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CABARET – Book by Joe Masteroff; Music by John Kander; Lyrics by Fred Ebb; Directed and Choreographed by Kelly Van Oosbree; Music Direction by Bonnie Simcox.  Produced by Platte Valley Players (presented at The Armory, 300 Strong Street, Brighton) through Oct 19.  Tickets available at plattevalleyplayers.org. 

Any passionate play-goer worth their salt probably sees this show at least once every few years.  We all know the story of Sally and Cliff, the young lovers; Fraulein Schneider and Herr Schultz, the younger lover; and the puppeteer Emcee pulling the strings.  No point in explaining the story that you already know.  I will barely mention how relevant the story seems this year and this month. 

It remains only to tell you about the cast you will see creating these familiar characters.  Director Kelly Van Oosbree has gained a reputation for putting way-above-average productions together, attracting the best performers, creating tightly synchronized dancing ensembles, devising creative ways of adding to while telling the story, and building a village with people who can’t wait to work with her again.  Every Van Oosbree show is carefully designed with no detail overlooked. 

This is really Sally’s story.  In Abby Kochevar, the director has found a dancer whose every move, with or without music, is a statement in grace and confidence.  Even with Sally’s facade of a devil-may-care showgirl from England in pre-Nazi Germany, you still get flashes of the fear underneath.  An early hint is her admission to Cliff (Tyler Strickland) after she has bulled her way into his flat that she was terrified that he would not let her stay.  Such a poignant tone to her confession of needing to be needed.  As time passes and a sort of love blooms, the audience still detects her insecurity, her fear of the future, and her hesitancy to commit.  At a pivotal point, she must face who she is and what it is she has with Cliff.  As the emcee sings “I Don’t Care Much,” her path to a decision is written across her face as tears roll down her cheeks. 

The same is true of Jeffrey Parker as the Emcee.  Aware but unbothered by the coming troubles.  “What does it have to do with me?”  Being too smart to believe his own declarations, he seeks to solidify his safety by playing the game.  He includes anti-Jewish songs and jokes in his cabaret and becomes the gayest (as in fun-loving) guy on the block.  But still in the slight hesitations that creep into his dialogue, in his forlorn looks out into the audience, we learn that he knows what’s happening.  This doesn’t keep the stunned “What happened?” look off his face when the end comes. 

Juxtaposed against the story of fated love is played a corresponding story of two older people who have found a late-in-life joy with a little schnapps and a little fruit.  Joel Silverman and Jennifer Burnett bring smiles and tears with the predicament of a German citizen depending on government permission for her livelihood loving a Jewish (while also German) shopkeeper.  Jennifer’s rendition of “What Would You Do?” – a most difficult story song – is one of the best I’ve heard.  Joel’s pleading to her breaks his heart and yours. 

The supporting cast of Kit Kat Boys and Girls provide strong backup for the novelty club songs.  Adam Luhrs is a suitably smarmy Ernst; Sarah Kit Farrell is a hoot as a horny and hard-working Fraulein Kost. 

The Armory provides a perfect space for the action with the 15-piece Kit Kat Band on the stage behind a glittery curtain and the area in front of the stage easily becoming a dance floor, Cliff’s humble room, Fraulein Schneider’s flat, and all the other locales required.  The glittering marquee designed by Arvada Center’s Brian Mallgrave creates a false sense of gaiety and class.  The proceedings are greatly enhanced by the lighting design of Mandy Heath augmented by multiple follow spots and a very light fog that moved the whole picture out of reality. The pretty costumes designed by Nicole Harrison are almost too nice for the occasion.  My thought was that Victor, the club owner, must be doing very well to afford such pretty outfits for the dancers. 

It’s only about a 20-minute drive to Brighton.  Lots of great restaurants up and down Bridge Street.  You won’t regret a trip north to see this accomplished cast and beautiful production. 

A WOW factor of 8.75!! 

SHERLOCK HOLMES AND THE ADVENTURE OF THE ELUSIVE EAR – Written by David MacGregor; Directed by Heather Beasley.  Produced by Miners Alley Performing Arts Center (1100 Miners Alley, Golden) through November 10.  Tickets available at 303-935-3044 or minersalley.com. 

Sherlock Holmes has met his match!!  And he loves it.  This latest saga in the Holmes catalog of cases takes place later in his life after he and actress Irene Adler have found each other and are living together on Baker Street, much to the chagrin and embarrassment of Dr. Watson.  But what a delightful threesome they make.  Working together to solve crimes to make enough money to keep the wolves from the door.  Watson puts a great emphasis on finding interesting cases to solve so he can write about them so they can pay the rent.  While Holmes and Adler seem content to just be together and indulge in a little hanky-panky.  

But as fate would have it, good cases seem to fall in their lap and, once again, the game is afoot.  But for this one they don’t even have to leave their delightful flat on Baker Street.  And what a homey place it is in which they live.  The resident set designer Jonathan Scott-McKean and Set Dressing pro Samantha Piel outdid themselves in creating this lovely Victorian habitat complete with the bits and bobs that one picks up on a well-lived and well-traveled life, as well as the signature props from the Holmes history.  It is comfortable, colorful, and charming. 

