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THE NACIREMA SOCIETY REQUESTS THE HONOR OF YOUR PRESENCE AT A CELEBRATION OF THEIR FIRST ONE HUNDRED YEARS – Written by Pearl Cleage; Directed by Kenya Fashaw. Produced by Firehouse Theatre Company (7653 East 1^st Place, Denver) through March 2. Tickets available at 303-562-3232 or firehousetheatrecompany.com. 

Many organizations celebrate Black History Month with remembrances of the work of early pioneers – Rosa Parks, Bayard Rustin, Dorothy Height, Dr. King and hundreds of others who have fought the fight and braved the battle. Firehouse has chosen to honor the women who have worked to preserve the best of plantation life by celebrating with a high society ball that recognizes a different form of civil rights. Their foremothers had observed and copied the “right” way to manage a household in their positions within Southern mansions. In 1864, the Nacirema (American backwards) Society was formed by a group of freed women determined to preserve the best of Southern living and their personal dignity. Through the years, it has morphed into a group that celebrated itself with elegant events. A once-a-year debutante ball introducing six young women and their escorts to the best Montgomery, Alabama has to offer provided an occasion for the young people of this elevated group to dress up and celebrate their good fortune. Whether they wanted to or not. 

The production opens one week before the 100^th celebration as preparations for the big day are on high alert. Grace Dunbar is the calm at the heart of the tornado of preparations. Her granddaughter, Gracie, is the Queen of the Ball this year and everything must be perfect. But a monkey wrench is about to be thrown into the proceedings in the form of Alpha Campbell Jackson (Artie Thompson) whose mother was the Dunbar’s maid for forty years before her death. Alpha has her own daughter who is active in the Mississippi civil rights activities and is studying to be a doctor. Money is tight and she has devised a scheme to get what she feels is owed to her family. The fun begins in watching the oh-so-dignified dealings between the grande dame Grace and the down-to-earth Alpha and to see their carefully crafted dignity begin to disintegrate. 

Grace is portrayed with unfailing – well, grace – (up to a point) by Latifah Johnson whose experience on stage and personal persona of gentility and style fit her well for this role. Her character firmly believes in the correctness of her position in the Society and the significance and importance of its meaning and purpose. Her all-female family consists of her widowed daughter-in-law Marie (Zeah Loren) who looks on all the fuss about the Ball with pride in her daughter and a jaundiced eye toward the silliness of it all. But she knows her place as the buffer between her daughter, Gracie (Liyah Patrick) and her grandmother. Gracie, on the other hand, has a realistic view about the frivolity of the fuss and has higher aspirations than marrying well. The final member of the household is Jessie, the maid, given delightful life by Larea Edwards. Her silent entrances and exits as she gathers coats, glasses, and flowers is always fun to watch. Without a word, she plays a crucial role in saving the day. 

The remaining players are the members of the Green family, another legacy family of the Society. Catherine, played by Colette Brown, is Grace’s counterpart until put under pressure; then she turns into Edith Bunker, frazzled, confused, scatter-brained and frightened. What a treat to watch her transformation and her attempts to keep everything under control. Her grandson Bobby (Josiah Peters) is destined by his determined grandmother to marry Gracie. It doesn’t seem to matter that Bobby has his own ideas about that and his eyes on another girl. 

Then we have the mother-daughter Jackson duo. Alpha’s machinations to provide her daughter Lillie with money for medical school form the conflict in the story. She is determined and righteous in her efforts. Her daughter Lillie thinks she’s crazy and inadvertently spills the beans before things too much out of control. Nadiya Jackson with her tight fro is a young Angela Davis look-alike and brings a laid-back energy and authenticity to her role. 

Finally, the catalyst for a lot of the tension in the house is caused by a New York Times journalist, Janet Logan, who has come to Grace’s home to cover the Ball. While pleased for the publicity, trying to keep everything that unfolds on these few days out of the paper becomes everyone’s goal. Sydney Odion-Smith– in a first role – brings a more urban vibe into the proceedings. Confident and competent, she looks on all the folderol from a bemused distance. 

There you have all the players. The plot will work itself out as you put all of these people with different motivations and goals in the same room and let them riff. 

The design for The House of Dunbar came the imagination of Director Kenya Fashaw, the skills of Builder Jeff Jesmer and Scenic Painter Megan David, and the style by Helen Hand and her Southern ancestors. The costumes – both everyday and ball-worthy – by Holly-Kai Hurd are absolutely gorgeous. If I ever get to be a placeholder at the Oscars (personal bucket list item), I want her to style me. The lighting design by Emily Maddox makes the small stage at Firehouse large enough to provide multiple simultaneous acting areas by keeping the eyes focused on the right place as the action moves quickly. The Sound Design by Rick Reid added lovely transition and dance music in appropriate places and threw in crickets for good measure. A joint effort that resulted in a lovely setting for this funny show. 

