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GREATER TUNA – Written by Jaston Williams, Joe Sears, and Ed Howard; Directed by Brendan T. Cochran. Produced by Bailey Theatre Company and the Lone Rock Foundation (Presented at the Glen Isle Resort, 573 Old Stagecoach Road, Bailey) through July 14. Tickets available at 720-463-1023 or BaileyTheatreCompany.org. 

Did I enjoy watching a recent performance of GREATER TUNA at the Bailey Theatre Company? I did – I did – yes, indeedy, I did. Two accomplished actors from far away Denver came all the way up the hill to little old Bailey, Colorado to recreate their lives in Greater Tuna, Texas. They did – yes, they did. 

The two accomplished actors who took on this trek and this performance are Denver actors Rick Long and Hayes Burton. Between them, they brought to life twenty characters (and a dog). They start off with Thurston Wheelis and Aries Struvie, the two radio hosts who provide up-to-date news about the happenings in their town and never-ending weather reports. From there, they progress to family members of Bumiller family (not a happy bunch), Petey Fisk (the local Humane Association worker who loves all God’s living creatures), and various other residents of Greater Tuna, both funny and dark in character. There is even the possibility of a murder happening right here in their town. In two days time, you get a comprehensive picture of life in rural Texas (or nearly any other state for that matter). 

Both actors bring their A game and their quick change abilities to this performance, donning different jackets, shirts, caps, dresses, and aprons to become different characters. With this fast-moving storyline, it is a work of art to be able to keep all the characters and their relationships with other characters played by the same actor straight. From the audience’s point of view, they make the task look easy and never allow us to lose track of who is whose mother or brother or puppy. 

Bailey Theatre Company is a relatively new group performing in the beautiful green surroundings of the Glen Isle Resort next to a branch of the South Platte River. That alone is worth the 45-minute drive up to Bailey which also boasts of multiple dining options to enhance your journey west to enjoy attending a performance. And it’s COOLER up there – take a sweater!! 

A starter theatre, they make good use of their acting space in a cabin designated as the dining hall. Utilizing only four chairs, two tables, and a radio, they are able to move easily between scenes with the speed that adds to the humor. Again, it is not hard for the audience to follow them from the radio station to a family living room and the streets of GT. The whole thing moves so quickly that you don’t even miss props and additional furniture until you’re midway through the first act. 

It’s a lot of fun – it is – yes, sir – it’s a good time. Get on up there, you hear! 

A WOW factor of 8.25

HIGH SCHOOL MUSICAL – Written by David Simpatico; Music and Lyrics by multiple artists; Directed and Choreographed by Carrie Colton; Music Direction by Jalyn Courtenay Webb.  Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through September 8.  Tickets available at 970-744-3747 or ColoradoCandlelight.com. 

Went to see HIGH SCHOOL MUSICAL and came home exhausted.  Like I had been in a Zumba class – not just watched young people dancing their collective booties off.  They make this cheer-leading hip-hopping Broadway dance style performing look so easy – but you know it’s not. 

Candlelight is to be congratulated for finding age-appropriate young performers to take part in HIGH SCHOOL MUSICAL.  Seventeen of the young dancers are either in college now or recently graduated; twelve are making their Candlelight debut and one of the leads is still in high school.  But they dance as though they have been on stage for generations. Collectively, their choreography is tight, they never lose their focus, and their enthusiasm is catching.  

A Romeo and Juliet tale about warring “families” who are determined to keep two young lovers apart, this script also borrows from GREASE, A CHORUS LINE, and several episodes of GLEE. The families in this case are the various status groups at East High School – the brainiacs (who want Gabriella in their math competition), the jocks (who want Troy on their basketball team), the theatre kids (the domain of Sharpay and Ryan) and the skater dudes.  The mood goes from “Stick to the Status Quo” (keep everything the way it’s always been) to “We’re All in this Together” (after being taught by Gabby and Troy that you can be more than what you’ve been). Probably just a little too simplistic for most real-life high schools, but it works well on stage. 

