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LES MISERABLES – Music by Claude-Michel Schonberg; Lyrics by Herbert Kretzmer; Co-Directors Cathy Salaymeh and Jalyn Courtenay Webb; Musical Direction by Mason Siders; Choreography by Dallas Padoven.  Produced by Candlelight Dinner Playhouse (4700 Marketplace Drive, Johnstown) through November 15.  Tickets available at 970-744-3747 or info@ColoradoCandlelight.com. 

LES MIZ has always been a little controversial.  You either really don’t like it – “it’s too dark – too gloomy – nobody wins – the music sounds like a funeral.”  Or you love it.  You respond in some deep visceral way to the heartbeats as the prisoners swing their pickaxes. You hear the longing in the constant “I want” songs – “I want freedom” – “I want respect” – “I want him to love me” – I want her to notice me” – “I want a pocket or two to pick.”  From the first time you hear the music and forever after, it can resonate in your soul in a way you don’t understand.  We don’t really know what those students are protesting, but, by God!, we want them to win.  And when they start singing about empty tables, everyone you have ever lost in your personal life comes to sit next to you at one of those tables.  I’m obviously in the second group. 

The familiar traditional settings for this production could have been problematic for a less clever group of playmakers.  Lacking a turntable for the opening prison scene, the directors had the prisoners come down the center aisle of the restaurant part of the building, a highly effective and dramatic entrance.  Changes of location were denoted by movable wall sections and stair units.  A stubborn garden gate unit that refused to stay close has certainly been thoroughly chastised and repaired.  The “barricade” was formidable and well-constructed.  The total picture of the show is one of thoughtful solutions to the demands of multiple settings.  Designed by Casey Kearns; built by Josiah Buhre, Connor Sheets and crew; painted by Joel Adam Chavez and others; Lit by Vance McKenzie; made audible by Steve Stevens; and dressed in costumes designed by Savana Leveille.  These workers are joined by additional hard-working artisans to make the whole production come alive by their skills.  It takes a village. 

But – OMG, you guys!  This cast!!  Full of favorite Candlelight regulars and a gaggle of brand new and talented debut performers.  Let’s start at the top.  This is Jean Valjean’s story, start to finish.  As I knew he would, Patric Case owns this part – from the angry prisoner– to the citizen who remakes his life — to the father of an orphaned girl — to the man who carries a wounded soldier to safety over this shoulder — to the elder who finds peace with his life and rejoins his forbidden love.  Out of the 44 songs in the score (which is close to operatic), he supports 20 of them.  His voice has never been better or used more effectively.  It is his story, and he claims it with grace and confidence.  It’s clear he’s waited a long time for this. 

To create a hero, you need an equally formidable villain. John Sosna filled the bill, returning to Candlelight after six years and bringing an impressive musical resume with him.  His place in the cast is well earned and well filled.  He brings determination, confusion, deviousness, and a personal (but misguided) insight to his role.  You try hard to dislike him but end up feeling sorry for him.  His voice is up to the task of making Javert a worthy opponent to Valjean.  Welcome back, John.

 

The Thenardier’s are the comic relief in this whole spectacle – the shady side of “respectability.” And who better to fill these roles but long-time participants in Candlelight’s history.  Jalyn Courtenay Webb has appeared in six other Candlelight productions and co-directs this “little” piece.  Chas Lederer has brought his comic chops to six productions as well and directed a previous show.  These two know how to make people laugh and have fun doing it.  These greedy two-faced purveyors of watered down drinks and shady victuals at their common house bring back-handed joy to the evening.  Watching them abuse their customers and each other takes your mind off the deeper story for a minute or two while filling an important role in the storytelling.  This was natural casting; you had to see it coming!! 

And the women of the show.  Jennasea Pearce comes back to Candlelight to bring her luminous beauty and powerful voice to the role of Fantine, the doomed mother of Cosette.  She maintains her presence no matter what they do to her hair or her soul.  Her young daughter is played on alternate nights by one of three adorable young actresses, but her adult daughter is played by one of the debut actresses, Ella Frasier.  With her wide-eyed wonder look and beautiful voice, you can believe that she falls in love at first sight.  Her rival for the affection of Marius is Madison Bode as Eponine.  She has a slightly whimsical quality to her characterization – a sort of a “What did you expect?  Look who my parents are” attitude.  Until she joins the student rebellion.  Then she turns fierce.  