Vincent Van Gogh comes a-calling asking for help to find the “elusive ear” that he chopped off.  Despite the stories that circulated as to why he would commit such self-destruction, the truth was he yearned to give his lady love a “piece of himself,” but then lost it in the hubbub the act created.  The lady love in question, Marie Chartier, shows up herself but not to help look for the ear.  She has a devious long-term plan regarding Van Gogh’s art, not his heart.  She also has her own personal ax to grind with Holmes but chooses to use a rapier instead of a hatchet.  In a charming twist, the ear is found in the most unexpected place and the truth comes out (somewhat) about the devious Marie.  Along the way, Oscar Wilde also shows up to share a bon mot or two and a little opium with Watson. 

The actors in the company are having so much fun telling this story and invite the audience into the parlor to join in the festivities.  It is a little odd to see your old favorite Holmes behaving as a young man in love, but it also makes him more human and likable, less stuffy than usual.  Christian Ray Robinson finds all the levels of this familiar character and makes them his own.  He may be a new lover, but he is also a serious detector of the facts and analyst of the clues.  Just a little less serious this time around; I very much like this new Holmes.  The reason for the changes is the beautiful and equally talented Irene Adler, played with a whimsical sense of humor and a down-to-earth outlook on life and moralities, even in Victorian days.  Colleen Lee is beautiful, smart, and an excellent swordswoman.  She creates a totally new environment in which the familiar characters of Holmes and Watson live.  Denver favorite Chas Lederer gives a rousing portrayal of Watson, fussy over bills, embarrassed over the behavior of his flat-mates, and bewildered by this turn of affairs. 

The historical figures introduced into the script are given authentic life by John Wittbrodt as a scruffy desperate Van Gogh and Ryan Omar Stack as an outrageous and colorful Wilde.  What a pair of opposites they are!  The evilness herself Marie Chartier is a new character brought to active and devious life by Erika Mori.  One can only hope that she will show up in the continuing adventures of Holmes, as his villains so often do. 

This is not a play that will change the world, but it’s a jolly good way to spend an enjoyable evening laughing with friends on the stage. 

A WOW factor of 8.50!! 

I AM NOT YOUR PERFECT MEXICAN DAUGHTER – Written by Isaac Gomez; Directed by Laura Alcala Baker.  Produced by the Denver Center Theatre Company (Presented in the Kilstrom Theatre, 14^th and Curtis, Denver) through November 3.  Tickets available at 303-893-4100 or Denvercenter.org. 

This production conducts a deep dive into the psyche of a troubled Hispanic teenager who seems to have a lot of life’s tribulations stacked against her much too early.  For instance, the play starts at the funeral of her nearly perfect older sister (by about seven or eight years).  Her personal grief and guilt are overwhelming especially when compounded by a silent father, a critical mother, and the pressures put upon teenagers to “grow up” too fast.  No, she is not perfect, but she is trying to do her best to survive her own life. 

A surprising and unexpected segment of family history is revealed late in the show that offers some explanation for the strained family relationships.  Almost too late to help Julia weather these storms.  From the scenes at the funeral, with the deceased sister weaving in and out of the proceedings, through Julia’s return to school and her friend’s reactions to what has happened to her, to her unwanted Quinceanera, to her first boyfriend, her life bumps along.  After finding unexpected things in her sister’s room, she becomes like the proverbial dog with a bone in trying to figure out who her sister really was.  The woman she uncovers is not the sister she thought she grew up with and it nearly destroys her.  Caring relatives in the homeland teach her unconditional love and provides a positive tipping point in her personal growth. 

The acting in this production by the nearly all-Hispanic cast is outstanding.  Rosa Isabella Salvatierra, while an experienced actress with years of work under her belt, inhabits the teenage Julia with grace and appropriate awkwardness.  Her hesitation at entering a relationship with her Anglo classmate is palpable and authentic.  She is delightfully self-deprecating and realistic about her reluctance to “grow up,” to accept her Mom for who she is, to disagree with her bestie but still love her, and to face that this is a part of her life that she will live through and eventually forgive. 

As parents, her mother, Nicole Betancourt, and father, Alex Alpharaoh, are hard to understand until you learn their own hardship story.  They play both the distant parents and the loving with equal honesty.  Heather Lee Echeverria plays the sister who never really gives up on trying to help Julia from beyond and seems to rejoice in the insights and progress she continues to make.  Her best friends in school are played with sass and over-the-top drama.  Brandon Rivera as Juanga plays a typical high schooler using his gayness for attention while Tanya De Leon is his partner in crime being as outrageous as he is for effect.  The Anglo’s in the cast, John Plumpis as an understanding and supportive teacher for Julia, and Daniel Clark as Conner who introduces Julia to the joys of young love, are also completely authentic in creating the positives in her life. 