Taking on both the direction and choreography of a piece this energetic is a herculean task.  Carrie Colton was up to the job and seems to have imbued her cast with her enthusiasm for the music and the message of acceptance the script promotes.  As a teacher at Metro State and the Artistic Director at Rocky Mountain Theatre for Kids, her expertise at turning students into professionals got a workout with this show.  But it worked.  The footwork in “Get’cha Head in the Game” with basketballs flying in every direction and eight dancers dribbling in unison was a wonder to behold.  Many of the songs are relatively simple melodies, but some – as in “I Can’t Take My Eyes Off of You” (no, not the Frankie Valli version!) – had complicated harmonies that Thomas Beeker as Troy and Andrea Comacho as Gabriella totally nailed. 

The young lovers were played by Thomas and Andrea with complete sincerity and warmth.  They knew who they were and what they wanted and couldn’t understand why everyone else was getting so angry all the time.  The antagonists – Sharpay as performed by Delany Marie and her brother Ryan as played by Curtis Lemieux – were too funny together to be taken seriously by the audience.  But on stage, they were dead serious. 

The ensemble cast featured some terrific dancers and gave everyone a full character and a reason to speak.   It’s nice to see the dialogue passed around amongst various members of the cast – giving everyone a chance to shine.  Olivia Wilson was featured as the composer of the play they are rehearsing and fighting for parts.  She did a nice turn as the girl who gets bullied by the theatre kids and then stands her ground when her work is accepted and praised. Owen Whitham makes the most of his part as Zeke, a basketball player with a passion for baking and a crush on Sharpay.  And Laila Aniyah does a good job of creating laughs with her role as Jackie Scott, the radio announcer for the high school radio station. 

The adults in the cast are played by Damon Guerrasio as Coach Bolton of the basketball team and Samantha Jo Staggs as Ms. Darbus, the director of the theatre club.  Instead of being the voice of reason for their students, they further the competition between the groups and have to be taught themselves that acceptance and cooperation can change everything.  You don’t have to WIN to not lose. 

This friendly family performance is sure to be a hit with your teens and young adults who grew up on a diet of Zac Efron and Vanessa Hudgens and will rejoice at hearing the music again and seeing the movie acted out on stage. 

A WOW factor of 8.5!! 

LEGALLY BLONDE – Book by Heather Hach ; Music and Lyrics by Laurence O’Keefe and Nell Benjamin; Directed and Choreographed by Piper Lindsay Arpan; Music Direction by Mary Dailey. Produced by Parker Arts and Sasquatch Productions (Presented at the Parker Arts Center, 20000 Pike Peaks Avenue, Parker) through July 21. Tickets available at 303-805-6800 or parker.tickets-center.com. 

MORIARTY – Written by Ken Ludwig; Directed by J. Blanchard.  produced by Theatre Silco (460 Blue River Parkway, Silverthorne) through July 7.  Tickets available at 970-513-9386 or The Silco.org. 

Five actors take the stage, and the fun begins.  Two are more or less constant playing the roles of Sherlock Holmes and Dr Watson but the other three are in a constant swirl of changing costumes, changing accents, changing characters, even changing into animals right in front of your eyes.  I tried to keep track of how many people moved off and on the stage to aid in telling this story and lost count at 29 because I was laughing so hard. 

Ken Ludwig loves to do this to his actors – entice them into taking on A (supposedly single) role in a script and then slamming them over the head with a frenzy of motion and fast-paced dialogue.  Let’s, however, make it very clear that with this cast there was no confusion as to who was who and why they appeared on stage at the time they arrived.  Each character – whether there for only a few lines or making multiple appearances and becoming crucial to the story – was clearly and completely drawn.  And each actor was having serious fun in their playground. 

Kiernan Danaan’s Sherlock was in turns stuffy, pompous, and child-like in his slightly goofy and completely puzzled attraction to Irene Adler, an American actress.  His energy propels much of the story forward in his determination to solve the mystery. His final scene expressing profound grief and incredible relief is a gift to the audience. 
  

