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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!! 

DIXIE’S TUPPERWARE PARTY – Written and performed by Kris Andersson.  Presented by the Denver Center for the Performing Arts (Garner Galleria Theatre, 14th and Curtis, Denver) through August 17.  Tickets available at 303-893-4100 or denvercenter.org. 

Anyone who has ever been to Dixie Longate’s little party, no matter how long ago, will never forget her.  My first dip into Dixie was on her original trip through Denver – what?  10? 15? Years ago?  Dixie, my dear, you are holding up as well as the Tupperware I bought way back when.  She is the most perfect representative of Southern raunchy gentility you could ever meet.  She is the combination of a stand-up comic, an improv artist, and a sweet, genuine, real lady. 

The inventive ways she demonstrates her “product” start with the conventional use; then rapidly progress to a more realistic option for most of this modern audience.  For instance, her cake carrier can be used for a sheet cake or two dozen cupcakes.  Even more likely, it also easily lends itself to carrying about 30 Jello shots to your next tailgate party.  The medium-sized bow,l which all of us had, can be used for stirring up that sheet cake but can also be used when your kids are likely to upchuck.  Then rinse it out and whip up a salad for dinner!! 

Not only do we get usage tips, but we also get the history of Tupperware and how Miss Brownie Wise created the whole monster that became “home parties” for a multitude of products.  Some about as far from kitchenware as you can get. 

Dixie has a gift for engaging people in the audience in her shenanigans.  But she does it in such a loving, comical way, carefully choosing those who would not be embarrassed by being called out so that everyone in the audience goes along with the jokes and applauds her target.  Right, Rodney??  She ends the show with stories of her own life and troubles and a heartfelt plea for everyone to be especially nice to each other in these turbulent times.  I’m sure a few tears flowed besides mine. 

My request to you, dear reader, is this!  If you have never been to Dixie’s party, treat yourself to a date with Dixie.  You won’t be sorry. Don’t think you are too cool to laugh at something so silly.  You may surprise even your stuffy self. If you saw her years ago, go back and say Hi again.  She will remember you – or, at least, pretend to.  

 

Dixie is winding down her 28-year journey with this last performance in Denver.  Why, you ask?  Why? Why? Why?  Well, her kids are getting older, and she needs to get home and knock a few heads together.  Or maybe she’s just tired and this good thing she has created has run its course. 

We’ll miss you, Kris.  Thanks for all the laughs. 

A WOW factor of 9!! 

RICHARD II – Written by William Shakespeare; Directed by Tim Orr.  Produced by the Colorado Shakespeare Festival (Roe Green Theatre, CU campus, Boulder) through August 10.  Tickets available at 303-492-8008 or cupresents@colorado.edu. 

If you think about it, in 1595 when Shakespeare was writing about Richard II who reigned from 1377 to 1399 two hundred years in the past, it is much the same as someone  – say Lin Manuel Miranda – today writing about James Madison (or his contemporary Alexander Hamilton) who was the American President 200 years ago.  Even though Shakespeare’s Queen from the House of Windsor was not directly related to Richard II of the House of Lancaster, Shakespeare did not include the abdication scene (during which Richard is forced to give up his throne) until after the death of his Queen.  No one likes to be reminded they can be replaced.  By the same token, Queen Elizabeth II had a strong appreciation for Shakespeare and is actually the Great-Great-Great-Great-Granddaughter of Richard II – AND – it is rumoured that she also greatly enjoyed HAMILTON.   

Richard had the reputation of being a petulant, extravagant, and foolhardy monarch.  He was coronated when his older brother (second to the throne), his father (first in line to the throne), and his grandfather (on the throne) all died, leaving him the only heir – at ten years of age. In the second decade of his life, he was the titular king but was governed by a Council of Lords who made the decisions.  Who wouldn’t chaff under those restrictions?  Finally, at 21, he came into his power and began the reign of manipulation, playing those same Lords against each other for revenge.  He gave men power and then took it away.  He entered into foolish battles with his own subjects and then had to back down, blaming someone else for his defeat.  He turned his most trusted councilors against him with his thoughtless extravagance and disregard for his subjects.  Of course, it all backfired on him eventually and he was imprisoned by the very men he had blackmailed in the past.  Hmmmmm. .  . How ‘bout that?! 

