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SHE KILLS MONSTERS – Written by Qui Nguyen; Directed by Hannah Richards. Produced by Theatre Company of Lafayette (Arapaho Center Theatre, 300 East Simpson, Lafayette) through May 17. Tickets available at tclstage.org.

The Theatre Company of Lafayette performs in an historic building, built in 1892, that served as a church, emergency hospital, library, and theatre. The City of Lafayette has authorized a major renovation project to expand the capabilities, usefulness, and role in the community for this small building. Best to visit it now or forever lose the sense of authenticity and history when you enter. But congratulations to long-time leader of the pack, Madge Montgomery, for being present and open to these improvements. I just hope it doesn’t dampen the charm of going to the theatre in Lafayette.

The basic storyline of this show is based on the desire of Agnes (Rachel Ward), a young adult who has lost her high school-aged sister Tilly (Jo Niederhoff) to a car accident. She realizes she knew very little about her sister’s life . . . until she finds her Dungeons and Dragons playbook. Still not knowing what it all meant, she enlists a friend of Tilly’s to explain it to her. Chuck, the Dungeon Master (Tim Inthavong), does so by dragging her into Tilly’s fantasy world in which she was a Paladin (“a knight renowned for heroism”) admired by the other players. The other characters are either friends of Tilly’s, including her girlfriend, Lilith (Hannah Stewart), or foes based on the bullies in her high school. What follows is a romp through the highly regulated but robust journey into Tilly’s inner life. Agnes is overwhelmed by what she discovers and finds herself fighting monsters beside her sister. Even Agnes’ totally normal boyfriend, Miles (Jeff Paley), gets dragged into the game and turned into a Jello mold.

The logic of the script is faulty, the story jumps back and forth, and the characters change rapidly from good to bad and back again. It’s always been truly confusing to non-fantasy lovers. But I must say, because of TCL’s small stage and choice not to make this into a spectacle with a huge set, it was much easier to follow the story as it wound from the real world to the Middle-earth-like world of Tilly’s imagination. Dungeon Master Chuck, with his book of rules and barked-out commands, helped us place ourselves in the correct setting consistently.

Technically, it’s a tough show for a small theatre to take on. But TCL came up with solutions to the problems of presentation that didn’t detract from the basic story and yet occasionally provided an amusing jaunt into the whimsical. It outlined the problems for young people coming to grips with changing sexual modes and personal choices. This production made clear the ultimate bond between sisters and provided a satisfying conclusion to the tale.

I’m also very pleased to see that the theatre companies in Boulder County are banding together to encourage cross-marketing. The program encourages attendance at Longmont Theatre Company’s production of ONCE UPON A MATTRESS, Coal Creek Theatre Company’s A FOX ON THE FAIRWAY, and Upstart Crow’s TARTUFFE. If you like the work of one small theatre, it’s quite likely you will enjoy attending the other small theatres in the neighborhood. Good for all of youl!!

A WOW factor of 8.25!!

HELL’S KITCHEN – Music and Lyrics by Alicia Keys; Book by Kristoffer Diaz; Produced by the Denver Center for the Performing Arts Broadway (Presented at the Buell Theatre, 15th and Curtis, Denver) through April 26. Tickets available at 303-893-4100 or DenverCenter.org.

In the program for this production, the centerfold shows posters of the upcoming 2026-27 season featuring both JERSEY BOYS and MAMMA MIA. Which is ironic, because I would place this new jukebox musical about the early life of Alicia Keys square in the middle of those two long-lived productions of a similar genre. With JERSEY BOYS being one of the best, most tuneful musicals of its era. In decades to come, perhaps we will look back on this piece as reminiscent of the 90’s as much as the JERSEY BOYS who became symbols of the 60’s and 70’s.

Ms. Keys is telling her own story her own way with her own music. I’m sure her mother’s musical would have a different point of view. But we watch the young Ali as a teenager loving hip hop, discovering love, fighting with her mother (who could have predicted?), learning about her father, and beginning to become an adult. On the story alone, it’s worth a look and a listen. But throw in the music and the amazing street dancing, and you’ve got a whole evening of fun.

The voices of this group of people are spectacular, with Kennedy Cauchell leading the pack. As Ali’s mother, Jersey, she never loses an opportunity to exercise her acting chops and vocal abilities. Close on her heels is Miz Liza Jane, Ali’s grandmother-like guardian angel. An elder in the close-knit community, she teaches Ali the power of music, how it can heal, how you can trust it to always be there. Roz White, a comparatively young woman (if you can believe her picture in the program) becomes the elder, becomes the beloved teacher, and won Ali and the audience over with her emotional portrayal.

