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THE THIN PLACE – Written by Lucas Hnath; Directed by Jessica Robblee.  Produced by BETC (Presented at the Savoy Event Center, 2700 Arapahoe, Denver, and the Dairy Arts Center, 2590 Walnut Street, Boulder) through September 28 at the Savoy Event Center and October 3-26 at the Dairy Arts Center.  Tickets available at betc.vbotickets.com for the Denver engagement; thedairy.org for the Boulder performances. 

It starts in silence.  A young girl quietly slips into a chair on stage, not wanting to be noticed.  The audience notices and grows silent . . . waiting.  We wait together.  Finally, she looks up shyly, not sure if she should speak.  But then she does, addressing the house with a story of how her grandmother taught her to communicate telepathically with her.  She wanted them to be able to communicate after she had passed on. 

Hilda is her name; her interest in psychic abilities leads to a meeting with a “professional” communicator with the deceased who pacifies people with her ability to guess what they want to hear “from the other side.”  This quiet girl reveals a story confusing and mysterious.  A timely phone call and a visit to her childhood home add to the confusion. 

Madison Taylor is a mesmerizing actress.  She controls the room even when she isn’t speaking.  Her ability to use silence engagingly, to be absorbed in action that surrounds her but does not involve her, her impeccable diction, her palpable fear that draws you into concern for her… just brilliant. I can’t wait to see her again. 

Tara Falk is a treasured Denver actress and director.  She takes on the role of Linda with a soothing confidence.  She is certain that her “gift” is secure enough that she can reveal its deceptive qualities to her new friend with no consequences.  She has the lazy grace of a Southern belle but the voice and attitude of a posh Londoner.  She sees nothing wrong with the way she makes a living, although the London police beg to differ. 

Linda has a couple of friends who share a bottle of wine with her and Hilda.  The evening turns rambunctious and argumentative, finally devolving into the telling of a sort of ghost story.  Jerry (Jihad Milhem) is a cocky, self-important world traveler who has opinions. Everyone must agree with his opinions.  But when he’s left alone with the quietude that is Hilda, he turns into a bumbling schoolboy. The second friend is Sylvia, played by local favorite Maggie Tisdale.  She has been secretly supporting Linda’s lifestyle and is beginning to resent it.  A full bottle of wine later, words are exchanged, tempers flare, but inevitably, peace is made.  Then, Hilda is urged by the others to tell the story of the last time she saw her mother. 

The play is so well written that the momentum it is gathering is unnoticeable until, suddenly, you are in the middle of it. It’s ramped up in the second scene with the arrival of the two argumentative friends.  But it has a third scene that grabs you by the hair and pulls you into the darkness.  The audience was leaning into the space, trying to get a better look.  To discover – Does the thin place exist? 

This exercise in suspense plays in Denver at the Savoy through September; then it moves to the Dairy Center in Boulder for an October engagement.  Order your tickets NOW.  Once the buzz on this one hits the streets, they will become scarce.  If you are a fan of stories that intrigue; of clean, crisp acting; of a work that leaves you walking out of the theatre shaking your head and asking, “What just happened?”, this is the one for you. Mesmerizing is the name of the game for THE THIN PLACE. 

A WOW factor of 9.25! 

STEEL MAGNOLIAS – Written by Robert Harling; Directed by Shelly Gaza.  Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through November 11.  Tickets available at 970-744- 3747 or ColoradoCandlelight.com. 

Candlelight has broken their usual pattern of producing musicals and brought this classic straight comic script to their spacious playing space.  “Why?” you ask.  Well, for one thing, it probably gives them a little bit of a break in the action of not having to deal with a musical director, a choreographer, and dozens of singers/dancers/actors.  It allowed them to create a platform over the pit area and transform it into a lovely, spacious beauty salon for the ladies of Chinquapin Parish, Louisiana.   

While Chinquapin Parish is a fictional place, the location that inspired it is celebrated in Natchitoches, Louisiana, where Mr. Harling grew up and went to college.   Truvy’s beauty parlor is based on the place where the female members of Mr. Harling’s family got their hair done and their weekly dose of gossip. Sadly, the character of Shelby is based on Mr. Harling’s sister, who passed away from complications of diabetes in 1985. He admits to being fascinated by the mocking but loving relationships between the women of his youth.  He recognized that they talked like bumper stickers and that the story told is funny, until it isn’t. The authenticity is profound.  As a result, it is a script that has been performed repeatedly since 1987, resonating yet today. 