A mix of regulars (Hugh Butterfield, Alisha Winter Hayes, Eric Heine, Brooklyn Buhre, Jerod Mose, Carter Edward Smith (in a variety of supporting roles), Melissa Foreman, and Chloe Wheeler) are joined by a group of talented singers making a Candlelight debut.  Levi Thompson, Rin Tarsy, Jori Silber, Conor Sheehan, Brandon Moyer, Wyatt Halley, Tyler Cox (as the winsome student Marius who wins the heart of both Eponine, Cosette, and her father), and Zachary Lee Boswell create a whole new pool of singer/dancers to add to the Candlelight family and safeguard the quality of future productions.  The children’s roles are filled on alternate nights with either Tanner Anderson or Noah Noyes as the brave little warrior Gavroche.  Violet Nelson, Georgia Kate Scamehorn, Evelyn Shelton share the roles of the young Cosette and Eponine.  As they work together to tell the story, a powerful cast emerges to thrill the audience. 

If you have never seen this formidable script enacted, here is your chance to see one of the best you’ll ever see.  If you have seen the show before, you will rejoice in the new memories you are making by watching this powerful group of people sing their b**** off doing it again.  Either way . . . .  You need to get to Candlelight. 

A WOW factor of 10!!

TOPDOG/UNDERDOG – Written by Suzan-Lori Parks; Directed by Steven Sapp.  Produced by Curious Theatre Company (Presented at Cleo Parker Robinson Dance’s Historic Shorter AME Building, 119 Park Avenue West, Denver ) through September 20.  Tickets available at 303-623-0524 or boxoffice@CuriousTheatre.org. 

Suzan-Lori is an extraordinary writer. To have such insight into the family dynamics between two brothers makes you wonder what her relationships with her own siblings must have been.  She grew up in a military family, the middle of three children, that were moved from post to post, foreign and domestic throughout her early life.  The back and forth between Lincoln and Booth (Such ironic names for the siblings in the play) ran the gauntlet of need, want, envy, admiration and the companionship of family and a shared past.  But had they not been brothers, they most likely would not have been friends. 

Cajardo Lindsay is universally recognized as one of the most accomplished actors in Denver.  The part of Lincoln used all of the layers he has accumulated over the years.  The depth of his tiredness spoke in every gesture and in the way he collapsed into a chair.  Not just his body, but his heart and soul were tired.  Moving with the grace of a wary panther, under a different set of circumstances, his life could have been so different.  He never had a chance at better circumstances.  In spite of his flash anger, kindness rests deep in his soul. 

Rakeem Lawrence as Booth is newer to Denver, but rapidly cutting a wide swath through the theatre scene in short order.  Both actors were originally seen together in Curious’ earlier production of the award-winning DOWNSTATE.  His Booth character as well called on a complicated inner life and vulnerability he would steadfastly deny if called on it.  Did he really want to follow in the footsteps of his brother through admiration or just as a shortcut – no matter how dangerous – to street success?  How can a man be hot-blooded and cold-blooded at the same time?  Was his competition with his brother to best him or to make him proud?  Rakeem’s ability to inhabit Booth to show the depth of his need, especially in the realm of female acceptance, was both frightening and sad.  His middle name is “Bad Decisions.” 

Another thoughtful set designed by Tina Anderson, dressed by Annette Westerby, gave the Brothers an authentically disgusting place to sleep, plan, and remember.  Wallpaper peeling off the walls, a phone that doesn’t work, a fold down bed, the bathroom down the hall, all provide clues to their economic situation.  Lincoln’s “job” as a namesake President who gets “assassinated” over and over again in a boardwalk arcade allows them only the basics. 

