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BIRTHDAY CANDLES – Written by Noah Haidle; Directed by Christy Montour-Larson.  Produced by Curious Theatre Company (presented at 1080 Acoma Street, Denver) through April 5.  Tickets available at 303-623-0524 or CuriousTheatre.org. 

This is the story of a woman.  A woman who lived a contained but full life.  Nothing spectacular, but full of love.  In my personal dotage, lately I’ve been saying to people “Treasure the moment because the years fly by.”  In a beautifully lyrical staging, that’s what happens in this script.  We follow Ernestine from her 17th birthday to the end 80 years later. 

As in the case of a lot of women who grew up in Ernestine’s time, her life revolves around her family and her kitchen.  Most particularly, a recipe handed down from her grandmother and mother creates the same birthday cake for each of her special days and those of her family.  The power of ritual is strong in her – the ties that bind generations together. But as the years go by, that tie gets stretched thin as children and grandchildren move on. And out. 

The same sort of play could most reasonably be done about anyone – or everyone.  What makes this one special is the lyrical quality with which it’s written and staged.  Enhanced by an absolutely beautiful kitchen set (designed by Caitlin Ayer and built by the students of the Tech Intern Program at the University of Denver), Christy Montour Larson has hit all the right notes with this one.

The script keeps Gabriella Cavallero as Ernestine on the stage for the entire time. (Welcome back, Gabriella!!) The years go by quickly through marriage, children, adult children getting married and having babies, familial pain, and new loves.  The extended family units are made up of Karen Slack, Michael McNeill, Rodney Lizcano, and Devon James, all playing multiple characters in Ernestine’s life and family.  Only Brian Landis Folkins has a single crucial role.  They all grow up and move on in front of us. Through carefully curated clothing (Designed by Janice Benning Lacek), we are kept in the era and the character of each player.  

I read this script a couple of years ago and thought at the time, “How the heck could you stage this thing so it made sense?”  Curious is not afraid to take those difficult problems, hire a creative director, and cast an adventurous and brilliant group of actors to give it a try.  This is one try that succeeded. The 90-minute play flew by with humor, affection, and determination – until there stands Ernestine alone on the stage. 

This just opened.  You have time to get to it.  Get to it. 

A WOW factor of 8.75!! 

BELLA BELLA – Written by Harvey Fierstein; Directed by Mari Geasair. Produced by Vintage Theatre (1468 Dayton, Aurora) through March 18. Tickets available at 303-856-7830 or VintageTheatre.org.

We have outspoken women in politics now on both sides of the aisle. A few of them didn’t last too long. But there had to be the first one and Bella was it. On this evening of theatre, we sit and float through time backwards and forwards with her as she waits in a hotel suite bathroom for the results of her long-shot five-way race to become the first female Senator from New York.

During the evening, she reminisces about her journey and shares her dreams. Her strong feminist beliefs earned her the nickname Battling Bella. But she didn’t mind because she was battling for Women’s Rights in every way possible during her time in politics from 1945 to 1998. She passed legislation that allowed a woman to obtain credit in her own name, without needing her husband’s signature. She founded the Women’s Caucus in the UN and a multitude of worthwhile women’s lobbying efforts. She was determined, earthy, at times profane, but forever unforgettable.

Erika Scotti takes on the daunting one-woman role in this production. She brings to life the brash beauty of Bella, not mincing her words, not afraid of controversy. Her life in politics dominates the conversation and illustrates her passion for feminist issues. She knows she has fallen behind in this particular race. She and everyone in the audience know, however, that this is just a little bump in the road. Erika captures that outspoken, almost belligerent personality. Even her personal nervousness illustrated Bella’s own troubled soul at her possible failure.

A little history: Harvey Fierstein, who wrote the piece, also performed it in 2019. Bella has also been portrayed by Margo Martindale and Bette Midler in various movies. Poignantly, Bella was born in the part of Russia that is now Ukraine. I wonder what she would think of what is going on over there now. The evening provided a comprehensive illustration of her life and works with humor and grace.

A WOW factor of 8.5!!

Y MOTHER AND THE MICHIGAN/OHIO WAR – Written by Paul Stroili; Directed by Len Matheo. Produced by Miners Alley Performing Arts Center (1100 Miners Alley, Golden) through March 29. Tickets available at 303-935-3044 or MinersAlley.com.

