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125 NO’S – Written by the members of the Buntport Theatre Company.  Produced by the Buntport Theatre Company (717 Lipan, Denver) through March 23.  Tickets available at 720-946-1388 or stuff@buntport.com. 

The one truly constant thing you can count on every time you take a chance on a new Buntport show . . . . is that it’s going to be remarkably creative, off the wall, charmingly witty and laugh-out-loud funny. Those of us that have been fans for years have fun recounting our favorites and we generally add a new one with each new show. My past personal favorites have been TITUS ANDRONICUS (out of the back of a van with a tick board for every new murder), THE REMBRANDT ROOM (a remarkable one-woman tour de force by the incredible Erin Rollman), and COYOTE, BADGER, RATTLESNAKE (set in a diorama of a Natural History Museum). But each show has its own special joy for the audience. 

125 NO’S is no exception. A cunning piece that involves being backstage at a movie with some of the crew as a scene – nay, a word – is shot over and over again in search of the perfect “NO.” Poor Greer Garson was saddled with this responsibility in her movie called “Desire Me” with Robert Mitchum back in the 40’s.

Our crew – the make up lady (Hannah Duggan) is bored and irritated at having to refresh Ms. Garson’s nose every ten minutes; the lady from the censors from the Production Code Administration who is bored and has to make sure there were no curse words or licentious behavior (Erin Rollman); the sound man (Erik Ekborg) who is bored and always concerned if there was enough fog, and Brian Colonna who is bored but excited at playing an authentic fisherman playing an extra playing an authentic fisherman. All are making small talk to kill time during the No’s being filmed. Occasionally they will break the fourth wall to use their knowledge about movie-making to explain to the audience some function of their job or some juicy gossip about some of the people involved in this shoot. With the use of clever drop down microphones and props, they add the trademark comic enlightenment and trivia that makes a Buntport show the joy and learning experience they always are. 

The fifth member of the troupe – SamAnTha Schmitz – provides the skill to keep all the jokes rolling that depend on sound effects, music, lights and, in this case, props swooping down from the ceiling. Hers is no small task, but she is a pro. Everything always runs so smoothly that you tend to forget her crucial role. It’s also fun to know that Diana Dresser (noted local actress known for Creede and Denver Center productions) provided all the recorded “No’s.”  

This bored group of seasoned movie artisans take great pleasure in sharing their hard-won knowledge with the newby extra while he is most concerned about whether his (real) hat looks like a “real” fisherman’s hat and his walk looks like a “real” fisherman’s walk. He spends the greater part of the evening practicing his walk and ends up walking like the Munchkins from THE WIZARD OF OZ. A conversation about the physical attributes of Ms. Garson end with a contest about alternate titles for this little gig. Which would be better – The Falsie Fiasco or the Decolletage Debacle?? But both men agree she is indeed something to look at. The morals monitor begins to loosen up from her normal strait-laced self and share stories of her own part in the process. By evening’s end, they have bonded in boredom. 

An opportunity to watch a new show (or even an older one reproduced) at Buntport is a sure guarantee of fun. 

A WOW factor of 8.5!! 

YOU GOT OLDER – Written by Clare Barron; Directed by Neil Truglio. Produced by Benchmark Theatre Company (1560 Teller Street, Lakewood) through March 16. Tickets available at Benchmarktheatre.com. 

The published synopsis of this script did not prepare this audience member for what was shown. “A woman goes home to care for her father and to fix herself.” It did not prepare the audience for the walk through Cancerland and the family dynamic it so often revitalizes. With only slight variations, this was the story of my last 15 months. The variation being that I went home to take care of my daughter instead of the more normal arrangement portrayed in the show. So, this was a little too close to my heart for objectivity. 

Clare Barron wrote so tellingly of this experience because she went through a form of it herself. A break-up with a long-time boyfriend who then – because he was her boss – had to fire her too. Reeling from these changes in her life, she then got the news that her father had cancer and went home to take care of him. Her own feelings and fantasies fueled the character of Mae’s inner life in the script. The uncertainty – the hanging on to the slightest optimistic remark from the doctors – the loneliness of a caregiver – the occasional joy of a supportive family – the looking back and looking forward. A young woman, Mae (Courtney Esser) feels strongly the absence of a man in her bed, indulging in romantic novel-like fantasies with a rough-hued cowboy who goes from hero to predator in the blink of an eye. Orion Carrington fits the bill of this big bad boy beautifully. 