His partner in crime Christopher Joel Onken as Dr. Watson keeps the story on track and moving forward.  He is charming, much more tolerant than Holmes, and witty.  He is a good friend and keeps Holmes grounded and human. 

Patrick Halley and Ben Griffin are whirling dervishes of activity playing villains, serving maids, constables, too many pop-up characters to count.  Patrick makes a delightfully evil title character, just on the edge of smarmy and devilishly handsome.  Ben’s bloodhound brought the show to a stop as he went sniffing up into the audience on the hunt. 

Laura Cable as the lone woman in the ensemble holds her own, switching from a sweet Southern accent to a straight up Cockney for other parts. She is sure-footed in her portrayal of the various women in the story and breathtakingly luminous as Irene Adler. It’s no wonder that Sherlock became so suddenly smitten. 

As an ensemble, this group takes the prize. Within the choreography of getting to the right place on the stage in the right costume with the right prop in your hand and the right words coming out of your mouth, they have no parallel. Which means, of course, that the tech side of the show had to work like clockwork as well. The Sound Design by Garrett Gagnon greatly enhanced the action and mood of the show, adding drama to foggy London and menace to a nearby waterfall. Coordinated by Nicole Harrison, the bits and pieces of costume that were worn in each new scene clearly established who the actor had become and added realism to each new character. The lighting design by Nita Mendoza created the mood of a flirtatious afternoon or a dreary London back alley with equal reality. The simple but comprehensive set designed by Jon Young allowed the action to flow seamlessly from one scene to another without slowing down the action. Not a simple task but well thought out. 

A show like this doesn’t work the way this one did without backstage help. So, kudos to Stage Manager Brendan Cullen and the unnamed dressers, furniture movers, prop holders, light and sound operators, and sweat wipers who enhanced the show with their helping hands. 

While the story was clearly told with a wink of the eye at the silliness of it all, the joy of this show is in watching the actors have so much fun. None of that would have happened without the clear-eyed and sure-handed direction of Josh Blanchard. He knew what he wanted the show to look like and what the audience should experience and guided his actors to achieve it. Not a beat was missed – not a potential laugh overlooked – not a misstep anywhere. I hope you give yourself the opportunity to drive over the hill to Silverthorne to see this wonder. 

A WOW factor of 9!! 

POTUS – OR BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM ALIVE – Written by Selina Fillinger; Directed by Kate Gleason.  Produced by Thunder River Theatre Company (67 Promenade, Carbondale) through June 30.  Tickets available at 970-963-8200 or thunderrivertheatre.com.  

It’s not often you find yourself laughing out loud just reading a script. But such was the case when I read this hysterical new play last year. I couldn’t wait for someone to get the rights to do it and knew I would drive anywhere in the state to see it. The first Colorado performance is now taking place in the wonderful little Thunder River Theatre in Carbondale, ten miles south of Glenwood Springs. So, yes, I did hie myself up the mountain one Sunday afternoon to partake of this stunningly funny 95% riotous comedy/5% message. 

 

You understand by the title that this is basically a scenario about the women who are behind the President of the United States. Not necessarily the current president or the immediate past president – but an amalgamation of perhaps the last seven or so presidents. No political affiliation is mentioned; no first names of staff members or wives are similar to people living or dead with the same jobs; no animals were harmed in the making of this performance. It is bold, profane, raunchy, not suitable for children, and includes discussions of various sex acts with cold, clinical reasoning. You’ll love it!!  

The seven women trying to keep POTUS alive politically because of his careless thoughtless disrespectful comments about women in front of a delegation are in order of importance: His chief of staff (China Kwan); His press secretary (Jenna Moll Reyes); His secretary (Missy Moore); His mistress (Sonya Meyer); His sister (Toddy Walters); A journalist who covers the White House (Jasmine Jackson); and his wife (Janae Burris). The timeline encompasses one frantic day from a breakfast meeting with the delegation from Bahrain through the day of frantic covering up finally to an evening reception for the FML (don’t ask!). The setting is an anteroom outside the President’s office.  

