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THINGS WE WILL MISS – Written by the cast; Directed by Emily K. Harrison. Produced by square product theatre (Presented at the Dairy Center, 2590 Walnut, Boulder) through July 22. Tickets available at 303-444-7328 or thediary.org. 

THINGS WE WILL MISS is a self-described “Meditation on the Climate Crisis.” Couched in the form of an experimental theatre production, it is both a call to action and a recognition of apathy. One of the actors asks, “What can one person do?” Another echoes “What can one show do?” No easy answers. The apparent hope is that someone in one of the audiences will be moved to initiate a conversation with someone higher in the power grid . . . . who will then convey an original idea to someone even higher . . . . until eventually a radically new concept will reach someone who can actually command action. In the meantime, this well-meaning group of teacher and students express their fears and concerns in a loosely written conversation. 

The “things we will miss” part of the evening is expressed as the five actors walk back and forth across the stage expressing personal potential losses simultaneously. Things like fireworks – ice cream – pizza – horses – pop out of the mingled dialogues. One humorous listing caught my ear. One of the girls included “My Mom” . . . “My Dad” . . . “My little brother” . . . (long pause) . . . “Oh, OK, my big brother.” 

Their points are made through personal stories and ponderings. Emily Harrison as their teacher is often questioned and admits to having no concrete solutions, other than continued conversation. But the revelations do have a positive impact on your understanding of the issues. 

Do not go expecting a polished script or performance style. A great deal of thought has been put into how best to express their concerns – actually, more than concerns – about their belief in a coming cataclysmic event. In their belief that the rise of humankind – the Beginning – naturally pre-supposes that, at some point in time, there will be an Ending brought about by our own lack of forethought, greed and need for comfort. The honest expression of these sentiments is startling in its logic. 

“The mission of square product theatre is to engage in radical acts of inquiry that leave an audience with just as many questions as answers.” Mission accomplished. 

A WOW factor of 8.5!! 

HEAD OVER HEELS – Music and Lyrics by the Gogo’s and others; Book by Jeff Whitty; Adapted by James Magruder; Directed and Choreographed by Josh Walden; Musical Direction by Tim Fletchey. Produced by Theatre Silco (460 Blue River Parkway, Silverthorne) through July 23. Tickets available at 970-513-9386 or thesilco.org. 

HEAD OVER HEELS is definitely a jukebox music utilizing the catalog of the 80’s all-female group, the Gogo’s. But a jukebox musical in the mold of MAMA MIA and MARGARITAVILLE, rather than THE JERSEY BOYS. A musical that uses the music of the group but has nothing to do with the story of the group. It appears that Mr. Whitty had the idea of pulling some of his favorite GoGo songs and sliding them into a fantasy story about a mythical kingdom that feared losing their “Beat.” 

A new oracle is in town and unhappy with the current administration. A prophecy is made that four things will happen that will cause the Arcadian folk to lose their all-important Beat, the thing that allows them dance through life. A journey is undertaken to find a solution to the problem and along the way, things happen (like all four prophecies take place), but understandings arise about the Beat (“We’ve Got the Beat”) and all ends well. In a nutshell. 

Maybe it’s unfamiliarity with the music of the GoGo’s that dampened my enthusiasm for this show. The dichotomy of the Shakespearean language of the script and the modernity of the music seemed out of balance somehow. Mixed in with the almost frantic illustration of nearly every type of sexual coupling possible and a convoluted plot that seemed to spiral in every direction, it became difficult to remain invested in the tomfoolery. 

That being said, the singers and dancers who were performing the script as it was written did their best with the material. While some of the voices were not as show-worthy as others, all carried on valiantly awarding the audience with a show they could smile through. Trinity Wolff had a beautiful belt and used it as the Queen who utilized the old “switch in the dark” bit from time immemorial to prove to the King what he was missing. Grace Napoletano was a quietly sly handmaiden with a yearning for a Princess. Alexa Hendrickson gave us a winky-winky portrayal of a Princess with an exaggerated sense of her own beauty. Adam Magnacca made a pretty and convincing Amazon. So, see, it was mostly the script. 

