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SHREK – Book and Lyrics by David Lindsay-Abaire; Music by Jeanine Tesori; Directed by Kelly McAllister; Music Direction by Tanner Kelly; Choreography by Heather Westenskow.  Produced by Parker Arts in partnership with Sasquatch Productions (Presented at the PACE Center, 20000 Pikes Peak Avenue, Parker) through February 8th.  Tickets available at 303-805-6800 or ParkerArts.org. 

If you haven’t seen SHREK in a while, you forget how funny the dialogue is.  How all the corny jokes thrill the little kids in the audience, and how the more subtle ones tickle the adults.  You forget the powerful way it pleads with you to “not judge me until you know me.”  Seeing it again reminds you that we all have a freak flag that needs flying once and awhile.  Now more than ever. 

Sasquatch Productions is one of the three local theatre companies that Parker Arts partners with and always brings their audiences strong, well-constructed performances.  Their team starts with Kelly McAllister as director, Tanner Kelly as Music Director, Heather Westenskow as Choreographer, and August Stoten as Producer.  It’s a team that’s hard to beat.  And they’ve pulled together a top-notch cast to augment their vision for this huge show. 

Starting with Cooper Kaminsky as the lead, Libby Shull as the winsome Fiona, a wisecracking Moses Brown as Donkey, and a truly fearless Will Bryant as Lord Farquaad.  Cooper’s strong voice and physical being created an equally strong Shrek who sings with heart, acts with authenticity, and farts like a champ.  The part calls for someone who can do it all; it’s no wonder that Cooper was the first choice for the role.   

Libby Shull, who was denied by Covid her first chance to play Fiona, brings an enthusiasm and joy to the role that is delightful.  Her romantic idea of a white knight is quickly erased when her hero turns out to be green.  But to watch her adjust with enthusiasm to the changes in her life is delightful.  She dances with rats, belches with gusto, and welcomes each new and exciting day with vigor.  Moses Brown as the smart talking Donkey delights the kids and adults alike with his banter and down-to-earth approach to friendship.  He channels the original Eddie Murphy while still making the part his own.  Our Lord Farquaad, Will Bryant, is new to Colorado, and aren’t we lucky to have attracted him.  Having played major parts in musicals across the country, he brings a sassy interpretation to the “small” part of Fiona’s Prince Not-So-Charming.  The physical strength it must take to do a role entirely on your knees to achieve all the “short” jokes in the script is unbelievable.  But he does it with a quip on his lips and nary a tremor in his tibia. 

The set is huge and moves miraculously well, aided by well-trained stagehands and cast members.  Sliding panels adorned with murals of trees indicate the movement through the forest. Two tall towers that roll off and on encircle both sides of the set providing the setting for Fiona’s tower and Lord Farquaad’s castle.  Smaller set pieces become Shrek’s cabin in the bog and various stops along the way through the woods.  No expense has been spared in the creation of the set for this show.  Add in the fantastic number of “fairy tale” costumes (each of them unique), knights in armor, and identical costumes for the denizens of Duloc, and you’ve got racks and racks of costumes backstage.  Out of the cast of twenty-five, each actor plays at least two and often three or four roles, all having separate costumes. 

The piece de la resistance is the huge – I mean Giant – dragon that August Stoten built and wears on stage to chase Donkey around.  It spouts fire, waves its tail, and chases Farquaad into the trees.  A gorgeous singer by the name of Thurzday provides the operatic quality voice for the Dragon in her love throes.

 

Fiona and Shrek may sing “I Think I Got You Beat” – but no one is beating this cast in providing a charming and relevant message. 

A WOW factor of 8.5! 

THE SHARK IS BROKEN – Written by Ian Shaw and Joseph Nixon; Directed by Luke Rahmsdorff-Terry.  Produced by Vintage Theatre Productions (1468 Dayton Street, Aurora) through February 15.  Tickets available at 303-856-7830 or VintageTheatre.org. 

The art of conversation.  Put three men in a room (or a boat) with time to kill and what will they talk about.  What they’ve done in the past – what they want to do in the future – the women they’ve known – the women they would like to know.  Once you get past the superficial, it narrows down to their insecurities, their fears, their desire for legacy, and silly pub games. 