Their collective efforts to keep the President’s verbal faux pas and dubious health issues under cover start out slightly shocking and go downhill from there. This is a true ensemble performance, in spite of the fact that logically there should have been rabid competition between some of the members of the group. Both a girlfriend and a wife working together to literally save their man’s ass?? Would that happen? A journalist looking for a leak and the press secretary trying to stop a leak?? Where’s the common ground there? But it all makes some sort of crazy logic when you see it played out.   

Each and every woman brought her A game and her best work to the stage. China as the tough as nails chief of staff with the “everything’s under control” mantra sports a mannish haircut in an effort to fit into the male dominated world in which she has chosen to work. Her on-the-spot solutions would probably succeed if she could control the actions of everyone else. Too many of them are a little beyond control. Jenna as the Press Secretary never forgets what the last thing that happened is going to look like to the world outside . . . . should it get that far. And does the best she can to make sure it doesn’t, including lying through her teeth. Jasmine the journalist has fought hard to win her seat in the Briefing Room, and I’ll be darned if she’s going to let some upstart male rookie shove her aside just because she’s a new Mom and needs to constantly pump her milk for her unseen baby.   

The surprise arrival of Sonya playing the President’s latest dalliance with her cheerleader looks and blue lips (from sipping on blue slushies) creates a whole new level of chaos to the proceedings. Yet she’s usually the most pragmatic and level-headed one of the bunch. Then we have Janae, the President’s wife with her oversized clogs and power suit, protecting her image and trying to keep her cool. Toddy as the President’s sister has just been given a pardon (kind of) by her brother and gotten out of prison. She was there for selling drugs and resumes her old business as soon as she hits the door of the White House. Her description of a bottle of hallucinogenic pills as only Tums leads to one of the funniest bits of the whole she-bang. (see what I did there?)  

Missy Moore, in a showstopping role as the President’s secretary, starts the fun early on with her power stances and determination to be the BEST secretary she can be by protecting the door of the Oval Office. But we also see her insecure side when she misinterprets some information leading her to think she is about to be fired. Then she accidentally ingests some of the Sister’s “Tums” and turns into a raving loose cannon while slowly disrobing and wandering around with blood on her hands. This is a master class in comic timing and wide-eyed wonder as only Missy can perform it.  

No slamming doors in this farcical jaunt, but, once it gets rolling, this becomes a frenetic energetic rollicking descent into chaos. But when the dust finally begins to clear and the endgame is in sight, we discover that this group really has rallied around the dumbass they are trying to keep alive. The woman power and herd mentality triumphs once again as they end this day and get ready for the next. 

Now look, I know that Carbondale is a nice three-hour trip up into the mountains. Would you drive that far to see a show? Maybe not. But maybe you have a trip to the mountains planned during the next couple of weeks as part of your weekend summer activities. Carbondale is just minutes outside Glenwood Springs if you are going up for a soak in the pools or a leisurely drive through the canyon. If so, I want to call your attention to this hilarious production and encourage you to check out what will probably be a new theatre for most Denverites. It is worth the drive.  

A WOW factor of 9.5!! 

RIPCORD – Written by David Lindsay-Abaire; Directed by Adam Stepan and Gavin H. White.  Produced by Springs Ensemble Theatre (Presented at the Fifty-Niner Speakeasy, 2409 West Colorado Avenue, Colorado Springs) through June 23.  Tickets available at 719-357-3080 or SpringsEnsembleTheatre.org. 

I have the greatest admiration for theatre groups who take on big projects with limited resources but through creativity and determination pull it off.  Such is the case of SET who operate out of a tiny space in an old speakeasy behind a storefront in the Old Town part of the Springs.  Their stage looks to be about 20 feet square.  It is, however, an efficiently outfitted theatre space with a competent and dedicated crew bringing theatre to life for Colorado Springs patrons. 

