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YOU’LL BE MADE OF ASHES TOO – Written by Baylee Shlichtman; Directed by Veronica Straight-Lingo.  Produced by Flamboyan Theatre Company (presented at Three Leaches Theatre, 1560 Teller, Lakewood) through September 27.  Tickets available at thethreeleaches.com. 

What an exciting time for theatre in Denver for people who love new, untried plays.  There are script readings taking place all over town with original pieces seeking directors and producers.  Such a burst of ideas and creativity perhaps spawned during the isolation of Covid and finally being able to walk on to the stage. 

One such piece is playing now at the Three Leaches Theatre under the guidance of Flamboyan Theatre Company.  YOU WILL BE MADE OF ASHES TOO paints a bold picture of sibling rivalry. 

Two sisters – one who left the family home for her own safety and mental health and one who stayed under the thumb of her mother.  When the unexpected death of this mother brings them together again, the old childhood antagonism rears its ugly head.   Despite attempts on both sides to reconcile their differences, they seem unable to escape the burden of past wrongs.  To complicate the matter, a strange and ominous presence haunts both their dreams and waking hours.  Never explained, it creates an uneasiness over everything else happening to the women.  They are both intelligent thoughtful women – just unable to escape the shadow of their mutual childhood. 

The script weaves back and forth between memories pleasant and unpleasant, attempts at friendship and sisterhood paired with bitterness and anger.  Liana (Gisselle Morales) doesn’t seem to be certain if she wants to stay or go, while her sister, even though admitting to loneliness, is not forthcoming with an invitation to stay.  Then Evie (Kit Silver) drops a bomb into the conversation that makes it clear that LIana needs to get out of town.  These are two no-holds-barred sisters.  But who or what is the ghost?  It leaves you wondering what is going to happen to both of them now. 

The script, written by Baylee Schlichtman, gives both actresses a chance to engage in physical and emotional trauma.  Both actresses chew it up and spit it out.  They are evenly matched in bringing complicated emotions alive on stage.  Veronica Straight-Lingo is a careful guide for this complicated story. 

The simple set with translucent walls keeps the mystery contained and yet ever present.  As in life, there are no easy answers for these two haunted women. 

A WOW factor of 8!! 

MISS MANHATTAN – Music and Lyrics by Graham and Kristina Fuller; Book by Graham and Kristina Fuller and Stephanie Ronco; Directed by Robert Michael Sanders; Music Direction by Dan Graeber; Choreography by McKayla McDonough.  Produced by 19K Productions and CenterStage Theatre Company (Presented at the Dairy Center, 2590 Walnut, Boulder) through September 28.  Tickets available at thedairy.org. 

The usual path for a new musical to wend its way to New York for either a Broadway of off-Broadway production is readings and sing-throughs (several); one or two workshop productions (or five or six), a full production in a small hometown (or at least friendly) local theatre,  a producer’s showcase (to raise the money), and, finally (if you’re lucky and your product is good), a production in New York.  Now I ask you: How often do you get to be a part of the process of moving a show from a composer and lyricist’s living room all the way to final production?  Here’s your chance. 

Kristina and Graham Fuller are the couple who saw that process through to an Off-Broadway production of their first musical together in recent years.  IN THE TRENCHES was a funny montage of songs about the joys of parenthood.  This time, they have chosen to follow the ups and downs of America’s first Super Model, the real-life Audrey Munson.  Starting at a very young age, encouraged by her mother, Audrey posed unclothed for several statues that still adorn parks and museums in New York.  Her mother Kitty kept her docile with the new medication called morphine. Her willingness to pose nude eventually got her roles in silent movies.  But her life went downhill after a scandal erupted when a man killed his wife to be with her.  She and her mother eventually settled in Mexico, New York, Kitty’s hometown.  Her mother later had the courts declare her disturbed and sent to a mental hospital.  She lived until 1996 and died at the age of 104. But before that, she had A LIFE; this is her story. 