This cast revels in the “Bless your heart” one-liners that have earned a place in modern dialogue.  “I love you more than my luggage;” “Laughing through tears is my favorite emotion;” “If you don’t have anything nice to say about anybody, come sit by me” (first said by Alice Roosevelt – Teddy’s daughter).  All the ladies of this cast know how to highlight a laugh line while throwing it casually away at the same time. 

The cast seems to be led by Truvy as they all come to her place of employment (a room added on to her house for her shop) to catch up and slow down.  It’s easy to see why Jalyn Courtenay Webb, a familiar face around Candlelight, was chosen to play Truvy.  Jalyn’s own caring personality matches Truvy’s tough exterior and marshmallow heart.  She brings a joyful persona and a pile of hair into her turn as Truvy.  You want a good hug, go see Jalyn. 

The principal family members whose story of love and sacrifice is being told are M’Lynn and her daughter, Shelby.  Over the course of four scenes, we go from the day of Shelby’s wedding to nearly four years later, after the birth of her son.  The humor between all the ladies is laced with the tension between mother and daughter about the wisdom of Shelby’s pregnancy.  But Shelby has absorbed the steel as well as the magnolias from this band of women and holds her own in this ongoing battle.  Shelby, as created by Cate Rounds, is respectful toward her mother but determined; her signature color of all shades of pink hides a personality all her own.  By the same token, Vicki White’s portrayal of M’Lynn is heartfelt and heartbreaking.  She sees what might happen but can’t do anything to stop it.  How many mothers do you know who have been in the same place? 

The friends are a motley but delightful crew.  We must start with Ouiser, a crotchety old Southern lady who puts on funny hats and grows vegetables she’s never going to eat.  Abby Apple Boes brings both sides of her personality to the stage as the “couldn’t care less” smart aleck to the first to offer a helping hand when needed.  While caustic to all appearances, you kind of get the feeling that she’s just kidding and knows it.  Clairee represents the more sophisticated side of the Southern mentality as a wealthy widow who buys a radio station and supports the local football team.  Melissa Williams as Clairee dresses just a little bit better, travels just a little more, and presents as just a little calmer most of the time.  But still as funny as the rest of them.  And, finally, we have Annelle, the mystery woman who just appeared one day, asking for a job who goes from nearly pathetic to professional within those four years.  Nicole Harwell gives Annelle a vulnerability that is very appealing and a somewhat comical (in the eyes of the others) religious fervor.  Director Shelly Gaza must have been delighted to have such a juicy bunch of ladies to bring her production to life, and what fun they must have all had in doing it. 

Mike Grittner’s design for Truvy’s House of Hair is spectacular and even features, in an homage to the movie we all loved, a small picture of the original cast on a side table.  The props and dressing adorning the set add to the authenticity of the picture, including the Baby Jesus Christmas tree.  All were provided by Rachel Ross.  Deb Faber did her usual fine job of dressing the ladies in colorful, down-home clothing of the era.  All in all, a very pretty picture is presented of the place and time. 

This is a good reason to go see yet another version of a classic-in-the-making performance of STEEL MAGNOLIAS. Be sure to put a leaf on the magnolia tree in the lobby for your own personal woman of steel. 

A WOW factor of 8.75!! 

THE MOUSETRAP – Written by Agatha Christie; Directed by Lynne Collins.  Produced by the Arvada Center (6901 Wadsworth Boulevard, Arvada) through October 12.  Tickets available at 720-898-7200 or arvadacenter.org. 

You can’t call yourself a passionate playgoer unless you have seen at least two or three productions of both THE MOUSETRAP and THE FANTASTICKS, two of the longest-running scripts ever done.  There are probably 20-30 productions of Miss Christie’s script going on simultaneously all over the world every weekend.  I’ve seen the show three times in the last two years – London (a must for any true theatre kid), Lone Tree, and now Arvada.  Every one of these productions had both similarities and unique qualities for the viewer.  The script is so well-crafted that it tells a solid story while allowing directors to add subtle personal touches to the fun. 

Director Lynne Collins has done that so well, creating characters who say the same words but look and act differently from those you have seen before.  The young married couple who accidentally created the “mousetrap” that is their guest house, Monkswell Manor, are played by newcomer Jacque Wilke as Mollie and Arvada favorite Lance Rasmussen as Giles.  They make a convincing newlywed couple, insecure in their marriage and in their new roles as host and hostess.  You like them so much that it scares you when they lose faith in each other just a little.  A radio announcer describes the London murderer’s clothing that exactly matches what Giles wore at his first arrival.  Mollie lies about not being in London when she actually was.  Is she strong enough to murder?  If so, why? 

