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WAITRESS –  Book by Jessie Nelson; Music and Lyrics by Sara Bareilles; Directed by Lynne Collins; Music Director Susan Draus; Choreographed by Taeler Cyrus.  Produced by the Arvada Center (6901 Wadsworth, Arvada) through October 13.  Tickets available at 720-898-7200 or arvadacenter.org. 

There is some “Kick-Ass Pie” being baked up at the Arvada Center.  Jenna (played by the luminous Anne Terze-Schwarz), a waitress in a small restaurant, finds comfort and fulfillment in baking, as did her mother before her.  They both used the serenity of a warm kitchen and the flour, sugar, and eggs in pie dough to escape the reality of their unhappy, emotionally abusive marriages. 

The audience gets a pretty quick idea of the humor of life in the diner when the other waitresses push Jenna into taking a pregnancy test in “The Negative” and when Jenna’s first visit to her doctor gets her inducted into “Club Knocked Up.”  Jenna’s journey to self-awareness is aided and abetted by her friends in the diner, Becky (an impressive Arielle Crosby making her Denver debut), Dawn (the effervescent Jenna Moll Reyes who performs all over Colorado), and Joe, the owner of the diner, brought to life by Arvada favorite Colin Alexander.  Together they see her through her problems with her selfish husband Earl, her new doctor, and her ambivalence about becoming a new mother.   

The cast features only two “imports” – Juli Biagi who plays Jenna’s mother and dances in the ensemble and Arielle Crosby playing the warm and understanding Becky and expresses her own path through life in the solo “I Didn’t Plan It.”  It’s wonderful to welcome new players to the Denver theatre scene.  Especially when they add so much to the production. 

It is even more wonderful to see a superb cast of local talent take to the boards and rock the walls.  Anne created a poignant, confused, sweet, but determined Jenna that had the whole audience rooting for her.  Her version of “She Used to Be Mine” will break your heart.  A shout out to Jenna Moll Reyes who bounds around the stage like an untrained puppy, even while she is bemoaning her fear of online dating.  What is he going to think “When He Sees Me.” Luckily her first date was with the equally exuberant Bryce Baxter who steals nearly every scene he’s in with his energy and enthusiasm for Dawn.  She needn’t have worried.  Nick Rigg, who in real life is one of the nicest guys you’ll ever meet, had to work hard to convince us of his insecurity and selfishness.  He’s made to say some of the saddest lines ever uttered on stage when he forces Jenna into the impossible promise that she won’t love the baby more than she loves him. The whole audience was mentally shouting “What a jerk!” 

The visits to the doctor’s office become much more than listening to the baby’s heartbeat because of the handsome and charming Dr. Jim, played by the equally handsome and charming Marco Alberto Robinson.  He shows Jenna that there could be a different future for her.  His feisty nurse is given a sharp tongue and a knowing eye by Megan Van De Hey, who always makes the most of every part no matter how big or small.   

An ensemble of singers and dancers – trained by first-time Arvada choreographer, Taeler Cyrus – kept the pace up and supported the story as customers and friends.  As always, Brian Mallgrave’s set is colorful, inventive, and created to move the story along smoothly.   Susan Draus’ work as Music Director and Conductor was evident throughout and kept the juices flowing. Director Lynn Collins sat at the end of my row through the performance with a proud smile on her face. Well deserved pride.

The story behind the story of this script is both heartbreaking and inspiring.  Adrienne Shelly was an up-and-coming actress who wrote the original story for the film, and produced and directed it with a budget of $1.5 million. Right after it was accepted into the Sundance Film Festival, she was accosted in her office by a would-be robber and murdered.  The movie went on to gross over $19 million.  As an homage to Shelly’s work, the original Broadway version of the film-turned-musical had a mostly all-woman administration and crew, a tradition that has continued through each future production – including this one. 

There are a couple of scenes in this script that might be a little embarrassing or scary for the youngsters in the family.  Forewarn them that it is only a play or take them to see ONCE UPON A MATTRESS later in the season.  They will love it! 

A WOW factor of 8.75! 

A CHORUS LINE – This show closed the day after I saw it. Too late to write a review to encourage readers to run out and get a ticket. So rather than a review, this is a love letter to Phamaly: 

Dear Friends in Phamaly: 

How extraordinarily proud you must be of your magnificent accomplishment in producing and performing CHORUS LINE.  Audience reaction and media coverage have reinforced your personal recognition of what a truly incredible event you have pulled off.  I’m only sorry that I couldn’t have gotten to see it earlier in the run so I could have returned a second time. 