For a different take on Black History, check out the ladies of the Nacirema Society. You won’t be disappointed. 

A WOW factor of 8.75!! 

WHAT THE CONSTITUTION MEANS TO ME – Written by Heidi Schreck; Directed by Allison Watrous. Produced by Butterfly Effect Theatre Company (BETC) (Presented at the Dairy Center, 2590 Walnut, Boulder) through May 3 to 19). Tickets available at betc.com. 

Another good show; bad title (to steal a line from URINETOWN marketing). The title makes you think this show is going to be a boring history lesson involving B. Franklin and A. Hamilton. They are mentioned in passing but it’s much more about Heidi herself, the playwright now morphed into the leading character in this exploration of past and present history. 

Heidi reveals her 15-year-old debate contender who routinely wins debate challenges with her patriotic verbal expression of “The Constitution is a Crucible.” She then goes on to stretch that metaphor to a crucible being a place where everything gets mixed together like a cauldron – followed smoothly by an expansion into witchcraft and their reliance on magic. Therefore, the Constitution is like magic. Strangely, it all makes sense as Jessica Robblee as Heidi explains her premise. 

As the evening continues, not only do we learn more about Heidi’s personal life and beliefs, but she engages the audience as the judges in this debate, cajoling us to her point of view. Her passion about the subject matter and her high-grade energy never allows your attention to falter or our interest to flag. She explores why women were left out of the conversation in Philadelphia so long ago and what has and hasn’t changed since then. Her constant belief is that the Constitution is a bunch of laws designed to reinforce that women are worthless. She paints a powerful picture. 

She is joined on stage by Rodney Lizcano as Mike, the Legionnaire who is her local host and timekeeper. He eventually sheds his Legion persona and joins in the conversation about what the Constitution means to him and how it impacts your everyday life. The final cast member is Mariam Faal who plays a “real life” 15-year-old debate participant who takes on Heidi in a fast-paced argument to decide should we change the Constitution or dump it and start all over again – as Jefferson thought should be done for every era. 

Set in an American Legion Hall with portraits of past Legion presidents staring down from the wall, this is truly a slice of American culture in the 80’s. 

BETC is spreading its wings and has a continuing set of programs scheduled for the remodeled hotel turned event center. Check their website for upcoming events. This program continues at the Savoy through February 11. It will then continue its run at the Dairy Center in Boulder from May 3^rd to the 19^th. 

While you do not get a dry boring history lesson with this evening at the theatre, you do learn a lot, question long held beliefs, and are gently encouraged to explore America’s beginnings and how the Constitution impacts your everyday life. Plus it’s just fun. 

A WOW factor of 8.75!! 

MISERY – Written by William Goldman; Directed by Warren Sherrill.  Produced by Miners Alley Theatre Company (1100 Miners Alley, Golden) through February 11.  Tickets available at 303-935-3044 or minersalley.com. 

No one expects the audience to do research on the play they are about to see or have just seen.  But sometimes a little background makes the story even more interesting. We all know that this epic started out as a novel by Stephen King – but what was his inspiration for this deadly character. He reports that he dreamt this scenario on a cross-Atlantic trip and wrote the outline on a napkin so he wouldn’t forget it. It has been suggested that he may have had his dream inspired by the story at the time of a nurse – Genene Jones – who routinely murdered about sixty children and adult patients with injections of drugs that impaired respiration. The novel turned into a movie (Kathy Bates and James Caan); then into the William Goldman play (on Broadway played by Bruce Willis and Laurie Metcalf).

Regardless of who King’s inspiration was, he created an unforgettable character. Those attending the Miners Alley production of King’s story will witness an equally unforgettable character brought to a frightening life by Ms. Emma Messenger. 

It has long been agreed that Emma is one of the most talented and versatile actresses making her home in Colorado. She performs all over the state, recently in Colorado Springs and Silverthorne. She can be as funny as Carol Burnett, as domestic as Martha Stewart, as serious as Meryl Streep, and now as scary nutso as Mrs. Lovett. But, needless to say, I’m her No. 1 fan. The plot is well known but what the play adds is the possibility that Annie may have caused Paul’s original injuries herself as she admits stalking him as he finishes his current book in the Misery Chastain series. What puts her over the edge is the realization that it is the LAST in her beloved series. Then the fun begins, the manipulation, the coercion, the torture and mind games. 