The script is realistically written to proclaim those moments of triumph in her father’s journey. The rite of passage that signals the end of treatment is one significant stop along the way to recovery for many. Each chemo lab has a gong that the patient gets to ring raucously to announce an ending and the start of a new phase. The joy that Dad (Marc Stith) and all cancer patients feel at that moment was contagious as portrayed by Mae, her father and her siblings.  

Courtney Esser navigates the knife’s edge between panic and patience with the grace of a tight rope walker. She expresses the inevitable awkwardness of returning home to the familiar yet foreign new set of circumstances. She is now supposed to be strong for her father who has always been the strong one. Marc Stith, always a bear of a man in every sense of the word (from teddy to grizzly) in the parts he plays, displays a gentleness and hesitancy that reveals his own confusion over this new state of affairs. Christopher Berghoff enters the scene as Mae seeks relief in a local bar when he mistakes her for her sister and tries to renew a friendship he never really had with her. But their mutual angst unites them and leads to yet another awkward scene in her bedroom. Mae’s siblings (James Giordano, Lauren Bahlman and Jacqueline Hahn) gather to wait by Dad’s bedside after an operation to remove the cancer. They display the easy familiarity of family with shared memories and grudges. They are here for Dad but it’s obvious they all have lives outside the hospital room, where Mae at this point does not. 

Benchmark’s on-the-small-side playing space works to accommodate the demands of the script by providing a small garden, Mae’s bedroom, a hospital room, a tavern, a back porch and the space for a long distance phone call. While utilizing all the space efficiently, the movement into and out of the different scenes broke the rhythm and continuity of the action of the play. The credit for the light and sound design which greatly enhanced the production goes to uncredited members of the company. 

The cast brings all the joy and humor they can to this set of circumstances. Old friendships (sort of) are renewed; siblings unite over a family difficulty; decisions are made about the future. But cancer has his own surprises. And, yes, cancer’s gender is male. At the time of the first production of the play in 2014, Barron’s father was still in remission after four years. I hope he made it through the next ten. I’m told by Benchmark personnel that people who have had cancer in their lives are either comforted by the happy scene at the end or angered by the outcome. Just be forewarned that it’s a tough yet tender two hours. 

 
A WOW factor of 8.5!! 

CRAZY FOR YOU – Music and Lyrics by George and Ira Gershwin; Book by Ken Ludwig; Directed by Steve Wilson; Musical Direction by Richard Shore; Choreography by Shawna Walker.  Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through April 7.  Tickets available at 970-744-3747 or ColoradoCandlelight.com. 

If you love a show with non-stop dancing including long stretches of some of the best tap dancing you’ll ever see, women dancers pretending to be bass fiddles, and outstanding lifts and twirls, this is the show to see. Choreographed by Shawna Walker, this cast of seventeen get the workout of their lives with nearly continuous movement wrapped around sight gags and a sweet contentious love story – the best kind. Sara Kowalski and Matthew Dailey lead the dancing but are followed by a charming quintet of Follies Girls who teach another quintet of cowboys how to move their boots. It’s all light-hearted fun and warms these still cool nights.  

The strength and beauty of an able-bodied male dancer lifting his partner with ease and grace is hard to beat. The years that Matt Dailey spent touring with JERSEY BOYS and MISS SAIGON show in the confidence with which he tackles the most complicated of routines. He is smooth, joyful, strong and professional in all styles of dancing. He’s not hard to look at either. When he’s on stage with Sara, his dance partner in most numbers, and Patric Case, who plays his reluctant producer, there’s so much charm on stage, it could almost make your eyes bleed. 

This is a cast that can do it all. Sing, dance, emote, even do old-fashioned Marx Brothers mirror routines. All to the glorious George and Ira Gershwin music written between 1918 and 1937. How can that music and those lyrics still be relevant, you ask? The playwright that brought us the comic scripts of LEND ME A TENOR, MOON OVER BUFFALO and THE GAME’S AFOOT, to name just a few of the Ken Ludwig catalog, took 19 of the Gershwin tunes and carved a show out of fluff and fun. No relevancy needed. Just a razzle-dazzle dance fest. 

A ten-second synopsis: Bobby Child, a frustrated office worker who just wants to dance but can’t get cast, is assigned (by his mother) the task of foreclosing on a non-producing property she owns out West which just happens to be a theatre. Of course, when he gets there, he falls in love with the daughter of the owner of the theatre, goes into Mickey Rooney mode and decides to put on a show to raise the money to save the theatre. Five chorines arrive from New York, teach the cowboys how to dance and the show must go on. But SO MUCH fun strung in between those little bits of plot. More schtick than you can shake a stick at. 