The Purple Rose Theatre is a small, intimate company in Chelsea, Michigan, about 20 minutes west of Ann Arbor. It started in a garage owned by Jeff Daniels’ grandfather in 1991. Early success allowed for the construction of a new theatre building in 2001, and there’s been no stopping them since. They have attracted a cadre of playwrights and actors who present, along with American classics, a program of new scripts doled out four a year. Early Purple Rose scripts hit Denver years ago when the Fox presented ESCANABA IN DA MOONLIGHT, directed by John Ashton. They have continued entertaining Colorado audiences, with the guidance of Len Matheo at Miners Alley, which has presented four, now five, of the original plays to come from the Rose.

And this one lives up to the reputation they have established as presenting crazy funny scripts with the heart and voice of the Midwest. MY MOTHER . . . is another crazy funny three-character comedy about a “typical” Michigan family of mother and two grown siblings from different sides of the football field. It wraps in a lot of Michigan history (you get a graphic description of the “war” over a strip of land), family dynamics, and a woman dealing with grief in her own way. The dialogue starts by breaking the fourth wall immediately when Izzy, the Mom (given comic life by Cindy Laudadio Hill), explains why her house is a mess and what’s going on in her life to the audience. She introduces us to her grown children – Carey, a loving but independent daughter (played by the always pleasing Kate Poling) and Josh, an adopted younger brother (Orion Carrington in his Miners Alley debut). In addition to having a great connection as a family, each player gets a plethora of one-liners and “in” jokes with the audience. Izzy occasionally breaks the scene to explain to the audience what is really happening in the family history.

The three actors command the stage the moment they arrive. Cindy is charged with monologues explaining both family and Michigan history. Her quiet confidence and cheerful Mom-like personality make it a joy to watch and listen to her stories. She shares everything with the audience, engaging them in gentle immersive actions that captivate the watchers with ease and grace. The children, while seeming to be polar opposites, soon reveal a love for their mother and each other that is heart-warming and familial. Both Kate and Orion have created whole personalities and enter into the family dynamic with no hesitation. Their rivalry both captivates and reveals their sibling connection.

There is a story being told here, but it’s not nearly as important as the building of the relationships within this family for the audience. Though they might not want to admit it, there is a lot of love spilled out on the stage during this show. Despite the tricks, game- playing, and rivalry over opposing football teams, these people care for each other deeply. After the stories are told and the games won (and lost), the evening culminates in one of the funniest command performances you’ll ever see. Carey and Josh have lost a bet to their mother and end up doing a parody reconstruction of the war over that infamous strip of land that includes a rewriting of HAMILTON.

To escape the chaos of the world outside right now, treat yourself to an evening of unadulterated joy and family humor. You’ll feel the better for it.

A WOW factor of 9!!

THE RUNNER STUMBLES – Written by Milan Stitt; Directed by Sina Hirsch. Produced by Elemental Theatre Company (Presented at the People’s Building, 9995 East Colfax, Aurora) through March 8. Tickets available at 720-244-6205 or ElementalTheatrecompany.org.

Playwright Stitt found an interesting real-life story that happened in 1907 in a very religious small community in Michigan. A priest and a nun’s relationship was misunderstood, which led to tragedy for both of them. She lost her life; he was accused of her murder and forced out of the village in disgrace. The true story only came out years later when he was arrested and charged. It’s an intriguing look at the morals of the time, the unforgiving nature of the disappointed, the need for companionship, and the impact of the discipline of the Church.

Elemental does a fine job of telling the story. The relatively new faces of Mark Caswell-Yee and Calista Rain Masters take on the difficult roles of Father Rivard and Sister Rita. Father Rivard is surprised and dismayed by his attraction to Sister Rita’s youth and charm. Sister Rita, on the other hand, seems oblivious to the effect she is having on everyone she meets in this small provincial village. She is too pretty to be a nun – and yet, there she is. Their relationship is innocent except in thought, but even that is overpowering.

They are supported with fine performances by Lisa Ann Collins as their disapproving housekeeper; John Greene (who you hardly ever see on stage anymore) as the gruff and determined prosecutor in Father Rivard’s trial; Jim Hayes as the Monsignor who cracks the whip and provides the straw that breaks the camel’s back; and Myrrh Curie Powers as Louise, a village girl with sausage curls. They all contribute their crucial, sometimes cruel parts to the story.