What makes it interesting is when the men are three actors involved in the making of a low-budget movie in various stages of their lives and careers.  During the making of JAWS, the principal actors – Richard Dreyfus, Roy Scheider, and Robert Shaw – are often relegated to the prop boat cabin that had been constructed for the movie. Because of the constant repairs that had to be made to the three mechanical sharks used for the shoot, they ended up spending a lot of time together.   

Dreyfuss was at the beginning of his career (then 28), a little bit in awe of the men he shared time with, and anxious for a big role that would make him a star.  As portrayed by Graham Bryant, he was cocky, yet insecure, all at the same time.  He captured Dreyfuss’ nervousness perfectly by scratching, running his hands through his hair, and talking endlessly about himself.   It’s uncanny how much Bryant looked like Dreyfuss and caught his essence at this time in his life.  The reviews Dreyfuss got mid-shoot for the movie he had just finished bolstered his confidence and made him even more arrogant.  But with good reason.

 Dreyfuss has had a long and successful.  My prediction is that Bryant will as well. 

Evan Marquez as Roy Scheider provided the calming presence needed between the annoying Dreyfus and the hot-headed Irish Shaw.  With a book in his hand and a knowing smile, he would watch the two others spar until he had to step in between them.  This Scheider had already broken through to leading roles such as THE FRENCH CONNECTION a few years before and was secure in a career that led him to featured roles in 61 movies and an equal number of television roles.  Marquez’s Scheider was quiet, calm, willing to contribute to the conversations, but also equally at home on his own. 

Robert Shaw, on the other hand, had had a successful career by this time in both movies and theatre.  He was a prolific writer as well, completing screenplays, theatrical plays, and novels.  He was older (then 48) having worked at his career since he was 24.  He was tired of making films and not willing to put up with much foolishness.  Austin Terrell gave him just the right amount of gruffness and fatigue, both mental and physical.  Shaw actually died only three years later. Terrell brings a hardiness and a confidence to his character born from his own prolific career. 

Director Luke Rahmsdorff-Terry brought the funny out of his actors and found the heart of the script.  The audience genuinely likes all three characters by the end of the evening and wishes them well on their continuing careers.  He is ably supported by Lexi Renfro , who designed and built “a bigger boat” for the show.  Russ Kirby created a sound ambience that greatly enhanced the sense of being on or near the ocean. His use of the creepy clips from the infamous soundtrack brought the whole thing home.  Somehow, the giant oceanic mural, painted by Bernie Richard, combined with the lighting design by Emily Maddox, seemed to gently move behind the boat.   

A fun evening providing a backstage look at a favorite film – who could ask for more? 

A WOW factor of 8.75!! 

THE MYSTERY OF EDWIN DROOD – Book, Music, and Lyrics by Rupert Holmes; Directed by Bernie Cardell, Musical Direction by Jerimiah Otto, Choreography by Stephanie Hesse. Produced by Vintage Theatre Productions (1468 Dayton Street, Aurora) through January 11.  Tickets available at 303-856-7830 or VintageTheatre.org. 

The first time I saw DROOD, it was in preview with a very small audience.  While clever and funny, something was missing.  This is a big, sprawling, raucous musical with many moving parts that depends on an audience willing to play with them.  The missing ingredient was the audience. The second viewing with a nearly full house, however, was a whole new experience.  The players walked into the house, introduced themselves to the sitting audience, and everyone was engaged.  The telling of this unfinished Dickens story became a party. 

Led by Brian Trampler in the role of The Chairman, the music hall actors are introduced. There are the stereotypical roles: the young ingenue, the handsome leading man, the female backbone of the company (tonight playing the male role of Drood), the exotics, the bumbling villagers, the flashy vamp, the snarky villain, and so forth.  Each actor from Vintage plays a member of the acting company AND a character in the Drood story they are acting out.  A tricky assignment, to say the least.  But they pull it off.  Everything changes when they move from being actors in the company to being a character in the play. They walk taller, the women simper, actor voices are used, and, instead of talking like humans, they Enunciate with a capital E! 