The complicated set involving a two-story hotel with a bar in the lobby was well designed by Brian Watson and built under the guidance of Todd Welch, Tech Director, and his crew. Deb Faber continues her long run of turning out almost perfect costumes for every show at Candlelight . Brett Maughn created some magical moments and kept our eyes in the right place with his lighting design. Richard Shore, functioning as Musical Director, polished the cast’s harmonies and got a deeply resonant sound from the ten-piece orchestra that provided the music. And the whole kit and kaboodle was lovingly pushed into place by Steve Wilson, Director extraordinaire. 

The kitchen, as always, pleases with their themed menu including a lovely Shepard’s pie and, in loving homage to the now departed BDT Stage, a cordon bleu chicken dish. Who Could Ask For Anything More? 

A WOW factor of 9!! 

THE LEGEND OF GEORGIA McBRIDE – Written by Matthew Lopez; Directed by Troy Lakey.  Produced by Vintage Theatre Productions (1468 Dayton St, Aurora) through March 24.  Tickets available at 303-856-7830 or vintagetheatre.org. 

The prolific Matthew Lopez strikes again.  Denver has enjoyed performances of his scripts before and now has yet another chance to take one in. Just to give you a taste of the versatility of Mr. Lopez and his creative mind, let’s look at his output so far.  THE WHIPPING MAN follows two slaves after the Civil War who have been taking care of the family plantation to have one of the sons return and assume he can take over again.  SOMEWHERE follows a Latinx family in the wake of WEST SIDE STORY who believe the future of their young people lives in dance. REVERBERATION creates a tentative recovery story between a shell-shocked soldier and the woman who moves into the apartment above him.  KING CHARLES III imagines what he thought would happen when Queen Elizabeth passes away and her unprepared son is forced to take the crown.  Don’t even get me started on the brilliance that was THE INHERITANCE, given such a fine production at Vintage last year. And then we have THE LEGEND OF GEORGIA McBRIDE, the current offering at Vintage Theatre. 

GEORGIA follows perhaps the strangest path of all.  A tale about a reluctant entertainer forced by financial demands to abandon his sparkly white Elvis jumpsuit and adopt female spangles as a drag queen at a roadside cabaret in Panama City, Florida, Lopez’s hometown.  He is coached by Miss Tracy Mills, an experienced Queen who takes pity on him and his panic-stricken incredulity at finding himself in this situation.  His wife is pregnant, his boss at the roadhouse doesn’t want Elvis any longer, and there only seems to be one answer in his come-to-Jesus moment.  Learn to be a Queen. 

The journey is not without its bumps (and grinds) but he’s diligent and determined as a new daddy-to-be can be.  What is hard and humiliating for Casey, our intrepid hero, is funny for the audiences as we watch him struggle through his early attempts to learn the songs of Edith Piaf and the moves of the Spice Girls.  He (and the audience) learn along the way not to judge by appearances the mettle of a person, that clothes don’t necessarily make a man (or a woman) and that you are braver than you think you are when the firing squad is loading their rifles. 

This production takes a supreme Mama Queen to assume the role of mentor to the Princess wannabe.  They have found it in Stuart Sanks, himself a gifted actor in straight (no pun intended) plays and an experienced Drag performer known professionally as Miss Shirley Delta Blow at brunches, bingos, and book-readings.  Stuart has this role in his bones; he knows exactly what needs to be said and how to say it.  His flippancy with the situation and life in general provides much of the humor and much of the heart.  At long last, Stuart is getting a chance to let the world see him shine.  You’re gonna want to be a part of this. 

Casey, the new entry on the drag stage is played by Matthew Combs, who originally seems as ill at ease at donning a sequined costume as Casey himself.  An excellent lip sync artist, Matthew gives it his all as Casey works to become worthy of Georgia McBride, his made-up name for his brand-new character.  Once he commits, he tackles the role of Georgia together with the helpful Tracy, never looking back.  There are some men that, while good-looking as a man, don’t really fit the mold of a pretty woman, no matter how hard they try.  Matthew fits that category; while he is a handsome man, even in the most glamourous outfit, he would never pass for a woman. His lip syncing, however, is flawless and he moves well in high heels. 

The remaining characters all assist Casey – eventually – in recognizing his feminine side and encouraging his desire to perform. Atlas Drake plays Jo, his pregnant wife who remains in the dark about his new sideline for quite a while. Clark Jones doubles in roles as his landlord/next door neighbor and the other dancer in the act who has a whole different set of problems to deal with. Matt Hindmarch does a delightful job with the sympathetic but down-to-earth businessman who owns the bar in which they perform. His ultimatum to Casey is what starts the whole crooked drag race.  