This cast told this tale with alacrity and confidence. The shifting loyalties were easy to follow.  The fate of Richard, from powerful arrogance to humble prisoner, is both satisfying and sorrowful.  Kevin Rich as Richard makes a meaningful statement regarding the destiny of arrogant monarchs.  The company of actors supported his downfall, playing multiple parts with clarity. 

The costumes designed by Sarah Zim and constructed by the multi-talented ladies of the costume shop were outstanding.  The various Houses of Lords are designated by banners and armaments to create a free-flowing change of side. 

While the histories are not many people’s favorite Shakespearean adventures, there are lessons to be learned and past mistakes to be examined in this tale of royalty’s loss of grace. 

A WOW factor of 8.25!! 

FLYIN’ WEST – Written by Pearl Cleage; Directed by Marisa D. Hebert.  Produced by the Ent Center for the Arts (Dusty Loo Bon Vivant Theatre, 5225 North Nevada Avenue, Colorado Springs) through July 27.  Tickets available at 719-255-8181 or tickets@uccs.edu. 

This Pearl Cleage classic is based on a real-life experiment by freed African Americans creating their own township in Kansas in 1877.  Desiring a self-governing place to live far from the tyranny of their former owners, Nicodemus struggled but suffered a near-death knell when the promised railroad failed to come through the area. By 1888, the once booming town had shrunk to only about 40 residents.  The 2020 census reported a population of 14, most of whom are involved with the Nicodemus Historical Society that offers tours of the remaining buildings and the visitor’s center that bears witness to the lost dreams. 

In this tale of early prospects, a pair of sisters, Fannie (Cheerish Martin) and Minnie (Tresha Farris) have been “adopted” by the slightly older Sophie (Kristine Fountain) who showed up at their door one day to work in their laundry business and stayed on when they moved west to be part of this exciting new project.  They have taken in an older, earlier resident of Nicodemus, Miss Leah (Lynne Hastings).  Another neighbor, Wil (Calvin Thompson), has his own place but is sweet on Fannie and helps the ladies at every turn.  The youngest sister is returning with her poet husband from London, where they have been living at the largesse of his plantation owner father.  But all that luxury came to an end when his father died, and his half-brothers disavowed his birthright and stopped sending money. 

The legal agreement for potential landowners is that if they can live and manage a plot of 160 acres for five years, they then have the option to buy it.  Miss Leah owns her place, and Minnie and Sophie have worked hard to fulfill the requirements to own the land they have been working as well.  When Fannie returns with her husband (Bobby Bennett), he discovers how much land they now own and how much white speculators are paying per acre.  A plot is hatched to regain his lost lifestyle. 

This cast is outstanding.  The way they work together to tell this story is lovely to behold.  The small second-nature gestures and shared looks tell a story of family joined in a common cause.  The way they close around each other when invaded by one who doesn’t share their vision is exactly how any close-knit family would function – stilted politeness, growing anxiety, and, finally, outright rebellion. 

Kristina as Sophie is the strong, rough-and-tumble leader of the pack with her ever-present shotgun and her suspicious nature.  Cheerish as Fannie is pure sweetness, trusting, the mediator, until her home is threatened.  Tresha’s Minnie is a troubled soul caught between the dreams of her sisters and the reality of her husband.  When he had money and a place in British society, he was exciting and loving.  It was hard to accept that his true nature only came out under the duress of poverty.  Lynn is the loving elder figure with experience and wisdom in her pocket who provides the solution to their problems.  All are layered, authentic players deeply committed to this narrative. 

The men in this cast provide both sides of human nature.  Calvin as Wil is shy and tremulous around Fannie until he gets a little encouragement.  They then settle into couplehood with ease and grace.  He is every man you would want as a life companion.  Bobby, on the other hand, is the snake in the grass you too often get taken in by who proves to be your undoing.  His portrayal of Frank, Minnie’s husband, is pure evil.  He’s arrogant, condescending, thoughtless, cruel, manipulative, and self-centered.  Did I leave anything out?  Oh, yeah – he’s also literally and figuratively a bastard.  Watching him is like observing a master class and provides a measure of his talent in that sweet-natured Bobby Bennett (in real life) can play a cad so convincingly. 