Brian does a superlative job of introducing the Actors to the audience, giving them a history and their place in the company.  When it starts getting complicated, he sorts out the Characters to keep everything on track.  Makenzie Couch, as the operatic ingenue, is appropriately innocent but understands exactly what her lecherous guardian uncle is doing when he stares at her.   William Kahn, as that dastardly uncle, is both evil and pitiful.  Jysten Atom and Ariana DuRan are beautiful East Indian brother and sister characters, both creating difficult romantic complications for others.  Deb Persoff is the vamp of the show with a surprising connection to another character. 

The additional gimmick in this script is that Dickens passed away midstride of finishing the serialized novel.  So, to add to the double roles each actor must play, there’s also the problem of not knowing how it was meant to end.  Rupert Holmes, rather than creating his own ending to the script, concocted multiple endings to the question of who killed whom.  By virtue of their applause, the audience votes on potential murderers and an unorthodox “happily ever after” ending for two unaware lovers. This creates a new and surprising ending for each performance. 

The Music Hall stage, designed and built by Don Fuller, assisted by Biz Schaugaard, Bernie Richard, Lexie Renfro, is shiny enough to be Trump’s toilet and authentic enough to be lifted from a turn-of-the-century English panto.  The costumes by Clay Emarine are colorful and appropriate to the era and the characters.  All in all, a fast-moving complicated musical story kept on track by Director Bernie Cardell in the staging and Stage Manager Jennifer Schmitz in the performance. 

Cast illness caused this production to halt performance last weekend.  This means that you only have two weekends left to take part in the fun.  This also means that the show must go on for these final weekends – even if Bernie has to don a costume and play a role himself! Get on it!!  Those seats are going to fill up fast! 

A WOW factor of 8.5! 

A CHRISTMAS CAROL – Written by Charles Dickens as adapted by Richard Hellesen; Original Music adapted by David De Berry; Directed by Anthony Powell.  Produced by the Denver Center Theatre Company (presented at the Wolf Theatre, Denver Center, 14th and Curtis, Denver) through December 28.  Tickets available at 303-893-4100 or DenverCenter.org. 

No matter how you cut it, the Denver Center’s version of this classic is the penultimate CHRISTMAS CAROL.  The music, the costumes, the scenery, the colors, the ghosts, the redemption that brings you to tears no matter how hard you try to ignore it . . . . it just can’t be beat.  But every year, there’s a little something they do differently or someone who has never been in this show in this place before that adds a new little sparkle to the whole evening of fun.  If you want a true CHRISTMAS CAROL experience, it’s there for you to enjoy. 

We must start with Scrooge.  He’s always the key.  If you can believe in

his Scroogy-ness, it will be easier to believe in his turn to good.  David Studwell came to Denver to play Mr. Mushnik in LITTLE SHOP OF HORRORS and stayed to play Scrooge.  He is sadistically mean in his early scenes with the Gentlemen collecting for the poor and his clerk, Bob Cratchit – to say nothing about his nephew Fred and the people on the street.  His conversation with the Ghost of Jacob Marley and the first two ghosts gets more comfortable as they continue, but his fear of the Ghost of Christmas Yet to Come is genuine. His change of heart becomes exuberance unleashed and everyone in the audience rejoices with him as he makes up for his bad boy self. David does an excellent job of drawing us in and letting us care about what happens to him.  That’s a tall order but he fills it. 

There are lots of lovely performances along the way with actors jumping in and out of various costumes to become new characters.  Elise Frances Daniells, as a Street Singer, starts the whole show off with a lovely carol. Geoffrey Kent comes back to his role as Bob Cratchit with a twinkle in his eye and love in his heart for his young son.  His tears are genuine when we are shown a possible future for Tiny Tim. Mr. And Mrs. Fezziwig are played with great energy and humor by Shabazz Green and Stephanie Lynn Mason.  Then they both appear together in a later scene fighting over Scrooge’s clothes. 