As always, the technical aspects of the show are spectacular, using the full capability of the pit under the in-the-round stage with things rising out of the floor and flying in from above.  In one case, the upper part of the staging lowers almost to the ground seeming to literally crush Julia without actually touching her.  A circular stage reminds one of the adage that you can draw circles that keep people in and that can also keep people out.  Julia moves in and out of her own life circles, sometimes closing in but eventually opening to allow her a new place in life. 

A WOW factor of 8.5!! 

STOCKADE – Written by Andrew Rosendorf with Carlyn Aquiline; Directed by Christy Montour-Larson.  Produced by Local Theatre Company (Presented at the Dairy Center, 2590 Walnut Street, Boulder) through October 13.  Tickets available at office@thedairy.org. 

A group of gay WWII veterans have been invited to a weekend reunion by the sister of one of the group who did not make it home.  She had found a satchel of letters he had received from all of them when the service had separated them.  Her intention is to publish them in a biography of her twin brother.  As the script is set in the era of the McCarthy investigations, this is not good news for any of them.  She has no idea what the exposure of their sexuality could do to them – wreck careers, initiate prison sentences as perverts and security risks, destroy marriages, and demolish hopes and dreams. 

The group consists of a closeted rocket scientist; a lesbian communist, a closeted married gay man who works for the government; a potential drag queen and one more pretty far out (of the closet) gay man.  A potpourri of perversity in the eyes of the all-seeing FBI of the day.  Barb, the twin sister to Billy who died under unexplainable circumstances, represents the accepting but unschooled straight population.  She only wants to honor the brother that she loves.  The others loved him too, but their personal fears outweigh their desire to pay homage to their heroic friend.  As those letters reflect their real feelings and desires, they know firsthand the personal danger that exposure could lead to.  One of their number has already spent time in prison because of being found out. 

The cast takes this story to task and brings heartfelt portrayals of this group of people to life.  Their camaraderie and obvious affection for each other, their familiarity with their history, their acknowledgement of the on-going difficulty of the life they are forced to live – all ring true in their personal gift to the playwright.  Yet within this group lurks a traitor and a person who could create chaos for the whole gathering.  Simone St. John takes on a surprising dual role with ease and gives us additional insight into the sweet kind brother she lost.  Alex Gould’s cries from inside his prison cell break your heart.  Lisa Hori-Garcia is a feisty outspoken rebel who must still back away from exposure.  Jacob Sorling sadly plays a man in double jeopardy.  He has both a job and a marriage that he wants to keep.  Rakeem Lawrence is a shy (sort of) would-be drag queen in homage to the likes of Eartha Kitt and Lena Horne.  And Thadd Krueger is a pitiful man caught in a no-win situation until he finds his strength.  He gives us the most powerful three minutes at the end of the play that this viewer has seen in a long time. 

The memories of Billy prove him to be the personal and war hero he was to all his comrades.  He was a mentor, a therapist, understanding, kind, the person you could take your problems to . . . in other words, a true friend to them all. They counted on him and leaned on him. It’s no wonder they revere him and that it’s so hard to give up on the idea of honoring him. 

It seems to be more acceptable and a little easier to live a gay life today. After all, gay men and women have taken notable roles in government, entertainment, and all phases of modern life.  In that respect, the story may seem dated and redundant.  But a conversation with a young person set me straight on the importance of honoring those who came before.  “I didn’t know it was like this.  This play opened my eyes to what people went through so that I could live my open life.”  So even though it delves into a history (hopefully) long gone, it also brings back the specter of what could come again if we don’t keep hold of these hard-fought-for advances. 

A special pat on the back to the unknown person who makes the dramatic final scene so touching night after night.  See the play and you’ll know what I mean. 

A WOW factor of 8.25!! 

DRACULA , A FEMINIST REVENGE FANTASY . . . REALLY – Written by Kate Hamill; Directed by Carolyn Howarth.  Produced by The Arvada Center (6901 Wadsworth Boulevard, Arvada) through November 3^rd.  Tickets available at 720-898-7200 or ArvadaCenter.org. 

Kate Hamill does not let any grass grow under her feet.  In addition to the plays she has in publication, she has at least five or six other projects in various stages of completion.  She continues to act in her own plays and those of other people and is also currently working on a movie script.  Of her considerable catalog featuring original works and adaptations (with a twist) of classic novels, only four (soon to be five with an upcoming November production of LITTLE WOMEN) have been done along the Front Range.  Once you’ve seen a Hamill version of anything, you’re spoiled for any other. 

DRACULA brings a whole new bent to the original Bram Stoker manuscript.  Starting off with the traditional pursuit of feminine victims and subjugation of all to his will, with the arrival of an angry (and pregnant) Mina Harker and a ferocious Doctor Van Helsing, vampire hunter extraordinaire, the pendulum swings.  Watching the forces of evil run smack into a wall of resistance not experienced before brings whoops of support from the female audience members. 