The People’s Building is an interesting place in which to stage and watch a play. You never know quite what you’re going to be walking into as you approach the playing area. It can be small and intimate or big and grandiose (think ANNE BONNEY and EXIT CHASED BY A BEAR as two examples of big). The playing area is approximately 1,500 square feet, and they do not rent by the square foot. You rent it; you’ve got the whole thing. More than once or twice, I’ve seen productions here that would have been greatly enhanced by using more of the space for their set.

This play, too, could have been made easier on everyone by using a little more of the space. The play is acted out in basically two settings: the Priest’s study and the courtroom. Once and awhile, an outdoor setting was used. There’s enough space that those could have been three separate spaces set up and prepared for the actors to move into as the scene changed. The lighting could have told us where to look. The actors would have been spared the chore of moving everything off and on and off again between each scene. Those set-up delays broke the pacing of the story, created what became almost comical movement of tables and chairs by the cast, and made the play at least a half hour longer than it should have been. If there’s ever any way to avoid making the actors into temporary stagehands, I applaud the company for figuring it out.

Only one more weekend to catch this production.

A WOW factor of 8!

 

NINE TO FIVE – Music and Lyrics by Dolly Parton; Book by Patricia Resnick; Co-directed by Dana Hart Wright and Paul Page; Musical Direction by Tanner Kelly; Choreography by Dallas Slankard. Produced by Vintage Theatre (1468 Dayton St, Aurora) through March 29. Tickets available at 303-856-7830 or Vintagetheatre.org.

You can always tell when you’re going to have a good time at a musical production. There’s a certain precision, a certain confidence in the first number that gives you a clue. There’s a “just you wait” attitude in the air that tells you something special is going to happen. It’s in the little things, like the way the costumes fit, the way the chorus hits the high notes, the way the dance ensemble looks the audience in the eye. All that confidence and joy burst forth in the opening minutes of NINE TO FIVE and didn’t let up until the closing number. The Vintage team brought their best to this production.

NINE TO FIVE is a huge production with constant movement on and off the stage of set pieces and people. A well-trained army of dancers moved the office equipment off and on like little soldiers, unobtrusively, smiling, and in character. All part of the gig. Then they moved into their dance positions and carried on. Everyone knows the basic plot of Dolly’s little musical – the call for women empowerment, the fight against existing working conditions, the misogynistic boss, the triumph of the working class. Dolly herself has been a successful businesswoman all her life; she knows what she’s talking about.

Nancy Evans Begley takes on the role of the tough businesswoman who hides her frustration and insecurity under a hard edge (Lily Tomlin in the movie). Nancy, in real life, is a tough, successful businesswoman, so this was a natural progression for her. She brings both fear and gentleness to the role as well as a kickass voice. She gets the rousing “One of the Boys” dance number with the male dancers as well as a love song, “Let Love Grow,” with her younger brand-new boyfriend (Matthew Combs). Judy (the Jane Fonda role) was blessed by the appearance of Abby McInerney. This girl can sing, as she demonstrated in one of the closing numbers when she tells her ratty husband to “Get Out and Stay Out.” It takes a special woman to give her whole heart to that song; Abby was that woman. And, of course, the Dolly role goes to relative newcomer Sarah Kit Farrell, who, since she arrived in Denver, has been cutting a swath through some of the best theatres in town. Her little ol’ twangy self rocked this role and brought a sweet Southern charm to her portrayal, as well as a fiery spirit that you didn’t want to get in front of. The three of them make the six trio songs assigned to them a master class in harmony.

One more crazily talented woman nearly walked away with the kudos of the night. Jennifer Burnett as the lusty, but unsatisfied Roz, who is stupid in love with her bad boy boss, rocks the room with “Heart to Hart.” Then repeats in the second act with “5 to 9.” A totally unexpected sleeper role that Jennifer elevates to a show-stopper.

Not to overlook the men in the cast. If you, as an audience member, didn’t believe that Franklin Hart was the worst boss in the world, none of the bad-boy humor would work. Trust me! Keith Hershman was obnoxious to the point of getting booed during the curtain call. But funny obnoxious. Over the top obnoxious – which enhanced the humor and elevated everything the women did to bring him down. I can’t wait to see him again in a role I can like him in. Matthew Combs plays a sweet and fervent suitor for Violet. Rick Long makes a “don’t blink or you’ll miss it” appearance as the wise “not to be fooled” corporate head that sorts the whole thing out at the end of the show with a few well-chosen words. And – I don’t know about you – but when Cory Klements is on the stage dancing, I can’t take my eyes off him. So, the men upheld their end of this storytelling.