The initial guests to their brand-new guest house are a mixed bunch with a strange connection.  Emma Messenger, as the obnoxious Mrs. Boyle, seems an unlikely murderer, but then why has she brought her annoying self to this place at this time?  She seems the type that would have preferred to stay “in town” in a more tried and true hotel.  Does she have enough anger to kill? If so, why? Annie Barbour plays Miss Casewell, a sharp, uncommunicative smartie. Her irascible personality certainly suggests someone prone to anger.  But she’s so tiny.  Could she possibly have the physical strength to kill?  Garth Saxe as Major Metcalf seems to be a by-the-book retired military man.  Has he seen wartime service?  Killed before in the line of duty?  Who knows? 

But the two most likely suspects are the nervous, flighty, over-the-top Christopher Wren.  Jacob Dresch creates a man-child who can move from boyish charm to sullen child on a dime.  Yet he’s obviously hiding something, fearful and, at times, pathetic. It seems possible he could lose control and kill on a whim,

then be immediately contrite. The final guest is the unexpected player, the man who emerges out of the storm with only a small case and no reason to be there. Mr. Paravicini, the brilliant Rodney Lizcano, flaunts his own mystery and revels in his unique personality.  He too seems to have no motive for being there, only a victim of the storm and the bad roads.  But why does he act so strangely and deny any connection to anyone else? 

The final player is Trotter, the police inspector (played by Colton Pratt), sent to warn and protect the guests from the predicted arrival of the murderer. After one of the guests is murdered, he goes about examining each potential suspect in a methodical manner that unfortunately does not result in a solution to the crime. No one has an obvious motive, but all have had the means.  What to do?  Whodunnit? 

In the tried-and-true pattern of Christie mysteries, the puzzle hangs in the air until the last possible moment.  Then ends very satisfactorily with the good guys prevailing, justice served, and normal life restored. 

A comfortable English countryside manor has been created on stage by resident designer Brian Mallgrave.  The consistent snow falling outside the dormer windows and the way the actors moved through it gave authenticity to the snowstorm which has trapped them all. The lamps on set are used to great comic effect and are enhanced by the lighting design of Shannon McKinney.  Max Silverman has come up with authentic radio announcements and creepy versions of Three Blind Mice dropped into appropriate places.  The post-war clothing and hair dressing were provided by Linda Morken and Wigmaster Jocelen Barnett Smith.  As always, the Arvada Center crew excels. 

A fresh look at an old favorite – you won’t be sorry to revisit it. But you repeat- viewers are sworn to silence on the identity of the killer when you are around first-timers. Play the game!!

A WOW factor of 8.75!! 

THE SHARK IS BROKEN – Written by Ian Shaw and Joseph Nixon; directed by Tim Muldrew.  Produced by Springs Ensemble Theatre (SET) (Fifty-Niner Speakeasy, 2409 West Colorado Boulevard, Colorado Springs) through September 14.  Tickets available at Springsensembletheatre.org. 

You might think, “What could be entertaining about three grown men sitting around in a boat killing time?” Consider, however, that those three men were actors named Richard Dreyfuss, Roy Scheider, and Robert Shaw on a mockup of the Orca killing time while they waited for their mechanical shark named Bruce to be repaired between scenes in the making of JAWS.  Now that’s a whole ‘nother thing. 

As you would assume, the small talk is not that small and involves the making of movies, the dam shark, the women they’ve known, the dam shark, whether live theatre or making movies is more rewarding, their past good gigs, what they’ve learned, and,  oh,  the dam shark. At times, exercising the funny bone; at other times, profane, profound, melancholy, bored, or hopeful. 

Colin Gregory is nearly a dead ringer for Dreyfuss in looks, voice, and mannerisms.  The loose cannon and boy enfante of the group, you never know what tangent is going to come out of his mouth.  But you can count on it being thrown into the conversational pool with interest and enthusiasm.  At times disappointed by the reviews of his last movie, THE APPRENTICESHIP OF DUDDY KRAVITZ, which he thought was going to be his star-making role, he’s hooking his hopeful future star on the tail of the shark.  His inexperience and insecurity become almost comic at times.  His lesson learned seems to be that it’s all going to be OK. 

Roy Scheider has a little more experience and seriousness about his business, but the actor’s ego breaks through at times.  As played by Matt Radcliffe, his maturity and peacekeeping personality keep the waters (for the most part) calm and on an even keel.  But he too has a sense of whimsy about what he does for a living. He learns that he can make it through anything.  Even the wrong-sized boat. 

