THE PASTISSERIE – Written by Tiffany Ogburn, Buba Basishvili, Meghan Frank, Nicole Dietz; Music by David Rynhart. Produced by Theatre Artibus (Present at the Savoy Event Center, 2700 Arapahoe, Denver) through October 15. Tickets available at 303-476-5902 or Savoydenver.com.
How refreshing to see something so new and original! This is a sparkling little petit four of a statement about the importance of our memories and how much they make up of our personalities. The plot concerns a soldier blown out of WWI and into an unusual candy factory. The two candy makers welcome him as they have apparently welcomed others before him. Using a number of guiles, they persuade him to share his memories and then convert them into candy which tastes like Grandma’s cooking, snow on a winter’s afternoon, and other nostalgic thoughts. How many of his memories is he willing to share? How long will they be able to keep him with them? What happens if he leaves? Does he get his memories back?
An introductory section instructs the audience on their role in a call and response that echoes throughout the performance. We are to follow instructions or we would be “pelted by candy.” We also get to sample the candy to convince us that all this effort is worth the finished product.
Put together in the manner of a Commedia Del Arte piece touched with mime and a little burlesque clowning, the production has a old-fashioned charm rarely seen in modern original productions. It is no surprise to see in the performer’s bios that all three – Buba Basishvili, Tiffany Ogburn, and Meghan Frank – have done considerable international study and work. Additionally, all three move effortlessly with the grace of dancers. They do choreography with their candy factory desks, chairs and equipment that is nothing short of amazing.
Original and adapted music was created for the piece by David Rynhart; just listen to how he changes the whole mood of “Singing in the Rain” from joyful to questioning. The music is integral to the piece; it wouldn’t have succeeded without it. And succeed it did.
Theatre Artibus doesn’t perform for the public often but when they do, it’s worth the effort of trying to find a parking place at the Savoy to attend. And those who haven’t visited the newly remodeled Savoy with its vaudeville filled lobby and swank bar need to find an excuse.
ALL SHOOK UP – Music written for Elvis Presley; Book by Joe Pietro; Directed by Kris Graves and Rebekah Ortiz; Musical Direction by Andrew Fischer; Choreographed by Christopher Languich. Produced by Town Hall Arts Center (2450 West Main St, Littleton) through October 15. Tickets available at 303/794-2787 or townhallartscenter.org.
A memory: In 1956, one Saturday night, I was in a drive-in theatre (remember those?) in Champaign, Illinois watching a new movie, LOVE ME TENDER. When an actor made a quiet entrance walking across a field to greet his returning Confederate soldier brother, the whole place erupted in a cacophony of screams, yells, and horns honking welcoming Elvis Presley to his cinematic life – be that as it may. It was given that if you grew up in the 50’s and 60’s, you were fans of Elvis and the Beatles. The closest I ever got to him – closer than a lot, but not close enough – was watchng one of his Vegas shows sitting quietly on a stool backstage as the guest of one of his back up dancers. Must have been in the mid-60’s because he still looked good and sounded great. Then he had the audacity to pass away three days before my birthday – forever casting a pall pre-birthday for me every year since.
So you can only imagine the anticipation of my excursion to see ALL SHOOK UP knowing it was going to feature the music of Elvis. Even with that heightened anticipation, I was not disappointed. This whole cast pulls together to bring this sweet look at the 50’s in a small town – which could be where I grew up in rural Illinois. They caught the optimism, the fun, the music, the hope, and the need for change. All the while, singing and dancing their little booties off.
It’s even a stronger book than most jukebox–type shows. Kind of a mid-America HAIRSPRAY in 1956 with a male lead, its story explores the same social issues with the same tongue-in-cheek humor and teenage angst. A mysterious stranger named Chad rides into town on his motorcycle, bursting the balloon of anyone in this small town who thought they were hot. He is the epitome of cool, immediately creating a ripple of hope through the female population, both young and older. Nick Rogers (is that a movie star name or what?) plays Chad with the requisite tight jeans and swagger. He even captures the surprise of new love with charm and innocence. In his first professional job in town, he is definitely making a splash.
The women in question include Natalie (Megan Schraeder), a tomboyish mechanic who falls hard, and most of the girls in the ensemble. Even Matilda (Jennifer Burnett), the hard-nosed Mayor, seems impressed. But then the Shakespearean twists and turns start happening. Dennis (Michael Spahn) loves Natalie – Natalie loves Chad – Chad loves Miss Sandra (Faith Siobahn Ford) – Miss Sandra’s not having any of it. Sylvia (Arabella Beaubrun), the local bar owner, loves Jim (Damon Guerrasio), Natalie’s father, who thinks he too loves Miss Sandra . . . and it goes on and on like this for the better part of an hour. Natalie even disguises herself (not very well) as a guy for a time to get close to Chad.