The two rooms that are visible of their cabin are perfectly dressed and made realistic with the rustic touches provided by Dan Porten (Scenic Designer and Technical Director) and Cate Hoke, who pulled together an amazing set of authentic furniture, props, and set dressing.  The Old West costumes by Nicole Watts kept us solidly placed in the late 1800s.  The show starts with the sound of the wind sweeping over the Kansas landscape, all made possible by Bryse Taylor Boynton (Sound Designer).  And it is all pulled together and directed by the understanding and oversight of Marisa Hebert, Director. 

I know it’s a jaunt down to the Springs – but this is a worthwhile jaunt to make for a fine show. 

A WOW factor of 8.75!! 

ANASTASIA – Book by Terrence McNally; Music by Stephen Flaherty; Lyrics by Lynn Ahrens; Directed by Shelly Gaza; Music Direction by Katie Hughes; Choreography by Kate Vallee Maclaren.  Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through August 31.  Tickets available at 970-744-3747 or ColoradoCandlelight.com. 

Months ago, when the touring company of ANASTASIA played at the Buell, they told the romantic story and sang the beautiful music in a production that was blessed with magnificent, mind-bending projection special effects.  An faux explosion that practically blew those in the first ten rows out of their seats, a realistic journey on a train that allowed the prospective to change as they ran to different parts of the machine, and, the most amazing, which allowed Anastasia to revisit the site of a ball she had attended as a child and to dance with the ghosts of her murdered family.   

When Candlelight announced that they were doing this show, I wondered how they were going to duplicate those complicated technical special effects.  Wisely, they chose not to.  Instead, they created the chaos of the explosion and its aftermath through smoke, the frightened action of the actors, and the dramatic music that accompanied the scene.  While not enjoying the movement of the complicated train journey, they still managed to convey the anxious dialogue of that scene without changing the background.  The scene with the dancing ghosts became beautifully nostalgic when the actors returned to the stage in their ball gowns and danced through a cloud of mist and around the watching Anastasia.  What this achieved was a much more authentic style of storytelling, which relied on the stage pictures created by talented actors/dancers rather than on the (while beautiful) artifact of special effects.  This had to be the result of a collaboration between the creative team of Shelly Gaza (the director whose theatrical vision was honored), Kate Vallee Maclaren and Dave Clark (the administrators who said “make it happen), Josiah Buhre (the technical director who implemented the vision visually), Mark Derryberry (who created the sound design that made everything believable), Katie Simonson (whose lighting design tricked our eyes into seeing what they all wanted us to see) and the hard-working crew in the booth and backstage who made it all happen. Congratulations to all of you for making these particular creative decisions to create authenticity. 

But, of course, it wouldn’t have all happened without the dedication of the people on stage who worked equally hard to add their own touch of genius to the project.  New to the mix is the young lady who took on the crucial role of Anastasia herself with confidence and moxie.  Katie Stone, only a junior in college, has the promise of a long and successful career as a performer if this is any indication.  The journey of Anya (as Anastasia is called through most of the play) calls for the actress to express fear, confusion, vulnerability, sorrow, spunkiness, character, and confidence, all the while singing like an angel.  No small feat and yet . . .  

Her two mentors, who initially exploit her for financial gain, are Dmitry, played by returning Jazz Mueller, and Vlad, created by Scott Severtson.  Jazz, a relative newcomer to Candlelight, delights again as a romantic partner to Anya.  His slow acceptance of her truth and what it will mean to them is heartbreaking to watch.  His partner in “crime” is Vlad, a true con man who also comes under Anya’s spell and doesn’t mind having an excuse to journey to Paris to reunite with his love.  Scott provides early comic relief with a touch of humanity mixed into his larceny. 

It’s also delightful to see Scott and Tracy Warren be reunited on stage again after years of doing shows together at BDT Stage.  Tracy returns to bring Anastasia’s grandmother to life.  Because of her life in Paris, she avoided being shot with the rest of the family, which forms the need for the trio to get there to be hopefully “accepted” by her grandmother.  The scene in which they confront each other is a classic as they share memories.  Not to be missed.   

Additional comic relief comes in the form of Vlad’s former lover, Countess Lily, played by Sara Kowalski.  Her residence with the Dowager Countess in Paris has allowed her to indulge in the high life of the Russian emigre community and welcome Vlad back into her life with gusto. 