The audience got a tiny glimpse of what the whole evening was going to be like with the incredible staging of the opening number which highlighted every player.  Jari Majewski Price as the inventive choreographer managed to turn the spotlight on everyone for one brief shining moment.  Casey Myers’ unbelievable tap dance from a wheelchair in “I Can Do That” blew off the ceiling and startled everyone to tears. Those who were expecting a traditional “At the Ballet” were amazed by the work of Teri Westerman Wagner who shaped the dance to fit Laurice Quinn as Sheila, Lily Blessing as Bebe, and Katelyn Kendrick as Maggie into a beautiful homage to the children who persevere and the teachers who inspire.  Juliet Villa’s voice warmed the night as she felt “Nothing” and expressed “What (She) Did for Love.”  Her voice is like pink velvet, quietly taking over the room, leaving no emotion unturned.  Sofie Henry and Phillip Lomeo had everyone laughing as they demonstrated how Sofie could not “Sing.”  Annie Sand was a saucy Val who managed to change the numbers in “Dance: Ten; Looks: Three.”  As the Dance Captain Larry, River Hetzel did their job with a steadfast calmness, yet with a tenderness toward the dancers and an unwavering respect for their boss. Trenton Schindele was the whip-cracking Zach, the man tasked to pick the final eight dancers. The story of Cassie was well told and beautifully danced by Jessica Swanson.  But the world stopped turning for the ten minutes of the final number when the whole company donned spangles and created a giant X formation for “One.” 

The whole evening was transcendental.  An incredibly moving experience.  But I should not have been surprised.  Phamaly has been amazing and moving people for a long time now.  I went to sleep last night thinking about all the beautiful memories I have from your shows.  I’ll never forget the spectacular Lucy as Winifred in ONCE UPON A MATTRESS.  I worked backstage for that show and remember her being laid low by muscle spasms an hour before the show, patiently waiting them out, and then getting up and putting on her costume and performing as if nothing had happened.  I’ll never forget a blind Lion in THE WIZARD OF OZ having the nerve to jump off a four-foot-high rock while singing “If I Were King of the Forest.”  The bravery it took to do that for the first time in rehearsal – it moves me to tears to even think of it.  The vulnerability and determination of Regan as Dulcinea in MAN OF LA MANCHA crawling to her wheelchair after having been beaten.  Everyone in the audience was perched on the edge of their seats, ready to jump to her aid, silently urging her “You can do it,” and exulting when she made it on her own. 

The longer I write, the more the memories pour in.  The crazy lady who played the raucous Miss Hannigan in your ANNIE and the touching rendition of “Something Was Missing” by Leonard Barrett as Daddy Warbucks.  The incredible Tevye that came out of Mark Dissett and his lovely wife who was guided on stage by her daughters.  Danny Traylor and Mark’s work in ELEPHANT MAN was a never-to-be-forgotten experience.  Leonard’s Beast and Jenny’s Belle was how I introduced my grandson to theatre and he’s never forgotten it.  The scarves falling out of the ceiling in JOSEPH – tough little Barbara in SPITFIRE GRILL – the impish Emma Maxwell as Puck – DIVINERS – THE FOREIGNER and on and on and on. 

And I hope it goes on and on and on.  Oh, I have to share one other memory with you.  A hundred years ago, I used to be a grant writer for Phamaly.  Back in the day when there was one granting department for the State of Colorado, we were allowed to sit quietly in the room while the adjudicators reviewed your grant.  As they discussed the merits of Phamaly and what we had requested money for, one of the proudest moments of my life came when one of the panelists asked the question, “Can we give this organization MORE than they have asked for?”  You ask for so little – you give so much.  God bless you all. 

THE SCHOOL OF ROCK – Book by Jullian Fellowes; Music by Andrew Lloyd Webber; Lyrics by Glenn Slater; Directed by Andrew Lloyd Webber; Music Directed by Alec Steinhorn; Choreographed by Samantha Piel.  Produced by Miners Alley Playhouse (1100 Miners Alley, Golden) through September 15.  Tickets available at 303-935-3044 or minersalley.com. 

If ever there was a musical written for both real children and adult children, this is it.  Who among us has not wanted to “Stick It To The Man” or wished they could tell someone in their lives “If Only You Would Listen.”  Even to equate a small success in your life or business to “You’re In The Band.”  There were a large number of young people in a recent audience who could be seen playing the air guitar and head bobbing along with their parents.  It’s a joyful recognition of childhood dreams that are never too late. 