Ms. Emma can be coy, menacing, hysterical, whimsical, touching all within the course of two minutes, whipping from one emotion to the next with heartfelt honesty. You just can’t see the changes coming. Her anger and deadly disappointment rise out of some lonely place deep inside her and surfaces with menacing intent before you see it coming. She has a death stare that would terrify the most defiant opponent. Yet she arouses sympathy in the most hard-boiled of observers. This is a tour de force performance; Stephen King himself would be impressed. 

It takes a strong and versatile actor to play against the whirlwind that is Annie Wilkes. Director Warren Sherrill aced in his casting of Torsten Hillhouse in the role of Paul Sheldon, author. Torsten is relatively new to Colorado having performed in Creede and Aspen and one role years ago in Arvada. But however he ended up in Golden to do this role, I hope he sticks around for a while and brings us other performances equal to this. He is a worthy determined opponent for Annie, using charm, guile, guilt, pity, anger, even a hint of romance in his arsenal of weapons against her cruelty. He is as determined to escape as she is to keep him there. His deception is so clever as to make her off balance and hopeful at times, which makes the disappointment deeper when his true feelings surface. Knowing her weaknesses, he can be as cruel as she in devious ways. It is a true match made in hell. 

The third player is the always winning Mark Collins, an innocent but suspicious sheriff who leads the search for the missing Sheldon. You can’t help but root for him to uncover the hostage situation, even knowing what danger in the hands of Annie that puts him in. But Mark plays the good ol’ boy law officer to a tee and is a hero in our minds for his determination to figure out what happened to his missing person.  

I have so many older women friends who have been scammed by men who enticed them with promises of caring for them. There were so many bits of dialogue that echoed their stories in this production. Sometimes Annie is the scammer who becomes the victim and sometimes it’s Paul.   A startling recognition of a life-like situation. 

Special kudos MUST be given to the amazing work done by the tech team for this production. Designed by Jonathan Scott-McKean, the small claustrophobic basement room Sheldon is held in is stark and inhospitable. The combination of John Hauser’s sound design and Vance McKenzie’s light design create the most realistic storms I’ve witnessed on a stage in a long time. The whole audience jumped with the first lightning flash and thunder boom that echoed through the theatre. Whenever Annie was reading her Misery novels, she played a Liberace album of mushy romantic music. But it always sounded just a little bit off kilter, not quite the right speed, just a little bit mushy, reflecting her state of mind. The costumes designed by Crystal McKenzie for the men were authentic and timely. Annie’s clothes illustrated her depressed state of mind and her hopelessness of being considered a womanly woman. Amy Arpan lends her talents as a fight choreographer to the most realistic final battle between the two opponents. One last creepy lighting effect closes the show with a whimper. 

Thank you all for your work on this amazing production. 

A WOW factor of 9!! 

SWEAT – Written by Lynn Nottage; Directed by Kenny Moten.  Produced by Openstage (Presented at the Lincoln Center, 417 West Magnolia, Fort Collins) through February 10.  Tickets available at 970-221-6730 or lctix.com. 

I used to have two female friends that I did everything with.  How many times did they bail me out financially, when my car ran out of gas in the middle of nowhere, when I wondered if my life would ever get any better.  (It did!)  And how many times did I hold their hands when they were tired and worried about family, cooked meals for all of us, shared my theatre tickets with them, and picked our Friday night movies.  The Three Amigos were my constant companions for a long time.  One now lives in North Carolina, the other is home in Columbia, and I’m still here in Denver. 

So, it was easy for me to recognize the ease and comfort the three friends in this play shared . . . in the beginning.  They were more raucous than me and my friends, but there was no shame with these women over getting drunk or shaking your bootie in public or outrageously flirting with the men in and out of Mick’s Bar.  The bar where the action takes place.  Anything goes and nothing’s gonna harm you.  Mick’s is their safe place and Stan, the barman, is their guardian.  They all work at a back-breaking factory jobs “on the line” so they need this down time to keep going back to it. They celebrate new boyfriends, getting rid of old husbands, birthdays, promotions . . . . . wait a minute, who got a promotion?? 

And that’s where the trouble begins. These factory jobs are the only kind of work available to them in the small town in which they live. They all hate it, but they and their families have worked there forever. Equally hard; equally long. A management job comes open and scrambling ensues to “move up,” make a little more money, work in a different way. It is inevitable that when one gets the job over the other, jealousy mounts. Then when lay-offs begin to happen and jobs are lost, it gets worse. Add in drug-addicted husbands, arrogant and angry sons, a union strike, people crossing the picket line and you’ve got a real mess on your hands. 