There must be a villain, of course, and, in this case, it’s a KGB officer determined to eliminate the last possible remnant of the aristocracy.  Finding himself strangely attracted to this woman who pretends to be the lost princess, Jerod Mose plays the conflicted officer with appropriate nastiness and confusion. 

This is a fairy tale production full of adventure, wrapped around a mystery, and embracing a love story.  Another instance in which the Candlelight production brings heart and joy to their audiences. 

A WOW factor of 9!! 

ROCK OF AGES – Written by Chris D’Arienzo; Music by Rockers of the 80’s; Directed and Choreographed by Kelly Van Oosbree; Music Direction by Tanner Kelly.  Produced by Veritas Productions (Presented by Parker Arts, 20000 Pikes Peak Avenue, Parker) through July 20.  Tickets available at 303-805-6800 or ParkerArts.org. 

There are at least three kinds of juke box musicals – first, those that unabashedly celebrate the music of a particular group or artist (a la SIDE BY SIDE BY SONDHEIM or MY WAY, honoring the music of Frank Sinatra).  The next group celebrates the music and life of the music makers (as in JERSEY BOYS or ALWAYS, PATSY CLINE).  Then there is the genre that pastes the music of an artist into a free-standing created story like MAMA MIA or ESCAPE TO  MARGARITAVILLE.  ROCK OF AGES fits into this final category with great success. It makes no bones about what it is – a total homage to the hard-rocking musicians of the ’80s.  It features music from Journey, Poison, Van Halen, and Twisted Sister, among dozens of other hair bands. 

The lightweight story combines the clubs of the era, the fashions of the day, the energetic and raucous dance styles that had evolved, and the evolution of attitude.  The hard rock songs feature repetitive, rhythmic, distorted, blues-based riffs and guitar solos, often deploying feedback to create a heavy feel to the music.  They often celebrate freedom, partying, beautiful partners, sex, and the singer’s appreciation of all four. 

While the music is more important than the story in an homage musical such as this, we still need to have a bit of a story to hang the music on.  A pretty girl travels to LA in search of fame and fortune and meets a nice guy with the same dream.  Despite her innocent dreams, she ends up temporarily as a stripper in a dance club, and he has to unplug a lot of toilets before he gets to sing on the stage in a different club.  Along the way, we meet both bar owners, the manager of the Bourbon Club, the mayor of LA, the villainous German father and son duo who want to level the bars to build a shopping mall, and assorted dancers and guitar players.  All having a lot of fun and making a lot of theatre. 

But a musical performed in the 2020s that looks back fondly on that era can’t help but make gentle fun of itself at the same time.  No holding back here.  The script breaks the 4th wall continuously, engaging and flirting with the audience members; it honors its own theatricality by reminding the actors that they are, after all, only actors telling a story; it features no holds barred costumes and wigs; and it celebrates the famous LA music club Whisky A-Go-Go and clubs like it. 

Congrats go to Shelby Varra, who filled in for the temporarily sidelined Kayleigh Bernier.  Had it not been announced that the cover for the lead role was performing, no one in the audience would have known.  She was confident, polished, and professional.  Knocked it out of the park.  To their credit, the other ensemble dancers (Alex Jacobsen, Heather McClain, Logan Travers, Pierre Andre’ McNair, and Trevor Targowski) covered the loss of their 7th partner in dance very well.  Additionally, the one-named actress Thurzday had a nice turn as the sexy owner of the strip club.  Shannon Foley had a fun time playing a belligerent protester. 

Among the men, you’ll enjoy Nick Madson as the manager of the Bourbon Club for his enthusiastic interaction with the audience, his gentle self-mocking acceptance of the silliness of the script, and his energetic attack on the music.  Carter Edward Smith plays Dennis, the flower power hold-out owner of the bar, Cole Emarine’s comic relief as the over-the-top German son who is NOT gay; Charlie Schmidt as his overpowering father, and Ben Kaan as the born-to-be-a-rocker newbie who learns in the school of hard knocks. 

