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FDR’S VERY HAPPY HOUR – Written by Regan Linton; Directed by M. Graham Smith. Produced by High Hard Heat/Dominick Balletta (Presented by The Actors Theatre of Louisville at the Studio Loft Theatre, Denver Center for the Performing Arts, Denver) through November 1. Tickets available at ArtsComplex.com.

How pleasant to welcome Regan Linton back to a production in Denver. It’s been a minute or two since she worked with the Buntport Theatre crew on THE MENAGERIST in 2025. This piece, written and performed by Regan, is an homage to the undaunted optimism of Mr. Roosevelt himself. In the hidden theatre space above the Ellie, Regan extols the virtues of Roosevelt in the first person, becoming his revealed role as the President with a debilitating disability and an undying faith in the United States.

Pertinent history is explained along with a short demonstration of the leg braces Roosevelt adopted to stand, giving the illusion of normalcy in his daily Presidential duties. All the while, in pain and struggling to maintain the persona of an able person. A powerful portrayal of what it takes. But the majority of time, Regan performs from her own decked-out wheelchair, maneuvering between tables, offering drinks, chatting up the audience, getting conversations going, educating us on the high points of Roosevelt’s terms in office.

She is visited along the way by the ghost of James Madison, the Father of the Constitution, and a sad, mostly silent Smokey the Bear, mourning the lack of stewardship of the National Parks. Both parts were portrayed by Alexandria Wailes to support Roosevelt’s projects and beliefs. The audience is given surprising statistics about the state of affairs for the nation’s park system. Ms. Wailes makes one final appearance as Eleanor Roosevelt herself, FDR’s revered wife. Their conversation revealed a split in their beliefs regarding actions during World War II and their unorthodox marriage.

Billed as an immersive experience, this results in a complete erasure of the fourth wall, with FDR speaking directly to and about audience members. Breaks are taken to encourage conversations between the tables in the belief that many problems of the world could be resolved with one-on-one conversations. Get to know your neighbors. Be a Good Samaritan whenever possible. Make the best of your limited time on Earth. Don’t let anything hold you back, least of all, the need for a wheelchair or sign language. A powerful message in FDR’s world and, even more so, today.

The uncertainty of audience participation occasionally resulted in bumpy transitions between sections of the script. But Regan’s agile mind and comprehensive knowledge of her subject could get the discourse back on track easily. This is a performance that is being launched on a national tour and will get smoother and smoother as it goes. However, part of the charm is in seeing how the actors solve the little problems that arise in real time.

An uplifting reaffirmation of the hope and optimism we must strive for in this decade’s unsteady times.

A WOW factor of 8.5!!

THE TEMPEST – Written by William Shakespeare; Directed by Chris Coleman. Produced by the Denver Center Theatre Company (Presented at the Kilstrom Theatre, DCPA, 13th and Curtis, Denver) through November 1. Tickets available at 303-893-4100 or denvercenter.org.

THE TEMPEST will always have a special place in my heart as it was the first play I saw performed at the Globe Theatre in London. Immediately post-Covid with a limited audience and no groundlings (they were placed on chairs six feet apart), it was still an amazing experience. A bucket list item checked off. Each new version of the script brings back the memory of that lovely afternoon and creates a new memory of this classic work.

This isn’t the first time the lead character, Prospero, has been performed by a woman; it was done previously by Vanessa Redgrave, Helen Mirren, and, more recently, by Alex Kingston in 2023. But as an excuse to bring Jacqueline Antaramian back to the Denver Center, this works.

Jackie’s Prospera is strong without being belligerent; her magic is powerful without being malignant; she is motherly without being outwardly controlling; she moves among the characters who have come into her isolated existence with both grace and control. She is a woman to be reckoned with, yet slowly realizes a way to, not forget the wrongs committed against her, but to graduate to a form of forgiveness. It is a wonder to watch her gentle machinations creating a bond between her daughter Miranda and the shipwrecked Ferdinand – the son of her arch enemy, the King of Naples. Her responses to the only other inhabitants of their lonely island, Caliban and Ariel, show both her disdain and affection. Her realization that perhaps the time of magic has run its course. If memory serves, there has always been a precision, a deliberate softness to Jackie’s voice that seemed character-driven and gave each role a unique presence.

In this outing, she has a supporting cast that is just that. The addition of a lone singer (Sarah Statler) positioned in a vom on a white piano adds a delightful touch of irony in the jazz classics she performs that provide background and comment on the performance. She gives familiar songs new meaning with humor when applied to the business happening on stage. A delightful concept that adds a new modern touch to this over 400-year-old story.