That description, however, makes the whole thing sound deadly serious.  This script and this production walk the tightrope between horror and hilarity.  There is a lot of blood on the floor and all over costumes at the end of the day – but getting there has been a royal hoot.  Director Howarth has caught exactly the right tone of implied danger and sly amusement.  It seems the actors are harboring a chuckle in the back of their throat and saying to themselves, “Isn’t this the goofiest thing we’ve ever done and aren’t we having fun doing it!!”  Watching Dracula (Geoffrey Kent) parading around in his new white suit as though he’s warming up for a runway is too precious.  To watch Dracula’s two female minions (Mel Schaffer and Katrina Stelk) walk around with blood all over their clothes after having “dinner” just makes you groan and laugh at the same time.  It’s so over the top. 

Prentiss Benjamin brings a prestigious ferocity to the usually male character of Dr. Van Helsing.  She is the Sundance Kid, an Easy Rider, Thelma AND Louise, and Mad Max’s Mama all rolled into one.  She and her never-ending supply of silver dust and wooden stakes are not to be discounted as “just a woman.”  Once she arrives, whether he wants to admit it or not, Dracula knows he has met his match.  It’s only a matter of time until one of them turns to dust.  No holds barred in their final match-up. 

Everyone in this cast brings their A game to the party.  Jessica Austgen is a pitiful but hopeful Renfield in her partial strait jacket and her sugar drawings.  Her sarcasm runs rampant, but her longing for acceptance is touching. Jessica was born a sprite, a wisp of light, barely managing connection with the floor at times.  What a joy to watch!   

Annie Barbour and Noelia Antweiler enjoy the ease of old friends with no secrets as Mina and Lucy.  Unfortunately, Lucy’s passionate nature and unfulfilled potential cause her to make choices that lead her down a frightening path.  Noelia exhibits an unusual talent that adds an exciting colorful scene to the usual black and white of the evening.  Lucy is all for fun and pleasure; Mina is serious and growing matronly.  That too takes an exciting turn as she realizes no one else is going to save her; she’s got to do it herself.  Both women excel and move comfortably in the changes of character the roles demand. 

As the two overwhelmed men in the production, Lance Rasmussen is overcome in his role as Jonathan Harker, Mina’s husband and Dracula’s breakfast.  He was not born with the backbone of a vampire hunter and succumbs too easily to have lasted as Mina the Fierce’s husband.  Gareth Saxe (who, may I say, gets better looking with every year that goes by) does his best with the challenge facing him as Dr. George Seward.  As hard as he tries to hang on to the science he depends on, it eventually dissolves with the supernatural happenings for which he can find no explanation.  To watch him finally give in to the mystery he’s living is like watching the world move off its axis. 

As enjoyable as all this work is in the watching, the night belongs to Dracula in the persona of Geoffrey Kent.  Cocky, superior, confident, gruesome, evil but lovable, he’s like a four year old with a new toy.  He never questions that he is indestructible and will ultimately get everything he wants . . . yet takes delighted pleasure when it actually happens.  Then he will turn off the charm and do something so utterly cruel and heinous that you can’t believe it’s the same actor.  No dusty coffins for this Dracula, no gloomy black cloaks and fangs.  He’s like a snowflake in a sunbeam.  No wonder he gets everything he wants.  Almost. 

Such a beautiful environment has been created for all these creepy and righteous characters to play in. Tina Anderson’s glorious curtain draped palace is a wonder to behold and plays against type from the usual Dracula digs.  Clare Henkel’s costumes add to the lightened look of this dark tale with whites (to show the blood) and grimy coveralls for the already-gone minions.  Van Helsing’s leathers and holsters bring to mind a female Indiana Jones.  The whole production is

bathed in light and love.  And blood. 

A WOW factor of 9!! 

RAGTIME –  Book by Terrence McNally; Music by Stephen Flaherty, Lyrics by Lenn Ahrens; Directed and Choreographed by Carrie Colton; Music Direction by Jordan Ortman.  Produced by Metropolitan State University of Denver Theatre, Dance and Music Departments (7^th and Walnut, Denver) through October 6.  Tickets available at King Center Box Office.com. 

Occasionally you will see a show so full of passion and heart that you hardly notice if a voice is a little unsteady or a step is missed in a dance.  The overwhelming joy of performing flows over the footlights and spreads across a steadily increasingly enthusiastic audience like warm butterscotch.  Such was the case on opening night at Metro State’s little Courtyard Theatre’s performance of RAGTIME. Created by a student cast, the evening proved to be a delight . . . in spite of the serious nature of the story. 

Supporting the story of Coalhouse Walker, an early performer of ragtime music, the script weaves together the stories of three people trying to make a place for themselves in a turn-of-the-century world.  Coalhouse represents a newly prosperous class only two or three generations away from slavery.  His music has given him a favored place in the world but not enough to protect his loved ones from the rampant racism that still prevailed. 

The rising tide of European immigration is personified in Tateh who survived the death ships that brought him and his daughter to the American shores.  His artistic abilities saved them both from the fate of so many of his compatriots.  But not before a hard struggle. 