The men in the cast held up their end of the bizness as well. Desmond Sean Ellington, as Ali’s absent father, at the request of Jersey, came back when her teenage daughter began to get troublesome. Mr. Ellington was well-suited for his role as a saloon on-the-road singer with his smooth moves and cabaret voice. “Knuck” had to be somebody’s real name in Alicia’s early life; it’s too cute to have been invented for the show. But the character Knuck is real enough and becomes Ali’s introduction to love and lust. His songs express his affection for her and his dismay at finding out how young she was. You feel his pain.

Special kudos go to Maya Drake, who plays Ali. Fresh out of high school, she has the shortest bio in the program and the definite look of a young Alicia Keys. Maya tackles this singing, dancing, being a brat, experiencing love for the first time, scared, angry, growing up, young performer with gusto and charm. Even when she’s being a brat, you kinda love her. I predict that this touring experience will season her and give her strength on stage. She has a long career in front of her.

There is a dance ensemble in this production that reflects the freedom and exuberance of street dancing better than any I’ve seen. They move together and then break out in what seems like original, spontaneous moves – then come back together with perfect synchronicity. A major joy with this production is wrapped up in those bodies expressing their passion with energy and imagination. Each one seems to get a moment or two to shine, to sing a few bars as a solo, make a few moves in the spotlight – you can tell they love it.

A complicated set keeps them grounded in that little corner of New York, shifting to the various rooms in the Manhattan Towers, their home base. I couldn’t help but think, It will be a hard set to adapt for eventual regional theatre productions. But you know, they will find a way.

A WOW factor of 8.5!!

WHITE – Written by James Ijames; Directed by Julie Kaye Wolf. Produced by Firehouse Theatre Company (Presented at the John Hand Theatre, 7653 East 1st Place, Denver) through May 3rd. Tickets available at 303-562-3232 or Firehousetheatercompany.com.

If you go into this experience with the mindset that it is basically a Frankenstein story, it may help you understand what happens. In most plays or movies that use creation, novelty, and rebellion as a storyline, you’ll begin to see similarities. Remember EDWARD SCISSORHANDS, BAT BOY, POOR THING, even ROCKY HORROR. There’s an introduction to the creator, then we watch the creation, the initial acceptance, and eventually the rejection of what the “creature” has become. With the query of which of the duo is actually the monster.

James Ijames has tapped into this fascination with the somewhat macabre with his script for WHITE. We meet two fairly normal people with fairly normal goals in life . . . to have their art recognized and to be seen. The creators. The two work together to create a new personality for one – they create the “creature.” At first, it’s fun, feisty, a joint project that pleases them both. But then the creation begins to resent the demands and continued restraints of the “master” and turns on him. Leading to confrontations and open rebellion that leads to . . . . . but that would be giving it away, wouldn’t it??

I have to confess that a lot of the fun of this show is seeing a (somewhat) privileged white male get a wakeup call of epic proportions. Watching the two main characters formulate a third personality between them that suits their mutual purpose is a charm. There’s a normal loving relationship between the character of the painter and his boyfriend, who also have normal loving differences. All of the characters are well-drawn and believable. Sensible people who somehow allow a situation to get out of hand. It’s funny till it’s not.

The cast jumps into the fun with both feet. Andrew Catterall takes on the difficult role of Gus, a man with a bright idea who sees it turned in mush and mayhem. He’s an accomplished painter, with the other characters praising his work, while perhaps not understanding it. His paintings are part of the proverbial “white” of the title. Andrew gives equal expression to his own belief in himself and his idea, the gradual disintegration of his confidence, and the puzzlement of “what went wrong?” Timmy Panintuan, as Gus’s love interest, takes what could have been a sort of throw-away role and makes it into a strong and interesting character. He lets us believe that you can be loving and yet still not approve of what your partner is doing. Maya Ferrario (Jane) is key to Gus’s problem. As a trusted friend, she’s a noted gallery administrator with her own ideas of what the art world needs. It’s not another white man’s art on her walls. Therein lies Gus’s dilemma. While Jane is supportive, she’s also confident and strong in her decisions.

But you have to admit the evening belongs to Kenya Mahoghany Fashaw as the actress hired to be Gus’s “ghost painter.” Hesitant at first but soon caught up in the excitement of the “role,” she embraces her new persona with gusto. Melding from an insecure actress who can’t get a break to an outspoken, feisty woman with a mission, she is a hurricane of energy and attitude. Not one to be trifled with once she adopts her new self, she becomes a tsunami, steamrolling and winning all to her way of thinking.

There are, of course, political overtones to the script. Racial tourism, gender identity, white privilege, the importance of art, class differences – all have reference in this excellent script. But there’s also an almost whimsical quality to watching the underdog “creature” come into her own. We knew it couldn’t last.

A WOW factor of 8.75!!