I really enjoy going to Theatre Silco. Their spacious lobby is welcoming as is the number of people who take care of your ticket and refreshment needs for the evening. It’s a true Black Box theatre in their acting space with each performance (so far) reflecting a different seating arrangement. I admire the creativity of the sets and, in this case, the costumes. Although whoever thought basketball shorts were sexy – ?? 

For folks in Breckenridge, Dillon, Silverthorne and surrounds, go on over to the theatre, especially if you were born in the 60’s. You’ll love it!  

For folks in Denver for whom it is an hour and a half drive, I’d say wait for the next show. A completely different light drama about the friendship between Marie Curie who gets in trouble with the scientific world and the media for following her heart and another female scientist who comes to her rescue. You’ll love it! 

A WOW factor of 7.5!! 

KISS ME, KATE – Music and Lyrics by Cole Porter; Book by Sam and Bella Spewack; Directed by Ken Cazan; Choreographed by Daniel Pelzig; Orchestra conducted by Adam Turner. Produced by the Central City Opera (124 Eureka Street, Central City) through August 5. Tickets available at 303-292-6700 or centralcityopera.org. 

God bless them, the Central City Opera Company quite often pops a true Broadway musical into their schedule to give us theatre folk an excuse to spend an afternoon or evening in our own Las Vegas up the hill. The show they chose this year could not be MORE Broadway if it tried. With its show within a show format giving the audience a backstage peek during a performance of a musical version of TAMING OF THE SHREW. Fred Graham (Jonathan Hays) and Lilli Vanessi (Emily  Brockway) were once married, went through a contentious divorce, and are now stuck with working together to the dismay of both. While each secretly regrets the divorce at this point, neither is willing to admit it. Their relationship echoes the “merry war” between Katherine and Petruchio in the play they are performing. An especially sweet scene/song starts as they reluctantly remember a past production in which their characters had a “Wunderbar” relationship which reminds them of their past love. 

A second subplot involves two of the other dancers in the show. Lauren Gemelli is playing Lois, a dancer in the cast, and Bianca, the younger sister in the play. She has a casual but hot affair going with Bill Calhoun (Jeffrey Scott Parsons). The nature of their coupling is explored when Lois sings to Bill “Why Can’t You Behave?” and then tells him that she is “Always True to Him in My Fashion.” 

Yet a third subplot introduced the comic relief characters in the form of two gangsters who are brought in to keep the show on track so they can collect the money owed them. Dressed in borrowed or swiped tunics, they invade the performance and regal the audience with “Brush Up Your Shakespeare” in a show-stopping number. Adelmo Guidarelli and Isaiah Feken make the most of their time on stage. 

The majority of the huge cast are members of the opera company of trained and apprentice singers. The leads are also trained singers but trained in the Broadway tradition. The difference in style becomes evident when one of the opera singers takes a solo line or two and struggles with sounding “Broadway.” But all in all, the blend of voices works remarkably well. Six dancers from local companies and beyond join the cast to add a needed bounce to the dance numbers. And look at Jeffrey Parsons go! Not only does he act and sing beautifully to play Bill Calhoun, Lois’s wandering boyfriend, but he can tap dance like nobody’s business. 

The supporting crew of costumer Jeff Mahshie, set designer Matthew Crane, lighting designer Abigail Hoke-Brady, and sound designer Jason Ducat make everything else ready for the cast to do their thing. It all works but, I have to say, when the whole cast gets on stage at the same time, it gets a little crowded. Director Ken Cazan had his work cut out for him to maneuver everyone into place during those scenes. 

It’s a long haul up the canyon to partake, but on a cool summer evening, it’s a great place to be. Even Wunderbar. 

A WOW factor of 8.75!! 

THE LITTLE MERMAID – Music by Alan Menken; Lyrics by Howard Ashman and Glenn Slater; Book by Doug Wright; Directed by Matthew Dailey, Music Directed by Jerimiah Otto; Choreographed by Kate Vallee. Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through September 10. Tickets available at 970-744-3747 or ColoradoCandlelight.com. 