Even as convoluted as all this sounds, in the hands of this talented cast, it’s all crystal clear and fun for their audience to watch unfold. And, of course, everyone ends up with who they should end up with at the end. It’s fun to see familiar faces in new roles. Arabella knocks her second act solo – a sultry and mournful “There’s Always Me” from a 1961 album – completely out of the ballpark. The same can be said about Michael Spahn who broke our hearts as the sidekick friend left behind singing “It Hurts Me.” Megan Schraeder took her place at the top of the playlist with multiple songs – most notably “One Night With You” which, with a light flicker, became the signal for erotic thoughts surfacing. It got repeated a lot! Elton Tanega comes back to Town Hall to play Dean, sent to military school to keep him out of harm’s way by Mother Mayor Matilda, an action that proved to be too little too late. His girlfriend Lorraine, played with great energy by Nicole Siegler, taught him that “It’s Now or Never.”
All in all, it’s very encouraging to see the talent and training of this young cast come forth. It means that Denver is guaranteed musicals for decades to come. It’s also great to see the familiar faces go from show to show demonstrating the versatility of their talent. Damon Guerrasio can play nearly everything, including musical instruments and parts, and never fails to delight. Speaking of delight, keep your eye on Brian Watson playing Earl the Sheriff, under the thumb of Mayor Matilda. Supposedly.
This whole evening was great fun and it’s easy to encourage readers to go see it. Just keep in mind – for the sake of transparency – that Elvis, though he made them famous – didn’t actually write any of these songs. In most cases they were written for him or his movies by other people. He once said, “I’ve never even had an idea for a song. Just once, maybe. I went to bed one night, had quite a dream, and woke up all shook up. I phoned a pal and told him about it. By morning, he had a new song.”
THE MINUTES – Written by Tracy Letts; Directed by Christy Montour-Larson. Produced by Curious Theatre Company (1080 Acoma, Denver) through October 14. Tickets available at 303-623—524 or boxoffice@curioustheatre.org.
I was married to a Denver police officer for 16 years; I understand the whole US versus THEM mentality that arises within groups that feel isolated by circumstances. Additionally, I was neck deep in politics for way too long back in the 80’s and 90’s – a double dose of US against THEM. Interactions with City Council members furthered my education in the fine art of quid pro quo.
So I felt prepared to enjoy Curious’ latest offering about a small-town City Council.
It is a clear-cut reckoning of village politics. The wavering coalitions built around very specific and personal issues can fall apart at the turn of a phrase. The use of personal information or history to garner votes for a pet project is common. The instinctive nature to “go along to get along” prevails. But occasionally, someone just feels the necessity to draw a line in the sand.
The nature of this political work is bounced back and forth in the beginning for awhile to introduce us to the characters and their place in the pecking order. The “neutral” figure in all the wrangling is Ms. Johnson (Ilasiea Gray) whose job it is to take and report the minutes of each meeting. With cold deliberation, she reads the minutes of the last meeting detailing what happened to the absent Mr. Carp (Eric Sandvold). A monument is being discussed to further honor the local “hero,” a pioneer credited with saving the life of a village girl from “savages” who kidnapped her.
When the truth emerges, a very different tale is told. Letts has taken a hard look at the growth of America and re-visited it in the microcosm of one small village. How accurate is our history as detailed in literature and movies? Upon whose back did America grow? Did Washington really chop down a cherry tree? Was Abe as Honest as everyone thinks? Did Native Americans earn their depiction as savages? Does learning the truth of history change how we interact today? What do we lose by acknowledging that things were not reported accurately?
There is much to take away from this production. Almost too much to think about. It is cast beautifully with some of the most talented company members of Curious. No one does mean like William Hahn. Or bumbling like Jim Hunt. Or ‘deer in the headlights’ like Josh Robinson. Or earnest like Eric Sandvold. Micheal McNeill is a formidable Mayor while Ilasiea Gray is a determined Council Clerk. Everyone fulfills their part in this puzzle satisfactorily. One can only imagine the amount of analysis and discussion that went into making the script illustrative. While there are hints along the way – an unrelenting rain, lightning that makes the lights flicker off and on, drums quietly providing faint background music – nothing can prepare you for the last three or four minutes of the production. And leave you wondering what is he going to do? More importantly, what would you do?
You’ll talk about this one for a long time and either love it or hate it. But isn’t that the point.