Dewey Finn (played on this night by highly qualified understudy Aaron Szindler) is a failed musician desperately needing money.  An opportunity presents itself for him to assume the identity of his housemate and become a faux substitute teacher in a high-end private high school full of stuffy rules and bored teachers. Needless to say, the inventive Dewey by listening, ignoring the tendency to overlook the potential in kids, and sharing what he loves, ends up teaching the joy of music to his borrowed class. Along the way, he teaches self-confidence, determination, and how to advocate for themselves.   

The nine child actors in this cast have resumes in shows that match those of their adult cast mates.  One can only imagine the impact they will have on Denver theatre as they move into their teen years and beyond.  What an amazing experience for them to perform in a full-blown hardcore rock ‘n’ roll musical like this.  We had Beckham Hall on the keyboards, Peyton Moore on the bass guitar, Liam Dodge kept the beat on the drums, shy Emmalyn Garces with a little encouragement became the lead singer and Christopher Gawlikowski rocked out on the lead guitar.  To include everyone in the class in the band, Dewey assigned each a job.  Meika Qutub with her clipboard and Chairwoman of the Board attitude became the band manager.  Evie Sickbert and Adella Weldon with their Janet Jackson moves were the backup singers.  Radley Wright designed their costumes and moaned about not having enough sequins.  Right in front of your eyes, the bored little cell phone game-players they were had become an excited successful band!  Stick to the Man!! 

Ably supported by the adults in the cast who took on the dual roles of the teachers at the Horace Green School and the uninvolved parents.  Katie Jackson played the winsome principal of the high school.  A stickler for a life made up of rules, regulations, and expectations from the parents and herself, Dewey manages to find her softer side with a Stevie Nicks song.  Katie displays an amazing range as she brings an operatic voice to Queen of the Night and a rock persona to the finale.  Dewey is crashing in the basement of his friend, the real Ned Schneebly, played by Matthew Murry who, so far, is known in Denver theatre circles as a quiet reliable gifted performer in straight plays.  He just quietly blew the lid off that reputation by donning leather gear and rocking out with the rest of the crew.  His overbearing girlfriend is given obnoxious life by Courtney Kofoed who is determined to get Dewey out of “her” basement.  If you look in the dictionary for the definition of a “Karen,” you’ll see her picture. 

Enough cannot be said about the all-important role of the understudy.  The actor playing Dewey sings – mostly all-out rock ‘n’ roll – 20 of the 31 songs in the show.  That can wreck a voice doing it night after night.  John Hauser, an excellent actor and guitar player, normally sings the role.  But needs to take a break once and awhile to let his vocal chords cool down.  How lucky he and the theatre are that they have the talented Aaron Szindler to step in and go full Jack Black on Crack when that happens.  Aaron sizzles in this role starting as a sloppy, lazy, disillusioned little-too-old rocker.  But by the time the show has progressed to the end, he has become a beloved mentor, a cleaned-up suitor, and a bit of a romantic lead.  That’s what exposure to the kids and the school environment did for him.  A sweet transformation. 

As usual, Miners Alley always presents an excellent tech team with an easily movable set designed by Jonathan Scott-McKean, appropriate school uniforms and teacher-y clothes by Crystal McKenzie, and concert lighting for the show numbers and visibility lighting for the school by Vance McKenzie.  John Hauser, in addition to his duties on the stage, also worked in the background to make the hard-rocking music audible to the audience.  The stage management crew of Lexi Holtzer and Samantha Piel were augmented by Brandon Brown and Keith Phillips to make the movement of set pieces off and on the stage quickly and smoothly.  It all came together beautifully. 

So, parents and grandparents, take your young ones to see this show to see the performances of their peers and to learn what it means to “stick it to the man.”  You’ll love the results.  Really. 

A WOW factor of 8.5!! 

A MANNY FOR US – Written by James P. Hayes; Directed by Maru Garcia.  Produced by Wheat Ridge Theatre Company (5455 West 38^th Avenue, Unit J, Wheat Ridge) through August 11.  Tickets available at 720-244-5204 or Wheatridgetheatre.com. 