An upper-class family known only as Father, Mother, Grandmother, Younger Brother (of Mother), and Little Boy epitomize the complacent attitude that finds a changing world evolving around them with no idea how to cope with it.  How these three groups eventually interact and support each other (or not) creates the story.  A story filled with fear, change, hope, despair, triumph, loss and, thankfully, more love than hate. 

Director Colton’s understanding of the script was translated into a strong sure-handed performance.  The choreography was authentic to the era while still pleasing to a modern audience.  The dancers embraced the joy of telling part of the story through dance. 

The principal cast stepped into their roles with confidence and talent.  Coalhouse – the lynchpin for most of what happens – was performed by Chrisnel Akele with poignancy and grace.  His feelings for Sarah, given life by Laila Aniyah, mature as he begins to understand love and loss.  Liam Benson as Tateh goes from helpless immigrant to successful moving picture maker through his own cunning and imagination.  His sweet relationship with Mother starts with the chance meeting of their children and ultimately allows the creation of a new family.  Mother – played beautifully by Theron Chagollan – rises above the expectations of her class with her kindness and intelligence.  She becomes the symbol of those women who stepped out of the normal role designated to them by the times and moved the twentieth century into a better future for all. 

In an interesting insight, Director Colton amplified the part of the Little Boy (in this version called Edgar) in Mother’s family and made him the silent observer in all that was happening around him.  In every scene, he is quietly watching, enjoying, and making a record of all that he sees.  The original story of Coalhouse and crew was written by E.L. Doctorow; the “E” in his name stands for Edgar.  Casey Myers gave a thoughtful, often amusing performance as the future author. 

Everything about this production was well thought out from the lovely costumes coordinated by Connor Sullivan, to the set designed by Kevin Nelson and built by Technical Director Brian Kelley and his student crew, to the Lighting and Sound Designs by Mandy Heath and Curt Behm.  The difficult prop of a full-blown Model T Ford was overcome by cleverly attaching it to the back of Coalhouse’s piano (you’ll understand when you see it).  All in all, it was a delightful performance well enjoyed by a grateful audience. 

A WOW factor of 8.75!! 

HAMLET – Written by William Shakespeare; Directed by Chris Coleman.  Produced by the Denver Center Theatre Company (14^th and Champa, Denver) through October 6.  Tickets available at 393-893-4100 or Denver Center.org. 

There is no need to address the quality of the script for this production as HAMLET has long been honored as one of the most important plays ever written.  It has proven a challenge for the greatest actors of every generation since its first production thought to be in 1600.  It is often the tipping point for many professional actors and some actresses with the needed degree of moxie.  The point at which they go from “upcoming” to “established.”  A badge of honor to be worn through their bios in future programs.  The fodder for backstage stories that start “When I played Hamlet . . . . “ 

So, it’s always fun to see what new twists a group like Denver Center Theatre Company can produce.  When a company has the technical skill to create darn near anything on stage and an acting company drawn from the best talent nationwide, the challenge becomes how to utilize this plethora of riches.  Director Chris Coleman kept it lean and clean.  With a minimalist set (designed by Chika Shimizu) that has echoes of the Northland origins of Elsinore, a decidedly frigidly air about the castle surroundings, with thrones and fire that appear and disappear at will, the pace is not slowed by sluggish scene changes.  With costumes (designed by Denver favorite Meghan Anderson Doyle) that enhance the character’s station without overwhelming them, the delineation between royal and attendant is immediate.  The startling use of light and sound to start and end the production and move the story forward in time utilized the talents of returning Lighting Designer Paul Whitaker and newcomer Lindsay Jones who also created original music for the evening.  With a team like this providing the environment for the actors, it’s now all up to the company to fill the space. 

And fill it they did.  The Ghost of King Hamlet is fearful and ferocious as portrayed by Brik Berkes, rising out of nowhere and disappearing into a cloud of smoke.  Seth Andrew Bridges as Prince Hamlet’s friend Horatio observes the story throughout and remains steadfast to his comrade till the end.  Gertrude (Rebecca Watson) is appropriately torn between her devotion to her son and her need to retain her royal standing.  The character who arranged his sibling’s death and usurped his crown from Hamlet is Claudius, given an unremorseful life by Brian Vaughn.  The remaining court figures are Polonius (Todd Cerveris), his son Laertes (David Lee Huynh), and his daughter Ophelia (Maeve Moynihan).  Polonius is properly fusty and a joke to his children; Laertes is a properly loving brother and respectful son; and Ophelia is a properly confused and dutiful daughter.  Hamlet has been courting Ophelia but in touching scenes between the lovers, his determination to avenge his father’s death causes him to push her away so she won’t be caught up in his scheme.  Which, in turn, drives her mad and to her death.  A weapon in the hands of Huynh, an excellent swordsman, leads to the death of Hamlet in an outstanding duel between the two as a finale. 