THE CURIOUS SAVAGE – Written by John Patrick; Directed by Munam Goodwyn. Produced by the Theatre Company of Lafayette (300 East Simpson, Lafayette) through October 7. Tickets available at 720-503-0024 or tclstage.org.
John Patrick is one of those little-known people who have carved a successful career for himself while remaining for the most part under the radar. How ironic that I recently used the name of one of his plays (without knowing it) – EVERYONE LOVES OPAL – as a symbol for amateur productions and then find myself in less than a week at a play of his making. All told, he wrote about 34 plays including the Tony award winner TEAHOUSE OF THE AUGUST MOON and the very successful THE HASTY HEART. In addition, he wrote the scripts for 27 movies including HIGH SOCIETY, SOME CAME RUNNING and THE WORLD OF SUZIE WONG. So even though we may not know him as well today, he in his time was extremely successful.
THE CURIOUS SAVAGE is a clever script slightly derivative of Mary Chase’s HARVEY written in 1944, six years before Patrick’s. Both involve lovable characters being locked up as loony by spiteful and greedy relatives, only to defeat them in the end. HARVEY is the more successful of the two, but CURIOUS SAVAGE has its own lesson to teach and does it with quiet humor. On a pretty set with a large red sofa and a lovely hand painted carpet, the play is set in the common room at an assisted living type place called the Cloisters. The six residents we got to know all have an almost psychosomatic mental condition of some sort that prevents them from functioning normally in the outside world. Or so their collective family seems to think so. Into their well-established nest comes Mrs. Ethel Savage, also forced by her family into a controlled environment. At the death of her husband, she has converted the family fortune into bonds and hidden them. Her two sons, Titus and Samuel, and daughter Lily Belle are furious and frustrated and try to bully her into telling them where the bonds are hidden. It’s obvious to the audience right away but, of course, that would be too easy. As time goes on, the staff gets to know her and trust her as well as the other residents. When push comes to shove, they are on her side.
If you want to know my feelings about community theatre (I’m in favor of it), read my review of INTO THE WOODS. This is a sterling example of what I mean by people in community theatre having fun and working together to solve the problems of the production. It’s obvious that everyone on stage is happy to be there, they have worked hard to fulfill their part of the story and they have become a mini family in doing so. The six actors playing the residents of the Cloisters have all created unique characters. Max Tomas is the human calculator Hannibal who doesn’t play the violin; Florence (True Aubrey) has overwhelming grief about her son who died in infancy; Jeffrey (Wes Kreitz) lost his comrades in the war and, while he came out without a scratch, believes himself horribly scarred; Fairy May (Hannah Richards) is so unhappy with her physical appearance, she has trouble telling reality from fantasy; Mrs. Paddy’s (Susanne Neswadi) husband years ago told her to shut up so she did; and John Thomas (Mar Starz) doesn’t like electricity and keeps turning the lights off. But together they watch out for each other and survive.
In contrast to these gentle souls, enter the three greedy stepchildren of Mrs. Savage. Titus (Don Thumim) is a Senator (now there’s a current statement!), Samuel (Jake Fleming) is a Judge while daughter Lily Belle is a Kardashian – her only function in life is to be pretty and spend money. As Patrick intended, the contrast between the gentle souls of the Cloisters, the generous Mrs. Savage who wants to set up a fund with the money to give to people who just want to make their dreams come true, and the greedy narcissistic stepchildren is powerful.
The staff at the home consists of a doctor (Michelle Jacobs) with a no-nonsense attitude about all these shenanigans and a nurse (Judy Carlson) who proves extremely clever when they are all up against the wall.
Every community theatre needs one or two people who shoulder the work, make the choices of productions, make sure everything gets done on time, answers the phone no matter what time it is, and makes sure the ticket holders are greeted at the door. For the Theatre Company of Lafayette, one of those people is Madge Montgomery. You usually see her backstage or in the ticket booth, but for this show, she was cast as the curious Mrs. Savage. She inhabits a quiet graceful persona that exudes kindness and generosity. When she must be clever, she is very clever.
A seldom done, but fun script with a message – just what every good community theatre needs.
A LITTLE NIGHT MUSIC – Music and Lyrics by Stephen Sondheim; Book by Hugh Wheeler; Directed by Chris Coleman; Music Direction by Angela Steiner; Choreography by Candy Brown. Produced by the Denver Center Theatre Company (15th and Curtis, Denver) through October 8. Tickets available at 303-893-4100 or denvercenter.org.