The tension in this situation grows like a tsunami and someone is bound to get hurt. The players in this drama make the situation come alive and shove their frustration in your face. As the three female friends, Ghandia Johnson, Sydney Parks Smith and Samantha Jo Staggs devolve from abandoned joy in each other presence and Friday night fun to hateful and hurtful arguments with insults being hurled across the room. It affects their sons who have grown up together who worked the factory line and now walk the picket line together. Rashad Holland and Kimber Freestone Hoven reflect painful acceptance from one and angry violence from the other. Don Randle gives a touching performance as the addled and sorrowful husband of Cynthia as he fights his addiction. Kevin Reifel as the manager of Mick’s and Miguel Munoz as his immigrant helper try to keep the peace, but they have their work cut out for them. The final player is Chaz Grundy who starts the play as a parole officer asking the questions that bring the whole story out into the open. A more talented group of actors you will not find playing against type. Ghandia generally plays happy comedic roles and Sammy Jo is known for her work as a performer in fun musicals. But these two and the other seven in the cast bring their hard as nails persona to the stage to tell this touching story of forgiveness and growth toward maturity. 

A fully equipped bar designed by James Brookman provides the dance floor for this tangled tango. The show’s program shows all 24 people behind the scenes working hard to make everything right for the nine on stage. That includes Director Kenny Moten who is popping up all over the Front Range these days sharing his talent from Fort Collins to Colorado Springs and beyond. All the communities and theatres benefit from his fine touch with everything from musicals to tough dramas like this one. Every performance I’ve seen at Openstage has been well constructed and well performed; Fort Collins is lucky to have a group of this quality in their midst. 

A WOW factor of 8.75!! 

TRUTH BE TOLD – Written by William Cameron; Directed by Christy Montour-Larson. produced by Curious Theatre Company (1080 Acoma, Denver) through February 10. Tickets available at 303-623-0524 or boxoffice@curioustheatre.org. 

I have occasionally confessed that one of my gauges for how engaged I am in a production is measured by how many notes I take. Quite frankly, if I think I’m not going to be able to remember what happened, I take a lot of notes. If I am intrigued from the starting gate, no notes are needed. Maybe instead of a WOW factor rating, I should use 1-2-3 pages of notes as a ranking tool. 

This show would have been a “no notes” ranking!! 

Engaging, startling, feisty, intriguing, captivating from the start to finish. A two-hander involving a true crime journalist is interviewing an ordinary woman named Kathleen who is the mother of a teenager who shot a group of people at his workplace, including his stepfather. The journalist is convinced she has all the facts and is working on the “why” of the situation. The mother knows the novelist does NOT have all the facts and wants her to see things the way she sees them – that someone else did it and her son is being sacrificed on the media cross. The brilliant Karen Slack plays the mother with determination and passion. She has been harassed by the public to the point that she had to move out of her home into a dingy basement apartment, maligned in social media with life-threatening emails, and feels that this her last chance to get the truth about her son out to the public. She is worn down, ragged and mourning, but still determined to clear his name. Trying very hard to remain calm and present her case in a logical professional manner, she just barely keeps herself from screaming. 

The journalist is played by an actress Karen’s equal, Jada Suzanne Dixon. She brings a professional noncommittal patina to the role of Jo Hunter. She wants to “do her job” to get the deep background she feels she needs for her story, without getting so involved she loses her perspective. Her questions are pointed, sometimes blunt, nearly every one a visible pain in Kathleen’s heart. In an attempt at solidarity with her interviewee, she confesses her own insecurities and perceived weaknesses as a mother. But her impatience with Kathleen’s unwillingness to accept the truth seeps through her veneer of sympathy. Does a reckoning come? You bet it does in one of the most startling and heartbreaking scenes you’re likely to see this year.  

Caitlin Ayer’s design of a dingy $500 a month hole in the wall apartment with its beige furniture and tiny kitchen was too authentic for words. I feel like I lived there during college. The whole set is framed with a false proscenium that focuses your attention on center stage where the action is going on and presents the play almost as a TV show.  

This is a poignant and powerful portrayal of every parent’s worst nightmare. You will want to go home and hug your kids after this show. 

A WOW factor of 9.25!! 

SCHOOL OF ROCK – Book by Julian Fellowes; Lyrics by Glenn Slater; new Music by Andrew Lloyd Webber; Directed by Katie Reid Milazzo; Music Direction by Michael and Amy Pickering; Choreography by Madeline Shaffer. Produced by Parker Arts (Presented by Veritas Productions at the Parker Arts Center, 20000 Pikes Peak Drive, Parker) through February 10. Tickets available at 303-805-6800 or parkerarts.org. 