As a high school student in Illinois, my class once took a field trip to the Shedd Aquarium in Chicago. After wandering through the displays of various under the sea life, we stopped at their cafeteria for lunch. Feasting on hamburgers and hot dogs, we couldn’t help but notice that there was no fish or seafood offerings on their menu. We were told it was out of respect for the living aquatic animals in their care. Approaching Candlelight recently, I wondered if the same distinction would be drawn on their themed dinner menu for THE LITTLE MERMAID. I needn’t have worried; no hesitation about eating fish here! There are crab, shrimp, whitefish, calamari and scallops abounding on their fishy menu, along with the usual chicken, beef, and pork dishes. Try the cassoulet – it’s delicious. 

There are many things to like about this bright colorful production. It stays true to the animated movie most of the kids in the house had seen dozens of times. This is definitely a kid show and parents are enjoying the reduced prices for kids to bring them to the theatre. Management reported that over 200 child tickets had been sold for the first five performances. Under the sea and castle backdrops adorn the lobby for photo opps. The familiarity of the music and silly seafish are appealing to everyone in the audience. You know what to expect and you are not disappointed. 

 
Susanna Ballenski makes an energetic and delightful Ariel. She has been a favorite since first being seen as Lucy in JEKYLL AND HYDE.   Susanna’s voice is suited to the haunting quality needed for Ariel; her joy at finally reaching “up there” was boundless; and her love of her undersea family and friends was touching. I’ve seen various ways of illustrating the metamorphosis from fish tail to legs, but this production team and costumer produced a smooth, seamless, nearly invisible transition. With the help of her fellow dancers, her swimming prowess is gracefully displayed. 

To match a talented Ariel, you need an equally talented Prince Eric. After all, he must be worthy of her sacrifice. Jack Wardell is just beginning to make his well-deserved splash (see what I did there!) at Candlelight, but rest assured, you will see more of him in future productions along the front range. He has a loose confident way of moving, a strong baritone, and the looks of a leading man. 

Ariel’s fishy friends bring much of the pleasure and humor to the show. Ethan Knowles returns to Candlelight after his spectacular performance as Brother Jeremiah in SOMETHING’S ROTTEN at BDT to create a jaunty jolly Scuttle the Seagull who thinks he knows everything about humans and displays considerable tap-dancing skills with his backup flock. A newcomer to the Candlelight tribe, Jack Olson becomes Flounder who is more of an angelfish than a flat flounder. His schoolboy crush on Ariel is sweet to behold. He proves to be a true friend, however, when he discovers “She’s in Love.” Sebastian the Crab completes Ariel’s triumvirate of friends. In this performance, despite HIS name, Sebastian identifies as a woman – a star turn for another newcomer to Candlelight, Ghandia Johnson. With her Jamaican accent, she leads the entire cast “Under the Sea” and gives chase to Chef Louis during “Les Poissons (the Fish).” She is charged by Ariel’s father to watch over her, but no one counted on the appearance of Ursula. 

The dark side of the cast is represented by Kelly Maur, another familiar face at Candlelight. The villainess Ursula works a devious plan to not only steal Ariel’s voice for spite but to also get her power back from her brother, King Triton. Kelly’s voice and performance skills are more than enough to convey the necessary evil to make Ursula intimidating. Unfortunately, she was hindered in her movement by an overpowering costume. For some reason rather than trusting that Kelly could be sufficiently evil on her own two feet, the production team thought bigger was better for Ursula and created a movable platform under her hoop skirt that made her about ten feet tall, a device that allowed her to “melt” like the witch in THE WIZARD OF OZ. Ursula’s hinch-fish, Flotsam and Jetsom, portrayed by Nathan Petit and Chas Lederer, are efficient and competent as they carry out the deeds demanded by Ursula. As moray eels, they often spoke and moved in unison. However, they too had confusing costumes. Their evil looking eel heads were attached to their hands to create snake-like movement with their arms. It became hard to decide which to watch – their eel heads or the real faces doing the speaking and singing. But this trio gets some of the best songs – “Poor Unfortunate Souls” and “Daddy’s Little Angel.” 

The ensemble triples as the Mersisters to Ariel, the various undersea inhabitants, and the staff of Eric’s castle with great efficiency. Scott Hurst, Jr. brings his considerable presence to King Triton, Ariel’s father. Stephen Turner is an enthusiastic Chef Louis who wields a wicked cleaver. 