In this work, a young Claire (Sophia Dotson) in the present time is having a hard time dealing with the death of her mother and her father’s abandoning her to live with her grandmother.  For a school project, she researched the story of Audrey Munson (Anne Terze-Schwarz) and used it for her presentation.  Audrey, in turn, was abused by her mother and abandoned by her father. As their stories are performed, the parallels between the two lives bind them together.   

This is a top-notch cast headed by Anne Terze-Schwarz in a powerful performance of the many faces of Audrey.  She plays a young woman determined to “Make Something Happen” for herself.  Despite the advice given by her mother about how to “Keep a Man,” she has no desire to get married.  Anne brings a poignancy and innocence to all parts of Audrey’s life, never losing her charm.  Her mother, played by the always brilliant Megan Van De Hey, in a role that will put Mama Rose to shame, never loses her willingness to sacrifice her daughter to the almighty dollar or encourage her to marry rich.  She is the product of a different era, moving reluctantly into a new century and a new role for women.  She quickly adapts the new morality to her own purposes and never loses her grip on her daughter, ultimately consigning Audrey to the care of the state when she is no longer valuable monetarily.  Megan gives her a backbone and equal determination to succeed, an antique quality to her dependence on men, an adorable whimsy at times, and abject cruelty at others.   

The parallel story of Claire is given energy and spark by the performance of Sophia Dotson, who essays the depression she feels around the loneliness of being away from her father, the inspiration she gets from learning Audrey’s story, and the happy ending she deserves.  “Statue Spotting with Claire” takes the whole class on a tour of New York to Audrey’s statues in an almost rap song.  Sophia is a young actress who has a brilliant career ahead of her. 

The cast is completed by a talented ensemble of six who play all the other characters in Audrey’s troubled life.  The men who want her as a model or a mistress, the sculptors, the doctors, the classmates and teacher of Clair, the attendants at the mental institute, the absent fathers, and others who go in and out of Audrey and Claire’s lives.  Vidushi Goyal shines as a wealthy sculptress who becomes a friend; Scott Rathbun plays multiple doctors and lechers.  Katja Podisdly, Elton Tanega, and the composers themselves, Kristina and Graham Fuller, also take musical turns to support the story of Audrey.  They move with ease into the next role required of them with small costume changes and defining songs. 

The simple set of two elevated platforms and small furniture pieces in front of the on-stage nine-piece band allows the action to never falter or slow down.  The costumes are sparkly when they need to be or dowdy when it’s appropriate.  The band, led by Music Director Dan Graeber, provides a strong, lively performance of the new music. 

The producers provide an opportunity for the audience to give feedback on this script and music.  As an audience member observing the first full performance of the music and book, your opinion counts.  They are sincere in their desire to hear your comments.  Which songs did you like?  Could any of them have been cut?  Does the show tell the story well?  Which characters did you like, and which were you not supposed to like?  Is that made clear?  Help in the sharpening of this brand new musical and, maybe someday soon, you could see it in New York and be able to say, “Oh, yes, I saw this at its first performance in Boulder.”  The Fullers are counting on you. 

A WOW FACTOR of 8.75!! 

THE PRINCESS AND THE GOBLIN – Written by Brian Dowling and Kellie Fox (from the novel by George MacDonald); Directed by Aaron Vega; Original Music by Abdulkarim Islam, Ryan Glaser, and Alex Seracuse. Produced by Third Side Theatre Company (Presented at the People’s Building, 9995 East Colfax, Aurora) through September 20.  Tickets available at thepeople’sbuilding.com. 

A beloved children’s story has been converted by Third Side Theatre Company into a delightfully sparkling production that will delight children and amuse adults with its inventive storytelling.  Using live actors, puppets, projections, sound effects, and music, the cast tells the story of the curious Princess who discovers Goblins in caverns near her castle and then needs to be rescued by a steadfast village boy. 

The action moves quickly and seamlessly between genres, with a puppet being visible on the stage one moment and then magically jumping into a projection on the screen the next.  A pair of live actors converse in the middle of the stage, surrounded by body puppets.  Vocal effects are used to transform the puppets from helpful to threatening.  Simple sound effects – like tapping a pen against a water bottle amplified – add to the realism.  Projections move, becoming stalactites crashing down or a flood moving through a cavern.  It’s all very magical, but in a visible, in-your-face kinda way. 