How happy I am to report that this lovely little storefront theatre has a hit on their hands with their current show.  Jim Hayes, the playwright, is a board member and occasional actor in Wheat Ridge theatre productions and now shows a proclivity for writing funny, thoughtful, and illustrative scripts.  This is the first one to make it to performance and here’s hoping there are more stacked up on his desk at home that will soon find a voice. 

A MANNY FOR US is both a raunchy and sweetly romantic story of two men who are loving and content in their lives but are beginning to feel the pressures of age.  Peter and David have been together for a long time; their easy familiarity with each other physically and in conversation illustrates this.  They decide to hire a male assistant to help around the house and run errands.  After completing a comic round of interviews, they connect with Travis, a youngish student who has come back home to Denver after a broken romance.  A sort-of grand-parental relationship develops between the men and their manny with humor and understanding being the primary ingredients.  But, of course, this idyllic arrangement is bound to change. 

Hayes’ script holds nothing back to create both the humor and the pathos of these characters and this situation.  The interviews with the rejected applicants (Braden Nash and Elliotte Enoch) are indicative of societal biases but in a very funny way.  The connection with Travis (delightfully played by Nick Galvez) is immediate and sincere because that’s the way he approached the interview.  Peter had been previously married and has a grown caring daughter who shows up to give advice and solace, played by Sina Hirsch. 

While ably supported by these players, this show belongs to Dan Connell as Peter and Clint Heyn as David.  Dan is the methodical, quiet one whose zingers come unexpectedly out of left field.  He has a realistic and loving opinion of his partner that sees through his flamboyance and into his heart.  David is the “queen” of the duo with over-the-top clothing, attitude, and behavior.  For instance, he likes to do yoga on their terrace – in full view of other tenants – in a thong.  With a twist.  He too is robustly loving and comically gifted.  Together they (based on my personal experience) illustrate a loving gay couple’s heart and humor. 

Wheat Ridge’s physical accommodations for both actors and audience leave something to be desired.  They have to work around weight-bearing poles in the middle of their playing space.  For some performances, it’s a real hindrance, but director Maru Garcia chose (for the most part) to ignore them in this production and – voila! – they disappeared in the eyes of the audience.  WRTC is young enough that it is not yet eligible for the saving grace of the SCFD funds that assist so many arts organizations in the district.  So, they are limited financially when it comes to the physical accouterments  – set and costumes – of a production.  But they always come up with clever ways to overcome those problems as well.  Their simple but complete living room set for this show was more than adequate to the requirements of the script.  Even though the apartment was described as being worth $4 million, you could believe that these guys preferred their rather well-worn and comfortable (if somewhat unstable) furniture.  And there’s nearly nothing they can do about the lights that – no matter where you sit – are going to shine in your eyes once and awhile.  But when the play and the players are this good, you ignore all those piddly little things. 

Hurrah for Wheat Ridge!  The team for this show has worked hard and done well.  I sincerely hope the buzz about the show reaches the four corners of Denver and results in full houses for each performance.  They deserve that kind of audience. 

A WOW factor of 8.75!! 

KINKY BOOTS – Book by Harvey Fierstein; Music and Lyrics by Cyndi Lauper; Directed by Jeff Duke; Music Direction by Michael Querio; Choreography by Stephanie Hansen. Produced by Rocky Mountain Repertory Theatre (800 Grand Street, Grand Lake) through August 22. Tickets available at 970-629-3421 or RockyMountainRep.com

Kinky is in the eye of the beholder. While this script has “unusual” aspects, it is basically a story of friendship and acceptance. You change someone’s mind; you change the world.

A struggling shoe manufacturer looking for survival finds a “niche market” through a series of unexpected events. They become convinced that there is a need for female shoes and boots for male drag performers (“The Sex is in the Heels”). While the workers are grateful for the continuation of the work, some have trouble accepting the guidance of Lola, an outspoken drag queen, as a co-worker. Because Lola is wise beyond his years, he teaches them that glitter is a color.

Lola and her band of Angels (backup dancers) enhance the story with spectacular singing and dancing as drag entertainers. While John Harmon Cooper is not the traditional Lola, he knocks it out of the ballpark with his personality and sass. One particularly moving solo was “Hold Me in Your Heart” sung to his estranged father in his nursing home. As the son who inherited the flailing shoe factory, Mitchell Lewis presents a man torn by the demands of his employers and his disgruntled fiancé (Hanna Katz). A more understanding employee soon proves a distraction as played by Luiza Vitucci. The angels and employees of Price Shoes join together for a winning finale with “Raise You Up.” When your glitter rusts, they will raise you up!!