For those who have seen only the source movie, Ingmar Bergman’s SMILES OF A SUMMER NIGHT or the movie version of Sondheim’s musical adaptation, will be very surprised to revisit the original stage version of the script. The movie from 1978 relocated it, moving and cutting songs, and eliminating the narrative Greek chorus of minor players to make it more like a movie than the preservation of a play. But those who have had the good fortune to see the Denver Center production will get the full treatment – lush, beautifully set, sung and acted by a cast that knows what it’s doing and why. Eroticism reeks throughout the evening. Even grandmothers and children are not exempt from watching the switching of partners and potential for deception.
For just a sample: One of the main characters is a 50ish lawyer Fredrik (Edward Staudenmayer) who has been married to a 19 year old innocent (Sydney Chow) for nearly a year and has yet to consummate their marriage. It’s been postponed so long that he is almost afraid to bring it up and she had learned tricks that delay the inevitable a little longer. Although she yearns for romance and true love and knows she has settled for comfort and wealth. Fredrik had a mistress in the past, the actress Desiree Armfeldt (Soara-Joye Ross) who just happens to be nearby with her acting troupe. He sneaks away to see her, even though she has a new very jealous lover. Also married. The tug of war begins between the two men, oozes over to the two women all the while encouraged by the wife of Desiree’s lover. See what I mean – the whole thing is about the many faces of adultery.
The story is moved forward by the glorious music of Sondheim. His lyrics rarely rhyme or fit into the usual patterns, but they all come together with such ease. It’s as though the music were in waltz time while the lyrics are to a polka. The duets and quartets are as though violins were playing different melodies in the same key, yet all get to the end at the same time. Hugh Wheeler who wrote the book for this composition must have taken lessons from Tom Stoppard with the smooth way he maneuvers his characters to the country so they can all be together to “work out” their issues and place them in comic situations that reflect both the absurd and the pathetic with humor.
The play is perfectly cast with special kudos going to Mr. Staudenmayer and Ms. Ross for their portrayal of loving old friends. Ms. Chow as the winsome young bride has an amazing voice that explodes out of her tiny body. Cate Hayman is a marvelously down-to-earth and slightly randy hand maiden while Zachary James plays the pompous Count Carl-Magnus, Desiree’s current lover (but soon to be ex). Steven Rich returns from his recent role in THE COLOR PURPLE and local actress Jennifer DeDominici add grace to their roles as supporting characters.
INTO THE WOODS – Music and Lyrics by Stephen Sondheim; Book by James LaPine; Directed by Michal McDowell; Musical Direction by Graham Anduri; Choreography by Rachael Lessard; Conducted by Patrick Lee. Produced by Ovation West Performing Arts (presented at Center Stage, 27608 Fireweed Drive, Evergreen) through October 8. Tickets available at 303/674-4002 or ovationwest.org.
A few of the things I like about community theatre:
They have untold nerve. They don’t do necessarily easy shows. No TIME OUT FOR GINGER or EVERYONE LOVES OPAL for them. Sometimes they pull up their big girl panties and take on Sondheim. By doing so, they elevate the work of the company, teach the young members in the company the value of being prepared in work and life (through rehearsals), the discipline of performance, the building of a community in solving mutual problems, the confidence of knowing well your part of the whole, and the joy of performing. The same communal problem solving keeps the older members of the cast connected and energetic, putting off senility to yet another day. The combination of older and younger working on a mutual project is enriching for both. And it’s fun.
Community theatre gives everyone a chance to participate no matter your talent or skill level. If you want to get up on stage, there’s generally parts that you can fill whether for the first time or the fiftieth time. Every once and awhile, someone gets brave for the first time, steps into that spotlight and reveals an unexpected talent only previously hinted at in the privacy of their own bedroom. A shower singer has a real microphone strapped to their head and discovers a new confidence. The dancer who is good at Zumba finds she’s also good at ensemble dancing. The boy too shy to talk in class suddenly finds he likes making people laugh. If you choose not to take a place in front of the spotlight, someone always needs to be behind the spotlight. Any talent you have can be used by a creative theatre company. You can paint, build, sew, electify, play an instrument, hang posters, sell ads, bake concessions, move things into place for those who have chosen to be on stage – there is a place for everyone.
It’s fun. No matter the show – no matter the place. Getting a group of like minded people together to work on a mutual project is just downright fun. Especially when it is designed to entertain your family, friends and community. There is no joy more concrete than making your own cast members laugh at your funny lines. The exultation of getting through a whole rehearsal for the first time not having to ask for lines. The thrill of getting your costumes and props for the first time. Of watching the set come together – all for you. And then, the lights going up on the first (and all other) performances knowing you have the bravery and moxie to be up there in the first place.