The puppets are handmade but effective.  All members of the troupe use Body, Hand, and Shadow puppets. For instance, the nanny is a body puppet with a paper mâché head and a burlap body on a pole to give her volume, and utilizes a high-pitched human voice to give her age and anger.  She is threatening and funny at the same time.  Her shenanigans had the children in the audience laughing in delight while the adults couldn’t help but smile. Because no attempt is made to disguise their human carriers, they are not scary to the kids in the audience.  

Original works of music were developed to enhance the story with songs sung live to both express an emotion and to scare away the goblins.  They don’t like music.  Background music would also creep in quietly along the way. All very melodic and sweet. 

The Third Side troupe, consisting of Brian Dowling, Kellie Fox, Lisa Kraai, Max Lubeck, and Jeremiah Martinez, slip from one role into another without breaking a sweat.  They are live characters in costume on the stage one moment, handling one or two puppets the next, then moving over to slide projections onto the back wall screen quickly following.  It’s an equal opportunity to be both an actor, a voice talent, and a tech all at once. 

I know this whole production was a collaboration – theatre from scratch, as it were.  Kudos must be given to director Aaron Vega, who obviously took all the suggestions of his cast members and fellow collaborators to mold this new script into a smoothly operating performance with many moving parts.  Everyone keeps the three-ring circus moving forward. 

This is not the kind of theatre you see every day.  It’s creative in new ways, doesn’t take itself seriously but has people serious about their art making it, and it’s appealing to adults and children alike.  It trusts that the kids will get the jokes and not be fearful of goblins, and that adults will admire the artistry.  Third Side Theatre Company has a promising future ahead of it with new ways of looking at old stories. 

A WOW factor of 8.5!! 

THE THIN PLACE – Written by Lucas Hnath; Directed by Jessica Robblee.  Produced by BETC (Presented at the Savoy Event Center, 2700 Arapahoe, Denver, and the Dairy Arts Center, 2590 Walnut Street, Boulder) through September 28 at the Savoy Event Center and October 3-26 at the Dairy Arts Center.  Tickets available at betc.vbotickets.com for the Denver engagement; thedairy.org for the Boulder performances. 

It starts in silence.  A young girl quietly slips into a chair on stage, not wanting to be noticed.  The audience notices and grows silent . . . waiting.  We wait together.  Finally, she looks up shyly, not sure if she should speak.  But then she does, addressing the house with a story of how her grandmother taught her to communicate telepathically with her.  She wanted them to be able to communicate after she had passed on. 

Hilda is her name; her interest in psychic abilities leads to a meeting with a “professional” communicator with the deceased who pacifies people with her ability to guess what they want to hear “from the other side.”  This quiet girl reveals a story confusing and mysterious.  A timely phone call and a visit to her childhood home add to the confusion. 

Madison Taylor is a mesmerizing actress.  She controls the room even when she isn’t speaking.  Her ability to use silence engagingly, to be absorbed in action that surrounds her but does not involve her, her impeccable diction, her palpable fear that draws you into concern for her… just brilliant. I can’t wait to see her again. 

Tara Falk is a treasured Denver actress and director.  She takes on the role of Linda with a soothing confidence.  She is certain that her “gift” is secure enough that she can reveal its deceptive qualities to her new friend with no consequences.  She has the lazy grace of a Southern belle but the voice and attitude of a posh Londoner.  She sees nothing wrong with the way she makes a living, although the London police beg to differ. 

Linda has a couple of friends who share a bottle of wine with her and Hilda.  The evening turns rambunctious and argumentative, finally devolving into the telling of a sort of ghost story.  Jerry (Jihad Milhem) is a cocky, self-important world traveler who has opinions. Everyone must agree with his opinions.  But when he’s left alone with the quietude that is Hilda, he turns into a bumbling schoolboy. The second friend is Sylvia, played by local favorite Maggie Tisdale.  She has been secretly supporting Linda’s lifestyle and is beginning to resent it.  A full bottle of wine later, words are exchanged, tempers flare, but inevitably, peace is made.  Then, Hilda is urged by the others to tell the story of the last time she saw her mother. 