They took on RIPCORD, a delightful comedy that would task any group wishing to take it on.  It requires multiple set changes and complicated special effects to tell its story.  One sentence synopsis:  Two elderly women in an assisted living setting are fighting for the coveted bed by the window.  Don’t laugh – they are dead serious.  Or so it seems.  But there is a little more complicated war going on under all the jokes and weird set-ups.  They have placed a secret bet between them, the winner of which gets the coveted bed.  One must scare the other before her roommate makes her mad.  A proverbial ODD COUPLE scenario that encompasses a new setting and new ages. 

But leave it up to the playwright to pull you along by the nose creating wilder and wilder efforts by both of them to scare or anger the other to the point of the absurd.  The staff at the facility and the families of both participants get drug into the doings and soon you’re asking yourself, “What’s next?”  But through all the jokes and laughter, family secrets come oozing out and the developments become a little more serious and revealing.  Some of the most powerful scenes are when there are just quiet conversations between two people that tell the story underneath the story.   

The two contentious “old” ladies are played by the seasoned and experienced actresses Melissa Hoffman as the gloomy dour Abby and Barbara Summerville as the determinedly upbeat Marilynne.  They are a great match in opposing styles and temperament.  You have the feeling that, once they get through this rough spot, they will probably end up as good friends.  Maybe not roommates, but friends nevertheless.  Their pranks against each other are original and complicated, much to the delight of the audience.  And the subtext for each is quietly revealed and beautifully portrayed by both. 

The medical technician Scotty who brings them their pills and befriends both of them is given delightful life by Nate Woodroof.  He is entirely believable as a novice thespian and a doting health aide.  Cody Van Hooser gives a touching performance as a voice out of Abby’s past that causes a cataclysmic change in her life. Completing the cast are Marilynne’s daughter (Autumn Schindler) and son-in-law (Patrick Rogers) who become embroiled in their mother’s efforts to scare Abby.  

Even with the limited playing space SET enjoys, they used it and their talent very well to create an enjoyable evening for their patrons. This is the little theatre to watch in Colorado Springs. 

A WOW factor of 8!! 

THE LIGHTNING THIEF – Music and Lyrics by Rob Rokicki; Book by Joe Tracz; Directed and Choreographed by Nick Sugar; Music Direction by Andrew Fischer. Produced by the Aurora Fox Arts Center (9900 East Colfax Avenue, Aurora) through June 23. Tickets available at 303-739-1970 or AuroraFox.org. 

Based on the popular Percy Jackson Young Adult series of books by Rick Riordan, this is definitely a family friendly production. Sitting in an audience of twenty-somethings during a recent performance, it was obvious that they had grown up with these books and these characters doing these adventurous things. For someone not familiar with the stories, it’s a sort of complicated plot involving a young man who knows he is different but doesn’t know why. Finally, his mother confesses that he is a demigod – half human (from his beloved mother) and half God (from his father who he has never met). As soon as he discovers this, his life is changed forever. He is accused of having stolen Zeus’ lightning bolt, he becomes friends with other demigods, he is accosted by a minotaur, he is warned of betrayal by an oracle, and off on a quest to clear his name and return the lightning.  

You can begin to see how this jumble of Greek mythology and magic would make a good story. That’s exactly how the whole thing started. Rick Riordan had a son that because of his ADHD and anxiety felt isolated and “different” – just exactly what a preteen kid doesn’t want to feel. So, he started telling his son about the Greek gods as bedtime stories. When he ran out of ancient stories to tell, he started making up a story about a boy who was a demigod who just happened to be the same age as his son. And Percy was born. And grew like Topsy into a series about 30 books deep. 