That’s what I witnessed in watching this performance of INTO THE WOODS. Until you read the program, it is generally not obvious who is a first time performer or a seasoned thespian. In this particular case, it was a bunch of people doing their best to tell Sondheim’s story together. They had solved the problems of working in a small stage, of tackling extremely difficult music and conquering it, of getting everything off and on stage efficiently, of “putting it together.” And they were having fun.
The extremely seasoned Justin Johnson starts the show off as the Narrator by introducing the players in the story. His easy relaxed style puts the audience at ease and moves us into the fairy tale world we are going to inhabit for the next couple of hours. We meet The Baker (Brandon Lopez) and his Wife (Penina Eisenberg) who are willing to go to extreme measures to have a baby. The Witch (Dani Soibelman) shows up and tells them why they are having so much trouble with the baby thing – she has cursed the Baker’s father and the curse has passed to him. Bummer! What to do? They must collect four items for her. Enter Jack (of beanstalk fame – Zane Larson) with one of the items – a cow as white as milk. But getting and keeping the cow proves problematic.
Next we meet Little Red Riding Hood (Bridget Brown) who has the second item – a cape as red as blood. She too is loath to give up her cape until Jack saves her from the Wolf. Then she’s willing to share. The two reluctant Princesses – the disillusioned Cinderella (Anna Piper) and kidnapped Rapunzel (Rebecca Nelson) – deliver the last two items – a slipper as pure as gold and hair as yellow as corn. Happy ending – right?! Not really.
Sondheim slips in life lessons, human nature foibles and pathways to personal happy endings (“No One is Alone”) all along the way. I’ve seen this show at least a dozen times and there are new lessons to learn each time you observe the wondrous flow of music and lyrics and the genius of the story. You will be missed, Mr. Sondheim. It must be such a revelation for cast members to do this show night after night and find something new in each performance.
The talented cast members I’ve named and the fifteen unnamed performers bring this story to marvelous life. I defy you to identify newcomers as opposed to oldtimers without looking at the program. Each contribution to the performance was given whole-heartedly with equal dedication. Director Michal McDowell solved the problem of multiple locations which needed to be moved into and out of quickly by creating six wood nymphs to watch the excitement in the woods and jump into action to move trees and furniture when needed. A clever solution to what could have been a deal breaker for this show for this theatre.
I love going up to Evergreen to see performances and then driving back into Denver humming the music and pondering the performances. I challenge my Denver readers to do the same. You won’t be disappointed.
CABARET – Music by John Kander; Lyrics by Fred Ebb; Book by Joe Masteroff; Directed by Bernie Cardell; Musical Direction by Tanner Kelly; Choreography by Adrianne Hampton. Produced by Vintage Theatre Productions (1468 Dayton, Aurora) through October 22. Tickets available at 303/856-7830 or vintagetheatre.org.
“What would you do?” asks Frau Schneider as she faces the impossible task of choosing between giving in to the forces of evil invading her home from within or giving into a dangerous love found late in life – her last chance. A “take sides” situation that brings fear no matter the choice. A situation that still exists for thousands in a thousand ways – large and small – in the world today. Mary Campbell gives a compelling performance as this sweetly sentimental survivor. She is a shrewd businesswoman, an almost giddy lover, and a woman profoundly aware of and confused by the changes in her world. Her rendering of “What Would You Do?” obviously breaks her heart. And yours too.
She is ably matched with Brian Trampler as the ever-optimistic boarder Herr Schultz who “shares a little schnapps” with her occasionally. His bouncy energy is a charming contrast to her more mellow persona. His shyly coy setting up of assignations with his lonely landlady is delightful.
Director Bernie Cardell, while regaling his audience with the music and madness at the Kit Kat Klub, gives great emphasis to the scenes at the boarding house that bring together and separate two pairs of lovers we grow to care for. The young lovers face the same decision but for different reasons leading to the same painful solution. In light of the rise of the Nazi party in pre-war Germany, both couples are suffocated by the pressure.
The younger lovers – Grant Bowman as Cliff, the struggling author and babe in arms in the society he finds himself dropped into, and Aynsley Upton as Sally Bowles, the chanteuse at the Kit Kat Klub who revels in the decadence, cannot make their relationship work as well, despite the fact that they both – in their heart of hearts – want the same thing. It was hard to believe that Ms. Upton was the understudy for this role, stepping in at the last minute for the ill Abby McInerney, the actress cast in the role. She performed with ease, sang songs both cheeky and soulful, adjusted to new places in the dance choreography with grace (her usual role is Frenchie, one of the Kit Kat dancers), and, in general, became Sally at least for one night.