But it generally all comes down to the actor playing Hamlet who guides the production and must live up to the legend of the role.  Ty Fanning, along with most of the cast, arrives at this production with Shakespeare under his belt.  But this still must be considered a coup for this young actor.  He attacks the role with the air of a college student brought untimely home for the funeral of his father and the unexpected marriage of his mother to his uncle only days later.  He’s confused and pissed off at his mother for her outrageous behavior, but it’s only after the appearance of his ghostly father does he get a glimmer of what has transpired and grows into his role of revenge.  The recitation of the infamous “To be or not to be” speech is often a tipping point for an audience.  Fanning’s character seems to have gained resolve by then and has a ready answer to the question.  There was no hesitation, no pondering – he seemed to know it was “to be.”  Period.  He set out then to make it happen.  The unexpected residual damage, such as the accidental death of Polonius and the drowning of Ophelia, only fed his desire to bring an end to the reign of Claudius.  Fanning brings a levity to some scenes that only underlined his growing madness.  He too proved to be an excellent swordsman contributing to the final scene with gusto and determination.  A very fitting first Hamlet. 

Other Shakespeare lovers may have their own favorite actors portraying familiar characters.  But for the young audience members for which this is a first experience with either Shakespeare in general or HAMLET in particular, this will be a production that teaches them that words written hundreds of years ago can still be understood today and can still tell a story that moves.       

          

A WOW factor of 8.5! 

POTUS or BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM ALIVE. – Written by Selina Fillinger; Directed by Jada Suzanne Dixon.  Produced by Curious Theatre Company (1080 Acoma, Denver) through October 13.  Tickets available at 303-623-0524 or curioustheatre.org. 

OK  – I’m trying to think of a word that describes the picture created by the women of POTUS.  Energetic isn’t it – although it certainly takes energy and stamina to perform this script.  Energetic just sounds too much like a session at the gym. Chaotic isn’t it either – these ladies were much too organized in their thinking and committed to their task to be considered losing to chaos.  Although it does creep in around the edges.  You are left with the impression that many of their days are spent in similar activity.  This particular day we are watching is just a little more demanding than usual.  Frenetic!  That’s it – they were frenetic!!  Defined by the dictionary as “fast and energetic in a rather wild and uncontrolled way.”  A somewhat controlled but spontaneous session of problem-solving described this day. 

Another thing to be VERY clear about – this is not a play for children or the easily shocked or offended.  Men over 16 will be amazed to discover the way women’s minds work and their ability to tackle a problem as a “committee.”  Women over 16 will recognize themselves and their friends solving their own daily problems . . . perhaps not as world-shattering as this group’s problem but problems, nevertheless.  Usually involving the men over 16.  Leave the young ones at home.  They wouldn’t understand the humor and there are parts that might be frightening to them.  Seriously. 

Yes, we are talking about an American President of the United States in the title of this script.  Not any real President representing any real political party.  You are left to fill in the blanks for yourself.  The cast of characters is meant to represent the seven women whose daily task is to get the President through one day at a time . . . with no bombs going off. 

In importance to the President, they are: 

1- Harriet, his chief of staff – the one in charge (sort of) who takes her work seriously and has political aspirations of her own.  As played by Tara Falk, she is tough, determined, pissed off a lot of the time, but a leader who knows she can’t do it alone. 

2- Jean, his press secretary – the one who guards his public persona, takes the words out of his mouth that shouldn’t have been there in the first place and finds herself too often on a sinking ship.  C. Kelly Leo comes back to the stage after too long an absence to become this authentic (but terrified) voice of the nation. 

3- Stephanie, his secretary – one of the funniest women in Denver theatre gets to take on one of the funniest characters in this play.  Leslie O’Carroll as Stephanie is a bulldog guarding the President’s office.  At the same time, she is insecure in her role beyond guarding the door and has a daily fight with her fear of failure.  A bottle of “medicine” nearly does her in, but she too lives to serve another day.  Ms. O’Carroll stuns once again in her willingness to take on a physically demanding role and do it well.  No holds barred. 

4-Dusty, his “friend” – Dusty is a sort of surprise guest at the White House on this crucial day.  While she is known to the President, there are others on staff who are a bit taken aback by her presence.  She is, however, willing to put out for the team when she understands the problem and becomes a valued colleague.  Rhianna DeVries creates both an airhead and a conscientious citizen in this one character. 

5- Bernadette, the Prez’s sister who has been promised a pardon by her brother but jumps the gun a bit by weaseling her way out of prison based on that promise.  She is an embarrassment to the Prez and his family and staff as she is an unremittent drug dealer and has “a guy” for everything.  Mackenzie Beyer gives her both an unquenchable toughness and a vulnerable sweetness in her relationship with one of the other Magnificent Seven.  Her voice is bigger than her heart – or is it? 