The technical crew at Vintage has outdone itself in creating the swift and easy movement from Casey and Jo’s living room to the backstage dressing room for the “girls.” Walls that turn with ease allow scene changes to progress quickly and silently. Just when you think a set problem is going to be unsolvable, Ryan Walkoviak steps up and says, “I have an idea,” which Master Builder Jeff Jesmer and his crew of Bernie Richard, Don Fuller and Mega Davis complete. The whole “can do” attitude of these designers and crew made the completed production a wonder to behold. From the costumes by Cole Emarine to the bountiful music provided by Jessica Jewell and Alec Michael Powell to the two or three dressers back stage that get the actors in and out of their complicated costumes in record time – You better believe [they] “work hard for the money, so hard for it, Honey, so you better treat [them] right.”  Troy Lakey, the director, took on this project as a labor of love and it shows.

A wow factor of 8.5! 

CHARLEY’S AUNT – Written by Brandon Thomas; Directed by Staci York. Produced by Coal Creek Theatre of Louisville (801 Grant Street, Louisville) through March 9. Tickets available at 303-665-0955 or at cctlouisville.org. 

You must give credit to a small theatre that isn’t afraid to tackle a classic older script that gives the audience a look at a show they may have heard of but never seen. This was the personal magnet that drew me to Louisville recently. The chance to see a classic costume production of a rarely done farce of the old school variety. 

Brandon Thomas’ script was first produced in London in 1892 following several try-outs in the provinces. The first major production was a screaming success, playing over 1400 performances in London and quickly spread to theatres large and small all over the country. Thomas himself was a fairly successful actor, making a living out of playing elderly gentlemen characters in performances all over England. But CHARLEY’S AUNT was his money maker. And it’s still cranking out royalties for his estate. 

Coal Creek’s version strained their small playing space by demanding multiple settings including an outdoor garden. But, as usual, the creative scenic designers – Staci York and Jaccie Kitts – with the dedicated volunteer build crew got the job done. Two separate rooms in a mansion and an extensive outdoor space bloomed forth in the gem of a theatre “where every seat is a front row seat.” 

While the language demands of the script proved a little daunting at first, as the evening progressed, the words and attitudes became more natural and relaxed. While the setting is an English college, accents were spotty but unnecessary for the enjoyment of the story. In typical farcical situations, the first half hour needs to be devoted to exposition, explaining relationships, and introducing the culture into which you have wandered. For instance, the absolute necessity of having a female chaperone present when unmarried but romantically inclined couples converge. Hence, explaining why a reasonably intellligent man with his own agenda would agree to don a female costume and pretend to be “Charley’s Aunt” from far off Brazil “where the nuts come from.” 

Although I can’t imagine the same sort of situation developed too many times during that restrictive era, it seems perfectly logical when presented on stage to comic effect. The script has witty dialogue, provides hide-and-seek opportunities for most of the characters, gets laughs from a man trying to fool woman, is slightly romantic in an innocent vein, and is a showcase for the poor lad stuck in lady’s garb. 

Which, in this case, was the feisty Markus Rodriguez-Intulaksana who took the part and ran with it. The stilted language was smoothed out in his version with just the right amount of incredulity and reluctance which morphed into enthusiasm when he began to see advantages for himself. Being pursued by two older gold-diggers (played by local favorite Wade Livingston and Jay Moretz) gave him occasions to revel in the physical comedy of the role as well. The suitors think they are both going to win the love of a rich dowager who will take care of them for the rest of their lives. “Babs” pals Jack and Charley were played by Paul Carrasco and JC Reyes, both making their return to theatre in this production. All the stuffy Victorian characters were mildly ridiculed by the all-seeing butler/aide de camp/chef brought to comic life by Judd Miller who does butler well. 

The two maidens in pursuit and being pursued are Beth Crosby as Kitty and Melissa Baker as Amy. Two late but crucial entries onto the scene are Marcy Rodney in a lovely, understated performance as the real Aunt and Jo Niederhoff as her travelling companion. Their arrivals allow for the nice well-rounded happy ending required of a farce, while stretching the bounds of coincidence. 

I strongly recommend the work being done by the smaller theatres in our theatrical community. Coal Creek turns out creative imaginative productions of both old and new scripts. They encourage new and local playwrights; they have created a volunteer team that work as hard as paid carpenters and costumers to get their show on its feet: the actors rehearse as long or longer as paid actors with their only reward being the sheer joy of performing. While their productions may not achieve the slick look of the professionals, they are nevertheless filled with heart and authentic emotion. While the overall quality may be inconsistent, I guarantee that in each production you will find heartfelt performers and moments of truth. Begin including small theatres on your calendar. If you need a list, let me know! 