The versatile set pieces provided just enough “stuff” to illustrate easily where you were geographically, without cluttering the space or leaving insufficient room for the wonderful dances. The A-team of musical contributors – Tanner Kelly and Dallas Slankard – brought their magic as well. Dallas has the gift of making complicated dances look like you could get out of your seat and join the dancers on stage. This group was well-schooled and precise; sang beautifully and danced well. Co-directors Paul Page and Dana Hart Wright caught the humor and the intent of the script just right, tempering the laughs with a hard look at the way things used to be for women in the workplace. (Did you see what I did there? Used to be – Ha!)

A WOW factor of 9!!

THE ODD COUPLE (Female Version) – Written by Neil Simon; Directed by Warren Sherrill. Produced by Miners Alley Playhouse (1100 Miners Alley, Golden) through March 8th. Tickets available at 303-935-3044 or minersalley.com.

THE ODD COUPLE is part of the consciousness of nearly everyone born from 1950 through today. The comedy pairing of mismatched roommates Oscar and Felix has been played endlessly since the original production in 1965, with a premiere cast of Walter Matthau and Art Carney. A movie followed in 1968, which allowed Matthau to repeat his role as Oscar and be joined by Jack Lemmon as Felix. A Black version was also released that year, with the female version following in 1985. The Broadway production of the latter version featured Sally Struthers and Rita Moreno. And the ubiquitous TV version ran from 1970 to 1975. As well as revivals and local productions being repeated endlessly to this very time. This is one of the most popular and most produced of Neil Simon’s 49 scripts.

It only follows that Miners Alley, which specializes in heartfelt comedies, would choose to do their own version at some point in time – this one utilizing two of the most talented actresses in Denver, Emma Messenger and Sheryl McCallum. Those names alone would pull audiences to this production – with good reason. Both of these ladies have comic timing down to a fine art; are capable of portraying every emotion from terror to tears, from cute to comic; and approach each role with curiosity and commitment. They are both a delight to watch, no matter the role.

Sheryl plays the confident but frustrated Olive, who cares not for the cleanliness of their shared apartment. She just wants a little action. Her matter-of-fact declaration of her intentions would startle the most secure of roommates, which Emma, as the newly separated Florence, is not. Most of us like a clean house and an orderly meal, but Flo’s constant dusting and serving would drive a saint up the wall. A saint, Olive ain’t.

The big date set up with the Costazuela Brothers from upstairs, the screamingly funny Josh Levy and Damon Guerrasio, is one of the funniest scenes ever written. The evolution of a flirty “Get to Know You” conversation to a crying session over lost loves is a wonder to behold. The machinations between the two women eventually result in all-out war, but they are both too nice to let it go on too long. This is a sweet and extremely funny version of a familiar story.

The backup crew brings fun to the table as well. The game that brings these gal pals together is a Friday night attempt at Trivial Pursuit. Adrian Egolf, Annie Dwyer, Candace Orrino, and Dana Hart Wright fill out the guest list with loving care for their friends and smart-ass remarks about everything else.

It seems impossible to imagine, but Miners Alley is doing two plays in rep, which includes changing both complete sets back and forth between performances. Who do they think they are – Creede?? But both shows deserve your attention. In addition to this version of ODD COUPLE, they are also giving a Colorado premiere to another Paul Stroli script, after the successful run of JUKE BOX FOR THE ALGONQUIN last year. This one is MY MOTHER AND THE MICHIGAN/OHIO WAR which is about “family, football, and the fight for the Toledo Strip.” Or is it Tolado??

A WOW factor of 8.75!!

BROOKLYN LAUNDRY – Written by John Patrick Shanley; Directed by Allison Watrous. Produced by BETC (Presented at the Dairy Center, 2590 Walnut, Boulder) through March 15. Tickets available at office@thediary.org.

Think back to the places you found love (high school doesn’t count!). Even those short time, quicky romances that sizzled for a weekend or a month. A bar? A church? At work? The library? School? Anywhere, but a laundromat!! And yet, it happens. John Patrick Shanley specializes in unlikely relationships found in unlikely places. With this script, throw in the factor of inconvenient time on top of everything else.