The versatile set designed by Brian Watson provided the deck of a ship as well as an underwater AND an above the ground castle with very quick turnaround. An especially nice effect was a lighthouse tower with a rotating spotlight for Prince Eric to look out to sea in search of Ariel. The production team always pulls out all the stops for each new production This is no exception. 

A WOW factor of 8.5!! 

MUCH ADO ABOUT NOTHING – Written by William Shakespeare; Directed by Kevin Rich. Produced by the Colorado Shakespeare Festival (Mary Rippon Outdoor Theatre, CU campus, Boulder) through August 13. Tickets available at 303-492-8008 or cupresents@colorado.edu. 

Shakespeare seems to have loved to make his audiences laugh. MUCH ADO claims one of the funniest scenes he’s written – second only to the Mechnical’s rendition of PYRAMUS AND THISBE in MIDSUMMER. The adjoining scenes during which the friends of Benedick and Beatrice knowingly gossip about how the two secretly love each other but won’t admit it, if staged well, is screamingly funny. Each of the lovers during their “overhearing” try to hide from the gossipers to get more information. They end up under bushes, behind tapestries and pillars, in fountains, anywhere they can get closer to the gossipers without being seen. Of course, the friends know exactly where they are at all times and lead them on. K.P. Powell and Jessica Robblee literally throw themselves into these roles with gusto.  

This production is set in 1920’s Paris as the gentlemen warriors return home in clean uniforms to rest and celebrate with their peers. To perhaps renew old friendships and rivalries. In addition to the light-hearted banter being batted back and forth by Benedick and Beatrice, we also have the more diabolical rivalry between Don John and the gullible Claudio. Don John is the illegitimate brother of Don Pedro, a Prince, and has a sort of “spare heir” hatred of him. He will do anything to humiliate his brother and cause him pain, including convincing the friends, Don Pedro and Claudio, that Hero (Claudio’s wife-to-be) is “disloyal” and unfaithful. But, at heart, this is a comedy. The dark undertones only enhance the giddy happiness when all is resolved and happy endings achieved. 

Once again, a tight ensemble has been formed by this company who play well together. In addition to the sly comedy enjoyed by K.P. Powell and Jessica Robblee in the lead roles, we enjoy the gentle innocence of Hero as portrayed by Shunte Lofton wooed by Claudio (Ryan Omar Stack). Sean Scutchins doubles as Balthasar – one of Don Pedro’s soldiers in the first act – and then comes back in the second act to rock the character of Dogberry, a constable who accidentally manages to arrest the fleeing villains in the plot against Claudio. Dogberry is a sort of Don Knotts constable, so full of himself but so obviously dumb about everything. He is called “an ass” by one of the men he has captured and loudly and proudly proclaims himself an ass continually as though it were a mark of distinction. “Give me a medal; I’m an ass!” Sean knows how to make the most of a comic character. 

Local actresses Susannah McLeod and Anastasia Davidson also give winning performances as the dastardly Don John and Margaret, a maid to Hero who gets pulled into the plot to discredit her. Even Ellen McLaughlin who plays King Lear on the alternate nights steps into a small part as one of the Deputy Constables who assists Dogberry in his interrogation of the prisoners. 

All in all, it’s a delightful evening under the stars with music, ribaldry and fun. The way Shakespeare wanted it to be. 

A WOW factor of 8.5!! 

DRIVING MISS DAISY – Written by Alfred Uhry; Directed by Lorraine Scott.  Produced by Vintage Theatre Company (1468 Dayton Street, Aurora) through July 16.  Tickets available at 303-856-7830 or VintageTheatre.org.

Everyone who hangs around Vintage Theatre at all knows Deb Persoff, Board Member and Greeter Extraordinaire.  A dream role for her is playing Daisy Werthan in this fine production. But, as fate would have it, Dame Deb got a little ill and had to step out of several performances, leaving everything in the very competent hands of her understudy, Mary Campbell.  The show must go on, of course, and, thank goodness, Vintage had the foresight to cast an understudy.  Ms. Campbell, previously seen at Firehouse, stepped into the complicated role with only three hours notice and brought the story of the friendship between the elderly widow Daisy and her unwanted driver, Hoke Colburn, to glorious life.  Ms. Campbell embraced the belligerent feisty woman who rages against being designated as old and incompetent.  She adopts whimsy, humor and a hurt dignity to try to regain her independence.  To no avail.  Her son is adamant in caring for his mother by supplying a driver for her after she destroys her newest car.