The old man of the sea in this instance is Robert Shaw, Irish actor, played with great gravitas by Steve Emily.  He moved slowly, talked slowly, but was quick to anger if felt disrespected. He has that perennial elder actor problem of not being able to remember long monologues.  He is a beautiful, heartfelt character full of pride, grace, a real man’s man with great stories.  But he also learns that he’s not down yet and has a lot to give. 

The three of them together recognize that they represent different generations of theatre workers – Dreyfuss, the anxious beginner; Scheider, the confident professional; and Shaw, the experienced elder (even tho he was only in his 40s at the time of this filming). 

The comfortable set of the cabin of the boat (designed by David Cook) is enhanced by the off-stage noise of the water and the men working to repair the shark and/or set up the scene to be filmed (created by Kitty Robbins). The lighting design by Eric Bowlby kept us firmly attached to the sea. Director Muldrew got his people on the right path and then let them roll with it. 

This is an excellent production of an outstanding script well worth the drive to the Springs for theatre lovers. SET has a sweet little performing space.  If you haven’t been there before, this is a good reason to go. 

A WOW FACTOR of 8.5!! 

ELIZABETH I; IN HER OWN WORDS – Written by Carol Levin; Directed by Sabin Epstein.  Presented by BETC (Performed at the Dairy Center, 2590 Walnut Street, Boulder and the Historic Elitch Theatre, 4600 West 37th Place, Denver) through September 21.  Tickets available at Historicelitchtheatre.org. 

It starts with a woman – tall, majestic, imposing, stately but weathered.  She pauses in her reading of a small book in her hand.  Pondering what she has read, she turns and notices the audience.  A queen addresses her subjects.  And the story begins.  The story of Elizabeth in her own words and letters.   

Tammy Meneghini, a treasured actress from Boulder, has created, with co-author Carol Levin, a portrait of a woman whose destiny was foretold before her birth.  Born to the most notorious King of England by his most scandalous of wives, Elizabeth never had a chance at a normal life.  Raised to the heights of royalty by the death of eligible relatives, she reigned over England for 44 years in what was considered a “Golden Age.”  We find her in her chambers at Richmond Palace preparing for sleep and railing against the very fates that lifted her high and brought her down. 

She speaks fondly of the love of her life, Robert Dudley and her reign as the Virgin Queen.  She mourns the death of her cousin Mary, Queen of Scots, her rival at times for the throne.  She is familiar with the poems and plays of that young upstart William Shakespeare – especially when they express sentiments that correspond with her life and beliefs.  She has lived a full triumphant life.  She discusses it now with her subjects with humor, pride and some regret as she slowly frees herself from the constricting clothing, the rituals of royalty, and the memories of a solitary life. 

Ms. Meneghini’s performance is riveting.  She is angry, tired, sad, triumphant in battle, has opinions and regrets. Even now she knows her vanity is killing her. Whether you go in knowing anything about this woman, you leave with a richer understanding of the life and times in which she lived, her sacrifices, and, ultimately, her despair.  

“But, wait,” you ask, “her performances in Boulder are over.  Why are you telling me about a show I can’t see anymore?”  Because . . . by the miracle of live theatre, ELIZABETH I will be repeated for two performances at the Historic Elitch Theatre on September 20 and 21.  You have another chance!  She will be joined by Carol Levin, her co-author, for talkbacks after each performance to explore Elizabeth’s life even further, how this presentation came to be, and future plans for the production. 

A WOW factor of 8.75! 

ASSASSINS – Music and Lyrics by Stephen Sondheim; Book by John Weidman; Directed by Warren Sherrill; Music Direction by David Nehls.  Produced by Miners Alley Playhouse (1100 Miners Alley, Golden) through September 14.  Tickets available at 303-935-3044 or minersalley.com. 

A recent poll of fans of Sondheim listed ASSASSINS in the fifth slot out of the 20 shows he wrote or to which he contributed – above shows more often produced, like GYPSY or FORUM.  This indicates the extent to which Sondheim aficionados appreciate the intricate lyrics and unconventional patterns in his music.   

But as difficult as it is to make would-be criminals sympathetic characters in a Broadway musical, Sondheim and this talented cast pull it off. The eight successful and unsuccessful attempted killers display a spectrum of motivations and (in their minds) mitigating circumstances for their actions.  Led through their stories by the “Proprietor” (Julia Tobey) dressed as a Ringmaster in a rundown circus, she uncovers their personalities with her questions and jibes.  She cunningly hands them guns and then promises, “Kill the Prez and win a prize” – presumably an honored place in history. 