The young lovers are played by Janiah-Camile Francois as Miranda and Alistair Toovey as Ferdinand, with just the right level of discovery and wonder. Two young people were nearly struck dumb by the awesomeness of first love. They are playful in their pleasure and eager to discover what comes next.

The villains of the piece include Rajesh Bose as Antonio, Prospera’s brother, who stole her title as Duke of Milan and negotiated her banishment to the island. He was aided by Timothy McCracken (nearly unrecognizable in an awesome wig), who plays Alonso, the ruling King of Naples. They are joined by Gonzala, a once-trusted friend now confused by this new state of affairs, played by Tamarra Graham. Antonio and Sebastian (Ben Cherry), the King’s brother, have hatched a plot to dispose of Alonso and move Sebastian onto the throne.

Shakespeare never forgets the common folk who made up the bulk of his audience and their desire to laugh as well as applaud the heroes. He added the comic relief of two not-drowned escapees from the shipwreck: Trinculo and Stephano, whose principal delight is in finding the ship’s stash of liquor untouched. Sean Scrutchins and Rob Nagle bring delight as drunken sailors. Their confusion over where they are and why they are there is only compounded by finding Caliban, an ugly, deformed, mistreated inhabitant of the island, whom they promptly introduce to the pleasures of alcoholic bliss. Moses Vallarama manages to make Caliban both pathetic and powerful in his desire to bring Prospera down and win Miranda for himself. Expanding the theme of magic, the character of Ariel is given flighty life by Erika Soto in a birdlike performance that often seems to lift her in the air. She had been imprisoned in a tree, but set free, only to be again held hostage for her freedom to carry out Prospera’s magical wishes. Yes, it’s a convoluted plot, only to be made clear by this talented cast of storytellers.

The story is greatly enhanced by the absolutely gorgeous costumes by master designer Kevin Copenhaver. Regular attendees at the Denver Center have grown used to expecting magnificent visual representation of characters from the pen of Mr. Copenhaver, but he has outdone himself on this set of garments. The magnificent clothing worn by Prospera, the stately uniforms of the royalty from the boat, even the commoners and sailors are well represented. Caliban’s grubby garb adds to his place on the island. However, two pieces stand out: The incredibly beautiful “magic” cape of Prospera that seems to have a fluid life of its own, and the colorful bird-like costume of Ariel with its sleeves of feathers.

The production is further complemented by the seemingly simple but effective outdoor environment designed by Chika Shimizu; the lighting design by Charles MacLeod that enhanced the opening shipwreck and the sunlight of the island; the vibrancy of the sound design by Lindsay Jones who added the movement of the ocean in both turmoil and gentle waves. The originality of Mr. Coleman’s vision for the script added new components and clarity to the story.

They may not be outdoors or have groundlings standing in judgement, but I’m sure that Shakespeare gave his heavenly blessing to this production.

A WOW factor of 8.75!!

DRAG QUEEN MAGIC – Written by Ian August; Directed by M. Graham Smith. Produced by Local Theatre Company (Presented at the Dairy Arts Center, 2590 Walnut, Boulder and Mizel Arts and Culture Center, 350 South Dahlia, Denver) through November 1. Tickets available at localtheatreco.org.

DRAG QUEEN MAGIC is not exactly about a Queen with a magic wand. It’s not a Queen on stage performing lip sync. It’s not a Queen pulling a rabbit out of a hat. It’s about a hard-working Queen working kid parties and musical gigs, getting thrown into a Groundhog Day situation on her way to the next performance all because she tried to help someone. And it’s an Uproarious, Outrageously hysterical mind-blowing performance by Steven Burge and his two cohorts in crime, Cicely Galm and Mary Quinn. With a little bit of Cinderella thrown in for good measure.

Nancy (Cicely) has had a fight with her jerky boyfriend (Mary Quinn in a backwards hat). She has nowhere to go and doesn’t know what to do. She bumps into Letta Celebrate (Steven) in full Queen gear at the bus stop, and the fun begins. With the tiniest of beginnings, the situation spirals into utter and absolute chaos as multiple “helpful” solutions are explored, only to prove unhelpful. The bench at the bus stop becomes their jumping-off point for each possible scenario as the newest potential outcome becomes another dud. Despite attempts by Letta to pull herself out of this chaos, her kind heart and nurturing spirit keep her trying to the end.

You have to understand how talented these three are. Mary Quinn, in addition to the vacant (in every sense of the word) boyfriend, plays Everyone Else – which includes a plethora of characters with only a change of costume. Her versatility is amazing; her ability to handle whatever strange thing is going on with appropriate grimaces and ad-libs is phenomenal. She has an elastic face and a facile body language that transmits character immediately. She walks on the stage in new gear, and you know immediately the caricature of character she has moved into.