Who would have thought that the author who wrote DOWNTON ABBEY and the composer who created the music for PHANTOM OF THE OPERA would have collaborated with Mike White who wrote the movie script for Jack Black?? And it would all end up in a production of said collaboration on a stage in little ol’ Parker, Colorado? Yet here we are, tapping our toes and shooting our hands in the air and shouting “Stick it to the Man!” Ain’t life grand?! 

What a delightful way to spend an afternoon or an evening watching talented young people and a few ol’ fogies live out their dreams of Rock Stardom. Veritas Productions and Parker Arts chose well for their first collaboration. In bringing this charming script which appeals to both older and younger artists, to their stage, they are guaranteed to please every member of the audience. 

The stage belongs to Caleb Reed who brings the frenetic energy of the original Dewey, Jack Black, to the stage while also allowing him a sweet, shy and hopeful side as well. He doesn’t care how old or young you are, if you like music, you’re a friend. He passes on his enthusiasm easily to the receptive kids and treats them like the semi-adults they want to be. The kids sing “If Only You Would Listen” about their parents and Dewey came into their lives and listened. The results were amazing. 

Next, we have the student ensemble – the heart of the show. Fifteen extremely talented young performers from the Parker/Castle Rock area were found who could play an instrument, sing and dance. While all participated and played their parts loud and proud, recognition must be given to the ones who stepped forward and said, “I can do this.” First there was Summer (Gabrielle Gueck) who became an immediate thorn in our hero’s side with her constant questions and dependence on the “rules” of the school. Needless to say, she fell into the lure of “being in the Band” even though she admitted she couldn’t sing. But she took on a patter song that would have put Lin-Manuel Miranda to shame. Then there was silent Tamiko (Sariah Smith) who never spoke till she sang. Then Zach (Christopher Gawlikowski) started the music with his electric guitar. His middle name should be Riff. Soon he was joined by Katie Burt – another guitarist, Freddy (Sean O’Malley) on the keyboard who was not cool enough to be in the band until he was, and Liam Dodge on percussion keeping the Rock rolling with a vengeance. To create a sense of belonging among them, Dewey wisely gave every person in his class a job and then backed off and let them do it, making each job as important as the ones playing instruments. 

Dewey and the Band are supported by a group of adults who take on the roles of both parents and teachers of the kids. While they were hidden under long wigs and tight leathers making them nearly unrecognizable, I think I could pick out Patrick Brownson, David Kouts, and Kevin Eksterowicz as members of the No Vacancy rival rockers in the Battle of the Bands. Rosemary Smith as Ms. Sheinkopf, a member of the school staff, stopped the show several times with her smart mouth remarks and comic timing. Dewey’s best friend and benefactor Ned, played by Erik Thurston, made a frustrated rocker come back to life under the inspiration of Dewey despite his shrewish wife, given bitchy life by Miranda Byers. Another standout performance was given by Sara Metz as the principal of the Horace Green School. She displayed the versatility of her voice by using it for both Mozart and Stevie Nicks. 

As always, the team at Parker keeps the show rolling. Especially important for a show involving loud rock music, the Audio team (Curt Behm, Matt Koenig, Mason Campbell, Ross Hullender and Ari Kutzer) along with the five piece “pit” band on stage (led by Michael Pickering) achieved the desired effect of enthusiastic musicians without breaking anyone’s ear drums. Christy Izmirian created clever glitter touches to the kid’s school uniforms for the big Battle of the Bands. Matthew Crane’s scenic design created a set that moved somewhat easily between bedroom, living room, school room and teacher’s lounge. If only there was a way to get tables and chairs off and on more easily; although this cast and crew were like a hill of worker ants getting stuff done quickly. Almost as choreographed as the real dance numbers. 

Your kids will love this one. Bring them along. 

A WOW factor of 8.75!! 

FUN HOME – Book and lyrics by Lisa Kron; Music by Jeanine Tesori; Directed by Emma Rebecca Maxwell; Music Direction by Alec Michael Powell. Produced by Vintage Theatre Company (1468 Dayton, Aurora) through February 18. Tickets are available at 303-856-7830 or Vintagetheatre.org. 

First of all, congratulations to the leadership and creative team at Vintage Theatre for having faith that they could stage this small musical with big themes in their intimate Bond-Trimble Theatre. Just physically, it seemed a huge task to get all the components of the set on that small stage. And then to add a small but mighty four-piece live “pit” band to the mix! Ouch! But pull it off they did – in spades. 