This is yet another imaginatively staged, expertly choreographed, and thoughtfully directed production by Kelly Van Oosbree.  There didn’t seem to be as much room in this script for the ultra-creative touches that generally adorn a KVO show.  The addition of Tanner Kelly as music director and Trint Hines as conductor guarantees a strong music background, necessary in a heavily scored piece like ROA.  The set by Brian Mallgrave placed us solidly in the heart of LA, inside the music scene.  Nikki Harrison’s nearly too-bare-to-wear costumes were sexy and fun.  Pay particular attention to the chain link dress in the second act.  Brilliant!! 

With an almost guest artist status, local actor Joshua Bess returns to Denver to play Bad Boy Rock Star Stacee Jaxx.  Based on Poison lead singer Bret Michaels, Josh makes the most of his role as the celebrity rocker who woo’s and shoo’s all the females on stage.  Josh has been touring internationally in several shows and returned to work with his favorite director again before heading off to St. Louis to star in DEAR EVAN HANSON there. 

This is a musical for all those born in the 50s and 60s who grew up with this music.  You will achieve nirvana without the drugs!! 

A WOW factor of 8.5!! 

THE TEMPEST – Written by William Shakespeare; Directed by Kevin Rich.  Produced by the Colorado Shakespeare Festival (CU campus, Roe Green Theatre, Boulder) through August 10th.  Tickets available at 303-492-8008 or CUpresents@colorado.edu. 

Dramaturg Amanda Giguere uncovers a fantastical, yet authentic, tale of the probable origins of the storyline for THE TEMPEST. It involves a large fleet of ships departing from England in 1609 with supplies for the colonies in Jamestown.  However, one of the ships became lost during a huge “tempest” at sea, drifted for days, finally coming upon what is probably now Bermuda.  They found naturally growing food, a temperate climate, and set to work rebuilding their ship.  Sound a little familiar? Their story of hardship and survival made its way back to England into the mind of Shakespeare, who uses it to tell a tale of revenge using magic and heart. 

Director Kevin Rich has created both a realistic depiction of the dangers of sea travel, the struggle for survival, the wonder of first love, and the humor of human foibles.  He has found the darkness of disappointment and the need for recompence while maintaining the possibility of reunion and forgiveness. “Thou shalt be free as mountain winds; but then exactly do all points of my command.”  

Roll in an endearing love story as Miranda (Madison Taylor) sees Ferdinand (Jordan Pettis) for the first time – “How beauteous mankind is! O brave new world, that has such people in’t!”  

And, best of all, plumbs the depths of the humor as the fallen sailors, Trinculo and Stephano (Matt Zambrano and Sean Scrutchins), encounter the “monster” Caliban (Karen Slack) for the first time. “Be not afeard; the isle is full of noises, sounds, and sweet airs, that give delight and hurt not.” He has staged this scene of discovery to highlight the common sense of Caliban juxtaposed against the drunken belligerent behavior of the supposed more civilized Englishmen sailors.   All three actors make the most of their scenes together which brings a smile of anticipation to the audience when they show up on stage again.  Ms. Slack is a bold (in some sense) choice for the role of Caliban who is often portrayed as a dirty animal-like creature.  Not so bold in the sense that she brings a clever and conniving Caliban to life with her ability to do “sly.”  Her partners in this frivolity, Mr. Zambrano and Mr. Scrutchins are up to the challenge of sorting out what this creature is and how they can use it, in spite of their inebriated state. 

Prospera (Ellen McLaughlin) speaks to her sprite Ariel that “I have required some heavenly music, which even now I do.” In this case the heavenly music was composed and performed by Jordan Coughtry in his role as Ariel.  This addition to the production introduces action, sets the mood for both endearing and amusing scenes, and accompanies scenes both quiet and rowdy.  A great enhancement overall. 

Ms. McLaughlin gives maturity and gravitas to her role as the abandoned and betrayed ruler of Milan who practices magic she has learned from her salvaged books.  Depictions of this control of not only the human heart, but the weather and physical manifestation of the island are subtle, but meaningful.  Her personal decisions toward those she has “kidnapped” are painfully accomplished but positive, changing her posture and demeanor. 

The set, designed by Matthew Crane and lit by Katie Gruenhagen, suggests both the uninhabited island and the broken ships which brought creatures to land. The costumes designed by Sarah Zinn are authentic to the period when appropriate and magical in nature when not.  As in the tie-dyed garb of Ariel and his fellow spirits.  The use of puppets to illustrate the history of the situation is also an interesting concept devised, no doubt, by Director Rich and the Puppet Designer Myra Su.  All in all, a team effort that has resulted in a luxurious production. 