A WOW factor of 8!! 

THE OPEN HOUSE – Written by Will Eno; Directed by Jack Krause. Produced by Bas Bleu Theatre (401 Pine Street, Fort Collins) through March 10. Tickets available at 970-498-8949 or basbleu.org. 

Can anyone remember the Anthony Hopkins movie a few years back called THE FATHER where things kept moving around in his apartment? The people caring for him looked young one moment and old the next. He kept getting more and more angry because we – the audience – were led to believe that his caregivers – including his daughter – were being deliberately deceptive to him and you (and he) couldn’t figure out why. It ultimately turned out that he had had a stroke, and his perception and memory were skewed. His mind had slipped into partial dementia. He told his daughter in a lucid moment that he was losing “his leaves, the branches, the wind and the rain.” There’s a lot of power in the words describing “cognative ability” these days. This character’s had gone off the track as was revealed at the end of the movie. 

The Father figure in Mr. Eno’s play seems to be going through the same thing. His family does not respond to him or his needs the way he thinks they should. They have gotten older; they don’t look the same. He is rude to them in his confusion and frustration and doesn’t understand why they are rude right back. Anger seems the only solution and it doesn’t really help. Mr. Eno himself once said that “I like hearing people in pain in rooms with good acoustics.” He certainly succeeds in this production. 

Suddenly they all one by one leave him on this errand or that. Then the fear hits hard. Even worse, the house suddenly starts to fill up with people again. But who are these people? He doesn’t know any of them. What are they talking about? Why are they pulling down the wallpaper? The chaos in his living room matches the chaos in his brain. 

This excellent cast doubles up on the roles, playing both the members of the dysfunctional family and the intruders in the house. They turn out to be a real estate agent who is showing the house, a set of prospective buyers and a couple of guys who might be involved in a remodel. They seem totally oblivious of his confusion and anger, typical in some circles of the treatment of our elders. 

The beleaguered father is Kevin Reifel fresh from the OpenStage production of SWEAT. He succeeds in both his gruff and helpless old man in a wheelchair and in his tennis playing counterpart. His wife in the family (Corinne Wieben) shows her angry frustrated side as well as the perky half of the prospective buyer-couple in the second. The other two-sided members of the family are Kiernan Angley as the son who later becomes the redecorator and Bryan Hill, an uncle ridiculed and downtrodden in the beginning who becomes a landscape designer in the latter. Leah Rohlfs charms as the daughter in the first family and the real estate agent hot on the trail of a sale in the second. Once your mind adjusts to what the heck is going on, you must respect their ability to pivot into new roles halfway through. 

The director, cast and crew came up with an interesting dumb show to get us into the family home. The only thing on the stage as you enter the theatre is a standing sign announcing the open house. As the lights dim, the cast begins to carry on furniture pieces and greeting each other warmly. They seem as though they are long absent family members working together to put their mutual home to rights. The crew moves in walls while the cast continues to make adjustments while getting a little older and less friendly as they go. Until finally we have the full set in place, Father in his wheelchair surrounded by the frustrated and mentally exhausted members of his family. A view of what was and what it became. Very clever – 

A WOW factor of 8! 

NATASHA, PIERRE AND THE GREAT COMET OF 1812 – Book, Music, and Lyrics by Dave Malloy; Directed by Lynne Collins; Music Direction by David Nehls; Choreography by Grady Soapes. Produced by the Arvada Center (6901 Wadsworth, Arvada) through March 31. Tickets available at 720-898-7200 or arvadacenter.org. 

This is not a play – not simply a play. It is an adventure – a celebration – an explosive theatrical experience. You don’t just sit in your seats and placidly watch. From the beginning, you are involved, you clap, you are impassioned to sing along after being taught the song, you laugh, you cry, but, most of all, you EXPERIENCE. 

Opulent is the word that comes to mind when I think about my night with NATASHA. Walking into the Black Box theatre, you are immediately aware that there is nothing black left in the Black Box. It’s all a gorgeous burgundy/red color that reeks opulence and decadence. Not suggesting anything about Scenic Designer Brian Mallgrave’s (or my) life experiences, but it looks like the inside of a brothel . . . a very expensive brothel. Exploring the fun of theatre in-the-round, a five-piece orchestra sits in a “pit” in the middle of the stage (how much fun it would have been to have had them in Russian costumes as well) with the music and dancing swirling around them. Occasionally Music Director David Nehls will leave his post at the piano, deferring to an actor to accompany him or herself for a song. 