6- Chris, a journalist – Kristina Fountaine probably has one of the toughest assignments in this production.  The character of Chris is a new mother who is tasked with pumping her milk, dealing with a babysitter over the phone, and fighting off the incursion of a male colleague into her valued position at the White House – all the while trying to maintain a professional demeanor.  While well known to all, she is not normally on the “inside” of the behind-the-scenes day-to-day.  It’s an accident of sorts that she gets drug into this frenetic day.  Being somewhat at fault for some of the things that happen, she is more or less forced to go along with the proposed solutions. 

7- And, finally, Margaret, FLOTUS, the First Lady is given a grand and glorious portrayal by Natalie Oliver-Atherton in a lovely wardrobe completed by flashy pairs of Crocs (in her effort to appear “earthy”).  While designated as the least important to the President, she nevertheless steps up and does what needs to be done – though begrudgingly – to protect him.  She has been doing this the longest and knows what needs to be done to save the day.  Never mind her personal dignity. 

And there you have it.  But words cannot adequately express the delight – the fun – the amazing humor these madcap ladies bring to their roles.  Of course, the complicated blocking, the setups of comic scenes, the building of a tribe for this production would not have happened without the sure-handed direction of Jada Suzanne Dixon, the director.  You can see little bits of Jada’s handprint on each of the ladies, the way they join together to solve a problem they didn’t make, and in the way she builds in a breather for them by occasionally slowing the pace with a moment of sincerity or companionship. It’s as though Jada cloned herself seven times. 

Technically, Curious always excels.  The movable set designed by Tina Anderson moves easily, creating a variety of rooms in the White House.  Brynn Starr Coplan-Sater’s costumes are flattering to the cast, immediately identifying their character and roles in the proceedings.  The lighting design by Emily Maddox enhances the chaos and rewards the hard-working cast with a winning tableau at the finale.  Stage Manager Rachel Ducat and her crew keep the backstage frenetics under control and never allow the energy to flag.   

You don’t want to miss this one. 

A WOW factor of 8.75!! 

JERSEY BOYS – Book by Marshall Brickman and Rick Elice; Music by Bob Gaudio; Lyrics by Bob Crewe; Direction and Choregraphy by Matthew Dailey; Music Direction by Alex Burse.  Produced by Town Hall Arts Center (2450 Main Street, Littleton) through October 6.  Tickets available at 303-794-2787 or townhallartscenter.com. 

Sometimes serendipity steps in and puts the right people in the right place at the right time.  While the national tour of this musical history of Frankie Valli and the Four Seasons was ongoing, local theatres were shut out from performing it.  However, one of the lead players in that national tour just happened to come from Denver and just happened to choose to come home instead of hanging around New York after the tour.  He just happened to have friends at Town Hall who knew his history and his killer skills as a performer at the time they were hoping to add this script/songbook to their season.  Matt Dailey has come home in a big way.  His understanding and intimate knowledge of the moves and music of this piece have lent a special air of authenticity to the production.  Its dance steps are as sharp as the pleat in the singer’s slacks while the music matches note for note the original singers. 

One of the best jukebox musicals, this production is an homage to this music which lives in the DNA of everyone who grew up in the 60’s and 70’s. What makes it different and more appealing is the story line which doesn’t sugarcoat their rise to fame.  The story is told – the search for a name, the in-fighting, the life on the road with its temptations and frustrations, the mafia connection, the money problems – as well as the triumphant concerts and record deals.  Warts and all, book writers Marshall Brickman and Rick Elice tell the story as it was lived.  Because it seems to be telling the truth, it allows the audience to root all the harder for their success. A sigh of recognition and murmurs of joy escape the audience as each new “favorite” song arrives. 

Let me explain the difference between an understudy and a swing in the world of the musical.  An understudy is an extra hire who learns a part in case the person doing that part gets sick or can’t go on for some reason.  They learn the music, the dance steps, and the blocking  – knowing they may never have to go on.  A swing is performing in the production in a part originally assigned to him or her but takes on the task of learning not only his or her part but also additional roles in case they are needed.  They may end up never having to perform those additional roles – just their own assigned place in the ensemble.  But in a role as demanding as Frankie Valli who sings in 28 songs, several being solos, and rarely leaves the stage during the evening, you can only imagine the difficulty of maintaining that stress on your vocal cords for the duration of the run.  The swing for this production becomes incredibly important to give the lead actor’s voice a break.  I happened to attend the night that the swing, Logan Traver, was scheduled to replace Jake Bell who normally sings the role of Frankie.  But I didn’t learn that until after the production.  Then I was amazed and proud of Logan for having learned his own roles of Joe Pesci and backup roles in the ensemble as well as the music and dance steps for Frankie.  How scary that must have been to sing the difficult role for the first time in front of a full house.  You done good, Logan. 