The story of these two is best seen in person with no clues as to what will happen next and how the story continues.  If you want to see excellent portraits of souls in turmoil and their struggles to improve their joint (whether they like it or not) lives, grab a ticket and get over to see the show. 

Performing in Cleo Parker Robinson’s comfortable historic theatre home appears to be working.  This was an appropriate beginning to Curious’ new season.  More to come. 

A personal note:  In a talkback after the show, Carjardo was asked why he had wanted to do this role.  He quietly told of the first time he had seen the show when it was done by Shadow Theatre featuring founder Jeffrey Nickelson and Damion Hoover.  At the time, he was too young to play Booth.  It was touching to see the respect he gave the two first actors to do the roles in Denver.  As a friend of Jeffrey who has since passed to that great theatre in the sky, I was touched by the way one great actor honored the legacy of another great actor.  Thank you, Cajardo. 

A WOW factor of 9!! 

ANASTASIA – Music by Stephen Flaherty; Lyrics by Lynn Ahrens; Book by Terrence McNally; Directed by Tim Kennedy; Choreography by Rachel Lessard; Music Direction by Lee Ann Scherlong.  Produced by Ovation West Theatre Company (Presented at Center Stage, 27608 Fireweed Drive, Evergreen) through September 29, Tickets available at Ovationwest.org or 303-674-4002. 

My first question to Director Tim Kennedy after watching his production of ANASTASIA was, “What made you think you could do this show in this theatre?”  My thought driving to Evergreen was that this was too big a show in scope and demand to be done in the small Center Stage playing space and with the limited financial resources all smaller theatres are feeling right now.  His confidence in his board, his community, his sponsors, and his players never faltered. Not only did he pull off the production, but he also created an unforgettable evening at the theatre for everyone who has the good sense to get an early ticket. 

With 35 people in the cast, they could have been bumping into each other and stumbling over set pieces.  However, this cast was exceedingly well trained in all aspects of production.  Of special note was the choreography that was synchronized and well-constructed.  The steps and patterns had been well-placed on the dancers, and they all looked as though they were having fun performing them, especially the Charleston that opens the second act.  Even the scene changes seemed well-rehearsed, with costumed servants and royalty pitching in to get the necessary work done efficiently.  The clever way they handled the changing direction of the train during the flight to Paris was creative, yet simple.  With all 35 people involved in “moving” the train. 

Also of special note are the magnificent costumes, over 400 of them.  The royalty characters, both Russian and French, were exceedingly well dressed in originally designed, authentic gowns and uniforms.  These represented the outstanding work of Davis Sibley whose design and construction skills are amazing with the finished products lovely to behold.  I hope the Henry judges pay attention to this work for next year’s awards. 

The cast’s fine voices were given equal consideration by Music Director Lee Ann Scherlong with beautiful ensemble work.  The lead characters were given just enough direction to complement the score and the need to tell the story while still allowing individual style to their required songs.  Even as they sang emotional and powerfully meaningful songs as well as numbers full of fun and humor, they were allowed to play just a little bit and show their individual talents.  The whole production was musically strong, even the children. 

With a cast this large, it’s hard to call out everyone who did a good job at storytelling.  But attention must be paid to the work done by Rory Summitt as the unwilling Anastasia or Anya as she was called.  As her character found confidence, she moved into whimsy and a more joyful approach to her new life that was delightful to witness.  She had a moment as she realized she was leaving Russia and probably would never be allowed to return when she asked, “Let me have a moment.”  You could feel the sorrow as she looked back into her homeland for the last time. Her somewhat prickly relationship with her travelling partners so gradually morphed into a comfortable familiarity and with Dmitry (Noah Meaux) into a flirtation.  Noah’s manner and shaky denial of his feelings for her gave him charm.  Together they were like teenagers in love. 