In this musical version, Percy (Chase Ralston) is helped by his friends, Grover (Sean Johnson), Annabeth (Antigone Biddle) Clarisse (Jamie Molina) and Luke (Nick Rogers). They are all in the same boat as far as parents are concerned, but the friends have known of their origins for a long time and are able to guide Percy through the whole discovery process and aid him toward understanding. It’s one of those “friends for life” situations – like Harry, Hermione and Ron. The young actors telling this story bring enthusiasm and energy to their parts – in some cases, jumping from one character or monster to another. 

The adults in the mix include Faith Angelise Goins-Simmons as Percy’s mother (and the Oracle) and the very funny Brian Watson as almost all the other characters including a centaur. He’s a graduate of the Monty Python Ministry of Silly Walks and plays half a horse with pride and dignity. He also jumps into the role of the Hawaiian-shirted beach bum Poseidon who ends up being Percy’s errant father. 

The tech crew for this production deserves a separate round of applause for their work on creating the special effects for the show. Especially impressive was the round of puppets of all sizes and characters who became part of the story. From an aggressive little squirrel who pointed the way for the group to the threatening and truly scary Minotaur. One particular character changed from a badly behaved woman on a field trip to a bat-like creature with wings and the head of a mouse right in front of our eyes. The evening was ripe with mythical characters jumping out of the scenery unexpectedly. So, congratulations to Brandon Phillip Case, Casey Burnham, Adena Rice, Wesley Schwarz, Olivia Kong, Amelia Mindlin-Leitner and Colby Bleicher for all their hard work on making the magic come alive. 

Want to get your kids excited about live theatre? This would be an excellent way to do it. A story they are familiar with, characters both scary and silly, music that’s easy to follow, kids their own age as the actors, and adults acting funny. What more could you ask for?? 

A WOW factor of 8.5! 

SWEENEY TODD – Music and Lyrics by Stephen Sondheim; Book by Hugh Wheeler; Directed, Music Directed, and Choreographed by Tanner Kelly.  Produced by Stagedoor Theatre Company (25797 Conifer Road, Conifer) through June 30.  Tickets available at 303-838-0809 or StageDoorTheatre.org. 

Well, I knew this would be good, but it surpassed even my expectations.  Why did I know it would be good?  First of all, start at the top.  Tanner Kelly has fast become one of my favorite directors.  He takes a creative approach to each new project, infusing it with his own imagination.  His production of ONCE, also for Conifer’s StageDoor Company, was one of my top five best shows of 2023.  Now he brings that same critical eye to SWEENEY TODD to ask, “Can we make this familiar story fresh and original?”  And he just did. 

Spoiler alerts will pop up throughout this discussion.  But no one who isn’t familiar with SWEENEY will be reading it – so it’s OK.  Tanner starts the show with a kind of zombie parade.  A dead-eyed slow-moving cortege from the cast quietly enters the stage area from all directions and moves the set pieces off the stage, clearing it to make room for the large opening number.  As they are retelling the story after it has already happened, Sweeney’s victims return periodically as ghostly presences to do stagehand work and move the story along. 

The fun starts when Sweeney arrives in London on his vengeful mission and discovers Mrs. Lovett’s Pie Shop in his old neighborhood.  Cooper Kaminsky slides into the role of Sweeney as tho putting on a well worn pair of boots.  Their Sweeney has a realistic sense of humor and a steadfast determination to right the wrong done to him by Judge Turpin.  Cooper allows Sweeney to have a little fun and respond to Mrs. Lovett’s self-deprecating digs at her own “worst pies in London” and later when she schemes to make her pies a little more meaty.  Their reaction (or non-reaction) to her flirting and of plans for their future range between mild amusement and outright dismissal. But they never lose sight of his own vengeful goals for coming back to London of finding his wife and daughter. Nothing gets in the way of that. 