As the Emcee, eden origin moves the story along from gay decadence to thoughtful realization of what was coming. His over-the-top flamboyant performance during the first half of the show salutes his recognition of what is expected of him at this time in that place. But as the production progresses, his recognition of what is happening begins to show. At about the time he is performing “If You Could See Her” – doubt and fear begin to reflect in his eyes. His final song “I Don’t Care Much” is the only time we get to see his personal despair and acknowledgement of a doomed future. It is a subtle but beautiful performance.
Musical director Tanner Kelly and Choreographer Adrianne Hampton have done an exemplary job of training the Kit Kat Kuties – girls and boys and those who like to go back and forth – for the complicated routines on the small (but ever-growing) stage at Vintage. They fill it to overflowing, sometimes even splashing down into the audience. They are appropriately sultry, fun-loving and sinister as the song demands. Special kudos go to Samantha Barrasso as Fraulein Kost, the boarder who needs a little help from the Russian Navy sailors in paying the rent. Her lion-sized voice in “Tomorrow Belongs to Me” startles and emphasizes the anger of the common folk toward those they believe controls their world. A sort of “I want my piece of the good life dammit!” Unfortunately, that golden tomorrow so rarely materializes the way it is hoped for – even today.
A moving performance of a well-known and favorite catalog of music reenacted by a talented group of performers – what more could you ask for on a Saturday night?
FIDDLER ON THE ROOF– Music by Jerry Bock; Lyrics by Sheldon Hernick; Book by Joseph Stein; Directed by Kenny Moten; Music Direction by Neal Dunfee; Choreographed by Danielle Scheib and Jessica Hindsley. Produced by BDT Stage (5501 Arapahoe, Boulder) through January 13. Tickets available at 303-449-6000 or BDTStage.com.
WAYNE KENNEDY as TEVYE
Before you glance to the bottom of the page to see, this FIDDLER rates a perfect 10. Not only is the show cast perfectly, but the knowledge that this is the final production lends a special grace to each performance. No spoiler for this script we’ve all seen dozens of times to reveal that the ending finds the villagers of Anatevka being forced to leave their beloved homeland, separate and travel to an unknown future. The parallels between the script and the plight of this band of actors, most of whom have worked together for years, cannot be ignored. In this rotating cast of 33 players, only seven are new to BDT and four of those are child actors. How lucky are these newbies who have a once in a lifetime opportunity to perform in a production of this quality and to be a part of the 46-year history.
You might as well get another cup of coffee. This is going to be a long one. These people have entertained me for a long time. I want to do right by them – every one.
Let’s start at the top with the two players who propel this story of family. Wayne Kennedy IS Tevye. Plain and simple, there it is. Not only has he played this role at least four or five times and has honed it to perfection, the role so ably echoes his own quiet, gentle, thoughtful personality. Over the years he has branched out and developed other skills, such as Sound Design for most of the BDT shows for the last decade. In his non-theatrical life, I can imagine him leaning into a conversation with the God of Sound Design about why a certain speaker isn’t working or why a particular sound effect doesn’t sound right. As Tevye, these conversations with his God reveals his simple desire to be a rich man, to understand the world he lives in, to comprehend the ambiguity of the changing customs in the lives of his daughters, and to express his sorrow at the evolving social situation in his homeland. Without knowing him, Joseph Stein wrote those scenes in 1964 for Wayne Kennedy to give them life in 2023. Thank you, Mr. Stein.
Alicia (Ally to her friends) Meyers’ own motherly behavior with daughter Prugh, herself a gifted young actress, has given her the chops to mother five daughters onstage as Golde, Tevye’s wife. As Golde, she is harried, traditional, welcoming, protective, controlling and gently loving. Her relationship to Tevye is the hand inside the glove. She is unconsciously loving to her daughters, graceful in her movements and embarrassed to be asked about her own feelings. Ally’s casual natural manner of expressing Golde’s place in the world is a Master Class in acting. Nothing that could possibly accidentally happen on the stage would fluster the quiet confidence of Golde.
These two are more than ably assisted by the remainder of the cast. Indulge me for a second to allow me to heap a little praise on the people who have served this theatre and this community of theater attendees for so many years by mentioning their special talents. Bob Hoppe is a senior as well with sixteen years of performances under his belt. His dancing has enhanced many a SINGING IN THE RAIN; his King Arthur in CAMELOT moved him into the leading roles he had earned; his Nick Bottom in SOMETHING’S ROTTEN was brilliant. Tracy Warren is also a beloved returnee, this time playing the well-balanced Fiddler (don’t ask – she won’t reveal if she is really playing the fiddle from the roof). Tracy has done so many roles over the years, but my personal favorite was her Christine in the Yeston-Kopit version of PHANTOM. “I’m Home” resonates with everyone who loves theatre.