The more mature players were properly jaded, knowledgeable, yet ready for fun.  Especially charming was Arianna Olivarez as the handmaiden to the deposed Dowager Empress Maria (Christy Izmirian).  Her comfort on both sides of her life – the loving, in control guardian of the gate to her liege counterbalanced by her fun-loving Charleston-dancing free soul at the parties – made her real.  The renewal of her relationship with Vlad Popov, Demitry and Anya’s guide to Paris, as played by Stephen Krock, brought charm and joy to their arrival in Paris.  Stephen seemed especially comfortable in his role and fun to watch. Christy portrayed a royalty-to-the-bone deposed duchess with the proper stiffness and disappointment at what her life had become.  Her gradual melting as acceptance came to her brought new life. 

As the “bad” guy, Deputy Commissioner Gleb, Kevin Eksterowicz did a nice job of balancing both sides of his character, the duty-bound official and the man doomed to love from afar.  In a small but well-executed role Randall Parker as Count Ipolitov delighted. Most of the ensemble had lines and duties to carry out for the smooth operation of the production that they performed, sang and danced with precision and character.  This was a cast that found the fun in telling this story. 

A short run, but there’s one more weekend left to get tickets.  You won’t be disappointed. 

A WOW factor of 8.75!! 

THE OUTSIDERS – Book by Adam Rapp; Book and Music Lyrics by Justin Levine; Music by Jonathan Clay and Zach Chance; Directed by Danya Taymor; Choreography by Rick and Jeff Kuperman; Music Direction by Remy Kurs.  Produced by The Araca Group (Presented by the Denver Center for the Performing Arts, Buell Theatre, 14th and Curtis, Denver) through September 27.  Tickets available at 303-893-4100 or DenverCenter.org.

Based on the S.E. Hinton Young Adult novel published in 1967, you wouldn’t expect the story nearly 70 years later to have much relevance today.  But the ongoing battle between the haves and the have-nots resounds with battleground noise even today.  It doesn’t seem to matter where or when the battle is held (in this case, Tulsa, Oklahoma in the 60’s), the lines in the sand remain the same.  The need for power on one side/the desire for calm on the other.  The need to dominate on one side/the resistance to domination on the other.  It filters down to money – possessions – prestige – a pretty girl.

In this case, the Greasers on the poor side of the tracks try to stand up to the Soc’s (for “Socials”), the richer kids on the other side.  But both sides wait until they can get a single member of the other tribe alone and unprotected to “teach them a lesson” or “avenge a perceived wrong.”  Which makes Sue Hinton’s book a fitting continuation to WEST SIDE STORY (1961) and a precursor to FOOTLOOSE (1984).  Adam Rapp’s book for this later musical paints a modern mentality on a familiar story while maintaining the flavor of the era in which it was born. 

I know already that one of my long-lasting memories of THE OUTSIDERS will be the creative way they integrated dance and staging to build the tension and present the street fights.  As a fight sequence started (there were several), they were interrupted by a blackout in which the sounds of the battle continued heard but unseen.  A ten-second flash of light and a freeze frame of the action brought you back into a visual blink – then another blackout as it continued.  This technique left the audience aware of the mayhem progressing without having to watch it play out blow by blow.  A truly brilliant way of conveying the brutality of the fight without imposing it on the audience.  Using the combination of powerful background music (provided by an invisible 8-piece band), intense sound effects (designed by Cody Spencer), and sharp glimpses of the action (by Lighting Designer Brian MacDevitt), and you’ve got a truly heart-pounding war scene.  One fight in Act Two even integrated rain into the powerful scene.

The Denver audience on opening night was blessed with Christian Arredondo (the understudy) as PonyBoy, the narrator and lead Greaser.  Christian is one of the three actors who take the lead role on various nights.  It’s hard to imagine anyone could have done it better.  But each and every member of this hard-working cast is an incredible dynamic dancer, a blissfully talented singer, and an amazing actor.  They work together like a well-tuned machine.  It’s hard to pull any one in particular out of the cast to praise their work because they were all brilliantly integral to the telling of the story.

The score tells the story beautifully with songs that progress the narrative and emphasize the internal battles to find a place in the world and express the characters’ inner lives.  The music is not just decorative; it is an integral part of telling the story and revealing the characters’ personalities.  The only song that has gently risen from the score is Johnny’s advice to his friend PonyBoy to “Stay Gold.”