THE LAST YIDDISH SPEAKER – Written by Deborah Zoe Laufer; Directed by Amy Feinberg. Produced by Theatre Or (Presented at the Mizel Arts and Culture Center’s Pluss Theatre, 350 South Dahlia, Denver) through April 19, 2026. Tickets available at 303-316-6360 or tickets@jccdenver.org.

According to the U.S. Flag Code, it is against the law to fly the flag upside down, UNLESS it is “a signal of dire distress in instances of extreme danger to life or property.” An examination of the back wall of the cabin in which we find the relocated Mary and Paul will find a very subtle reminder that this father and daughter are indeed in “extreme danger.” The wooden backdrop features a barely noticeable upside-down protest. The “Wagners,” as they are now known, are what’s left of a Jewish family in the heart of a new America where this is forbidden.

Following a successful insurrection in 2021, the States has undergone a startling metamorphosis. Not only Jews, but Catholics, Mormons, all people of color or foreign origin, gays, those who are in any way different have either assimilated, assumed a new identity or been killed or deported. 1984 was in full swing by 2029 with Big Brother monitors of social media, reading material, personal communications, lesson plans, and family behavior. It is an existence that grinds on Mary (formerly Sarah – too Jewish a name for those in power) and nearly paralyzes her father with fear. Their only visitor is John, a cornfed farm boy assigned to them as their monitor who has developed feelings beyond fondness for Mary.

The arrival in the middle of the night of a mysterious, mystical woman named Chava throws their carefully constructed way of life out the window. She has arrived from the unknown to teach Sarah Yiddish, so their original way of life and culture are, in some small way, preserved. As she slowly re-awakens Sarah’s Jewishness, she too learns some English and develops an awareness of the danger they live in. They harbor “getaway” bags at the ready, knowing they will be required someday. The precarious situation comes to a head on the night of the high school prom when Mary – now acting as Sarah – can no longer contain her anger.

It’s a script that brings to life the question, “Who will they come for first?” Imagine, if you can, living in a world where your (perhaps married) name brands you as a foreigner. Where you are too old or too infirm to work and care for yourself. Where your children are sickly or weak. Where the religion that has sustained you throughout your life is no longer acceptable. Where there is only one source of world news, one newspaper, one sort of book available to read, and one channel on the TV. In this small theatre in this city in the middle of the country in 2026, thought must be given to the decisions we make day by day as potential outcomes are reflected in this script.

Helping us ponder these questions is a cast that brings it to poignant life in ways that reflect both the practical and the mystical. Chava is a woman who has existed for a millennium, has outlived a multitude of partners in life, but who still finds humor, joy, and calmness in this version of the troubled world. Her impact on Sarah is immediate and meaningful. She is able to produce lit candles with a wink and predict outcomes with a sigh. Dia Kline is a strong, steady presence in the world of chaos. Her level-headed approach to the troubles is akin to been there – done that – don’t worry. Her quietude is a cooling balm on Sarah’s hurt soul.

Kevin Hart has long been one of the best actors Denver has ever produced. While he is a comic genius, it is joyous to see him inhabit a serious role as the father. Paul sees what is happening in the world; his wife left for a protest one day and never came back. He knows what could happen to Sarah. He is so determined to keep her safe that he has given up his job in New York as a city planner and is now working at the more acceptable Walmart. Canada, as a place where she could still attend college, is the goal. He worries, he tries to make her see the light as he sees it, and ultimately, he sees that Sarah has the strength to find a new world. Watching Kevin go through these changes is a master class in transition.

The younger actors are also more than up to the demands of their roles. Maddy Wagner as Mary/Sarah and Solomon Abell as John, her boyfriend, are relative newcomers to Denver theatre. They bring not only youthful energy to their performances, but an understanding of the script that strengthens the story. Maddy captures the anger at having her world turned upside down, at her father for his perceived submission, and her school for allowing a “one point of view” situation. Yet she is still a girl, immersed in her first crush, still tender-hearted. Maddy captures all the nuance, all the angst, as well as the fear and anger. Solomon is like a young Brad Pitt with his “golly gee” mentality and his down-home style. You know darn well they were doing line dancing at that prom! But when push comes to shove, he is there for Sarah (Mary to him), and you love him for it.

This is one that will stick with you for a long time. This is one that you pray will never become reality.

A WOW factor of 9!!

ANGELS IN AMERICA – Written by Tony Kushner; Part I directed by Bernie Cardell; Part II directed by Troy Lakey. Produced by Vintage Theatre Productions (1468 Dayton St, Aurora) through May 10. Tickets available at 303-856-7830 or VintageTheatre.org.