Fran, a disillusioned NYC resident, drops her dirty laundry off at her neighborhood cleaners and bumps into the owner, Owen, who is covering for an absent employee. Fate at work. A little conversation turns into a little flirting, turns into an invitation to dinner. But Fran has some family business to attend to before she can take on anything new. She has two sisters who each have their own set of problems, which unfortunately land on Fran’s shoulders. After one promising date and one long absence on the part of Fran to cope with the family issues, she returns to the laundromat a different person, one weighed down with new responsibilities and a no-nonsense attitude toward her new life. Instead of giving her time to explain or to share, Owen rebukes her for “ghosting” him, leading to an argument that could signal the end of everything. One last twist puts a new spin on their situation. Like most of Shanley’s plays dealing with real-life and real people romances, a compromise leads to hope.

The sharp, brittle character of Fran is given an authentic portrayal by the uber-talented Annie Barbour, who hit Denver only a few years back and has been cutting a wide swath in Denver’s theatres since. Her accent, her attitude, her vulnerability hidden under a carefully curated nonchalance all create a character you naturally root for. The same with Owen, here created by Torsten Hillhouse, whose coast-to-coast career happily lands in Colorado occasionally. His Owen reflects both optimism and fearfulness based on past incidents, both physical and emotional. An almost immediate spark lights hope in his heart. Fran’s sisters are illuminated by Jessica Robblee and Kate Gleason, two familiar, popular, and always brilliant actresses who bring the personal problems of both to light. This is a family hard hit by pressures almost too much to bear.

Praise must be given to the overwhelmingly complete set of the laundromat with its racks and racks of clean plastic-enclosed clothing hanging neatly, waiting to be returned to their owners. The set, complete with the accoutrement of laundry equipment, provides an appropriate background for a couple trying to make a clean start. Flanking walls easily pivot to provide the sick room of one sister and a meeting place for the second. Designer Tina Anderson has outdone herself on this one and, even with a building crew, this is an amazing work of practical art. She was obviously given great assistance by Props Designer Katie Hopwood McCleaf in dressing the set. I swear I could smell the Arm and Hammer at work in the back room.

After completing a successful Denver run at the Savoy, the whole kit and kaboodle has moved to the Dairy Center for Boulder residents and Denver folk who missed the first weeks for an additional showing.

A WOW factor of 8.75!!

FIERCE SATIRE AND MEDIOCRE SEX – Written by Edith Weiss; Directed by Susan Lyles.  Produced by And Toto Too Theatre Company (Presented at Buntport Theatre, 717 Lipan, Denver) through February 28.  Tickets available at AndTotoToo.org. 

“Pastiche – In literary usage, the term denotes a literary technique employing a generally light-hearted tongue-in-cheek imitation of another’s style; although jocular, it is usually respectful. Pastiche has become positively construed as a deliberate, witty homage or playful imitation.”  

As I was watching Edith Weiss’ collection of short plays, this was the word that came to mind.  She writes with a light-hearted touch that engenders many smiles and occasional belly laughs.  I’m thinking now of Jeff Jesmer’s frantic lovesick cricket trying desperately to find a willing partner to have sex before his time runs out.  I will never again see someone rubbing their hands together without thinking of his mournful mating call.  Edith has an eclectic mind that finds humor in everything from suicide prevention hotlines to high-borne game shows to loopholes in the path to heaven.  She has provided laughs from way back in the Chicken Lips days.  You know you’re from Denver . . . . 

My understanding is that these particular skits were written, in the most part, as part of the annual fundraising Play Crawl And Toto Too sponsors each year.  Local female playwrights are invited to submit short plays that can be performed in a store, a boutique, a restaurant in a neighborhood while the audience walks from one location to another to observe and laugh.  So as they all enjoy the same whimsical sarcastic humor, there is no tie that binds them all together.  Edith, acting as the Therapist for the audience, introduces each and then lets it roll.  

 

Hence, you are witness to a game show at which the contestants are all female Shakespearean characters answering questions about the Master himself.  A novice answering the phone at a suicide prevention clinic has just the right amount of nonchalance to provide just the right amount of prevention.  St. Laurence argues with a lazy God about overcoming certain loopholes about getting into heaven and, the aforementioned Cricket, who realizes his time is limited and he wants to get one good one in before he goes.   