The dance is startlingly original, powerful, executed with clarity and strength. With a cast of 25 on stage in the bigger numbers, the dancers must move with precision and synchronicity, or someone will get hurt.  They use every part of the stage to express their energy, anger, longing, and despair. 

This is a dark, sad view of the world of these characters, which is hard to observe. Yet the loyalty to their people and the expression of a desire for a better world resonates with today’s watchers, bringing the sentiments home again and again.

Tickets will go fast.  This one is worth it. Get one!

A WOW factor of 9!!

MISERY – Written by William Goldman; Directed by Lynne Collins.  Produced by the Arvada Center Theatre Company (6901 Wadsworth Boulevard, Arvada) through October 11.  Tickets available at 720-898-7200 or Arvada Center.org. 

You enter the theatre and there in front of you on the stage is a full-sized two-story creepy looking house about to fall down.  Don’t wanna go there.  Are you already sorry you came?  But you’re here, you’ve bought a ticket, sit down and “enjoy” the show.  That sense of dread – the feeling that something is going to go terribly wrong does not go away when the whole house revolves and a man is revealed unconscious in a bed.  The inside of the house is nearly as creepy as the outside.  And off the show goes. 

It doesn’t let up in tension until the final moments.  Yes, there are moments of levity, followed by nervous laughter from the audience.  Most of the humor is brought on by the nearly ridiculously wild mood swings of the man’s “nurse” as he recovers from injuries in an auto accident.  The man is Paul Sheldon (possibly a stand-in for Stephen King, noted author on whose book this play is based), noted author of the MISERY series of romance novels.  The nurse is Annie, his #1 fan, who may have had a little something to do with said accident, but, nevertheless, “rescued” him and brought him home with her to heal.  Immobile and helpless, he is dependent on her for pain relief, food, and comfort.  She provides only two out of the three while cajoling him into writing yet another Misery book for her.  Her obsession with Misery and his plans for Misery’s future do not coincide, to say the least.  The tension builds and things get ugly. 

Jacque Wilke as Annie Wilkes (how bizarre!) is a relative newcomer to Colorado theatre but brings an impressive talent to this role.  Her need is poignant; her anger is real; her mood swings are terrifying; her methods of getting what she wants ranges from child-like whining to viciously cruel.  Wilke’s brings a powerful voice to the character, a strength her small demeanor belies.  Let’s just say I wouldn’t want to be asked to walk her to her car in the parking lot.  But I’m sure she is a perfectly nice person in real life.  I’m sure . . . 

Geoffrey Kent, on the other hand, is a familiar face around Denver and an increasingly wide circle of national theatres.  He’s one of these actors who can make reading nursery rhymes interesting.  For the most part, he is confined to his cell – oh, I meant his bed – in this role.  However, the way he makes the pain he is under palpable, his frustration at his need for Annie’s good will, his desperation at retaining his MISERY legacy, the deviousness and brilliance of his plans to free himself of her control – all reflect Geoffrey’s artistry and his command of the character. 

The third character in the evening’s performance is Josh Robinson as the innocent Sheriff Buster who shows up at Annie’s looking for clues of where Paul’s body might be found.  He provides those “almost normal, but behind the words” kind of scenes that add to the anxiety of the audience.  Will he go inside or not?  Will Annie fool him or is he suspicious?  Is he in danger?  Josh’s innocence was both authentic and yet questioning.  Just the right notes to his performance to bring the outside world back into the wacky world of Annie. 

I’ve described the beauty of the spooky house and setting.  Designed by the ever-creative Brian Mallgrave, this is one of the largest sets I’ve ever seen on the Arvada stage. It becomes the fourth character as it rotates from outside to inside, from light to dark.  The dark being enhanced and controlled by the design of Shannon McKinney in creating the passing of time, the condition of the weather outside, and the mood of the people inside.  Jason Ducat’s multifaceted sound design added brilliantly to the world of the production.  In addition to the rainstorms that pounded the building, we also had the oft-used songs of Liberace (Annie’s reading music), random distance TV noises including music from commercials, help coming in the disguise of cars approaching, and more.  A tour de force of how to use sound and light together to bring the authentic world to the stage. 