All the necessary pieces of the set were there. A full-sized coffin that allowed the young Bechdel kids a playful hiding space yet kept the specter and reality of death always present. “Fun Home” was how the three irreverent Bechdel children referred to their father’s busy funeral home. The set also had room for a small piano at which Mrs. Bechdel practiced for her musical theatre roles, a college dorm bed that rolled in and out, a faux front seat of a car, a representation of the preparation room of the funeral home AND a semi-comfortable seating area for the musicians. Who – by the way – did an excellent job of balancing the accompaniment of song against the size of the room – supportive without being overpowering. Not an easy task even for a bigger group in a bigger room. Kudos to Katie Burns, Alec Michael Powell, Ethan McGraw and Russ Callison for pulling this off. 

Director Emma Maxwell in a directorial debut maneuvered her cast through this maelstrom of emotions, discoveries, music and movement with the understanding of theatrical dynamics she has gained from her own years of performing. Whoever didn’t see her Puck in Phamaly’s MIDSUMMER missed the performance of the summer last year. Her comprehension of the delicate situations depicted in this script was complimented by her understanding of how to stage it with sensitivity and humor. 

Of course, it helps that she put together a terrific cast. The musical biography of Alison Bechdel, graphic cartoonist, is told by Small Alison (Mac Vasquez the night I saw it), Medium Alison (River Hetzel) and just plain Alison (Maya Ferrario) as the adult narrator. By dividing the growing-up-story this way, we experience Alison’s gradual understanding of herself. Young Alison only knew that she admired a female delivery person for her “swagger and [her] bearing and the just right clothes [she’s] wearing.” The wonder of first love exploded in Medium Alison with the cute realization that she wanted to “change her major to Joan.” It was the adult Alison that came to realize the delicate dilemma of her conflicted father – afraid of discovery and yet unable to control his urges toward young men. 

In this difficult role, Lars Preece walks the fine line between concerned father and slightly smarmy predator. His outbursts toward his confused children and his disappointed wife revealed his own inner terror and sorrow. Lars’ beautiful voice gave life to these feelings in “Edges of the World.” 

Alison’s frustrated and sorrowful mother is created by Adrienne Asterita. Beautiful and talented in real life, Helen was a noted actress in local productions. It is easy to imagine how escaping into a role and away from her own dismal home life could have brought her relief. Adrienne illustrated the dichotomy of Helen’s life with grace and understanding. Alison’s siblings were played by Aliyah Dickerson and Henry Duffany. One of the most delightful musical numbers of the evening was the commercial the three came up with for the Bechdel Funeral Home extoling “Welcome to the Fun Home.” 

The final two players were Marlene Hall who had the difficult task of providing a sameness yet a slightly different look for each of the father’s young men. Interchangeable and temporary in their role in his life. Joan (played by Elise Brianne Todd) has the excitement of introducing Medium Alison to the joy of sex and of being a strong influence toward maturity for her. 

If you can score one of the remaining tickets to this sterling production, grab it. You won’t be disappointed. I just heard this afternoon that they may add another weekend. Get on it!! 

A WOW factor of 8.75!! 

Cuauhtemoczin – Written by Diego Florez-Arroyo; Directed by Phil Luna. Produced by Control Group Productions (Presented at the People’s Building, 9995 East Colfax, Aurora) through January 20^th. Tickets available at ControlGroupProductions.com. 

As a learned professor said recently on NPR, “If Hispanic people can learn to say, ‘Worcestershire sauce,” Anglo’s can learn to say “Cuauhtemoczin.“ Some have; I’m still struggling. Cuauhtemoczin was the last leader of the Aztec people before a difficult surrender to the armies of Cortes. As a true leader, he asked Cortes to take his own knife and kill him on the spot, a “death before dishonor” move. However, Cortes respected bravery in a warrior and spared him, allowing his soldiers to return to their villages. He took the warrior king with him on his next campaign, but later trumped up a supposed plot by Cuauhtemoczin to have him assassinated. This led to his torture and eventual hanging. He is honored throughout Mexico as the person who kept his people and his culture alive by hiding it from the conquerors, yet within themselves. 

A noble story worth being told to unknowing Anglos, its connection to this modern-day theatrical production is somewhat tentative. In the beautiful Aztec costume used at the beginning of the show behind a scrim, it was impossible to see who was wearing it. Learning only after the show that it was the main character Dante (Jozer Guerrero) made the desire he had for the culture of the warrior and the leader he wished to emulate obscured by the feathers and mask. The bulk of Dante’s life is lived in prison because of his desire to protect his family. Barring military life, this is nearly the only way a man in this century can demonstrate his heroic tendencies. But was it really what his family needed of him? 

