home currently), she continues writing and spilling.  We next meet Suresh himself and hear him write the original letters to Father Hashimoto (Peter Trinh), the deceased uncle.  One chance encounter at an origami conference in Nagasaki allowed Father Hashimoto to observe Suresh who was considered a boy wonder at folding the beautiful paper sculptures. 

Hashimoto had written to Suresh in admiration for his skill which caused Suresh to write back and continue the paper conversation. The letters finally end back in Suresh’s home in the care of his friend Amelia who is awaiting his return.  Now we know the origin of the letters and the meaning they have to all of the players. 

During this epic back and forth journey of written missives, we follow the growth of each of the four characters’ connection.  Both Suresh and Hashimoto have love stories to tell; the women have confessions as well; we are drawn in by the intricately told stories as delicate as the created paper birds that adorn the set. A wall sized projection screen provides a soothing backdrop of Japanese symbols, scrawled English, minimalist flowers, and gently rolling ocean waves.  As delicate as a cherry blossom and as soothing as a Zen Garden, each player gets to express their story quietly, without undue drama even when the story involves an event as horrendous as the bombing of Japan in WWII. Both humor and regrets are present but are given an authentic treatment. 

Playwright Joseph introduced the character of Suresh in a previous production called ANIMALS OUT OF PAPER and continues his journey in LETTERS.  Why do I have the feeling we haven’t seen the last of Suresh and that his story isn’t finished? 

A WOW factor of 8.25!