A WOW factor of 8.5!! 

SOMETHING’S ROTTEN – Music and Lyrics by Karey and Wayne Kirkpatrick; Book by Karey Kirkpatrick and John O’Farrell.  Directed and Musical Direction by Tanner Kelly; Choreographed by Heather Westenskow.  Produced by Stagedoor Theatre (25797 Conifer Road, Conifer) through June 29.  Tickets available at 303-838-0809 or StagedoorTheatre.org. 

Some families play sports together or cook as a family or just binge the same movies in the evening.  The Kirkpatrick family writes musicals together.  Starting over a family holiday as a joke, a “what if” scenario became an on-going and growing Idea for a real life musical. Not a total random pairing since Karey made his living as a screenwriter for Disney and Wayne was a composer with songs that were covered by nearly every country singer in Nashville. After playing with the script and complicated lyrics for nearly fifteen years, they finally got serious and buckled down in 2010.  By  2015, they were nominated for nine Tony’s.  And that’s how that fairy tale ends. 

Ends except for the people who now get to enjoy the fruits of the brother’s efforts.   Which includes knowledgeable people along the front range.  The small theatre in Conifer continues to roll out excellent productions month after month, many of them under the guidance of Tanner Kelly whose soft, sweet touch with a script never fails to delight.  He captures every bit of the humor, honors the talent of his actors, and finds the heart of the story. He is ably assisted in these efforts by master choreographer Heather Westenskow. Her skill is revealed in creating structurally sound dance pictures, teaching the ensemble to enjoy the dances, and finding the fun in the music with new interpretations.  If you want an example of the sterling work by these two, watch the opening number “Welcome to the Renaissance” or the overwhelmingly complicated lyrics and dance patterns of “Make an Omelette” which gives respect to and references every Broadway show ever done. 

It doesn’t hurt that they have a cast that understands the jokes and rejoices in being able to bring this homage to Broadway musicals to life.  Nick and Nigel Bottom are searching for the next big thing to put them ahead of Shakespeare back in 1600 England.  In a trance of mystical magic, a seer predicts it will be adding music to the story-telling and off they go.  Just one little misconception – in trying to tell them the name of “the next big thing,” Nostradamus comes up with “Omelette” (as opposed to HAMLET) as the name of the sure success.  This sets Nick on a wavering path to failure.  But along the way, we are treated to musical numbers lauding the arrogant Bard and a love match for Nigel.  Bea, Nick’s wife, dresses as a man to take jobs for money to keep the family afloat.  The whole theatrical community is chastised by the Puritan Brother Jeremiah.  The plot is perfectly illustrated by the music and the skill of the ensemble of actors. 

The brothers Sean Davis and Andy Roy carry the twin plots of the story with ease.  Their brotherly differences are authentic without causing long-lasting dissension in the family.  Nikki Salinas is the third member of the family group as Bea, Nick’s loving wife.  She proclaims herself with her beautiful voice as their “Right Hand Man.”   

Of course, the Man himself complains that “It’s Hard to be the Bard,” between writing plays and being a star.  Jason Rexx makes the most of this show-stopping number and revels in the fun of performing as Shakespeare.  Even Brother Jeremiah’s daughter Portia, while she’s falling in love with Nigel, still swoons over Will.  Portia and Nigel’s mutual love of poetry unites them in “I Love the Way.” 

Moving the plot along are Scotty Shaffer as Thomas Nostradamus (the original’s nephew), Stephen Sbanotto who makes funny as Brother Jeremiah; and Jessica Sotwick as Shylock, the Jewish investor in the Bottom musical in return for having a character named after her. 

As usual, the tech crew at Stagedoor designs simple but amazingly effective sets and accompaniment to the production.  Biz Schaugaard and Dean Arinotes have come up with another singular set that fulfills the needs of the production without calling for a lot of complicated changes.  The costumes curated by Jennifer Middleton keep us solidly in the Renaissance with everything from black leathers for Shakespeare, modest black garb for the Puritans, and Ren dress for the dancers. 

It may be hard being the Bard, but the crew at Stagedoor make doing theatre look easy. 