Jacob Dresch makes the most of his incredible entrance as the Ghost of Jacob Marley.  It’s so fearful, you can’t help but jump. Then he turns around and becomes a well-dressed guest at Fred’s party.  Alia Munsch dons one of the most beautiful costumes to become a wistful Ghost of Christmas Past while Topher Embrey gets to be the jolly Ghost of Christmas Present who has such a short life.  Even though you can’t really see him in the costume of the Ghost of Christmas Yet to Come, Nathan Karnik provides a spectral presence that would cause anyone to rethink their future.  But that’s only after he has already portrayed a handsome earnest young Ebenezer.  Chloe McLeod gets to be Scrooge’s fiancé in a heartbreaking break up scene; then turn around and provide laughs as Mrs. Fred’s sister who is expecting an engagement ring for Christmas.   

And on and on – all working together as a well-tuned clavichord – to provide a perfect way to start your holiday.  The Denver Center KNOWS how to do this show.  There will be other productions that capture the heart perhaps as well as they do, but It’s just hard to match the spectacle.  Give it up. 

A WOW factor of 9!! 

THE FARNDALE AVENUE HOUSING ESTATE TOWNSWOMEN’S GUILD DRAMATIC SOCIETY’S PRODUCTION OF “A CHRISTMAS CAROL” – Written by David McGillivray and Walter Zerlin, Jr.; Directed by Richard R. Cowden.  Produced by The Aurora Fox (presented at Aurora Fox Arts Center, 9900 East Colfax, Aurora) through December 21.  Tickets available at AuroraFox ArtsCenter.org. 

“This is not good theatre.  This is bad theatre, done incredibly well.”  So describes David McGillivray, one of the playwrights of the whole series of Ferndale plays.  Inspired by a theatre group in which his mother participated, he created this fictional (but realistic) company of women who periodically butcher one of the classic theatrical productions.  Starting with the Scottish play in a highly successful production at the Edinburgh Fringe Festival in 1975, they have risen to international heights as “the ladies” take on more of the classics.  

It is reported that ten of these outrageous scripts exist, but despite diligent research, this writer has only been able to locate five of them.  The first was their original success with MACBETH, where they defied the slings and arrows of outrageous drama. These were followed by FAHETGS’s MURDER AT CHECKMATE MANOR in the manner (whoops!) of Agatha Christie; FAHETGS’s MIKADO (with pity for Gilbert and Sullivan), the current production of FAHETGS’s CHRISTMAS CAROL and the latest, FAHETGS’s THE HAUNTED THROUGH-LOUNGE AND RECESSED DINING NOOK AT FARNDALE CASTLE. 

All scripts are in typical British humor, sometimes obvious, sometimes obscure to American audiences.  They have gotten so used to being misunderstood by members of the audience that they have written into the plays the spectacle of people leaving the theatre before the intermission in confusion over what was happening on stage.  Brits love to laugh at their own ridiculousness; these playwrights have capitalized on that warped sense of humor.  They have also built lasting joy into their scripts by using the same five characters to play multiple – and often inappropriate roles – in each of their productions. 

In this version, relative newcomer Kathy Trageser plays the organizer of the group and the Grande Dame of the company.  As she arrives, she greets her friends in the audience and engages people in conversation.  Turns out she’s stalling because some of the cast is stuck in traffic on I-25 and can’t get to the theatre right away.  But – not to worry – she’ll get the stage manager (Erik Sandvold) to step in, if necessary.  But Thelma, the lead actress (she plays Scrooge in an elegant costume indicative of her significant position in the company) (Kate Gleason) arrives in the nick of time.  Kate Poling plays Felicity, the slightly aging ingenue who seems a bit disillusioned with her roles in this production and finds solace in a bottle.  The cast is finished off with David Stallings in drag as Mercedes, the actual ingenue who is silly, young and inexperienced. 

The story progresses with the familiar script as the actors’ morph into Jacob Marley, the Cratchit family, Nephew Fred and his wife, the various ghosts and Tiny Tim through quick costume changes (which, more or less, are successfully accomplished).  Props and furniture get moved off and on stage as things get left behind, break when used, or need to be quickly brought on mid-scene.  If you’ve ever seen one of the “Goes Wrong” plays, it’s like that.  On steroids.  

It’s a difficult script to pull off, but this cast does a good job with the slapstick humor and the Murphy’s Law modus operandi (anything that can go wrong, will).  They fearlessly plod forward, determined to finish, but forgetting lines and getting upset with each other on stage. Actors miss cues, skip pages, and lose props; scenery falls apart; and still the show must go on. 