What you also get is an invitation to partake in the Play Crawl this year in June to witness the new set of short and sweet skits as you walk around one of Denver’s real neighborhoods.  Watch for further announcements and plan to join in the fun. 

In the meantime, warm up to the humor of Edith Weiss and the cast she has assembled (Jeff Jesmer, Meredith Young, Sophia Badia, and Chris Kendall) to provide a winter treat at the Buntport Theatre before this short run is over. 

A WOW factor of 8.25!!  

BURNING BLUEBEARD – Written by Jay Torrence.  Produced by The Catamounts Theatre Company (Presented at the Dairy Event Center, 2590 Walnut Street, Boulder) through February 21.  Tickets available at 303-444-7328 or thedairy.org. 

In January of 1903, a consortium of composers, comics, and collaborators put together a burlesque set of scenes very loosely based on the folk tale of Bluebeard, a notorious nobleman who marries women, beds them, and then kills them.  The script contained comic depictions of the women and their reluctance to marry, a few musical numbers, and a supposed happy ending leading to the demise of the villain.  It was considered successful in its initial run and became a staple for various travelling burlesque stock companies.

One such company took it with them to Chicago later in 1903 when they were hired to be part of the opening acts at the brand-new Iroquois Theatre in downtown Chicago.  While struggling to reach an audience early in the run, when the holidays were finally over, and school was still out, the houses began to fill up.  On the day before New Year’s Eve, the house finally filled.  Its normal capacity of 1600 seated on three levels was sold to overflowing that day, with an estimated 2100 people filling the standing room only and seated in the aisles to watch the frivolity. 

Midway through the production, right after the intermission, as the comic Eddie Foy was entertaining the audience, an arc light high in the fly space above the stage flared and caught a curtain on fire.  It didn’t take long for it to spread, and flaming bits fell to the stage below.  Efforts were made to calm the audience, lower the fire curtain (it got stuck on the way down), and extinguish the fire . . . to no avail.  In no time, the interior of the theatre was filled with burning fabric, smoke, and flames.  When a backstage door was finally forced open to allow the performers to escape, the gush of wind created a fireball, that flew into the gallery and balcony area, immediately incinerating the people trying to escape but trapped. 

The upshot of the tragedy was 602 deaths, many children and their mothers, many trampled as they tried to get out the one front door or down improperly installed fire escapes.  It was a tragedy not surpassed in the United States until the incidents on 9/11.  Of course, there were arrests made because of graft covering shoddy workmanship, and bribes delivered for unreported safety issues.  None of which helped the people who came that day looking for a little bit of song – a little joke or two.  It also didn’t help the troupe of entertainers who, in spite of every effort to save people and expedite escape, were forced instead to watch as their audience died.  

Jay Torrence has recreated that fateful day in history to give the players in that troupe one last chance to finish the Act Two of the afternoon and, perhaps, just maybe, change the outcome.  Maybe if they can finish their performance, the ending will be what everyone expected and not the horrendous true events of the day.  So, they explain to this audience on this day what they hope to do and start by going back to the beginning of MR. BLUEBEARD, the skit they were performing on that day.   

 
Corny jokes and musical numbers start the performance.  Bluebeard (Sam Gilstrap) bumps off two or three of his one night only wives.  But then it’s intermission and Act Two must begin.  Try as they might, the fire starts again.  Robert Murray (Mark Collins), the Stage Manager, describes the conflagration and its progress as it is happening.  Eddie Foy (Rakeem Lawrence) tries to get everyone to calm down and return to their seats, only to condemn them to a fiery death.  Nellie Reed (Maggie Tisdale) was an aerial performer whose act was to drop in a harness from high in the wings, swinging out over the audience and dropping carnations into their laps.  She was trapped in her harness, unable to free herself.  In this version, even the Faerie Queen (Noelia Antweiler), whose magic wand was supposed to have all the answers, couldn’t help. A coda is added to the tale that offers the tiniest little bit of hope that if they continue perfecting their act, maybe someday it will come out differently. 

This is a hard play for theatre people to watch.  As a result of this event, safety measures in theatres all over the world have been regulated and improved.  Doors can only open outward; only certain kinds of paint can be used; lighting equipment has changed; safety for the performers and audience members are protected by law.  But still.  As the players sat staring out into the house with the lights of the fire playing across their faces, as a responsible theatre person, you begin thinking, “Is my theatre protected?  Could I get our audience out in time?” 