The complicated set calling for both inside and outside of the factory with rolling and rotating conveyor belts, nightclubs, dressing rooms, and a fashion runway was cleverly conceived by Cody Tellis Rutledge and constructed and painted by Joshua Allen and his crew. The difficult costumes were designed by Mary Nye Bennett and constructed by Kim Rollins Dometrovich and her happy band of stitchers.

The Rocky Mountain Rep 2024 season in Grand Lake is amazing and will please audiences for another couple of months. If you can get a weekend away, the short drive to Grand Lake is totally worth it. The other three shows are the charming and familiar MUSIC MAN and the Colorado premiere of the moving COME FROM AWAY about the people who were stranded for a week in Newfoundland when all the planes were grounded after 9/11. Later in September, they celebrate the music of Tony Bennett with a performance of a tribute musical called I LEFT MY HEART.

A WOW factor of 8.75

I HATE HAMLET – Written by Paul Rudnick; Directed by Monica DiBiasio; Choreography by Ethan Vichek. Produced by Durango Arts Repertory Theatre (presented at Durango Arts Center, 802 East 2nd Avenue, Durango) through July 28. Tickets available at 970-259-2606 or info@durangoarts.org.

Every once and awhile, you come across something that really surprises and delights you. A terrific book, a pair of jeans that fit, a great burrito place, an unexpected kindness. But if you live in my world, it’s a company or a production that rises above your anticipation and breathes fresh life into a familiar script.

Such was the case on a recent trip to Durango, when I experienced the delight that is the Durango Arts Repertory Theatre (DART). Their production of I HATE HAMLET was one of the best shows I’ve seen in recent months. It featured two outstanding performances by Jason Lythgoe playing a sexy yet compassionate John Barrymore and Holdon Grace as Andy Rally, a mediocre TV star trying Shakespeare for the first time. Lythgoe is like watching a master class in acting; every gesture, every line delivery, even every silence as he watches the other actors is focused and authentic. He is charged with taking on the sacred responsibility of preparing Andy to tackle his first real live theatre performance in the daunting role of Hamlet.

Andy, in turn, starts as unsure and nervous about this gigantic task but warms under the tutelage of Barrymore. He evolves from a terrified amateur to a more confident amateur. Their growing friendship has exposed Andy to the magic of live theatre and he is forever changed. It is a beautiful thing to behold.

The remaining cast are gracefully perfect for their roles as well. The beautiful Susan Bennett as Andy’s older agent, Lillian, has had an entirely believable dalliance with a younger Barrymore in years past. She exudes nostalgia and is not at all surprised when he returns to woo her again. Shaunibah Morfin becomes the pushy but funny real estate agent (great New York accent) who knows how to take advantage of every opportunity that comes her way. Brian Devine is Gary, Andy’s buddy who is always on the lookout for an opportunity for himself and (sometimes) Andy. As a minor TV producer, he is always working on a great new project, not live theatre which he equates to “algebra on stage.”

The seventh character in this production is the absolutely gorgeous Art Deco set the actors have to play in. Designed by Sienna Widen, a recent graduate with an incredible talent and eye for detail, the red and gold walls create an opulence worthy of a movie star. The costumes by Wendy Ludgewait provide contemporary streetwear and elegant opening night gowns for the ladies and spectacular Hamlet looks for Barrymore and Rally.

If you go anywhere near the Durango/Four Corners area this summer to perhaps take the Durango to Silverton train (look into the bus option for the trip back), take a moment to check out the galleries and theatre activities at the Arts Center. A second theatre group – Merely Players – may also have something playing you would enjoy. Breakfasts at Oscar’s are also not to be missed.

A WOW factor of 9!!

DARKFIELD – Produced by Denver Center for the Performing Arts Off Center and Realscape Productions (presented at the Bird Lot, 2532 Larimer Street, Denver) through September 1.  Tickets available at 303-893-4100 or denvercenter.org. 

A quick overview:  Three large storage containers have been placed on a vacant lot in downtown Rino that have been outfitted with technical equipment that allows participants to experience an “auditory adventure.”  Participants can experience the uncertainty of a SEANCE, the anticipation of a bumpy landing in FLIGHT, or taking part in a coma-induced dream world in COMA.  All in total darkness and experienced through headphones.  Each adventure is approximately 30 minutes long.  While the sensation going into the “theatre” is trepidation and anticipation, the sensation coming out is relief and a sense of “I made it through that.” 