The play is so well written that the momentum it is gathering is unnoticeable until, suddenly, you are in the middle of it. It’s ramped up in the second scene with the arrival of the two argumentative friends.  But it has a third scene that grabs you by the hair and pulls you into the darkness.  The audience was leaning into the space, trying to get a better look.  To discover – Does the thin place exist? 

This exercise in suspense plays in Denver at the Savoy through September; then it moves to the Dairy Center in Boulder for an October engagement.  Order your tickets NOW.  Once the buzz on this one hits the streets, they will become scarce.  If you are a fan of stories that intrigue; of clean, crisp acting; of a work that leaves you walking out of the theatre shaking your head and asking, “What just happened?”, this is the one for you. Mesmerizing is the name of the game for THE THIN PLACE. 

A WOW factor of 9.25! 

THE MOUSETRAP – Written by Agatha Christie; Directed by Lynne Collins.  Produced by the Arvada Center (6901 Wadsworth Boulevard, Arvada) through October 12.  Tickets available at 720-898-7200 or arvadacenter.org. 

You can’t call yourself a passionate playgoer unless you have seen at least two or three productions of both THE MOUSETRAP and THE FANTASTICKS, two of the longest-running scripts ever done.  There are probably 20-30 productions of Miss Christie’s script going on simultaneously all over the world every weekend.  I’ve seen the show three times in the last two years – London (a must for any true theatre kid), Lone Tree, and now Arvada.  Every one of these productions had both similarities and unique qualities for the viewer.  The script is so well-crafted that it tells a solid story while allowing directors to add subtle personal touches to the fun. 

Director Lynne Collins has done that so well, creating characters who say the same words but look and act differently from those you have seen before.  The young married couple who accidentally created the “mousetrap” that is their guest house, Monkswell Manor, are played by newcomer Jacque Wilke as Mollie and Arvada favorite Lance Rasmussen as Giles.  They make a convincing newlywed couple, insecure in their marriage and in their new roles as host and hostess.  You like them so much that it scares you when they lose faith in each other just a little.  A radio announcer describes the London murderer’s clothing that exactly matches what Giles wore at his first arrival.  Mollie lies about not being in London when she actually was.  Is she strong enough to murder?  If so, why? 

The initial guests to their brand-new guest house are a mixed bunch with a strange connection.  Emma Messenger, as the obnoxious Mrs. Boyle, seems an unlikely murderer, but then why has she brought her annoying self to this place at this time?  She seems the type that would have preferred to stay “in town” in a more tried and true hotel.  Does she have enough anger to kill? If so, why? Annie Barbour plays Miss Casewell, a sharp, uncommunicative smartie. Her irascible personality certainly suggests someone prone to anger.  But she’s so tiny.  Could she possibly have the physical strength to kill?  Garth Saxe as Major Metcalf seems to be a by-the-book retired military man.  Has he seen wartime service?  Killed before in the line of duty?  Who knows? 

But the two most likely suspects are the nervous, flighty, over-the-top Christopher Wren.  Jacob Dresch creates a man-child who can move from boyish charm to sullen child on a dime.  Yet he’s obviously hiding something, fearful and, at times, pathetic. It seems possible he could lose control and kill on a whim,

then be immediately contrite. The final guest is the unexpected player, the man who emerges out of the storm with only a small case and no reason to be there. Mr. Paravicini, the brilliant Rodney Lizcano, flaunts his own mystery and revels in his unique personality.  He too seems to have no motive for being there, only a victim of the storm and the bad roads.  But why does he act so strangely and deny any connection to anyone else? 

The final player is Trotter, the police inspector (played by Colton Pratt), sent to warn and protect the guests from the predicted arrival of the murderer. After one of the guests is murdered, he goes about examining each potential suspect in a methodical manner that unfortunately does not result in a solution to the crime. No one has an obvious motive, but all have had the means.  What to do?  Whodunnit? 