Among the successful gunmen, Drew Horwitz makes a powerful and committed John Wilkes Booth, bent on blaming Lincoln for his own failing career.  He is given honored status as the first and, up until modern times, the most remembered Presidential assassin.  His demise in a burning barn is most eloquently portrayed.  Drew does an outstanding job in telling Booth’s story and then in lending support to the shooters who follow him.

 

Next in line was Matthew Murry, giving a touching portrayal of mentally ill Charles Guiteau, who shot and killed James Garfield because he was “passed over for an appointment to become Ambassador to France” – a delusional event that only had reality in Guiteau’s mind.  Matthew portrays Guiteau’s impatient madness well in a comic reading of a poem written by him, “I Am Going to the Lordy” on the way to his execution by hanging.  

The third in line was Leon Czolgosz, an anarchist greatly influenced by the work of Emma Goldman, a union organizer, and depressed by the economic conditions that existed in 1901.  His point-blank shot at William McKinley in front of a crowd resulted in an immediate arrest and subsequent electrocution.  As presented by David Otto (assisted by Sondheim), he is given the character of a man genuinely committed to his cause and honestly believing McKinley’s death would change things.  

 

We go 62 years before another death in the hands of an assassin.  John F. Kennedy’s journey through Dallas has been well documented.  Clark Destin Jones gives Lee Harvey Oswald a bewildered persona, a puppet being led to killing by sinister outside forces.  Even acknowledging that his actions would be debated for years after they happened.   

So far, so good since then, although we have had some near misses.  John Hauser creates a confused and tormented John Hinckley writing forlorn love letters to Jodie Foster.  To prove his love and get his name in the paper, he attempted to kill Ronald Reagan. He argues with Squeaky Fromme (Kira Wendland), who was a follower of Charlie Manson. According to her, Manson was in every way better than Hinckley. She earned her place in history by taking a shot at Gerald Ford.  A pretty but clueless girl, her attempt went south when her gun misfired. She is paired historically with Sara Jane Moore, a seemingly ordinary housewife and bookkeeper who took another shot at Ford only three weeks later.  Sharon Kay White provides the comic relief in her portrayal of a gun-shy woman target practicing by shooting at a Colonel Sanders Chicken container. 

Another failed attempt was carried out by Samuel Byck, relatively lost to history for his planned hijacking of a plane to crash into the Nixon White House.  Delusional, he recorded his plans and motives so that the world would understand he was really a hero prepared to take the hit for ridding the world of this criminal.  Damon Guerrasio gives him a humorous persona as well as illustrating his madness and helplessness. 

A more powerful ensemble of players would be hard to find. The group supported each other in the telling of their individual stories and songs.  Led by Czolgosz, who, as an ironworker, details the making of a gun, the Gun Song extols the convenience of being able to “Move your little finger and you can change the world.”  “Another National Anthem” allows the characters to give voice to their various reasons for thinking they needed to “move their little finger.” Another makes us all recall where we were when we learned of Kennedy’s death; everyone alive at that time has instant recall of the horror and pain of that moment.  “Something Just Broke” brings it all home again. 

While it sounds like a gruesome subject for a musical, it has cohesion and purpose.  It is a great deal funnier than you might think because these were, after all, merely human beings – flawed and confused like so many others who never pick up a gun.  If you are triggered by gunshots, there are only rimshot noises from a drum to keep us in the moment, and no real guns are ever on the stage. 

Warren Sherrill did a fine job of corralling this all-over-the-place piece and moving his actors in a choreographed gavotte that keeps time, place, and player firmly planted for the audience.  The shabby shooting gallery designed by Tina Anderson was enhanced by the moody light design of Vance McKenzie.  The equally shabby and dirty, but authentic, period clothing was designed by Crystal McKenzie.  They all work together to create the special place in Hell where misguided assassins spend eternity. 

A WOW factor of 8.75!! 

PIPPIN – Music and Lyrics by Stephen Schwartz; Book by Roger O. Hirson; Directed by Robert Michael Sanders; Musical Direction by Heather Iris Holt; Choreography by Jessica Hindsley.  Produced by Phamaly Theatre Company (Presented at Denver Center for the Performing Arts, 15th and Curtis, Denver) through August 24th.  Tickets available at 303-893-4100 or Phamaly.org. 

Maybe your “favorite time of the year” is Christmas, but I think my favorite is the two and a half months I have from early June to mid-August to enjoy the summer theatre season.  A quick trip to Creede and Pagosa, an exploration of new theatres to be discovered, the anticipation of fall seasons being announced, and PHAMALY’S ANNUAL MUSICAL.  As I wait to see this year’s production, I ponder the difficulty of matching last year’s magnificent rendering of CHORUS LINE.  I need not have worried – Phamaly came through once again with a startling performance of PIPPIN.   