Scott Severtson has called BDT home for twelve years and has excelled in multiple roles, everything from romantic leads, to singing crooners and madcap dancers. My personal favorites being his cocky Gaston in BEAUTY AND THE BEAST and his equally cocky Shakespeare in the recent SOMETHING’S ROTTEN. We all know “How Hard it is to be the Bard.” Seamus McDonough who has been charged with bringing this whole adventure to a dignified conclusion, has done an elegant job of the process. In addition to his normal duties as Producing Artistic Director, he was also cast as Fyedka, the Russian who wins the love of middle daughter Chava and breaks her father’s heart. Brian Cronan as Motel the tailor returned after his winning role as Nigel in SOMETHING’S ROTTEN on the heels of many many performances at BDT.
Old-timers AK Klimpke and Brian Norber are coming back to play the Rabbi for one last show. AK is remembered for his easy laid-back roles as the leads in THE WILL ROGERS FOLLIES and PAINT YOUR WAGON. Brian is known for his sterling performance as The Man in the Chair in THE DROWSY CHAPERONE. My personal favorite was his Tommy Tune-like turn in MY ONE AND ONLY. Mary McGroary comes back to play Grandma Tzeitel. Brian Burron and his bride Bren. Eyestone Burron are doing Lazar Wolf, the discarded groom, and Yente, the matchmaker, a role she shares with Annie Dwyer, another favorite of BDT audiences. Bren. is remembered as the crazy Church Lady in that series while Annie stopped the show in DISENCHANTED as a frustrated Disney Princess.
Relative newcomers are Abigail Kochevar who delights as oldest daughter Tzeitel joined by Jennesea Pearce as second daughter Hodel who falls in love with a radical student. Alei Russo as middle daughter Chava shares a beautiful dance moment with her father. Anna High who has thrilled audiences with her bigger-than-life personality, is a spooky Fruma Sarah. Eric Heine, a frequent recruit from Candlelight, took an honored place among the villagers of Anatevka. Melissa Morris joins as a villager and understudies all three daughters.
And finally, the first-timers who add their talent to this production are Aaron Szindler, Jazz Mueller and Chris Tempel. It’s too bad we won’t get to see them back on this stage again. But watch for them in future productions in other theatres. The children’s parts were ably filled by Daisy O’Brien, Lily Sergeeff, Elise Meier, Etta McCurdy, Kieran O‘Brien, Uri Novak, Noah Levey and Ocean Ogren.
Too many times theatre companies fall into closure for a variety of reasons – usually something to do with money. BDT has done it right and given us the opportunity for a long good-bye and one more peek at the troop in action. DO NOT MISS this chance to see a magnificent production of FIDDLER and the opportunity to say “Thanks for the Memories.”
SEUSSICAL – Music by Stephen Flaherty; Lyrics by Lynn Ahrens; Book by Lynn Ahrens, Stephen Flaherty, and Eric Idle; Co-directed by Kelly Van Oosbree and Victoria Holloway; Music Direction by Heather Iris Holt; Choreographed by Kelly Van Oosbree. Produced by Performance Now Theatre Company (presented at the Lakewood Cultural Center, 470 South Allison Parkway, Lakewood) through September 24th. Tickets available at 303-987-7845 or tickets@lakewood.org.
If you’re in the mood for a bouncy fun-loving musical full of bright costumes and fantastical characters, have I got a show for you. And, of course, because it’s based on the Dr. Seuss books that both you and your children grew up on, it’s appropriate for everyone. I actually think the elders in the audience enjoyed the show as much – in a different way – than the grandkids they brought with them. Beneath all the clever choreography and rhyming lyrics, there was lessons to be learned for everyone old enough to suss them out. “A person’s a person, no matter how small.” “How Lucky You Are,” “Oh, the Thinks you can Think,” and never break a promise.
We naturally must have a Narrator, the one who starts and guides the story. In this case, it’s the Cat in the Hat played with impish charm by Chris Boeckx, a long way from his role as the smooth suave con artist in DIRTY ROTTEN SCOUNDRELS. Instead of gliding around the stage smoothly, he’s bouncing all over the place, popping up out of the orchestra pit, leading the fun. But he’s also the wise one who illustrates the lessons in song and action. Through his supple movements and knowing comments, we learn who is worthy and who is not to be copied. His sly looks at the audience convey more in a glance than a long speech.