But while some “songs” are easily determined, for the most part, these are not songs, but dialogue set to music. They may announce how someone is feeling, carry on a musical conversation, have someone in the ensemble explain what is going on and the cultural implications of someone’s actions. It started early in the evening when instead of verbally reciting the list of sponsors and instructions to the audience about phones, feet in the aisles, etc., it was all sung with great enthusiasm by the entire company. Wait, I forgot – it actually started even before that. As the audience arrives, they are warmly welcomed into the space by members of the company carrying musical instruments, strolling around, making conversation, practicing a little, showing off their costumes, extoling the virtues of vodka, just generally being rowdy and having fun. Immediately, the chaos of the pre-show gives the audience an understanding of what they are in for during the rest of the show. 

And it does not disappoint. The action never lets up. It may slow down a little in places to make a point about someone being hurt by someone else’s words or actions. For instance, Sonya, Natasha’s best friend, has a lovely song about her fear of what her friend has got herself into. But then a few minutes later, a boisterous troika driver (Brian Watson) arrives and engages them all in a song built around his exploits of driving his horses all over the country in service to Anatole and his friends.

This cast makes the evening come alive. This musical story soars from their throats; each player contributes to the storytelling; each player brings their own musical talent to the stage with French horn, cello, violin, percussive instruments, piano and more. Bella Hathorne is a breathtakingly beautiful Natasha. Jack Wardell is a selfish and thoughtless ego driven fool – but oh-so-hot! Anna Maria High embraces the role of opera diva and fiercely protective friend to Natasha. Nicole deBree is the amazingly sexual but unfaithful wife of Pierre. Brian Watson’s turn as the old lecherous Prince Bolkonsky was a hilarious high point.  

While the more obvious story is the blossoming of the forbidden romance (she is promised; he is secretly married) between Natasha and Anatole, thought must be given to the plight of Pierre. Trapped in a loveless marriage, fighting against and giving into alcohol too often, caught in the malaise of an unfulfilled life, he wavers between depression and drunkenness. His sorrow seems to be because he can look back and see his mistakes and the lost potential; the future is slow in realizing itself to him. If the story were being told about a man in 2012 instead, it could be said he was suffering a mid-life crisis. But he rises out of his own self-pity to offer consolation to Natasha in how she has destroyed her own opportunities by reminding her that she has her whole life in front of her. Despite what she feels now, at 19 her possibilities are unlimited. He reminds her that she is beautiful and young and that if he were a better (not younger) man, he would ask for her hand in marriage. Her gratitude for his kindness and forgiveness fills the room. In that simple act of kindness toward another and the arrival of the comet, he begins to see that he too has time left to find a different ending for himself. “It seems to me that this comet feels me, feels my softened and uplifted soul and my newly melted heart now blossoming into a new life.” “I gaze joyfully” as the show closes. Brett Ambler brings Pierre’s story to life with graciousness and dogged determination. It is such a pleasure to see him return to the Arvada stage.

Beautiful stories, beautiful people, beautiful costumes, beautiful music, beautiful set . . . what more could you ask for? I could say much more about this amazing script and this brilliant interpretation, but I’ve told you what you can expect by attending. It’s up to you now. This is a crowning achievement for the Arvada Center who consistently build their reputation as THE place to go for outstanding theatre. 

A WOW factor of 9.5!! 

THE TRIUMPH OF LOVE – Book by James Magruder; Lyrics by Susan Birkenhead; Music by Jeffrey Stock; Directed by Alex Romberg; Musical Direction by Mireya Rinna; Choreography by Lauren Russell.  Produced by Wheat Ridge Theatre Company (5455 West 38^th Street, Wheat Ridge) through February 18.  Tickets available at wheatridgetheatrecompany.ticketspice.com. 

This comical farce has had a checkered career getting to its present production at Wheat Ridge Theatre Company.  Originally written in 1732 by Pierre de Marivaux to poor reviews, it closed after only six performances.  The French thought it unseemly for a woman to make romantic advances to three different people in the course of one play.  But that didn’t stop the French.  The national theatres of the era brought it back in 1912 and again in 1956.  This led to the musical in 1997 and a movie version in 2001.