A warning to my theatre friends if you go: Buy your tickets under an assumed name!  They have spies and find someone in the audience each evening to bring up on stage to “share” a scene and win a prize.  They are prone to choose people they know.   

But, all in all, it’s a funny show that pranks a holiday favorite in a way that will not spoil your enjoyment of the original.  For an unsentimental break in the festivities that make up December, this one will tickle your funny bone and jingle your bells. 

A WOW factor of 8.25!! 

A FEW GOOD MEN – Written by Aaron Sorkin; Directed by Ed Castaldo.  Produced by the Upstart Crow Theatre Company (presented at the Dairy Center, 2590 Walnut Street, Boulder) through December 14.  Tickets available at the Dairy.org. 

Through an error, the playwright’s name is not included in the program for this stunning show.  Investigation uncovered the gifted Aaron Sorkin as being responsible for this script that wends its way through complicated story lines with an ease that allows the difficult concepts to be presented as clear and undeniable.  We expect no less from this talented writer who went on to give us WEST WING, MONEYBALL, and an updated TO KILL A MOCKINGBIRD among other works.  The personal through-line of his work is, however, morality, responsibility, and justice. 

It is also not surprising to find the grounded and intelligent TJ Jackson leading this huge cast through the twists and turns as Lt. J.G. Kaffee.  After arriving in Denver a year ago, he has cut a swath through theatrical journeys that led him to this place and this time.  TJ’s performance is easy and authentic; commanding and humble; flawless and consistent. Recognition needs to be given. Dare I say it?  Tom Cruise would be jealous!! 

But a successful production is not generally accomplished on the back of one person.  TJ has had help along the way.  Equally outstanding in her role as a confident and determined Lt. Cdr. Joanne Galloway, Jordan Hull rises to a new level as an actress to be reckoned with.  She is as tough as any of her male counterparts yet never sacrifices her femininity to make a point. She is caring and empathetic in standing up for Pfc Santiago who can no longer stand up for himself. 

The cast of fifteen is full of rich, full moments of drama as an investigation and trial play out.  The two soldiers accused of a heinous crime are Lance Cpl Dawson (Danice Crawford) who believes she was only following orders and Pfc Louden Downey (Joshua Raine), an underling who thought he had no choice.  Their puzzlement at the outcome and steadfast defense of their positions as Marines gave root to the basic problem. The  performance hinges around who gave those orders and were they orders that should have been followed?  Is there a choice or only blind duty in morally ambiguous situations? 

The “bad” guys in the production were equally dynamic.  Lt. Kendrick, the enforcer for those higher up, is given a smarmy cold-blooded performance by Joseph Bowman. Would not want to meet him in a dark alley!  Mark Bradford gave life to the difficult role of Capt. Markinson who knew what was ordered was wrong, did everything he could think of to save the soldiers accused of the crime, and when he could do nothing more, did the only honorable thing he could devise.  Captain Ross, also caught between a rock and a hard place, negotiated the shortest sentence he could in an effort to stop the trial.  Sean Coughlin gave this conflicted character both grace and guts.  Joe Pratt as an attending doctor gave another strong conflicted performance, afraid to testify against higher ranking officers but desiring to tell the truth.  Another quietly professional job was done by Kamari Schneider who was the second chair to Lt Kaffee in the trial.  He was charmingly subordinate, the voice of reason on more than one occasion. Billie Bowman also gave a quietly professional performance as the Judge overseeing the trial.  She took no guff from the defense or the prosecution. 

A special place has to be given to the performance of Sky Michaels as Colonel Jessep, the Base Commander.  From him, all blessings flow.  No wonder everyone fears his wrath and power.  His arrogance is unbelievable and his anger at being placed in the position of having to defend himself is colossal.  He reigns holy!  How dare they!! 

This is a cast devoted to telling a story that resonates from the 1986 setting of this based-on-real-life incident to the city streets of today.  I have often wondered what ICE “warriors” tell their wives and kids when they go home at night about what they did at work that day.  What can they honestly share with their neighbors and pastors on a Sunday morning?  Is there not another job they could find that would not require bending your knee every night and asking for forgiveness?  Where’s today’s Kaffee?? 