What I thought was going to happen going in: There would be some kind of simulation of a fortune-teller’s room with tables that moved and things that went bump in the night.  Maybe a projected ghostly figure appears or an actor invites confidences.  Deliberately not reading much about it in advance, these anticipations were quickly dispelled by the outward appearance of the containers.  Too long and narrow to contain my imagined gypsy hovel.  The doorkeeper explained that the experience was in total darkness and that claustrophobic people should probably rethink going in.  Then the doors opened and a long narrow table presented itself with padded chairs on both sides.  What have I gotten myself into? 

What happened inside: You move into place and are instructed to place the headphones on.  Once everyone is settled and geared up, the lights go out with a bang.  They aren’t kidding about total darkness.  You might as well keep your eyes shut because you can’t see anything anyway.  A soothing voice comes through the headphones that instructs you to place your hands on the table and don’t take them off as it will break the connection with the spirit.  This mysterious voice moves around you and seems to walk on the table.  I can feel his footsteps behind me and on the table – although how is he doing that without stepping on fingers?  The table is too narrow.  He questions participants and begins to call forth the spirit.  You ponder the possibility of a loved one reaching out to you in spite of yourself.  There are additional unexplained noises as “the spirit” joins us.  Then apparently someone moves their hands from the table and all hell breaks loose.  After what seems like a long time, the doors open and the whispering voices cease.  The blessed outside appears. 

What – upon reflection – happened: This is technical theatre at its best.  A carefully curated experience is created using only darkness and state-of-the-art equipment to create movement, sound, and intensity in a vacuum.  Your own mind creates what is happening in the darkness.  Which probably means the experience will be different for each participant.  It is a relatively harmless maneuvering of your psyche for a short, unusual experience.  I anticipate that the other two events – COMA and FLIGHT – are similar in nature. 

My admiration for the skill it took to create the mechanics of the collected events led to my enjoyment of the experience.  But I can’t in all conscience call this theatre.  Theatre is, to me, the human connection with the audience.  While intimate auditorily, it was like a movie with no screen.  All in your mind – which could be a scary place for some. 

A WOW factor of 8.25!! 

PRIMA’S GUIDE TO FUNERALS – Written by Leonard Madrid; Directed by Yesenia Garcia Herrington.  Produced by Creede Repertory Theater’s Headwaters New Play Program (124 Main Street, Creede) through September 14.  Tickets available at 719-658-2540 or boxoffice@Creederep.com. 

It is obvious that playwright Leonard Madrid treasures and enjoys close familia relationships.  CEBOLLAS (his script that debuted earlier this year at the Denver Center) followed a frantic drive from Albuquerque to Denver by three sisters.  His current play, being performed by Creede Rep follows a daughter’s journey through the grief of losing her mother with the help of two of her cousins.  They were all members of the “young cousins” growing up together in the loving home of their mother and aunt.  While it is hard to witness the grief displayed, the grounded down-to-earth relationship of the prima’s also allows for humor to be a component of the healing. 

The three-person cast tackles the fast-moving dialogue of the script with enthusiasm and an understanding of the secret language of families.  Cultural references, family events and personalities, and the secrets of near siblings growing up together – all play a part in their day-to-day conversations.  Arcie (Savanna Padilla), the daughter, has previously written a Book of Rules for approved behavior within the family.  The Rules apply to her and her prima’s (probably to other family members as well) with the understanding that if everyone lives within the Rules, everything will run smoothly.  No one would get sick; no one would die.  If someone died, it was because someone broke the Rules.  This led Arcie to believe that she had broken a Rule and that was why her mother passed away unexpectedly.  She desperately wants to atone. 

Arcie’s cousins Clara (Katie Rodriguez) and Nando (Julian Ibarra) are equally desperate to disavow her of her fears and help her negotiate a path to acceptance of the inevitability of certain acts.  Clara is an overconfident smart-mouthed sex pot with no holds barred.  One of the Rules is that “Clara is always right.”  Nando is less confident but lovable and in awe of his female counterparts.  He does however discover a secret power he holds over Arcie with comic consequences.   

In addition to the grief Arcie experiences, she is also charged with writing the obituary – an impossible task.  Anyone having gone through the death of a loved one knows that the grief comes to you in waves, knocking you to your knees only to be relieved by comfort or humor.  This script follows that same pattern throughout during the day of the funeral to the final scene which provides an answer to Arcie’s problem in a beautifully staged solution. 