While this is a gruesome topic, it is a well-told story, wondrously performed with authenticity and tenderness by the people of Catamounts.  They are each physically committed to telling the story the way it happened over and over again, no matter how hard it is on them spiritually.  In addition to the people named, Joan Bruemmer-Holden plays the classic clown of the troupe, instrumental in getting the players to fulfill their roles from beginning to end.  This is a true ensemble as they pull the pieces together to tell both halves of the story.  In a strange, beautiful way, it is told with lyrical overtones, lovely traditional costumes, and lighting that both enhances and horrifies. 

You are left with the hope that maybe the next time they tell this tale, it really will end differently. 

A WOW factor of 8.75!! 

HELLO, DOLLY – Book by Michael Stewart; Music and Lyrics by Jerry Herman; Directed by Carrie Colton; Music Direction by Mason Siders; Choreographed by Christine Zimmerman.  Produced by Candlelight Dinner Playhouse (4747 Marketplace, Johnstown) through April 4.  Tickets available at 970-744-3747 or ColoradoCandlelight.com.

Let’s start with this: I love Candlelight!  It’s one of the youngest theaters on the Front Range, so to speak, but it has that old-fashioned “real” theatre feel about it.  The generous lobby, the way you are checked in from a list of names and greeted as an old friend, the ample seating, the smell of food cooking as you arrive, the giant stage.  But, most of all, the gorgeous sets and costumes, the live band, the chance to chat with your actor/waitperson, and the total absolute professionalism of the whole place.  The productions have been a pipeline for talented UNC students/graduates to improve their professional craft and provide a harbor for Denver performers and BDT alumni.  The performers come on stage well-directed, well-trained in the dances, and well-versed in the music.

So it is with incredible sadness that I have to say that their current production of HELLO, DOLLY just missed the mark for me.  I would have thought it was just me – that I expected too much from a familiar script.  But my guest, who had never seen the show on stage, and the two perfect strangers at our table (subscribers who had seen everything for several years) had the same reaction.  At intermission, we looked at each other and said, “What’s wrong with this picture?”

There is much good about this production.  The set is well-planned and pretty.  Everything moves in and out smoothly.  The Harmonia Gardens restaurant is brightly beautiful, in spite of some sticky curtains which I’m sure have been adjusted by now.  The costumes get an A+ for color and style.  The nine-piece band provided a rousing overture and splendid support for the musical action.

The singers and dancers were well prepared and seemed to be performing exactly as directed and choreographed.

My mind goes to the lovely “Elegance” that opens Act II.  A charming, understated quartet of impostors pretending to be upper-crust snobs and having fun doing it with a simple dance.  The amazing voice of Brooklyn Buhre, who plays Irene Malloy, the milliner in the younger love story, sang the touching “Ribbons Down My Back.”  The grace of Jerod Mose as Cornelius, who knew what he wanted and found it in Irene.  His rendering of “It Only Takes a Moment” is unforgettable.  Roy Marcus, making a Candlelight debut, captures the agitated confusion of Horace, a man being backed into a wedding he didn’t know he wanted.  And, of course, Melissa Williams, who displayed the loneliness of a woman alone, the longing for love, and the seriousness of her role as resident busybody.

So what’s wrong, you ask?  It seems that, in-between those winning numbers, in an effort to add funniness to the proceedings, it was decided – as recorded in the director’s notes – to infuse the production with “the long tradition of clowning.”  It feels like, in the hope of creating burlesque-style slapstick moments with silly voices, funny walks, and Keystone Kop-like antics and dancing, the honest, sweet humor of the characters and situations they found themselves in got a little lost.  Which left the audience, at least the ones at my table, confused and a little bewildered.  Is this Commedia del’Arte, a panto, burlesque, or Dolly as we know and love her?

This is only one person’s opinion.  Please don’t let it keep you from this production.  The people at the table next to us were laughing all evening and enjoying themselves.  I’ve said, for years, that your enjoyment of theatre all depends on what you bring to the table.  I just found this production not up to the standards Candlelight has set for themselves and what I have come to expect in their productions.  But I can’t wait for ANYTHING GOES!!

A WOW factor of 8! .