A musical journey of discovery as boy turns into man, PIPPIN brings thoughtfulness, charm, advice, humor, and drama into your lives for a couple of hours.  The 20-member cast climbed on board the PIPPIN wagon and didn’t let up until they had the audience on their feet cheering.  I had the pleasure of watching people who had never seen a Phamaly show before become lifelong fans.  The resilience, determination, talent, and heart of this group always warms the cockles and thrills the spirit.  Somehow, by singing and dancing, this group gives us faith in the ability to overcome.  Something sorely needed at this time in our history. 

Ben Raanan, the Artistic Director for Phamaly, and his staff did well in choosing this rarely done, but charming, musical that follows Pippin, the son of Charlemagne, on a personal journey to find his way to fulfillment.  As a journey we have all made in some form, it’s reassuring to those of us who are in the later stages of the trip to know that our realization of family and community is the ultimate and worthwhile goal.  But what fun to watch Pippin take those tentative steps into adulthood. 

The choice of Robert Michael Sanders as director for this piece was also a major step in the right direction.  Adding Heather Holt as Music Director and Jessica Hindsley as Choreographer created a team that could enhance the innate talent of their acting company and move them with confidence into the spotlight.  The set design by that Renaissance man Brian Watson featured circus motifs and bright shiny things.  The lighting design by Emily Maddox that made the whole evening, in turns, bright and shiny, then dark and dramatic, added to the enjoyment.  Madison Booth’s carnival costumes contained even more bright and shiny things and made everyone even prettier.  Curt Behm created the balance between musical instruments and musical voices.  Also, how very nice to see Rob Costigan back at work (where he belongs) doing props for the show.  What a team they all made to bring this delightful story to life. 

Let’s get to the actors.  It’s Kaden Hinkle’s story to tell and he does it with charm and confidence.  No surprise there.  Kaden has been performing since he was a young whipper-snapper; he has learned how to sell a song, keep his feet moving in the right direction, and bring his personality forward to tell a story.  He is a young man with a sparkling future on stage. 

With his acting partner of Emma Maxfield as the Leading Player, the two of them move us through time and history with ease to tell a timeless story of growth and wisdom.  Emma is the Narrator, the Pusher-Along, the Ringmaster in this circus of life.  They are a bundle of controlled energy on stage.  If you remember their recent work in ONCE at Town Hall and their Phamaly work as Puck in MIDSUMMER, there will be no surprises in their performance here.  They step on the stage, open their hand, and you’re in it.  Easy-peasy!  Don’t think about it – just go with the flow.  They are one of those actors whose work is instinctual; they have no fears, no boundaries.  What a joy to watch! 

Pippin’s family is made up of his father, Charlemagne (or Charlie) played by Phamaly veteran, Mark Dissette – still one of the best Tevye’s I’ve ever witnessed.  He gives a humorous and defiant portrayal of a man used to ruling. Shelly McMillion as Pippin’s grandmother has a show-stopping song with “No Time at All” as she warns him of the transient nature of life.  As an elder, she begs him that it’s “Time to take a little from this world we’re given.”  But, of course, he has to learn that on his own. 

Jessica Swanson, another Phamaly veteran, gives Pippin’s stepmother scheming life.  She manipulates, misdirects, and maneuvers all on behalf of her son.  You see, if Charlie and Pippin were gone, she and Lewis would rule the kingdom – the ultimate goal.  Her son Lewis is played by the talented Casey Myers (Phamaly fans will remember him as the hand-tap-dancing guy in a wheelchair in last year’s CHORUS LINE).  What family tree created this bunch of schemers? 

Pippin’s second family is completed by Katelyn Kendrick as his true love Catherine.  A widow with a son, they teach Pippin the value of family and responsibility. The son, Theo, is played on alternate nights by Catherine’s real son, Asher, or Aries La Plante in a belligerent but adorable scene.  The idea of a new father on the scene isn’t cutting it for this kid. 

You can’t say enough about the world of support given by the ensemble members as they move set pieces into place, enhance the singers with background melodies, provide a troupe that moves with synchronicity, and do their individual bits and bobs and ad-libs to add to the humor.  We all know it takes a village to accomplish great things.  Great things are accomplished by this particular village every night on stage. 

A WOW factor of 9!! 

TUESDAYS WITH MORRIE – Written by Jeffrey Hatcher and Mitch Albom; Directed by Ray Brown.  Produced by Funky Little Theatre Company (Presented in the Palmer Lake Town Hall, 42 Valley Crescent Street, Palmer Lake) through August 23.  Tickets available at FunkyLittleTheater.org. 