When I first discovered that Vintage intended to do Angels in the smaller of their two theatres, I thought that this story was too big for that small place. But as usual, Bernie and Troy knew what they were doing. The small but magnificent set, designed by Brendan Cochran, built by Biz Schaugaard, Lexi Renfro, and Don Fuller, and painted by Bernie Richard, exactly fits this intimate and personal production as directed by both. This is not a big and blustery production; it is private, even delicate, poignant in the most quiet ways. It is having a secret whispered in your ear. It is curtains blowing in a gentle breeze, hiding the pain of the one standing behind them. It is turning away.

Then it catches you by surprise with an unexpected hearty laugh or a comical response to a difficult question. A breathtakingly tender moment. Juxtaposed against this heartfelt human reality is the comic relief of politics. The utter absurdity of a character like Roy Cohn, who in 2026 could have at least a dozen other names from today’s headlines. He and his ilk cannot be real, can they? Sadly.

The smaller environment allows the audience to sit in the bedrooms, follow the cast into their offices and living rooms, visit their hospital beds, and be more a part of the story than an observer. The length of their storytelling builds affection and concern for what is happening to them. It’s no slam-bam, finished, done, over. It’s more of a “and then this happened” kind of experience. So, yes, the intimacy counts. The directors knew that. The actors embraced it. The audience revels in it.

The length of the play and the intricacies of the script give each actor an optimum time to develop familiarity with their characters. Plural. All of the actors play multiple roles and angels. However, you never lose sight of the storyline or their individual roles in making it come alive. It’s just fun watching Haley Johnson move from being a Rabbi (mustache and all), conducting a levaya to a lookalike Ethel Rosenberg to a distraught Mormon mother.

It is always a joy watching actors you know jump into the skins of a new character. Watching Dakota Hill do anything on stage is always a treat. His Louis, becoming tormented by guilt and uncertainty, moves you to compassion in one moment and makes you want to slap some sense into him the next. A real “to be or not to be” moment or two that he carries off well. Johnathan Underwood continues his long string of “never two alike” characters with his Belize, a caring friend, a no-nonsense, yet practical nurse. Kelly Uhlenhopp succeeds as the advice-giving Bethesda Angel, as well as in roles as a nurse who tends to AIDS patients and a Mormon woman in a diorama. The last role calls upon her to stand for a good five or six moments without moving – a hard thing for anyone to do.

Special notice must be given to Andrew Uhlenhopp for his riveting portrayal of Roy Cohn.  He started his ANGEL connection playing Louis in the original Vintage production. His Roy, which incorporates the sixteen years Andrew has been playing other (kinder) roles and living his own creatively productive life, comes to this performance with a spitting anger, an absurd view of the world, and a selfishness hard to believe.  Can a man truly be that sure of his exalted place in the world that he needs no one, cares for no one?  Kushner would have us believe that.  It’s only in his final hours that his abject loneliness and fear show themselves. 

And then there’s the new kids in town. Three of the lead roles are given to people new to Vintage. Chad Hewitt plays the difficult role of Joe Pitt, raised a Mormon with an antiquated version of morality (remember this is the 80’s), married to a woman who wants more than affection, and fighting his personal attraction to men. Joe is tormented by the lure of political positioning, a tentative first-time relationship with a man, and the needs he can’t meet for his addicted wife. Heartbreak and personal disappointment rock his sense of himself; a hard lesson for one trying so hard to be a moral Mormon.

Casey Board gives us a sterling and heartfelt performance in Prior Walter. His journey into and out of AIDS takes him to despair and back again. He runs the gauntlet of emotions in this episode and takes the whole audience with him. With all of us having gone through the more recent COVID trip (just in case you didn’t live through the 80’s and the AIDS crisis), it is not difficult to respond to his pain, fear, and disappointment in Louis, who abandons him. It is no wonder that Hannah Pitt, Joe’s mother, responds to his dry humor and becomes his caregiver. His final confrontation with Louis becomes a personal triumph for both him and the audience.

Nicole Kaiser as Harper Pitt, Joe’s long-suffering wife, gives a stunning tour de force portrayal of a woman disappointed in her choice of husband; he kisses her on the head and calls her Buddy! That seems to be the extent of his lovemaking. It has led to her dependence on Valium to get her through the day and through hallucinogenic dreams. But slowly, slowly, she comes to see the light of day and works her way back to reality and her own independence. Changes you utterly believe in Nicole’s performance. It will be so much fun to see what these three do next.

There are many ways and many days left to see this icon of a theatrical experience. If you are not attracted by the amazing story being told, by the brilliance of the production, by the warmth of attending a Vintage performance . . . at least honor the place in theatrical history that this script holds. A Pulitzer award and a Tony for Best Play! Even Wikipedia calls it a “timeless and relevant masterpiece.” Does it get any better? I don’t think so.

A WOW factor of 9.50!!