Each actor brings a fully developed character to life.  Director Herrington has helped her cast find the variety of nuanced highs and lows within Madrid’s script.  The design crew – which includes a simple and smoothly successful set designed by Sydney Hagen; the beautiful enhancement of lighting by Jennifer Gonzalez; a supportive sound design that creates the mother’s beloved river by Max Silverman; and sexy clothing for Clara and non-sexy clothing for Arcie chosen by Angelina Herin.  Together they have created a funeral home, churches, forests, and the river; all the spaces and places needed to tell this story. 

Playing in rep with the other shows of Creede Rep’s season (BASKERVILLE, YOUNG FRANKENSTEIN, and THE IMPORTANCE OF BEING EARNEST), PRIMA runs through September 14.  If you have any reason to head south this summer, schedule your trip around a stop in Creede. 

A WOW factor of 9!!

OKLAHOMA – Book and Lyrics by Oscar Hammerstein; Music by Richard Rodgers; Directed by Tracy Salzbrenner; Music Direction by Dean Rees; Choreography by Rene Ruiz and Desiree Goheen.  Produced by Picketwire Players (802 San Juan Drive, La Junta).  Tickets for future shows can be reserved at 719-384-8320 or picketwireplayers.com. 

It’s hard to review a show that only runs one weekend but I wanted you readers to know about a thoroughly enjoyable production I witnessed recently in La Junta put together by the Picketwire Players.  Picketwire Players are celebrating their 56^th year of productions with this classic musical, their 171^st show.   Shortly after forming the group in 1968, they were able to obtain a spacious school building that they have spent time and money on completely refurbishing with comfortable seating and state-of-the-art equipment, as a result of a devoted Board of Directors and following in the community.  This is not a group that fools around with high school level scripts; OKLAHOMA is a huge show and they brought it off, complete with a peddler’s cart, a windmill, and even a surrey with a fringe on the top.  For Pete’s sake, their show before this one was NEXT TO NORMAL.  That one’s no picnic. 

As this is community theatre, there are levels of experience and talent.  But, as in everything, the important aspect is that they are all committed to the project, rehearsed diligently, and completed their commitment.  It’s obvious that they were all having fun and were playing WITH each other as well as TO the audience.  So much fun to watch the cast having so much fun. 

Of special note in this cast would be Emma Bryant who sang Laurie with sweetness, and danced with grace, all the while keeping a twinkle in her eye letting you know she was the smartest girl in the room.  Her partner in crime Ado Annie was given whimsy and humor by Bethany Taullie.  In a first-ever performance, Jonathan Colson gave an admirable turn as Curlie.  In a double-cast role, Darlene Blackford played the role of Aunt Eller with energy and authenticity.  Noah Nunez-Rebel danced his boots off as a smitten Will Parker.  His competition with Cody Rogers as the itinerant peddler Ali Hakem – neither of whom really wanted to get married – was sweetly comical.  Another shining star in this evening was the menacing angry Tom Seaba as Jud Fry.  Not only was Seaba’s Jud the requisite bad guy, he also imbued him with a loneliness and despair that gave his personality reason.  And Jansen Ediger had a laugh that made your teeth hurt ! 

Tracy Salzbrenner as Director at times moved 31 people around on the stage.  A formidable task to say the least.  This was a show that needed a full crowd on the stage for several scenes, but it did seem a little crowded at times.  The set and set pieces were brilliantly imagined and they pulled off a couple of surprises during the action. 

While this one weekend show is over (sorry!), they have two more scheduled before the end of the year:  the melodrammer THE SNEAKY CITIZENS OF SADDLESORE CITY in October and two fun evenings of MASKED SINGERS in December. 

A WOW factor of 8.25!! 

COME FROM AWAY – Book, Music, and Lyrics by Irene Sankoff and David Hein; Directed by Jeff Duke; Music Directed by Michael Querio; Choreographed by Jennifer Lupp. Produced by Rocky Mountain Repertory Theatre (800 Grand Avenue, Grand Lake) through August 22. Tickets available at 970-627-2421 or RockyMountainRep.com. 

This show is a perfect 10! There is nothing you can fault with this production. It is as perfect as a snowflake. If you can only see one show this summer, this is the one to see. COME FROM AWAY is one of those events that will live in your heart long after you have left the theatre and is destined to be described as “classic” in the years to come. It will be done by professional theatres, community groups, and high schools for generations, keeping this story of generosity and humanity alive. 