Hoke, as played by Chris Davenport, is patient, determined and the soul of respect for his elderly passenger.  His personal quiet dignity wins not only Miss Daisy but also the audience.  His experience and basic humanity also provides enlightenment to both Miss Daisy and the audience.  In the hands of Mr. Davenport, Hoke is fun to watch as he melds into Daisy’s everyday life.  The affectionate understanding and friendship between these two who pass through life together is sweet to behold.

Bill Kahn plays the third role of Boolie, Miss Daisy’s caring but frustrated son.  It’s a role that fits him like a glove.  He too ages gracefully, alongside Hoke and Miss Daisy, never losing his love and determination to care for his mother.  As an ensemble, these three are golden.

Playing in the smaller of the two theatres at Vintage, the performances have proved so popular, the show has been extended to July 16th.  Tickets are going to be hard to get now that Ms. Persoff has been able to return to the show.  But try.  It’s worth the effort.

A WOW factor of 8.5!!

A WINTER’S TALE – Written by William Shakespeare; Directed by Wendy Franz.  Produced by the Colorado Shakespeare Festival (University Theatre, CU campus, Boulder) through August 12th.  Tickets available at 303-492-8008 or CUpresent@colorado.edu.

Remembrance of the only other time I’ve ever seen this piece performed placed it firmly in the “grim” category of scripts in my mind.  True enough that it starts out with dastardly deeds and promises of more.  However, in the hands of the indoor cohort of 18 actors, the latter part of this tale told around a winter’s fireplace becomes a rollicking light-hearted jaunt.  The shadow of Othello looms over the first act as Leontes (Josh Innerst) succumbs to unreasonable and unsubstantiated jealousy of the relationship between his wife Hermione (Emily Van Fleet) and his house guest, the invited King of Bohemia Polixenes (Stephen Tyrone Williams).  It causes him to doubt her love, his loyalty and the origin of the baby she carries.  You can see where this is going.  She’s locked in her chambers; he’s forced to flee back to his own kingdom; the baby girl is to be abandoned in the desert by a servant of the Court.  Pretty grim stuff.

During intermission, sixteen years have passed, and things are looking better.  Instead of being killed, the baby Perdita was found and raised by a shepardess and is now secretly engaged to marry Prince Florizel who just happens to be the son of the King who was chased out of court earlier.  Oh, the twists and turns of Shakespeare romances.  After much singing and dancing by the Rustics, Autolycus is introduced and, in the Greek tradition, is gifted in trickery and thievery.  The Kings are finally reunited, all is forgiven, and Shakespeare has one last big reveal in his pocket just to please everyone and provide a happy ending.

This company contains some of the best local actors and many imported from other locations.  Emily Van Fleet who often graces the stage at the Denver and Arvada Centers plays Hermione, the wronged wife.  Favorite comic Leslie O’Carroll shines in Act II as the Old Shepardess who has found the baby.  Noelia Antweiler is debuting this season after racking up credits across the county, the Arvada Center, Curious and the Aurora Fox.  She plays Paulina, a court handmaiden who dresses down Leontes and defends her Queen. Jacob Dresch develops both Autolycus’ trickery and his humanity with no seeming conflict of emotions.  Even though Shakespeare didn’t give him a lot to work with, Josh Innerst created an irate King whose jealousy drives him to unthinkable acts of violence and whose sorrow and repentance nearly destroys his life.

There are astonishingly funny moments in this production which outweighs the misogynistic thread that runs through it.  The Royals are capable of great drama and high blown emotion while the Rustics have a devil-may-care attitude about life, as long as they can sing, dance, eat, drink and celebrate the small blessings they have.   Celebrate with gusto!