In the tried-and-true pattern of Christie mysteries, the puzzle hangs in the air until the last possible moment.  Then ends very satisfactorily with the good guys prevailing, justice served, and normal life restored. 

A comfortable English countryside manor has been created on stage by resident designer Brian Mallgrave.  The consistent snow falling outside the dormer windows and the way the actors moved through it gave authenticity to the snowstorm which has trapped them all. The lamps on set are used to great comic effect and are enhanced by the lighting design of Shannon McKinney.  Max Silverman has come up with authentic radio announcements and creepy versions of Three Blind Mice dropped into appropriate places.  The post-war clothing and hair dressing were provided by Linda Morken and Wigmaster Jocelen Barnett Smith.  As always, the Arvada Center crew excels. 

A fresh look at an old favorite – you won’t be sorry to revisit it. But you repeat- viewers are sworn to silence on the identity of the killer when you are around first-timers. Play the game!!

A WOW factor of 8.75!! 

THE SHARK IS BROKEN – Written by Ian Shaw and Joseph Nixon; directed by Tim Muldrew.  Produced by Springs Ensemble Theatre (SET) (Fifty-Niner Speakeasy, 2409 West Colorado Boulevard, Colorado Springs) through September 14.  Tickets available at Springsensembletheatre.org. 

You might think, “What could be entertaining about three grown men sitting around in a boat killing time?” Consider, however, that those three men were actors named Richard Dreyfuss, Roy Scheider, and Robert Shaw on a mockup of the Orca killing time while they waited for their mechanical shark named Bruce to be repaired between scenes in the making of JAWS.  Now that’s a whole ‘nother thing. 

As you would assume, the small talk is not that small and involves the making of movies, the dam shark, the women they’ve known, the dam shark, whether live theatre or making movies is more rewarding, their past good gigs, what they’ve learned, and,  oh,  the dam shark. At times, exercising the funny bone; at other times, profane, profound, melancholy, bored, or hopeful. 

Colin Gregory is nearly a dead ringer for Dreyfuss in looks, voice, and mannerisms.  The loose cannon and boy enfante of the group, you never know what tangent is going to come out of his mouth.  But you can count on it being thrown into the conversational pool with interest and enthusiasm.  At times disappointed by the reviews of his last movie, THE APPRENTICESHIP OF DUDDY KRAVITZ, which he thought was going to be his star-making role, he’s hooking his hopeful future star on the tail of the shark.  His inexperience and insecurity become almost comic at times.  His lesson learned seems to be that it’s all going to be OK. 

Roy Scheider has a little more experience and seriousness about his business, but the actor’s ego breaks through at times.  As played by Matt Radcliffe, his maturity and peacekeeping personality keep the waters (for the most part) calm and on an even keel.  But he too has a sense of whimsy about what he does for a living. He learns that he can make it through anything.  Even the wrong-sized boat. 

The old man of the sea in this instance is Robert Shaw, Irish actor, played with great gravitas by Steve Emily.  He moved slowly, talked slowly, but was quick to anger if felt disrespected. He has that perennial elder actor problem of not being able to remember long monologues.  He is a beautiful, heartfelt character full of pride, grace, a real man’s man with great stories.  But he also learns that he’s not down yet and has a lot to give. 

The three of them together recognize that they represent different generations of theatre workers – Dreyfuss, the anxious beginner; Scheider, the confident professional; and Shaw, the experienced elder (even tho he was only in his 40s at the time of this filming). 

The comfortable set of the cabin of the boat (designed by David Cook) is enhanced by the off-stage noise of the water and the men working to repair the shark and/or set up the scene to be filmed (created by Kitty Robbins). The lighting design by Eric Bowlby kept us firmly attached to the sea. Director Muldrew got his people on the right path and then let them roll with it. 

This is an excellent production of an outstanding script well worth the drive to the Springs for theatre lovers. SET has a sweet little performing space.  If you haven’t been there before, this is a good reason to go. 