Have you ever been to Palmer Lake?  I hadn’t until a recent Saturday afternoon to get Funkified.  Palmer Lake is gorgeous.  One of those little hidden gems that Colorado is famous for.  Like Ouray or Creede.  The streets are winding; each house is a different color and style, and well-kept; there are intriguing restaurants and shops.  It’s a fascinating place – almost Brigadoonish.  I can certainly see why they didn’t want to be Bucee–fied.  Even though the highway is several miles away, it would inevitably change the whole vibe of the place. 

And I finally caught up with the folks who work for and perform with the Funky Little Theatre Company.  They have been bouncing around between Colorado Springs, Cripple Creek, and now Palmer Lake in search of a permanent home.  Palmer Lake seems to have welcomed them with open arms; it’s also really close to Colorado Springs.  So a great part of their audience is willing to make the drive to see the good work done by this good company.  Actor/producer Chris Medina is the driving force behind the organization, with a whole cadre of Funky folk behind him. 

TUESDAYS WITH MORRIE was a lovely production – well-acted, thoughtful in its presentation, kept simple by the director to let the script speak for itself.  Mitch Albom is/was a sports journalist who studied sociology under a professor named Morrie Schwartz.  They bonded at school, but then lost track of each other until Mitch read that Morrie had contracted ALS.  He started visiting and was soon gently coerced into coming every Tuesday to visit Morrie.  Through their conversations, the teacher continued adding to his students’ store of knowledge and humanity.  Morrie’s gentle, teasing way of checking Mitch’s sometimes jaundiced view of the world cleared the way for a stronger understanding of what was important in life. 

John Longo was a spritely, feisty Morrie, getting what he wanted through teasing and hiding profound knowledge inside jokes.  The physicality of ALS was demonstrated quite well as he went from dancing to an office chair to an easy chair to a hospital bed. You could not help but be moved by his disintegration from smart talking, erudite teacher to a silent shell of a man.  Chris Medina also did an admirable job as Mitch, the visitor.  What started as a one-time visit, quick in and out “good to see you” kind of thing changed his life in ways even he could not predict.  Morrie became more than a friend and mentor; more like a father figure to Mitch, shaping his future, both journalistically and personally.  Their friendship rings true, authentic, and resonates with the audience. 

With luck, Chris can continue to bring his magic to Palmer Lake, and we can all continue to visit them there.  Besides good theatre, there’s that interesting-looking barbecue joint I want to try.  OMG, I’ve been funkyfied! 

A WOW factor of 8.50!! 

THE PLAY THAT GOES WRONG – Written by Henry Lewis, Jonathan Sayer, and Henry Shields; Directed by Mark Walden.  Produced by Shark Box Theatre Company (Presented at Stage Door Theatre, 25797 Conifer Road, Conifer) through August 23.  Tickets available at Sharkboxtheatre.com. 

How ironic for a theatre company that professes on their website mission statement that they “work day and night to make sure our performances are flawless and meaningful,” and then deliberately chooses to mount a production that gets its humor from all of the fails and inadequacies of a goofball mythical English theatre company gone wrong.  This leads to a new definition of “flawless.”  However, their audiences are so very glad they made this decision. 

Every script written requires that certain items, be they furniture, set dressing, props or articles of clothing, be available in the right place at the right time.  Some scripts make this easier than others.  Productions like NOISES OFF, COME FROM AWAY, and this little gem demand that certain pieces of the set work flawlessly.  Shark Box Theatre Company uses every bit of their engineering prowess to get their set to work the way it’s supposed to – even though it looks like it’s falling apart.  It’s self-destructing with a purpose.  There are things in this script that are “suggested,” but are unable to be produced by some companies. Too complicated or dangerous. Not here.  Everything that needs to fall, come undone, explode, be reconstructed on stage actually happens in front of the audience . . . to create high humor. 

Not only the set pieces, but the actors too have to bear the brunt of being stepped on, knocked out on stage, dragged through the lone window, fall from platforms, use ladders to get to parts of the stage . . . . and on and on.  This motley crew suffered gladly for their art in this production – again, in front of the audience . . . to create high humor.  I hope they had a line item in their budget for Band-Aids and slings.  They tackle the slapstick no-holds-barred action of the script with gusto; I don’t see how they keep from breaking up on stage at their own silliness. 