A WOW factor of 8.75!! 

TIME STANDS STILL – Written by Donald Margulies; Directed by M. Shane Grant.  Produced by Coal Creek Theater of Louisville (801 Grant Street, Louisville) through November 15.  Tickets available at cctlouisville.org. 

This production is one of the best I’ve seen at Coal Creek – and I’ve seen a lot.  While the promotional material doesn’t tell you much about the story, I found it a touching exploration of a relationship in crisis. The writing is sharp and authentic; the characters are well-drawn and well-acted; the story is both funny and moving, exploring an unusual modern romance between likable people who must face some hard truths about their life choices.  

James and Sarah are a journalist and a photographer, respectively, who have found each other in a war environment and manage to carry home some of the characteristics that kept them alive in their professional setting.  As Sarah recovers from her injuries incurred at her last assignment, she returns to the States to the loving care of James, her partner.  But they have both changed from their mutual experiences in ways that affect how they respond to each other.  Their friend and employer, Richard, while anxious for them to be able to work again, sees the toll it is taking on both of them.  The fourth character is Richard’s new trophy (read very much younger) wife, Mandy.  Both Richard and Mandy are delightful characters full of the joy of new life and love; an unlikely couple that you would think was only for show, but that will surprise you.  Mandy especially shows a depth of caring and wisdom far beyond her years. 

While Jaccie Serbus as Sarah and Terence Keane are familiar faces to Coal Creek audiences, both Mark Caswell-Yee as James and Myrrh Curie Powers as Mandy are new to this venue.  All four displayed the ease and familiarity of old friends telling a story they liked to a new group of people.  Both the affection and the conflict between Sarah and James were conveyed with authenticity and tension that kept the audience guessing how it would all end.  Physical and emotional pain rolled off the stage as well and as easily as their caring love.  Enter Terence with his big, bold laugh and presence that fills a room with smiles.  His acceptance as a stereotypical “released” long-time husband, wildly infatuated with a younger, slightly dippity doo new girlfriend, was joyful and realistic.  Imagine all our surprise when she turned out to be the one with the quiet solutions – the answers to their questions, the wisdom for their problems.  Myrrh, in her professional debut, was absolutely perfect for this role.  She was nonchalant about her body, aware of her youth in light of the others’ difficult life experiences and yet determined to hold on to her own joy in a new, promising relationship.  She, along with her fellow players, was spot on. 

For the usual audience members, there was a new seat arrangement that proved a little challenging, yet fitting.  The seats were placed on risers at one end of the long, narrow acting space. This allowed the creation of a studio apartment in an appropriately sized configuration with minimal changes required between scenes, cleverly designed by Jaccie Serbus, the actress who then got to inhabit the space.  As always, the professionally abled amateur crew at Coal Creek polished the rest of the production needs with skill:  Kathleen Raushch’s costumes, Bob Boxer’s sound design, Shane Forman’s lighting, and Leigh Harkins’ props completed the picture, with everyone involved in the production pitching in on the set build and paint.  This is volunteer community theatre at its best. 

A Wow factor of 8.75!! 

ANGRY, RAUCOUS, AND SHAMELESSLY GORGEOUS – Written by Pearl Cleage; Directed by Adrienne Martin-Fullwood.  Produced by Vintage Theatre (1468 Dayton, Aurora) through November 23.  Tickets available at 303-856-7830 or VintageTheatre.org. 

Vintage folk really know how to utilize their spaces.   What other small theatre in town can run three shows simultaneously?  Right now, they have FIRST DATE in the lobby cabaret space, MERRILY WE ROLL ALONG in the bigger theatre, and in the intimate small space, they just opened this show.  So the discerning playgoer can choose either a charming musical look at dating, a Sondheim musical, and a thoughtful but funny show about an existential crisis between women. 

This show is the latest in a series of plays written by Pearl Cleage about feisty women.  Her characters are flesh and blood women with true life problems resolved by working together.  She deals with these issues in such a gentle but decisive method that you innately know that these are also problems Ms. Cleage has dealt with personally in one form or another.  She joyfully shares her experiences with her audiences in a way that both enlightens and entertains. 