As there is no Special Effects designer listed in the program, I am left to assume that it was a joint project involving everyone connected to the production.  Let’s just say, you all did a terrific job of making everything work.  You know what I mean. 

A fitting introduction to the creepy season of October and a thrilling production of this difficult script.  Don’t bring the kids!! 

A WOW factor of 9!! 

ON THE ROAD TO CREEDE – Four shows in three days . . . 

The Village of Creede houses one of the most honored professional summer theatre programs in the nation.  Granted it is a drive from Denver – easily four hours – but through some of the most scenic parts of Colorado.  The valley that greets you at Monarch Pass which leads to Fairplay.  Poncha Pass south of Salida that runs west of the Sand Dunes glistening in the sun.  The 17 miles between South Fork and Creede.  You will not regret this drive. 

The Village itself is nestled in the “V” between two guardian mountains that provide shade far into the morning and early in the evening.  A home to under 300 people year-round but providing a welcome landing place for thousands of tourists and theatre lovers in the summer.  Savvy visitors know to make their housing and theatre reservations as soon as the season calendar is up and running. 

There are restaurants in historic buildings, rowdy bars that cater to music lovers, boutique shops, and sporting goods stores for all sports. There are hiking trails that take you to old mining sites and a town that mostly rolls up its streets early in the evening, providing nighttime tranquility. 

But the real reason to be there is for the theatre.  Managed by theatre professionals from all over the country who treasure the available positions for crafts people and actors as summer workers.  A core company forms quickly with people who have worked every summer for years.  A few have even chosen to become year-around residents. 

The season running from early June to mid-September usually includes a couple of musicals, a couple of comedies, late night improv, and shows for kids.  These are peppered with pre-show “preludes” that implement your understanding of what you will see on stage, backstage tours, the opportunity to watch the changeover from one set to another, and post-show talkbacks with the actors and others who have worked on the show you just saw.  A full experience for both the seasoned and novice theatregoer. 

Our weekend in Creede yielded four plays in three days.  The first was WORKING, an homage to working people based on the book by Chicago columnist Studs Terkel.  Originally written in 1977 with music by Stephen Schwartz, the show has been updated several times to include new workers and songs, including two in 2009 by Lin-Manual Miranda.  It celebrates the workday of laborers in songs like “Just a Housewife” and “Brother Truckers.”  Creede went one step further, interviewing people from Creede and integrating monologues about local workers.  

The second show was FULLY COMMITTED, an incredible one-man show whose title embodies not only the character in the play, but the actor involved.  Graham Ward plays a harried reservationist at a ritzy restaurant in New York that has more demanding customers than tables available.  He plays not only the one answering the phone, but the people calling in, the restaurant staff, personal calls by family and friends and others.  Nearly 40 difference characters in total.  A tour de force performance in which the audience never loses track of who he is talking to and why. 

The third was MORIARITY, a Sherlock-Watson spoof by Ken Ludwig which has two actors in the lead roles and three more who portray 24 additional characters among them.  Ludwig pushes the tale of Sir Arthur Conan Doyle hero to comic heights utilizing quick changes, wigs, vocal dynamics, even puppets to tell his story.  We watched Sherlock fall in love, confront his mortal enemy and once again solve the mystery.  A good time was had by all. 

The fourth show was that ode to tweener angst, THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, full of precocious students, each with their own personal obstacle to overcome.  Absent parents, too-present parents, personality quirks, awakening sexual awareness, and on and on.  All within the framework of a do-or-die spelling bee.  Led by a former winner (it seems like the high point of her life) and a school administrator, there is even a “comfort counselor” to assist the kids through losing.  Always funny, this production shone with music and humor. 

Note that the shows run until the middle of September, so you still have time to catch a show or two.  While it was warm this summer, it will be cool by now.  In this day and age when stay-cations and keeping close to home makes sense, two or three days in Creede would be a blessing.

The whole weekend warrants a WOW factor of 9.5!!