The convoluted plot has a princess falling in love with a scholar after spotting him in a garden one afternoon.  She finds out that he is the rightful heir to the crown she holds and resolves to meet, woo, and give him his kingdom back in return for his eternal love.  To do this, she seeks to remove the suspicions of his guardian, an elder philosopher, and the guardian’s sister by convincing both that she – now disguised as a male student in search of a teacher – cares for each of them romantically.  While all the time, she is only trying to get closer to the young scholar who by now has been charged with the assassination of the usurper to the crown . . . . which is HER!  Aided and abetted by various castle employees, the story winds around and around in appealing circles to a happy ending. 

The music is spritely in some instances and somber in others.  The cruelty of the trick played on the elder brother and sister is expressed in “The Tree” in which they explain how their lives are unfruitful like a tiny tree. The various lackeys who have supported the princess’ efforts and find themselves unrewarded for it lament their lot in life in “The Henchmen are Forgotten,” slightly reminiscent of “Brush Up Your Shakespeare” from KISS ME KATE. The Harlequin gets to remind the audience of the duties of the “Classic Clown.” A happy ending is celebrated in “The Day of Days.” 

The players give joyful life to their characters and have fun providing laughs and music. Even the slighted brother (Jim Hayes) and sister (Erin Banta) are so silly, you can’t take their hurt seriously. The three Henchmen are the Gardener (Phi Johnson-Grin), the Harlequin (Emma Ackerman) and Corin, the Handmaiden (Cooper Rae). Their interactions add another layer of comic relief to an already funny script. Princess Leonide manages to give away both her heart and her crown, but not before she has some fun dressing as a boy and flirting with EVERYBODY. Kryssi Miller enters her role with enthusiasm. The bewildered scholar is played by Bruce Robinson with the befuddled air of someone who has had no public life and doesn’t have any idea of what is going on. 

The parameters of Wheat Ridge’s playing space do not allow for elaborate sets, but they always do a good job with setting the scene and making sure the audience is able to follow the story from one place to another. They also provided excellent tracks for accompaniment for the singers.  

If you can keep up with this roundelay of lovers, you’ll have a good time at this show. 

A WOW factor of 8!! 

CEBOLLAS – Written by Leonard Madrid; Directed by Jerry Ruiz.  Produced by the Denver Center Theatre Company (Singleton Theatre, 13^th and Champa, Denver) through March 10.  Tickets available at 303-893-4800 or denvercenter.org. 

There is always a special bond between sisters.  Even if they haven’t lived close to each geographically for yours.  Even if there are years between them in age.  Even if they consider one of their number a bit of a screw-up.  Regardless, there are always shared memories, shared stories, shared love.  The three sisters in this production bring their differences to the stage as well as their sameness. 

Tere (Zuleyma Guevara) is the worldly but down-to-earth older sister.  She has a heart of gold, but also can’t believe the situation they find themselves in because of her irresponsible youngest sister.  However, when a solution presents itself to the problem they have all undertaken to solve, she jumps in with both feet.  The middle sister is Celia (Xochitl Romero), the practical one who does all the driving and keeps the path moving straight ahead.  She seems to like fun and joking, but when there is work to be done, she gets to it.  Yolie, the youngest, (Jamie Romero who got her start right here in Denver) is the one with the problem through no fault of her own.  So to speak.  I mean, she has found herself VERY pregnant by a man she doesn’t love, who is married, who lives in Denver, and who is right now dead in her LazyBoy. 

And so it begins.  The solution about what to do with the body is drive it from Albuquerque back to Denver, sneak it into the house (Yolie has a key) before his wife returns from her night job.  That’s only something like eight hours in the middle of the night.  But they manage to find a little fun along the way as they pass familiar landmarks to most Coloradans and New Mexicans.  A roadside store with huge carved animals out in front, a gas station with slot machines, the rock at Castle Rock, and, best of all, the IKEA store on the outskirts of Denver.  Along the way, with conversations both light and dark, family secrets are revealed, apologies long overdue are made, and new connections are forged.  How could you avoid not getting closer on an adventure like this? 

All three actresses embody their characters with authenticity and enthusiasm. The script gives them ample opportunity to review family history and common jokes. They invoke the familiarity of family members while also celebrating their differences. It’s an entirely different trip to one undertaken by three strangers for a less fragile reason. This is an unusual slice of life drama with its funny side on full display. A truly touching moment was created by Jamie Romero as Yolie as she acknowledges the place in her life that had been held by her lover. 

Giant kudos must go to the technicians who created the corpse which proved to be weighted, jointed, and colored realistically. Without “his” uncomfortable presence in the back seat, this would have been an entirely different episode in their lives. Yet his static appearance became only the reason for the trip, not the catalyst for the conversations that ensued. As an audience member, as soon as you accepted the situation, he became redundant, and you forgot to look at him. 