The pitch:  A performance artist has been living abroad but returns to the US from her self-imposed exile to display her fame-making theater piece one more time and arrange a national tour.  What she doesn’t realize is that another dancer has been hired to actually perform the piece; she is only to get an award and coach the younger woman. She rails against this dismissal of her talent and authorship, but has to face the fact that she is too old to get naked in front of an audience as she did formerly. 

Director Adrienne Martin-Fullwood has peopled her play with genuinely feisty women who slip into their roles like falling into a feather bed.  Colette Brown as Anna, the older actress, moves like a dancer naturally.  Her sly sense of humor gives Anna both a cynical point of view and a reluctant understanding of her place in this new (to her) environment. Rav’’n Moon is Anna’s companion, friend, and advocate.  To the best of her limited resources, she clears the rocks out of Anna’s path, consoles her when she is forced to face reality, and boosts her confidence when there are difficult things to do and face.  Kenya Mahogany Fashaw brings a grounded, if slightly flustered, festival manager to brilliant life.  Put in the awkward position of having to tell her friend she doesn’t want her to perform the piece (there is, after all, nudity involved) and introducing and forcing a “make nice” between the older and the younger performers.  The sassy, in every sense of the word ,Nadiya Jackson creates a bold and shamelessly gorgeous “dancer” who will not be dissed by the fading beauty.  The fire flies between them while their friends wait on the sidelines to see who is going to win. Or at least, not kill each other. Ultimately, because we are dealing with thoughtful intelligent women, a truce is worked out and truths accepted. 

The tech crew has done a lovely job of creating a mid-level hotel suite in which the ladies can play.  Sound designer Luke Rahmsdorff-Terry has created an appropriate soundtrack for this lively outing and Holly Peterson Hurd has found lovely garments for the ladies that broadcast their status in life. 

As I’ve said all along, this generation of young people have it figured out.  All we have to do is get out of their way. 

A WOW factor of 8.75!!

DIVA ROYALE – Written by Jeff Daniels; Directed by Warren Sherrill, Choreography by Samantha Piel; Fight Choreography by Amy Arpan, Musical Direction by no one (obviously).  Produced by Miners Alley Playhouse (1100 Miners Alley, Golden) through November 9th.  Tickets available at 303-935-3044 or minersalley.com. 

I usually equate honored Director Warren Sherrill with thoughtful, insightful productions that require careful, intelligent guidance to achieve a meaningful lesson.  No such requirement for DIVA ROYALE.  I can envision rehearsal for this madcap out-of-control performance as being more “What’s the next crazy thing we can do, ladies?” 

The pitch:  Three Midwestern housewives learn that Celine Dion has a one-night-only concert in New York the next night.  On a whim, they decide to go . . .  never having been on a plane before, never having been to New York before, never having done anything so reckless before.  Needless to say, chaos ensues. 

The ladies in this case are comic actors extraordinaire Amy Arpen, Lisa DeCaro, and the rarely seen Emily Paton Davies.  If these three didn’t love Celine Dion before, they surely do now.  Their pursuit of her elusive self provides them with the framework for this wildly comic evening of fun.  On a practically bare stage, they walk (run and jump) the audience through their wild and crazy three-day adventure from inception to return home.  You wonder if these three did not bond over Dion, would they have even ever been friends?  They have such different personalities.  But the question is moot and instead illustrates the power of friendship under trying conditions.  It also celebrates the resilience of women and their power to make lemonade out of the worst situations. 

There is one lone man in their story.  Quick-changing Matthew Combs portrays all the men they run into and up against in their little adventure.  His versatility in bringing to life a multitude of dodgy characters is spectacular.  While the story is about the three women, it wouldn’t have been as funny without the one man. 

Miners Alley continues their run of outrageously funny shows for the last couple of years (discounting MISERY, of course).  Their bond with the Purple Rose Theatre has given them comic scripts to which they have added their own special brand of wackiness. 

You’ve got a few more weeks to catch this show, and you should!! 

A WOW factor of 8.75!!