A bright and colorful set moves us into Act II.  Clare Henkel’s costumes move from the somber court colors and dignified lines to the ruffles and bright prints of the festive peasants.  Matthew Crane’s set gave us simple lines, dramatic quick changes and a colorful gathering place for the country folk.  With the somber lighting of the castle juxtaposed against the bright outdoor sunshine of the rustic encampment, Stephen C. Jones’ lighting design enhanced the production.  Tim Orr as Music Director and Erika Randall as Dance Choreographer completed the directing team led by Wendy Franz, the Director.  All together they provide an enjoyable rendition of this rarely-done script.

A WOW factor of 8.5!!

IN THE HEIGHTS – Music and Lyrics by Lin-Manuel Miranda; Book by Quiara Alegria Hudes; Directed by Jonathan Andujar.  Produced by Vintage Theatre Company (1468 Dayton, Aurora) through July 30.  Tickets available at 303-856-7830 or vintagetheatre.org.

By this time, nearly everyone that has gone even near a theatre in the last ten years has heard of Lin-Manuel Miranda with his crazy ride to well-deserved success.  But what about Quiara Alegria Hudes, his writing partner in this so beloved undertaking?  This remarkable woman began writing at an early age and, by the time she was  thirty, had not only contributed to this musical phenomenon, but had also written two of three plays called the ELLIOT TRILOGY, won a Pulitzer Prize for WATER BY THE SPOONFUL (the 2^nd of the trilogy) and was well on her way to her own incredible success story.  Denver theatre directors, she is turning out new plays all the time.  While Curious has done the trilogy and the Fox did her second musical, MISS YOU LIKE HELL, there are many more waiting to be performed for local audiences.  Get your readers on it!!

This Vintage version of the collaboration of Miranda and Hudes is exuberant, colorful and touching.  While there are Hispanic and non-Hispanic names in the program, it was decidedly BIPOC in look and feel.  There seemed to be an ease to the cast, a familiarity of language and movement, a community of players that were happy to tell a version of their own story.  Kudos to Vintage and to director Jonathan Andujar for creating this team of talented performers who were ready to play together.

A hot weekend in Washington Heights is the place where decisions are being made.  Do I stay or do I go?  Do I ask her or do I not?  If I ask her, how will she answer me?  Will it ever cool off?  Who turned the lights off?  Some life-altering action is going on in this heat.  Usnavi wants to ask Vanessa out but is too shy.  Nina must confess to her friends and family that she has dropped out of college.  Benny must tell Nina how much he has loved her from afar.  Abuela Claudia is getting old and wants to return to the Dominican Republic before it is too late.  So much going on . . . all set to music and athletic dancing.

This script is written democratically so that everyone gets a moment to shine.  The pairings in song give the couples in the show music to share.  Teej Morgan-Arzola (one of my favorite students from DSA) comes on strong as Usnavi (the role originated by Miranda) and carries the plot on his more than able shoulders throughout the evening.  He is ready for leading roles and steps into this neighborhood as though he had lived there his entire life.  His beautiful song of reminiscence with Claudia (“Hundreds of Stories”) is a declaration of how they have always planned to go home together.  He is paired with Vanessa – Karen Gonzalez – the hot chick who works at the local beauty parlor and longs to get out of the Heights.  He encourages her to keep the faith in “It Won’t Be Long Now” and they share a bottle of “Champagne” to celebrate mutual success.

George Zamarripa and Ali Chung make an authentic married couple as Kevin and Camila, the owners of a taxi company and Nina’s parents.  Kevin is on the controlling side, which is generally OK with Camila until she has finally had it up to here and explodes with “Enough,” putting her foot down to both Kevin and Nina.  Ali makes this powerful song her own.  What Kevin is trying to control is who Nina dates and her continued schooling.  But she and Benny (edin origin) who works for Kevin have already hooked up, making Nina hesitant to leave New York.  Nina and Benny have a playful song as she tries to teach him Spanish (“Benny’s Dispatch”) and a pair of songs that celebrate their newfound affection (“Sunrise” and “When the Sun Goes Down”).

Lisa Young was the Abuela Claudia I got to see; she is a calming loving presence every time she walks on stage.  It’s easy to imagine her as the younger woman who raised Usnavi and mothered everyone else on her block.  Her anthem is Patience and Faith which pays off in the long run for her almost in time for her to enjoy it.  All told, it takes 23 songs to explain these people and celebrate their accomplishments and triumphs.  Patience and faith does indeed rule the day.