The car devised for this journey was also a work of art. Enough of a body to provide seats and a semi-realistic mode of transportation, but not enough to get in the way of the actresses’ entrances and exits. Very cleverly devised. Yet another extraordinary component adding to the reality of the women’s journey were the projections that illustrated the highway they travelled and the stops they made. Projection Designer Alex Basco Koch obviously made the trip himself with a camera out the window documenting every step of the way; then condensed it to fit the time frame of the script. A brilliant addition to the production. 

Those wishing to see more of Mr. Madrid’s work should plan a trip to Creede this summer to see PRIMA’S GUIDE TO FUNERALS, another comedy about three women dealing with a death in the family.  

A WOW factor of 8.75! 

URINETOWN, The Musical – Music and Lyrics by Mark Hollman; Book and Lyrics by Greg Kotis; Directed by Robert Michael Sanders; Musical Direction by Dan Graeber; Choreographed by Ronni Stark. Produced by the Town Hall Arts Center (2450 Main Street, Littleton) through February 25^th. Tickets available at 303-794-2787 x5 or boxoffice@townhallartscenter.org. 

Mr. Hollman and Mr. Kotis, the creators of this funny script, have three (or more) things working for them. (1) An interesting premise that provides an easy conflict (those that have access to water and those that don’t) with ample opportunity for sight gags and verbal innuendos. (2) The device of a narrator who “explains” it all for the audience while chatting with his sidekick. He makes sure that everyone knows they are IN a musical world which has certain traditions to follow and formulas to be honored. (3) The ability to drop other musical memories into the middle of the action for the fun of audience recognition. 

Mr. Sanders, Mr. Graeber and Ms. Stark have all these ingredients plus a talented cast of singers and dancers to bring the show to life; an experienced set of designers and crew members to make everything look and sound right; and an on-stage four-piece band to provide the back beat. It all adds up to a fun afternoon or evening at Town Hall. 

While the last production reviewed featured people trying desperately to hang on to their dignity, the denizens of Urinetown (the Musical) have no shame in revealing their need to use the bathroom. Straight up, we are invited to watch a line of men and women lined up in front of a UGC (Urine Good Company) public urinal struggling to hold it together . . . and in. Under the guidance of Pennywise (Liz Brooks), the keeper of the keys to this latrine, the chorus of the Poor explain musically that it is a “Privilege to Pee.” A long-term drought has drained all the water sources; all that remains is under control of UGC owned by Caldwell B. Cladwell (Jim Hitzke). So, it costs to use a bathroom. One can only imagine what happens when you don’t have the money needed. There are several references to the “Stink Years” answering that question. 

But how do you deal with this situation except with humor or rebellion. This script – in the accepted method as explained by Officer Lockstock (Damon Guerrasio) – encourages both. Pushed to the wall by Cladwell and his potty goons, the Poor finally stand up for their right to sit down. Depending on whether you are male or female. 

This carefully constructed musical thought of everything. Even the names of the characters are puns. The two police officers are Lockstock and Barrel. The villain is the well-dressed (even in his bunny slippers) Mr. Clad-Well. The hard-hearted yet realistic manager of the latrine is Ms. Pennywise; the family that rebels against the UGC are the Strong’s, led by son Bobby (Jake Bell). Could you be more obvious? 

While poking fun at the traditional musical – which this is not! – the show also pays musical and choreographic homage to the very tradition it mocks. FIDDLER ON THE ROOF, WEST SIDE STORY, LES MIZ and many others are lovingly tossed into the mix. Traditions are honored – there is, of course, a love story and songs, a gospel rouser, a rebellious anthem, an “I Want (to pee)” song – and traditions are broken – unexpected people die (gruesome but funny scenes not unlike the throat cutting in SWEENEY TODD), happy endings are mocked, and no one repents. Even Cladwell is dragged off stage singing “I’m not sorry.” Which all adds to the fun. 

I love this community of players that will happily take their place in the ensemble when that is offered, even though they have done leads in recent productions. It’s all about the show – not the ego. This strong ensemble which includes such local favorites as Carter Edward Smith, Corey Exline, Elliot Clough, Isabella Duran, Mark Shonsey, and Sam Barrosso mines the script for humor and finds it all. Each member contributes to the story enthusiastically and with skill. The dances are tight, the songs soar, and the jokes catch the audience off guard.  

Kudo’s also to the on-stage band and the sound crew for providing the musical background without overwhelming the singers. It would have been so easy to do with their proximity to the performers and audience. 

“A Splash Hit!!” 

A WOW factor of 8.75!