The good guys line up behind Horton, the kindhearted elephant (Joshua Harris) who only wants to help . . . whoever. His efforts to help the Who’s down in Whoville are postponed while he completes a baby-sitting assignment. In step behind him is JoJo (Sarah Atkinson) and the other Whoville folk who just need help. Also in that category is Gertrude with a One Feather Tail (Sarah Forman) whose eyes are glazed over with love for Horton. She, however, thinks by improving her physical appearance with more feathers in her tail, she will get his attention. It’s only after she learns otherwise that she has a new think. She offers to hep Horton with his new responsibility – “You teach him Earth; I’ll teach him Sky.”
So, if we have good guys, it must follow that there are also some bad guys to thwart. Horton is tormented by the Wickersham Brothers (Hayes Burton, Ben Davis and Riley Holmes) who try to destroy Whoville and get Horton to leave his nest. But the really horrible no good mean villain is Mayzie played with over-the-top glee by Brekken Baker. She is such a manipulator that somehow, she makes everything she gets you to do for her seem like it was your own really good idea in the first place. It’s fun watching her from the audience maneuver everyone, but it isn’t fair or nice what she does to Horton or Gertrude – just because she has the prettiest bunch of feathers and the biggest tail.
Performance Now always puts on a good show, professionally presented with thoughtful charming sets and the best of the other stuff provided by the technical staff. The costumer Nikki Harrison outdid herself with the brightly themed costumes for the Who’s, the Bird Girls and all the other characters. The choreography, as always under the guidance of Kelly Van Oosbree, was flawless and well-rehearsed. The eight-piece orchestra lead by Heather Holt managed to carry on beautifully in spite of a certain Cat prowling around in the pit.
MOON OVER BUFFALO – Written by Ken Ludwig; Directed by Pat Payne. Produced by the Longmont Theatre Company (513 Main Street, Longmont) through September 23. Tickets available at 303-772-5200 or longmonttheatre.org.
When what is basically a community theatre group can pull from the pool of actors from professional theatres, you know they’ve got a little sumpin sumpin going for them. Longmont theatregoers might not have seen Johanna Jaquith break your heart in her role as a mother who has agreed to allow a wealthier couple adopt her unborn baby. But they do get to see her on a faux balcony in a faux theatre under a spotlight trying to save face when her drunken castmate has missed his cue. The funniest moment in the play – a real actor’s nightmare. They may not have gotten to see Elliot Clough take on the gentle role of Mr. Lundie in Candlelight’s brilliant production of BRIGADOON, but they do get to see him fall back in love with his ex-girlfriend. These two plus Clint Heyn (who cut off his shoulder length hair for this role), Michelle Jeffres, and Linda Button are familiar faces in the Denver theatre scene. These actors are joined by Don Prather back on the stage after eight years, Reanna Magruder and Noah Cohen-Vogel to join in the chaos that is MOON OVER BUFFALO.
A professional theatre couple are trying to keep everything together to impress a Hollywood director scheduled to be at their next performance. Unrelenting marital difficulties, dissolving relationships, spiked coffee, mistaken identity, and the discovery of an unwanted little bun in the oven all conspire to keep the mad confusion going on on-stage and backstage. In typical Ken Ludwig fashion, the pace is fast and furious, the jokes are one after the other, and the action is a mile a minute. Director Pay Payne makes sure that all four doors on the set get slammed at every opportunity.
The set is a cleverly adorned green room in a small theatre in (obviously) Buffalo, New York – a far cry from Broadway. But small successes have kept big dreams alive for this small family of actors. Like many backstage spaces I have seen firsthand, the walls are adorned with posters and publicity photos from past glories. Pieces from previous productions provide the furniture for the room; people enter the picture dressed in costumes from a number of productions. It all works to create an authentic picture of backstage life. Think NOISES OFF without the British accents.
As the returning daughter, in spite of her desire to escape the theatrical life, Roz pitches in to help her parents when everything starts going downhill. Additionally, nice work was done by Noah as Roz’s shy, starstruck and overwhelmed fiancé. Linda Button plays the dotty and deaf mother-in-law with sly charm. Don Prather and Michelle Jeffres lend bombastic energy to their roles as the theatrical couple, George and Charlotte Hay, with big dreams. You can tell they thrive on the bedlam of their lives and wouldn’t have it any other way. Despite threatening to run off with their lawyer (Clint Heyn) and leaving her husband because of his tryst with the ingenue (Reanna Magruder), you never doubt that Charlotte will make it back to the green room where she belongs.
Longmont Theatre company is entering their 66th season and hope to entice you with a season of comedies (I HATE HAMLET and NANA’S NAUGHTY KNICKERS – I didn’t make that up!) and musicals (WINTER WONDERETTES and an unannounced musical show in May).