Madison Manning and Marcelina Ramirez (also in the ensemble of brilliant dancers) added to the heat with their street salsa’s and acrobatic choreography.  The dancing really is amazing and deserves special recognition. The set, designed by Robert Janacek and Jeff Jesmer, established the neighborhood giving space and texture to the production.  Bernie Richard painted the lovely reveal that salutes Abuela Claudia in the finale.  Emily Maddox’s lighting design creates heat and darkness lit by fireworks in equal measures. And the costumes, coordinated by Lisa Young, are colorful, authentic, and hot.  What’s not to like in this production?  Nothing!

A WOW factor of 9!!

THE SOUND OF MUSIC – Music by Richard Rodgers; Lyrics by Oscar Hammerstein II; Book by Howard Lindsay and Russel Crouse; Directed by Alicia K. Meyers.  Produced by BDT Stage (5501 Arapahoe, Boulder) through August 19.  Tickets available at 303-449-6000 or boxoffice@bdtstage.com.

By now you are all aware of the sad news that the long-running BDT Stage is closing its doors in January.  Their current production is the next-to-last show.  It is the duty of each and every one of you to see a performance of this show and of the last one – FIDDLER ON THE ROOF – coming on September 9^th – if you haven’t already.  Your duty!!  In honor of the hundreds of theatre people they have employed and the thousands of people they have entertained in their 46 years of performing.  Line up, folks.  Get your tickets now!!

But, of course, you want to see a good professional show with a lot of heart for your money.  And that’s what you get with this production.  Ably directed by Alicia Meyers, the cast moves through the heart-warming story with ease and grace.  In this case, familiarity doesn’t breed the usual; it breeds warmth.  Nearly all of these performers have done the show before – perhaps not in the roles they are doing now, but they have watched, listened, sung, danced and dreamed of bringing the beautiful music and story once again to life.  A special gift is to be able to do it on this stage at this time.  So special that seven “alumni” from previous casts are returning to take a minor role for two or three performances as part of the celebration.  Including AK Klimpke, Brian Burron, Stephen Turner, DP Perkins, Matt Peters, Brian Jackson and Brian Norber (all the way from California!).

The cast members for which this is a new experience are the children.  Two separate sets of kids rotate playing the six younger children of the von Trapps with great aplomb and confidence.  They have learned the complicated dance routines and songs and carry them off with almost military precision.  You think “not complicated”?  You try singing “Do Re Me” the way they do and “The Lonely Goatherd.”  That stuff is complicated.  They make it look easy.  Kudos to Tracey Dennig who designed and taught the choreography to children and adults alike.  Liesl, the oldest daughter who is 16 going on 17, is played each night by the very talented and graceful Claire Leon.

You must believe in and love Maria for this to be a happy show.  Mykayla Morso-McDonough, a BDT regular, brings her personal charm and winning personality to the role with great effect.  Her voice is flawless; her way with the children is natural; her frustration dynamic; and the quiet unexpected way she begins to fall in love with Captain von Trapp is sweet to behold.  Scott Severtson in an understated role as the Captain offers a wildly different portrayal from his last BDT outing, that of a rock ‘n’ roll Shakespeare in SOMETHING’S ROTTEN.  This just shows his versatility as he has entertained us for nearly twenty years; I remember him at the Galleria Theatre (?) a hundred years ago as one of the best El Gallo’s I’ve ever seen.  Rock on, Seve.

Another key role in SOM is that of the Mother Abbess.  She’s the one who gets to sing “Climb Every Mountain” and tear your heart out.  The role is assigned to Tracy Warren, a beautiful singer/performer; but on the night I attended, I had the great good fortune of seeing her understudy Anna Maria High sing the role and blow the roof off the theatre doing it.  Anna, normally known for belting the blues, gave this almost religious song a righteousness unique to her style. The choir of seven singing nuns highlight the opening of the show with a hymn sung in almost Latin “Preludium” and support Maria in all her endeavors and insecurities.  Bob Hoppe brings his usual energy and charm to the role of the concert master, Max Detweiler, and Alicia Meyer seduces as Elsa Schraeder, Maria’s competition for the Captain’s affections.  The men who put this script together changed quite a bit of the true story in their effort to make it a little more dramatic.  I’ve often wondered if there was really an Elsa in the Captain’s life or if she was added for effect.  Searching online, I found the original “Favorite Things” that were left out of the song, the real names of the children, that Max the concertmaster was actually a priest in real life, the actual time they fled the Nazi (ON A TRAIN!), but I can’t seem to find the answer to Elsa.  Oh, well.