This production is guided by a team of professionals who care about this material and this story. I have a copy of this script; there is not one stage direction written in it that demands following. The movement of the characters and the method of telling the story is born from the skill of the director. However, the template created by the original production is so perfect that it will be followed as much as possible by future directors. The movement of the cast of twelve will become as sacred a “dance” as the opening and closing numbers of A CHORUS LINE. Mr. Duke and company have infused this production with heart, humor, and humility. You are filled with the desire to be one of those generous sacrificing Newfoundlanders, to be able to do something that noble with your own life. 

The cast moves with the precision of Irish dancers and the joy and ease of a square dance. There are occasional musical numbers that invite true choreography which are powerfully taught and arranged by Jennifer Lupp. However, to tell a story this huge, the meaningful choreography is in getting each member of the cast in the right place at the right time in the right costume with the right prop in their hand or pocket sitting on the right chair. Quickly. The integration of vocal music with instrumental music, all under the baton of Music Director Michael Querio, along with the combination of dance and meaningful movement enhanced by Ms. Lupp, created a body of work that filled each second of the production. There are no scene changes, no reasons to delay. Costume changes are made on stage with the addition of a cap or a jacket, only to be removed thirty seconds later. Set changes are the movement of twelve chairs and four tables on the stage the entire time to become an airplane, a coffee shop, a bar, and everywhere else in Gander and surrounding villages. It all looks deceptively simple. It’s not. 

This cast brings each character – whether a passenger on a plane or a Newfoundlander on the ground – to life if delivering one line or creating an ongoing story. In turn, they become the scared, then bored, then raucous passengers on a grounded plane – as well as the unprepared population on the ground making frantic preparations for the hundreds of stranded passengers. Blink-of-the-eye kind of changes but done with perfect clarity.  

There is Luiza Vitucci who is the female pilot of one of the downed planes “and others” as designated in the cast descriptions. A sweet warm friendship develops between Hannah, a frightened mother who can’t reach her fireman son, played by Tyler Symone, and Beulah, a Newfoundlander, as played by Megan Opalinski. There are the two Kevins (Mitchell Lewis and Esteban Ortiz-Villacorta), a gay couple who discover their differences while grounded. There is Todd Aulwurm and Jennifer Smith as Nick and Diane, a couple who meet on the plane and develop a sweet relationship. Kelly Maur is Bonnie, the woman who worries more about the animals on the planes than the people. Margot Frank is a fledgling journalist who gets caught up in this chaos on her very first assignment. Matt Frye is sent to the store for supplies over and over again. John Harmon Cooper (who plays Lola in KINKY BOOTS the next night – talk about versatility!) plays a Black man who is fearful of going into the house of a Newfoundlander as a guest – until he’s not. Josh Kellman is the Mayor of the town who negotiates for buses and organizes the citizens. Each actor has an “and others” attached to their name because each plays named and unnamed characters throughout the performance. Each has their chance to shine in this fast-moving story and contribute to the overall glow of joy in the entire production. 

A word about the understudies: Seven people in the acting company have lead roles in the other productions being done in Grand Lake this summer (KINKY BOOTS and THE MUSIC MAN) but are not cast in this show. However, they are on standby to step into multiple roles in COME FROM AWAY should the need arise. It is beyond comprehension how they could slide easily into these complicated parts with little rehearsal. God bless their bravery. My hat goes off to them and may the company remain healthy all summer. 

Just as the cast has been honed to perfection, so too the technical aspects of the show are given professional care. The lighting is crucial to the smooth running of the production; Ethan Newman’s design fulfilled the needs of the script and added atmosphere to the proceedings. DJ Pike designed a wonderful set of projections that enhanced the production and kept us both in the air and grounded in beautiful Newfoundland. The set, designed by Cody Tellis Rutledge and constructed under the management of Joshua J. Allen and his crew, while also deceptively simple, gave meaning to each scene by keeping us in nature. The director (Mr. Duke) and the choreographer (Ms. Lupp) coordinated the costumes to allow for quick and easy changes and ease of movement. The sound design by Sarah D. Speck kept the balance between the singers on stage and the musicians in the pit. 

The message of COME FROM AWAY seems to be that we are all humans trying to make the best of every situation in our lives, good and not-so-good. If we can carry that warm feeling the show engenders into our daily lives, we will be better humans for as long as we can keep “Welcome to the Rock” as our mental mantra. 

A WOW factor of 10!