A WOW factor of 8.75!! 

THE REVLON GIRL – Written by Neil Anthony Docking; Directed by Madalyn Rilling.  Produced by Springs Ensemble Theatre (Performed at the Fifty-Niner Speakeasy, 2409 West Colorado Avenue, Colorado Springs) through June 22.  Tickets available at 719-357-3080 or SpringsEnsembleTheatre.org. 

The first time you attend a SET show, it’s a little tentative.  You find the address in Old Town . . . but it doesn’t look like a theatre.  No marquee – just a brick storefront for a shop called Dice Guys.  You enter through a crowd of tables inhabited by groups of people either riotous or in deep and silent thought, garbed all in black.  That seems to be the classic uniform for Dungeons and Dragon warriors.  The front half of the building is a gaming shop where you can play before you pay.  You are guided through to the back of the room where a smiling Maitre de greets you and checks your name off his list.  Then you are escorted to the “back room” or the home of SET.  It is filled by tables and chairs, built in padded benches and a few pieces of comfortable furniture for the audience.  The back third of the room is the stage where the magic happens. 

THE REVLON GIRL starts out with the excited laughter of children as they enter their school for the last day of lessons before the half-term holiday.  In a few seconds, those laughing voices are drowned out by the excruciating noise of a landslide crashing into and covering their classrooms.  This is the true event that took the lives of 116 children and 28 adults in Aberfan, Wales in 1967.  The students (half the children in the village) and their teachers were buried side by side in a mass grave several days later. 

Our story starts eight months later when a small group of women gather in the community center to get a makeover from a representative from Revlon in an attempt to get their lives back on track.  Each have lost children in the tragedy and are in deep grief.  The thought is that anything that can take them out of their present state of mind for even a few minutes is worth trying.  The Revlon girl didn’t really have any idea of what she was walking into.   

Slowly, slowly, the various stories come out.  Each of them has anger toward the “tourist attraction” their village has become.  Each of them blames the mining company and the National Coal Board who knew of the danger but did nothing about it.  Each of them grieves in their own way with either anger, bewilderment, or hope for the future.  The women find community in sharing their feelings and circumstances with the stranger in their midst and, ultimately, with each other. 

To be based on such a tragic event, the character of the women still provides a sort of black humor that only they are allowed to express.  But the Revlon girl reveals a corresponding loss in her history that binds her to the women as well.  They seem to leave the gathering in a closer, more comforting place than when they arrived. 

This cast of five women did an extraordinary job of capturing all of the pathos of the situation.  If I should see one on the street later, I would have consoled her on her loss without remembering that she was acting the story.  Ellie Hinkle as Sian, with help from the absent Audrey, had pulled the meeting together in the hope that a makeover would make her attractive to her grieving husband again.  JoLynn Minns as Marilyn has been grief-driven into mental confusion by losing both of her girls.  The other women start the evening condescending to her fantasies of survival but end up comforting her.  Rona is the outspoken angry member of the group, given life by Sarah Sheppard Shaver.  The wife of the Vicar, she wants to take the settlement money offered by the NCB and get out of town.  And Jean (Zoe Flack) hopes that the new baby she is carrying will help fill the hole left in her heart by the death of her son.  Margaret Brophy plays the unfortunate Revlon Girl thrown into the midst of this scene of turmoil and pain.   

The setting is a simple meeting room with a table for the demonstration makeup and a few chairs.  The real setting is put in place by the opening sound effects, the amazing thunder and lightening effects as a storm breaks out overhead and the silences between the women.  Lighting Designer Eric Bowlby and Sound Designer Daniel Robbins did a fine job of keeping the audience in the room with the women, yet aware of the world outside.  Their Dialect Coach – Alysabeth Clements –Mosley – did an excellent job of helping the ladies with their Welsh accents. 

Yes, it’s a jaunt down to the Springs to see a show.  But you are missing out on what the excellent theatre community at our neighbors to the South are creating with their talent and imagination.  It’s not much further than Candlelight or the Dairy Center and you know you go there all the time.  Explore a little – find a new restaurant – try out a new environment for some fine theatre.  You’ll be glad you did. 

A WOW factor of 8.5!! 