What a lovely way to spend an afternoon or evening.  Don’t forget to get your tickets for FIDDLER ON THE ROOF quickly.  Your last chance to see so many of these wonderful performers.  Don’t worry – I’ll try to track them and let you know where they are performing post-BDT!

A WOW factor of 8.5!!

STONEWALL – Written by Neil Truglio, Samwell Rose, Frankie Lee and the cast of STONEWALL; Directed by Neil Truglio.  Produced by Benchmark Theatre Company  (1560 Teller, Lakewood) through July 1.  Tickets available at 303-519-9059 or benchmarktheatre.com.

I have to congratulate the committed board and company members of Benchmark.  When they can’t find a play on the subject they want to highlight, they write their own.  They did this last year with OUR AMERICAN COUSIN; A NATION DIVIDED about the divisive turn politics has taken.  This year, led by company member Neil Truglio, they have gone back in history to look at the start of the LGBTQ movement in 1969 at the raid on the well-known gay Stonewall Bar.  They have found vintage footage that illustrates the common misconceptions about homosexuality prevalent at the time and investigated the literature and interviews from the era to create an authentic picture of the birth of a movement.  Particularly amusing was TV footage of interviews with “noted” experts regarding the home life circumstances that led to the “creation” of a homosexual.

A gigantic cast of 24 talented people work together to portray narrators, bar patrons, advocates of the movement, journalists, cops and politicians.  The theatrical evening sort of starts before it starts with the cast arriving at intervals to enter the “bar,” to gather around a table to plan, to socialize on Christopher Street outside the bar, all in sotto voce so the audience can tell there is conversation but not actually hear it.  Then the narrators – Dan O’Neill, Barbara Porreca, and Verl Hite – start the story in the current year, then take us back to when it started.  Even when a group of people are working toward common goals, there is, of course, differences of opinion about how to achieve those goals.  So, it was no surprise to see leaders in the Mattachine Society, a group devoted to achieving equality for gays, fighting among themselves about the most prudent method for realizing their goals.  The baby steps of the movement were also covered by the Village Voice, a neighborhood newspaper which also had internal conflicts over how the building tensions should be covered.  All sides are examined, even the police’s point of view, until it leads up to the night of the riot itself when, for the first time, the patrons of the bar stood up for themselves and fought back.  Their actions reverberated across the country, encouraging other groups quietly seeking the same acceptance to begin their own protests.  A summation of the continued lives of the participants from that fateful night and an examination of how far the country has progressed and how far we still have to go creates an appropriate epilogue for the evening.

The research that went to creating this educational and entertaining evening of theatre is truly impressive.  With a slight bias toward the gay point of view, the reporting seems balanced and true to life as the people on stage discover new truths about themselves in front of an audience.  At the same time, as the audience is engaged in watching, they are also engaged in absorbing.  The high points and basic truths of the events are expressed with passion by the narrators.  This group operates as a true ensemble with all contributing equally to the overall picture.  But standout performances happen even within a powerful ensemble.  Corey Exline takes on the role of editor of the Village Voice determined to present the events unfolding in a well-balanced non-judgmental manner.  Caden Pazo has a delightful turn as a drunken street soldier.  Johnathan Underwood and Dante J. Finley represent well the trans members of the movement . . . and look hot while doing it.

All in all, this is a fast-moving important production that needs to be seen.  A warning, however:  there are long strobe light segments used as a way of conveying the chaos of the riot.  For people who have the not uncommon reaction of migraine headaches to prolonged flashing lights, this can be a minor problem.  Just close your eyes and listen to the chaos instead of inflicting pain upon yourself.A WOW factor of 8!!