TACO TOWN – Written by Luke Sorge; Directed by Len Matheo.  Produced by Miners Alley Playhouse (1100 Miners Alley, Golden) through September 15.  Tickets available at 303-935-3044 or MinersAlley.com.

 

You’ve all seen those plays about backstage hijinks.  About how the leads are all lovey-dovey on stage or in front of a mic but won’t speak to each other backstage.  How jealousies create turmoil and romance can spoil working relationships.  Well, transport that glamorous (joke!) world to “backstage” at a fast-food drive-through taco joint, and you’ll get the picture of where we’re starting in TACO TOWN. 

Let’s start with the Kushner of the bunch.  Daddy bought Dustin into the company and now he’s managing multiple Taco Towns.  But still manages to find his way into a little creative bookkeeping to personally benefit. Yet he “can’t afford” to give his underpaid and overworked employees a raise or medical benefits.  He has seduced one employee and openly flirts with another.  Brett Mack is a convincing heart-breaking charmer. 

His female employees start with Kym, the titular “manager” whose personal life is a mess, about to get messier.  She’s smart enough to figure out that there’s something wonky going on with the bookkeeping, but not quite larcenous enough to work it to her advantage.  Always late, always apologizing, Kym (played by Maya Ferrario) lives under the fear of losing her job.  But offered a way out, she chooses wisely. 

Paola Miranda as Tessa is the street kid – tough, no nonsense, calculating, bold, “roll the dice” kind of woman.  The audience loves her smart mouth, the provocative way she swings her silky hair, the “almost but not quite” way she flirts with men (including cops).  She could be the head of the school district or the chief of police if she wanted it, but here she is – hollering out the drive-through window, creating chaos and then smoothing it out.  She’s the one you want next to you in a dark alley. 

Then there’s Earth Mother Trudy, the pacifier, the “bend over backwards” loyal employee seething inside but hiding it.  She will “cheerfully” tackle the cleanup jobs no one else will do and automatically cleans a table three times when no one has used it yet.  She’s probably watching her neighbor’s kids, baking cupcakes for the school potluck, and mowing the yard before she comes into work.  But push her the wrong way and she will show you her favorite finger. 

The men on the team are equally fed up but semi-helpless in making working conditions better.  Jysten Atom (who is in every show in town this year) as Roddy is the steady rock of the workers.  He’s on time; he understands the dynamics of his fellow workers but likes them all anyway.  He should be managing his own Taco Town store by now.  His frustration causes him to raise the flag of rebellion with enthusiasm. 

And finally, there is Isaac the Timid (played with sweetness by Ethan Hoover).  He harbors a not-so-secret crush on Tessa but can’t match her in boldness.  He will carry her train but, if needed, stand in front of her if bullets start flying.  He appears to have no hidden agenda except to do his job and please Tessa.  Whatever that means. 

Together this crew goes from hardworking taco makers to rebellious, police defying, rabble rousing rebels.  What started the whole thing?  Sorry, can’t remember.  But is it fun to watch it escalate, become misunderstood, create a hostage situation with Dustin tied to a chair and rolled in and out of the walk-in freezer as “negotiations” proceed?  Oh, yes!!  A small event triggers a crescendo of hurt, that grows into a wave of anger, that morphs into an outright tsunami.  Then common sense, reality and fear flows in and everyone takes another look at what they have done.  But, oh, my goodness, what a ride!! 

The production team, as always, under the reliable leadership of Production Manager Jonathan Scott-McKean, creates a believable kitchen and seating area for this adventure, complete with prep areas and a deep fryer.  It was way too clean to be a “real” kitchen, but that Roddy!  He keeps everything neat and tidy.  Designed by Xander Claypool, built and painted by a crew of seven worker bees, dressed and propped by Samantha Piel, it would certainly pass muster by anyone who had worked at Taco Bell.  Crystal McKenzie created worker aprons for everyone and the director, Len Matheo, pitched in on the music and sound effects that made the whole thing come alive.   

A short drive to Golden will land you in TACO TOWN, and you won’t regret it. 

A WOW factor of 8:50!