RIPCORD – Written by David Lindsay-Abaire; Directed by Abby Apple Boes.  Produced by Firehouse Theater Company (Presented at the John Hand Theater, 7653 East First Place, Denver) through June 29.  Tickets available at 303-562-3232 or firehousetheater.com. 

About twenty-five years ago, I took my grandson Joe to a production of FUDDY MEERS at Curious Theatre featuring Frank Oden and Katherine Grey.  It wasn’t the first play that I had taken Joe to, but it was the first time I remember him laughing so hard, he nearly fell out of his seat.  And saying with laugh tears in his eyes as we left, “That was really fun, Grandma.  Can we see it again?”  I’ve been a fan of David Lindsay-Abaire ever since.  Having worked on productions of KIMBERLY AKIMBO, WONDER OF THE WORLD, SHREK, RABBIT HOLE, and GOOD PEOPLE and enjoyed other productions of RIPCORD, I’ve never been disappointed in Lindsay-Abaire’s gift for realistic dialogue, his ability to plumb the depths of human emotion (both light and dark), and his hope for a happy ending when none seems possible.  So I greeted Firehouse’s current production with great anticipation. 

What I could not have anticipated was the hand-in-glove fit of the two lead actresses, Darcy Kennedy and Colette Brown, into their respective roles.  Darcy plays the cantankerous Abby Binder, alone and bitter who has alienated her son and pushed away all potential friends.  Colette takes on the everlastingly cheerful character of Marylin Dunne, who has led a fulfilling and love-filled life leaving her with a joyful fun-loving attitude.  While it’s obvious to the careful observer that these ladies could have easily changed roles and the show would have been just as funny, I’m glad they ended up the way they did.   

Darcy’s grumpy Abby is funny beyond words.  She is disappointed with her life but seems to look upon it as fate, not because of decisions she made herself.  Her responses to the bet made between the two fighting for sole ownership of their shared room are mean-spirited and personally hurtful.  When a third unseen but meaningful character enters Abby’s life and starts to thaw her heart, you can’t help but rejoice that there is still sunshine left in her soul.

 

Colette is indeed her match.  Undyingly optimistic, convinced that everything can be fixed with kindness, Marylin never reveals her secret weapon – that she genuinely wants Abby to be happy.  She doesn’t really care about the room; it’s just the fulcrum upon which their challenges balance.  Her personal relationships with the staff, other residents and her family are her points of light.  But she loves the challenge of bringing Abby back to life. 

These two opposing warrior women are ably aided in this adventure by staff member Scotty, played by Jozeph Mykeals.  He switches from companionable friendship to frustration with ease until he gets tired of the contest and Abby’s scorn.  An amateur actor, he gets the last laugh when his acting skills are put to the test, and he passes.  Marylin’s abetting family consists of her daughter Colleen (Shanae Adams) and son-in-law Derek (Jysten Atom) who become her partners in crime against Abby.  They orchestrate some truly amazing scenarios designed to “scare” Abby that sometimes work better than they could have anticipated. Tho Abby will never admit to fear. 

The cast is rounded out by Jaylin Wiese who plays minor roles until the last hour of the show when he takes on the pivotal part of Abby’s long-lost son.  In a realistically touching scene, fences are (sort of) mended and (some) walls broken down.  It’s a scene that calls for a delicate touch by both actors to illustrate both the hesitancy and the need.  Both Darcy and Jaylin have the skill and heart to make the scene true. 

The set also illustrates the differences between the two women.  Marylin’s side has pictures on the walls, mementoes on the bookshelves, drawings by her grandson – the story of life being enjoyed.  Abby’s side has bare walls, her books are her Kindle, her only decor are plants (that can’t talk back).  Her watering can is a cute little elephant-shaped thing with water coming out of the trunk – certainly a gift.  That’s nothing Abby would have ever bought for herself.  The danger and adventure scenes are beautifully enhanced by the sound effects provided by Madison Kuebler and the light design of Emily Maddox.  While the costumes are contemporary, they too reflect the differences between our protagonists in that Abby’s are casual and pretty colorless while Marylin’s have style and a touch of fashion.   

Denver for the next few weeks has its own abbreviated version of THE GOLDEN GIRLS on steroids playing at Firehouse.  Once again, Lindsay-Abraire and Firehouse teach that a gentle landing – even at an older age – is possible. 

A WOW factor of 8.75!!