Mary’s partner in crime, Cicely Galm, is equally ready for this journey. Her ability to keep a straight face (most of the time), considering all this foolishness going on around her, and contribute to the silliness in an innocent and charming manner dazzles. Her “poor little girl” persona, amazed by the good fortune of finding a fairy godmother when she needed one, is off the charts.

Then throw in Steven Burge, who expands his real-life charm, joy, and dry humor to fit Letta’s voluptuous body and joie de vivre. Starting as only mildly concerned about Nancy, he becomes more involved as the circumstances escalate, revealing Nancy’s true naivete. Affection grows and concern mounts. Then the true magic happens. Fairy godmothers do exist. Especially when we laugh loudly. This role took such incredible moxie to make it real, sweet, and funny all at the same time. Mr. Burge, you represented for Queens the world over. Good on you!!

A simple set designed by Maya Linke did all it should have done to keep this fast-paced piece rolling along. Susan Rahmsdorff-Terry must have had fun tricking Letta out in her unbelievable costume and supplying the quick-change tricks for Everyone Else. The director, M. Graham Smith, understood the need for speed, the beauty of quiet moments, and how to make this chaotic comic creation work. Ian August’s website suggests that this is his 19th play. I think we need to see more of this gifted playwright’s works in future seasons.

You can always count on Local Theatre Company to make you laugh, pause, or ponder with their productions. This one does all three.

A WOW factor of 9!!

GOOD NIGHT, OSCAR – Written by Doug Wright; Directed by Warren Sherrill. Produced by Miners Alley Performing Arts Center (1100 Miners Alley, Golden) through November 8th. Tickets available at 303-935-3044 or Minersalley.com.

What is a rhapsody? “An effusively enthusiastic or ecstatic expression of feeling.” This also described the exhausted excitement of audiences leaving the Miners Alley Theatre after witnessing the triumphant achievement of David Nehls and friends in performing GOOD NIGHT, OSCAR. A backstage story that explores the pressure of performing and the unrelenting need to overcome that pressure.

Oscar Levant (David Nehls) is a gifted pianist and composer in the midcentury years, appearing in hit MGM musicals and composing movie scores. He became a colleague of George Gershwin during their time together in Hollywood, which led to a friendly competition over their musical achievements. By the time of the events of this script, Gershwin had passed away in 1937 at the age of 38 from a massive brain tumor. But Gershwin (Matthew Combs) remained a mental competitor and stimulus, continually prodding Levant to do better, to do more.

Released under shady circumstances from the rehab facility he was in for his addiction to prescription drugs, Levant prepared to appear as a guest on the late-night Jack Parr (Drew Horowitz) show. Accompanied by a reluctant male nurse (Jozeph Mykaels) and bolstered by his wife June (Lisa DeCaro), he is berated by NBC executive Bob Sarnoff (Matthew Murry) to avoid certain topics. Goaded on stage by Parr, he, of course, steps into the trap and falls back on the crude, offhand, shocking humor he was known for. But a final act of bravery and hope redeems him.

You wouldn’t think an evening that revolved around a short interview on a talk show could generate so much tension. But the high stakes for this appearance grow and grow. The repartee is sharp; the music is stunning; the situation is replete with drama. Everyone in this situation has an “I Want,” but they are hard to come by in this scenario.

Mathew Murry, as the cynical arrogant head of NBC, has his own agenda and is furious that Oscar flew in under the radar. Matthew’s slicked back hair and debonair appearance is perfect. But he is belittling, hateful, and slightly terrified of what Oscar might do on the air. It’s gratifying to know that his personal life went downhill shortly after this time and he ended up a broken man. As June Levant, Oscar’s wife, Lisa DeCaro wears both her halo and boxing gloves. She’s ready to take on anyone, say anything to protect her man. But she’s still unsure if she’s doing more harm than good. Her matronly, almost Midwestern, demeanor hides the heart of a tigress where Oscar is concerned.

Levant’s nemesis and good friend, George Gershwin, is given a debonair and polished portrayal by Matthew Combs. His sparkly, heavenly tuxedo is a startling method to show his power over the inner life of Levant. In a most loving way, he goads and challenges Oscar the most by his sheer invisibility. Only Oscar can feel the weight of Gershwin on his back. But Drew Horwitz as Jack Parr brings a heavy second load with his sly compliments, his constant looking at his watch creating invisible timelines, his insistence on Oscar playing the piano as a finale, knowing his hesitancy. Cal Meakins brings humor to the green room as Sarnoff’s showrunner. He’s caught up in a no-win” One Man, Two Guv’s” sort of situation, unable to please either one. Jozeph Mykaels is the only totally sensible, down-to-earth, genuinely caring person in the room is Alvin, the nurse who has been tasked by the hospital with keeping Oscar on track and back on time. Caught in a dangerous (for him with the probability of him losing his job) situation, he too is faced with nearly impossible choices to make. But he remains relatively calm and focused on his patient when all around him are losing their minds. Joseph’s position as “eye of the storm” is a welcome break in this maelstrom of emotions.