While the audience only sees Dante’s outside time through short scenes with the females in his life, his desire for family and an honorable place in his society seems difficult to achieve because of the strength of these women. In their short scenes of visitation in prison, their determination to go on, their continuation of a life outside without him, seems only to bring him more dishonor.  

The prison scenes that explain Dante’s life and his desire to escape the spiral of recidivism he’s caught in. His relationships with his fellow prisoners are sometimes brutal, sometimes funny, always thoughtful. These characters in this location have the potential of a spin-off production of their own. They have a casual attitude about who and where they are; some wish to learn and better themselves; some plan a life outside; some know they will never leave. But the relationships between the men seemed authentic and nearly improvised in its naturalness. I wanted to know more about them. 

Especially Juanito, a bookworm who tried to get everyone interested in reading played by Jesse Lee Pacheco. Could Juanito be given the task of teaching the prisoners about the life of Cuauhtemoczin as part of his pitch about reading more? It could have explained the need for a culture of masculine strength which seemed prevalent in this situation. A capo de capo type came into the prison during the second act (David Rodrida) who emanated menace with every line. The other inmates were given authentic characterizations with various reactions to imprisonment, but their names were not always evident in the dialogue. Their real-life names are Dillon Autry, Kian Way, and Sid Madrid and they all did a good job. 

The women in the production introduced energy and purpose into the picture. Their short scenes were pithy and conveyed with intent how they felt about their errant relative and the situation he had gotten himself into. His grandmother (Megally Luna), his mother (Jordan Hull) and his sister (Hannah Victoria Pacheco) made the scene come alive and reinforced what Dante was missing on the outside and the place he had in their lives. 

Technically this show needed help. The gaps between scenes were deadly; the endless moving of table and chairs to indicate different places in the prison was unnecessary in an area as large as the People’s Building playing space. There was plenty of room for two tables and multiple chairs that would have cut down on the need to move one table and the same chairs from one end of the room to the other. It would have allowed for the dialogue to be tightened up and the pacing made stronger. On the plus side, the endless loop of prison noises created by Taylor Brake and Steve Sundberg that played quietly in the background kept it real; but a recurring theme of music between scenes would have kept us connected during the few times movement of scenery was actually required. An interesting video that scanned a brief history of Hispanic culture through the ages brought us from Aztec to America.  

All told, this was a good second production of a work in progress. It will keep getting better and better. 

A WOW factor of 7.5!! 

NEWSIES – Music by Alan Menken; Lyrics by Jack Feldman; Book by Harvey Feinstein; Directed by Bernie Cardell; Choreography by Rebecca Scott Dean; Musical Direction by Heather Iris Holt. Produced by Performance Now Theatre Company (Presented at Lakewood Cultural Center, 470 South Allison Parkway, Lakewood) through January 21. Tickets available at 303-987-7845 or Tickets@Lakewood.org. 

I’ve always thought that knowing about a show’s origins can give you a little more understanding about what you are watching. This musical started way back in 1899, the year of the original Newsboys Strike in New York. This gem of an idea of a group of ragtag newsboys scratching out a living (barely) by selling newspapers on the street standing up to the publishers – one of whom was Joseph Pulitzer – to get a few more pennies a day and better working conditions had to be appealing to the writers of the movie that grew out of this incident. Bob Tzudiker and Noni White took the story of Kid Blink, the real-life ringleader for the strike, and wrote a movie script that was turned into a film released in 1992 – almost 100 years later. Not a successful movie financially, it only made about $3 million when first released, but, of course, has now become a favorite of those who like strong masculine dancing and watching Christian Bale in his breakout movie.  

What about the other people that appeared in the movie? Did they fare as well as Bale because of their appearance in the flick? Of the 25 dancers in the movie, sixteen went on to make a life in the theatre. Two have won Emmy’s; some became dancers and choreographers for Michael Jackson and Madonna; one was even lucky enough to marry Idina Menzel. Others stayed in the movie industry but became sound designers, editors, voice talent, actors and dancers in not as well-known movies and TV programs, but working, nevertheless. The original movie cast included Trey Parker (and we all know how successful he’s become) who played Kid Blink, but the part had been reduced to a small role with the lead character becoming Jack (Christian Bale). Another notable in the movie was Deborra-Lee Furness, until quite recently married to Hugh Jackman. It should be noted that Jackman was still at University in Australia in 1992 and married up in 1996 when they met on the set of his first TV role. Adult roles were played by Bill Pullman, Robert Duvall and Ann Margret. 