The two women deserve high-blown kudos for how they weather the rough treatment they endure.  When one actress gets knocked out by a swinging door and dragged off stage through a window, she is replaced by a reluctant stage manager wearing the actress’s costume over her clothes.  When the actress wakes up and tries to regain her role, the stage manager has decided she likes being on stage and won’t give up the script or the costume.  Their bickering ultimately leads to a knock-down drag-out battle between the two with head-bashing trays and hair-pulling.  Yashila Permeswaran and Hayley Siedlik have way too much fun beating each other up. 

The men too get in their licks.  Head clown is Joshua Caraballo is Dennis, the Butler, with a decidedly Groucho Marx bent to his performance.  He has crib notes on his sleeves and can’t pronounce the cues correctly when he does find them.  All of the men bring their A game on stage with them, moving quickly through the required gymnastics and humpty-dumpty routines.  Arthur Mayer is Trevor, the sound man, jokester, and stand-in at the last minute.  Neil Isales Jr., Robert Martin, Luke Dumoulin, and Braden Egtvedt are, in turn, the murdered, the murderer, and the detective trying to solve the murder.  It’s an equal opportunity investigation with all members getting accused at one time or another.  By halfway through Act I,  you don’t really care whodunnit – just keep doing it. 

Kudos to everyone connected with this complicated production.  You can tell it took a village.  But it paid off for their audiences.  Conifer is just a 20-minute drive up in the hills.  You’ll discover a new theatre company that works hard for your attention, a new (for some of you) theatre space that always delivers, no matter who is playing in it, and a charming mountain village full of really good restaurants and really good theatre. 

You’ll go right with the PLAY THAT GOES WRONG!! 

WOW factor of 8. 75!! 

CRY IT OUT – Written by Molly Smith Metzler; Directed by Candace Orrino.  Produced by BETC (Presented at the Dairy Center, 2590 Walnut, Boulder) through August 24.  Tickets available at 303-444-7328 or thedairy.org. 

Some people can write plays.  Good plays.  Others put people on stage and open a window to their world.  Molly Smith Metzler is a window opener.  From the first delighted “Oh, this is so much fun!” delivered with such joy by Lina, one of the new mothers, the audience was in her pocket.  It usually takes at least a few minutes for the audience to discover who the people on stage are.  But we knew these women in the first 30 seconds with their baby monitors, iPhones, vulnerability, and joy. 

A script, however, is just words on a page.  Good words ready to be brought to life.  Noelia Antweiler and MacKenzie Beyer took those words and turned them into REAL women.  Happy, sad, funny, conflicted, angry at times, tender at other times – REAL unfiltered women.  All of us who have had a child have gone through some (if not all) of the emotional highs and lows these women experienced in the 90 minutes we shared with them.  MacKenzie gave the potty-mouthed Lina just the right amount of sparkle and kickass humor that you couldn’t be offended by anything she said or her reactions to the two interlopers into their backyard world.  Noelia was the tender-hearted, forgiving one of the pair.  Being kind, however, did not diminish her side-eyed view of the world and her place in it.  A true, loyal, no-matter-what friendship like theirs doesn’t come along every day.  My prayer at the end of the evening was the hope that everything they went through in the first months of their friendship would not diminish over time. 

The mentioned interlopers were Mitchell and Adrienne, another new baby couple who live “up the hill” on the posher side of their community.  Yet a similar set of misunderstandings and confusions is not made any easier by their financial ease.  Erika Mori as Adrienne is at first painted as an unfeeling mother in direct conflict with Lina and Jessie’s overwhelming connection to their new children.  A later scene gives her context and illustrates the schism in her marriage to Mitchell – played with subdued control by Marco Alberto Robinson.  Their viewpoints about marriage and parenting are equal and opposite, with neither wrong.  It’s a little harder to predict how their experiences will play out as the child grows. 

But what a ride we have been on in the meantime.  The drama is played out in a typical uncared-for backyard, complete with the all-American white picket fence and inappropriate (for years to come) children’s toys.  But it’s where both mothers’ baby monitors reach, and they can hear their babies finish their naps.  The inspiration for the set belongs to Tina Anderson, Set Designer extraordinaire.  Costumes by Riley Anne Martin delineated the differences in character and financial status among the actors, while Katie Hopwood found the props that filled in the story.  Lighting by Erin Thibodaux and Sound by Rowan Livengood (including occasional crying babies) completed the picture.  The nuanced script is carefully explored under the direction of Candace Orrino (forgive my bias!) as only a woman and a mother could. 

BETC chooses wisely the shows to present and then pulls out all the stops to bring those scripts to life.  The “new” (relatively) management for this company – Jessica Robblee and Mark Ragan – is doing an outstanding job of guiding the company to new successes. 

A WOW factor of 9!!