Everyone done good.  The energy in this production would be hard to match.  The story moves along quickly, interspersed with the familiar music all the way through.  The other Four Season members, Brandon Jesus Lopez as Nick Massi, who definitely (despite his real name) looks like he came off the mean streets of New Jersey; Caleb Wenger as Bob Gaudio, the songwriter; and Elton J. Tanega as the black sheep of the group, Tommy DeVito, all perfected the slick tight moves of the quartet as well as the incredible harmonies we’ve all grown to know.  The girls who played wives and backup singers added their own little bounce of joy to the production:  Hazel Kachline, Jenny Weiss, and Piper Lindsay Arpan excel. Carter Edward Smith filled in for Logan in the ensemble pieces and as Joe Pesci (Joey Fish to the boys) with the ease of an experienced performer.  It’s always so enjoyable to see Scott McLean back on stage at Town Hall, this time as Bob Crewe, a hard-nosed producer integral to the Four Seasons success.  All in all, the ensemble work was a joy to behold. 

The set with the on-stage seven-piece band, under the direction of Alex Burse, kept the music flowing.  They were seated on a set that gave the initial impression of a dive bar but ended up giving levels and space for all the work needed to bring this script to life.  The costumes designed by Linda Morken were authentic and stunning.  Curt Behm as Sound Designer did his normal terrific job in keeping the balance between the singers and the band. 

This is an especially joyful evening of song for those of us over forty but equally in a different way for those younger than forty.  We old guys feel sorry for you that you didn’t have this music as the background of significant firsts in your lives as teenagers.  Too bad. 

A WOW factor of 8.75!! 

DELLA DOUCET – Written by Kirsten Dahl; Directed by Paul Jaquith.  Produced by Vintage Theatre (1468 Dayton Street, Aurora) through September 22.  Tickets available at 303-856-7830 or VintageTheatre.org. 

You’d think when a girl had a play named for her, it would only be about her.  But this sweet romance gives nearly equal time to her new friend who helps her forge a path to independence. Johanna Jaquith, who plays Della, has been away from the stage too long as this exciting performance proves.  Who can ever forget her heart-breaking turn in BABY DANCE?  While this script calls for a little less histrionics, she nevertheless calls it up when it’s needed. 

Della has a sweet mix of self-confidence and uncertainty.  She’s a talker, knows no strangers, and is enamored of everything about New York.  She fits in anywhere and even if not everyone falls in love with her, they at least notice her and fall under her spell. 

Abid Hassan is her new friend Sam who turns a one-night date into much more than that.  Della has left her husband and kids back home and struck out alone to New York, not so much in search of fame and fortune as just trying to escape her oppressive husband.  She has a one-year work assignment and hopes that the separation will help her sort her life by then.  Sam is a big help. But it’s not all peaches and cream.  This is not a total Hallmark movie, but it leans that way a little.  Only instead of going home to a small town to find peace and the man of her dreams, Della goes to the big city. 

The remaining cast members fill important roles in Della’s journey.  Corinne Landy is her workmate and new best friend Erin.  A prickly artist working up to her first big solo show, Erin learns a valuable lesson in marketing and self-confidence from Della.  Wade Livingston is cute as a kind of smarmy uncle to Sam with an eye for the younger ladies in the room.  Watching Della sell him one of Erin’s art pieces was a delightful scene to behold, both for Della’s amazing salesmanship, but also for Erin’s dumbfounded delight in watching her work her magic.  Mike Moran has the difficult role of playing all the rest of the needed men to tell the story – cab driver, bartender, conductor and more.  And Linda Swanson Brown brings her own charm to the role of Sam’s assistant, Angie. 

The script and the production have created some very nice moments.  We root for Della in a quiet supportive way and watch her make difficult decisions.  Until . . . . she finally lets loose on her husband in a terrifying scene over the phone.  Then the audience literally broke out in applause and mentally pumped our arms in the air.  We too have grown so fond of her that we are excited for her breakthrough. 

Author Kirsten Dahl does a clever thing in letting a needed reconciliation be left in the hands of Della’s best friend Erin, rather than giving her the need to fix things on her own.  And the way Vintage staged this scene in a subway car was also very clever.  A clothing rack was rolled on stage with wrist straps attached to the upper bar.  We watch as Sam and Erin discover each other at opposite ends of the car and slowly bump toward each other and conversation.  What a clever way of avoiding building yet another piece of scenery yet visually satisfying the watcher. 

But Kirsten also didn’t figure out a way to avoid the plague of short scenes that require a set change between each one.  This led to the “bed ballet” in which a complicated dismantling of a huge bed in the middle of the stage and re-assembly occurred at least three or four times.  While the people doing the up and down with the bed did it with great deliberation and speed, it nevertheless couldn’t help but slow the pace down and break the mood. 

Kortney Hanson designed an interesting set that gave an overall impression of a somewhat grungy New York apartment, workspace, art gallery, and all the other locations needed.  Susan Rahmsdorff-Terry made the clever choice of dressing Della in sweet Southern pink for every occasion – until she had made her emotional break with the past.  And then watch the red come out!   

Paul Jaquith, the director, and Johanna Jaquith as Della are a husband and wife team who obviously understand the dynamics of a loving relationship and work well together.  Let’s see a little more of that . . . . soon. 

A WOW factor of 8!!