Jessica Sotwick was born to play Mrs. Lovett. Her wicked sense of humor and lush body creates a character who knows what she wants, had little chance of getting it until this man came along, and isn’t afraid to use everything she’s got to make him stay. Jessica’s ability to give new meaning to many of her lines and add her own little appropriate ad libs and physical gestures to move the story along and solidify her relationships with the other characters adds charm to her portrayal of a desperate woman. Yet when her plot begins to unfold, she can sing “Nothing’s gonna harm you” to the gullible Tobias; then turn on a dime and announce, “the kid’s got to be next [in the oven], he knows too much.” Her failure to reveal the truth about Sweeney’s wife proves to be her undoing. But, Lordie, what fun to watch her mind at work every moment she’s on stage. 

Sean Davis’ strong but sweet singing voice as that gullible Tobias created a charming naive character played with great innocence and neediness. The over-confident and arrogant Pirelli is given tall life by Silas Vasquez. The talented Isabelle Duran is literally unrecognizable as the broken Beggar Woman. The dastardly Aaron Paschall and Nicholas Marshall were equally fine as the smarmy villains, Judge Turpin and Beadle Bamford. You could almost see them salivate waiting to get their hands on the innocent Joanna. The young lovers, Joanna and Anthony (played by Savannah Vidovatti and Brandon Metoyer) meld their voices in nearly perfect harmony while scheming to free her from the clutches of the Judge.  

This is a script that calls for an inventive stage design to accommodate all its requirements. These technical demands also require a steadfast commitment from the actors that have to go down the chute under the barber’s chair. Sliding into the darkness after you’ve been “killed” and trusting that there’s a soft spot to land and a helping hand to get you on your feet requires an undying trust in your fellow cast and crew members. This cast achieved surprise and perfection with each murder. Congratulations, victims! 

The other technical aspects of the show were also well conceived and carried out. The costumes by Jennifer Middleton were spot on and well-tailored. The lighting design by Jon Weeks contributed to the gloominess of their inner lives and the sunshine of the London streets. Periodically red laser lights flashed across the scene to create an added sense of chaos. And congratulations to Dean Arniotes and Biz Schaugaard for designing a set that not only looks good, but also answers all the questions posed by this script. 

I know you’ve seen SWEENEY several times already and there’s a lot of good theatre in Colorado this month, but if there’s any way possible to fit this excellent production into your schedule, you won’t be sorry. You’ll leave the theatre with “wasn’t that good!” and “Did you see . . . ‘s” on your lips. Maestro Sondheim would be proud of this production! 

A WOW factor of 9!! 

THE HOMBRES – Written by Tony Meneses; Directed by Dana Hart Wright. Produced by Vintage Theatre (1468 Dayton St, Aurora) through July 7. Tickets available at 303-856-7830 or vintagetheatre.org. 

Now what would you expect from a production entitled THE HOMBRES. A little mustache twirling – a little leering at girls – a lot of machismo. Sorry to disappoint! THE HOMBRES is a thoughtful, well-articulated discourse on how men grow, if given the opportunity. Playwright Tony Meneses revealed in a recent interview that most of his earlier plays had to do with female characters and situations (as in GUADALUPE IN THE GUEST ROOM and THE WOMEN OF PADILLA). He took on the challenge of writing a play about male friendship with an all male cast as a personal test. He also wanted to challenge the stereotype of Hispanic men raised in machismo by putting them to the test. 

He does this using the device of a gentle gay yoga instructor catching the attention of construction workers on a nearby building. The oldest of the men see the women from the yoga classes leaving the building looking revitalized and happy. Since his wife has asked him to leave their house because of his rough temper, he is intrigued by this transformation. But the shame of doing something as girly as yoga holds him back. His co-workers find out what he’s been doing behind their backs and confront both he and the instructor.  

But what gives this story of male “bonding” its charm is two things. One – the nature of the instructor. He is a genuinely good person and seriously interested in helping his first construction worker client. To the point of breaking the rules of his contract to do so. And two, as portrayed by newcomer Conrad Mata, as an audience member, you never doubt his motives and you trust his good heart and intentions. It’s easy to believe that Conrad just traded his street clothes for a costume and came into the theatre to act out his life. It’s that authentic. This is a young man with both acting and dancing chops; I can’t wait to see what he does next. 