But this is David’s show – front and center. He owns the stage from the moment he is delivered on the set by car from the rehab facility. He hides his fear and unsteadiness under a facade of humor, offhand cutting remarks, and cajoling to get what he wants (usually a pill or two). He is afraid of losing his place in his family, his celebrity status, the love of his wife, but, most of all, his ability to perform on the piano. His final bow to Gershwin is a riveting performance with the chaotic tempos, exhausting chord patterns, grandiose sweeps of music typical of Gershwin at his best and played rhapsodically by Nehls.

Jonathan Scott-McKean has been attached to Miners Alley longer than anyone can remember. He may have been born in the green room, for all we know. But he continually designs and builds some of the most thoughtful, creative sets with wildly different needs for Miners Alley, with an army of builders behind him. The other usual technicians at Miners include Crystal McKenzie on costume, Vance McKenzie on lights, John Hauser on sound, and Sammy Piel on props. Len Matheo and Warren Sherrill have created a strong and consistent crew for Miners Alley.

A WOW factor of 8.75!!

THE WEIR – Written by Conor McPherson; Directed by Candace Orrino.  Produced by Boulder Ensemble Theatre Company (presented at the Savoy Event Center, 2700 Arapahoe St, Denver) through October 4 and (presented at the Dairy Center for the Arts, 2590 Walnut Street, Boulder) from October 8 through November 1.  Tickets available at BETC.org. 

“Three Irishmen walked into a bar . . . ” A good way to start a story about stories.  In this case, two of the men and Brendan (Ryan Omar Stack), the younger man who owns the bar, are settled residents of the rural area around Sligo in Northwestern Ireland.  The fourth Irishman is Finbar (Colin Martin), a local who has abandoned his home in this steeped-in-tradition place, returning only to broker real estate deals.  He brings with him a young woman (Colleen Lee) who has recently purchased a house in the area.  The local men – all bachelors – are interested in meeting Valerie, the newcomer, and welcome her into their midst by regaling her with the “auld” stories of the land.  

They inform her of the wonder of her having purchased a house built on a “fairy road” which can be either bad or good, depending on how the fairies feel about her.  She is amused but not put off by the story.  The difficulties of living in such a formidable environment are discussed, along with local legends and the disdain the locals feel for the tourists (“Germans”) who invade the Knock (a very small mountain located nearby) in the summer.

  While Finbar tried to fit in amongst these men, his clothes and more posh way of speaking make him defensive.  Jack (Michael Morgan) is a local mechanic who acknowledges his own loneliness with a story of lost love.  Jim (Mark Collins) is Jack’s assistant in the car garage, an equally lonely man who lives with and cares for his elderly Mum.  Brendan, the younger bar owner, came into his place in the village by way of an inheritance of money and land which he guards well against his greedy sisters.  These men represent the old Ireland, those that stayed home, prospering or not, but rooted in the land of their fathers.  Finbar has the guilt of one who abandoned the old ways and exhibits discomfort and the need to over-compensate when required to return for business. 

Valerie walks the fine line between the two place settings.  Having come from Dublin, she could be a “foreigner” to them, except for the fact that she has “come back” to a place visited as a happily married woman with a daughter to find calm after a traumatic somewhat spooky incident of her own.  The telling of this story brings her personal comfort and whole-hearted acceptance by the men.  By the end of the evening, a small family has been formed that will support each other. 

Tina Anderson’s design of an Irish pub is straight out of the picture books – warm, welcoming, efficient, traditional with a never-ending supply of “small glasses.”  Samantha Piel added her gift of dressing a set with authentic furnishings to complete the look.  Sean Mallary and Rowan Livengood added the light and sound to make the inside and outside environments authentic.  Special kudos must go to Jeffrey Parker for his excellent dialect training.  These actors could enter any pub in the real Sligo and pass as a local. 

BETC as a company is thriving by virtue of their choices of scripts to present, but also because of their reliance and faith in some of the finest actors and directors in Colorado.  Candace Orrino, who previously directed the moving BETC production of CRY IT OUT, proves once again her tender touch with a small but meaningful story. 

Being well sold out already by the first weekend, try hard to get a ticket quickly.  You won’t be able to later. 

A WOW factor of 9!!