But enough of the past. This cast of dancers and singers continue the tradition of strong masculine dancing with leaps and athletic moves performed by both men and women in the ensemble of newsboys. Choreographer Rebecca Scott Dean created a seventeen-soul ensemble that exuded confidence and swagger. They yelled with their bodies, “We can do this!! They can’t keep us down!” so strongly that the audience was rooting for them before the first dance was over. Since this show is all about the dancing, they came through like a well-trained synchronized harmonic army. They “Carry the Banner” with pride using slides, high-jumps and flips. This made the times that they began to think they were going to lose their battle or when their numbers were sent to jail even more touching.  

Levi Randolph as Jack and Sarah Atkinson as Katherine gave us sweet attraction and equally sweet love songs. Jack’s dream of travelling to “Santa Fe” where there’s space, not just air, adds another layer of longing to his life. In a touching duet, they reveal that neither ever thought they would find love, but “now I have something to believe in.” 

One of the newsies struggles with a limp which makes it hard for him to walk and keep up with the other boys. Crutchie’s struggle is authentically portrayed by Eli Schroeder who sings a poignant song from the prison he’s been thrown into begging Jack to come rescue him and coming up with an impossibly elaborate scheme for how they could make that happen. Another character Medda Larkin played by Micheala Murray who owns a burlesque house also helps Jack survive and has one hotsy-totsy number called “That’s Rich.” 

The combination of the administrative and technical team of Performance Now Theatre Company and the Lakewood Cultural Center work well together and provide a professional production well lit, well dressed, with a balanced sound design and an outstanding 8-piece pit band. Special praise is to be heaped on Propmaster Kelly Mann for this outing. This show calls for the creation and destruction of hundreds of newspapers for each performance. Kelly always makes her arduous task look easy. But it’s not! As an organization, they just get stronger and stronger and deserve your attention. 

A WOW factor of 8.75!! 

HOLLY, ALASKA! – Written by Matt Zambrano and Frank Oden; Directed by Matt Zambrano. Produced by BETC (presented at the Diary Center, 2590 Walnut Street, Boulder) through December 31. Tickets available at 303-444-7238 or thedairy.org. 

I’ve never met Matt Zambrano, but I feel like I know him anyway. Through his creation of the lovely ultra-suburban village of Holly, Alaska and the people who live there, he reveals his own heart, kindness, and gentility. Through his humor and slightly cynical eye on the world, he announces his own humanity and hope. Combine his obvious love of people and theatre with the extra-ordinary comedic talent that is Frank Oden as a writing partner and you’ve got a brand new show with an exceedingly gracious heart and a view of the world I found compelling. If BETC is smart, they will bring this show back year after year to brighten the holidays of all who are lucky enough to find it. 

The show has a heart that beats with the constancy of a Salvation Army bell-ringer. It has a grace and an authenticity of locale that created an instant familiarity to all home town dwellers. With his characters, they created a family of players that we all wanted to know better. We wanted to be in their show. 

Difficulties wrapped around not enough time to rehearse and problems with scheduling the cafegymnatorium of the local school means that the Annual Holly Holiday Spectacular may not take place this year. But this year is more important than most as it is the 120^th anniversary of the show; the result of a competition that started that long ago when twin brothers had a falling out. One brother stayed in place and founded Holly; his brother moved 50 miles away and created a town called Ivy. They have been competing ever since. Both towns are vying for the Guinness Book of World Records for the title as the “120^th continuous holiday show performed in a town with a population of under 500 in a non-contiguous state in the United States.” (Or something like that!) 

The quartet that was to make up the cast has learned the songs and kinda learned the dances, but there is so much to be done – sets, costumes, props, programs, et al – and no time and people to do it all. But, as you knew they would in the great tradition of Judy Garland and Mickey Rooney, the show does finally go on. But in the meantime, the audience is treated to all the backstage machinations and maneuvering to hold the cast together and get the show on its feet. The excitement even includes a marauding moose that manages to get the stage door open in an attempt to be the star of the show.  

The music by Frank Oden is catchy with clever lyrics – most funny and some sweet. He has provided music for (almost) Broadway type dancing, solos for each of the performers and country style harmonies. The music has such a familiar air that it feels like, given a little push, you could be up on stage singing with the cast. I’m just not sure what Susannah McLeod, Archer Rosenkrantz and Heidi Carann Snider, in addition to Frank, would think should you be inclined to act on your impulses. 

I’m sorry to say you’ve only got one more week to catch this delightful offering by BETC. Apparently under the newly minted direction of Mark Ragan as Managing Director and Jessica Robblee as Artistic Director. BETC is branching out in locations and types of shows. Shows coming up will take place at the Savoy Event Center in Denver as well as at the Dairy Center and will feature one-person performances, radio comedies and improv. Visit their website to keep up with this fast-moving company. 

A WOW factor of 9!!