A long time actor from Su Teatro, Joaquin Liebert’s age and rough edges also lend authenticity to the role of Hector who wants desperately to get back with his wife. The scene where the two meet for the first time and circle each other mentally trying to figure out what each wants from the other is a delight in understatement. To watch their friendship grow is to watch the crumbling of walls. 

Brandon Lopez and Brandon Billings bring the pot to a boil, letting their old prejudices guide the way for far too long as the younger workers Pedro and Beto. Fearful that somehow their manhood is jeopardized by their friend’s actions, they take a hard stance. But the good will and understanding of Julian along with the guidance of Hector leads to an unexpected happy ending. The play could have ended quite respectfully one or two minutes before it did. But playwright Meneses found a way of adding a coda to the whole experience that expanded the delight of the evening. 

Michael Gurshtein plays Miles, another lost soul trying to make a friend and find his place in a troubled world. While his place in the scheme of things is not as clearly defined as the other roles, he plays a man unsure of himself and struggling to find himself who also falls under the gentle guidance of Julian.

Ladies and gentlemen of the jury, this is actually the kind of theatre that can change minds. It gives you a peek into human nature at its best, that racism cuts both ways even when it doesn’t have to, and with patience and humor, it is possible to overcome your fears. This is one not to miss. 

A WOW factor of 9!!  

Written by Erika Dickerson-Despanza; Directed by Jada Suzanne Dixon. Produced by Curious Theatre Company (1080 Acoma Street, Denver) through June 15. Tickets available at 303-623-0524 or boxoffice@curioustheatre.org. 

Three generations of one family of strong-willed women share a house and a situation. This is dramatically illustrated by the cascading walls of empty water bottles and tick marks on the wall counting off the days they have survived without clean water. They cook with and drink from bottled water; they bathe in, eliminate into, and clean with the “colored water” of the title. They have coping mechanisms for everything but the anger. 

Sheryl McCallum as Big Ma, the matriarch of the family, displays the resignation of living a long life of injustice and the acceptance of being unable to make changes. She has a gentility that rings true and is too often thrown into the unwilling role of mediator.  

Her two daughters Marion (a dynamic Alex Campbell) and Ainee (a ferocious Kristina Fountaine) have very different attitudes toward the neglect of their political community to help them. Water filters are promised; changes are always “coming,” yet there are no solutions, and more tick marks are added to the wall. A recovering addict dependent on her family, Ainee’s anger boils over into outright rebellion in the form of becoming a test case for a class action suit. She is unaware that this unwanted action could call attention to her a long-held secret of her sister Marion. Marion is caught between providing for her family or becoming a whistle-blower.  

The two younger members of the family are played by Daja McLeod (Reesee) and Sade Houston (Plum), the helpless victims of bad decisions of those charged with providing their safety. The five women embrace the reality of their family life by laughing when they can, fighting when there is reason, forgiving when they must, and loving when it can’t be helped. Plum is fighting cancer caused by her exposure to the tainted water while Reesee, so disappointed by her reality, has retreated to the mystical beliefs of the ancestors. 

The spectacular set – designed by Tina Anderson and built by the well-trained workers at the DU Department of Technical Theatre is a recycled miracle. Walls are created by strings of empty water bottles beautifully lit in blues by Light Designer Emily Maddox. It almost gives the illusion of living inside an iceberg. “Water, water everywhere – but not a drop to drink.” The four rooms of the shared house – including living room, kitchen, the young girl’s bedroom and a bathroom – fit the limited space and gives the appropriate one-step-above-shabby appearance of a struggling middle-class family with one working member. 

A hard unsolved lesson is illustrated by this story. The political maneuvering around the disgraceful way the Flint Water Crisis was handled by the local and state government is given a real face with this production. The neglect at the top of the “trickle down” has created unsolvable disastrous results for this family – a scenario re-enacted in hundreds of Flint households. 

A WOW factor of 8.75!!