A WOW FACTOR of 8.5!! 

ELIZABETH I; IN HER OWN WORDS – Written by Carol Levin; Directed by Sabin Epstein.  Presented by BETC (Performed at the Dairy Center, 2590 Walnut Street, Boulder and the Historic Elitch Theatre, 4600 West 37th Place, Denver) through September 21.  Tickets available at Historicelitchtheatre.org. 

It starts with a woman – tall, majestic, imposing, stately but weathered.  She pauses in her reading of a small book in her hand.  Pondering what she has read, she turns and notices the audience.  A queen addresses her subjects.  And the story begins.  The story of Elizabeth in her own words and letters.   

Tammy Meneghini, a treasured actress from Boulder, has created, with co-author Carol Levin, a portrait of a woman whose destiny was foretold before her birth.  Born to the most notorious King of England by his most scandalous of wives, Elizabeth never had a chance at a normal life.  Raised to the heights of royalty by the death of eligible relatives, she reigned over England for 44 years in what was considered a “Golden Age.”  We find her in her chambers at Richmond Palace preparing for sleep and railing against the very fates that lifted her high and brought her down. 

She speaks fondly of the love of her life, Robert Dudley and her reign as the Virgin Queen.  She mourns the death of her cousin Mary, Queen of Scots, her rival at times for the throne.  She is familiar with the poems and plays of that young upstart William Shakespeare – especially when they express sentiments that correspond with her life and beliefs.  She has lived a full triumphant life.  She discusses it now with her subjects with humor, pride and some regret as she slowly frees herself from the constricting clothing, the rituals of royalty, and the memories of a solitary life. 

Ms. Meneghini’s performance is riveting.  She is angry, tired, sad, triumphant in battle, has opinions and regrets. Even now she knows her vanity is killing her. Whether you go in knowing anything about this woman, you leave with a richer understanding of the life and times in which she lived, her sacrifices, and, ultimately, her despair.  

“But, wait,” you ask, “her performances in Boulder are over.  Why are you telling me about a show I can’t see anymore?”  Because . . . by the miracle of live theatre, ELIZABETH I will be repeated for two performances at the Historic Elitch Theatre on September 20 and 21.  You have another chance!  She will be joined by Carol Levin, her co-author, for talkbacks after each performance to explore Elizabeth’s life even further, how this presentation came to be, and future plans for the production. 

A WOW factor of 8.75! 

ASSASSINS – Music and Lyrics by Stephen Sondheim; Book by John Weidman; Directed by Warren Sherrill; Music Direction by David Nehls.  Produced by Miners Alley Playhouse (1100 Miners Alley, Golden) through September 14.  Tickets available at 303-935-3044 or minersalley.com. 

A recent poll of fans of Sondheim listed ASSASSINS in the fifth slot out of the 20 shows he wrote or to which he contributed – above shows more often produced, like GYPSY or FORUM.  This indicates the extent to which Sondheim aficionados appreciate the intricate lyrics and unconventional patterns in his music.   

But as difficult as it is to make would-be criminals sympathetic characters in a Broadway musical, Sondheim and this talented cast pull it off. The eight successful and unsuccessful attempted killers display a spectrum of motivations and (in their minds) mitigating circumstances for their actions.  Led through their stories by the “Proprietor” (Julia Tobey) dressed as a Ringmaster in a rundown circus, she uncovers their personalities with her questions and jibes.  She cunningly hands them guns and then promises, “Kill the Prez and win a prize” – presumably an honored place in history. 

Among the successful gunmen, Drew Horwitz makes a powerful and committed John Wilkes Booth, bent on blaming Lincoln for his own failing career.  He is given honored status as the first and, up until modern times, the most remembered Presidential assassin.  His demise in a burning barn is most eloquently portrayed.  Drew does an outstanding job in telling Booth’s story and then in lending support to the shooters who follow him.

 

Next in line was Matthew Murry, giving a touching portrayal of mentally ill Charles Guiteau, who shot and killed James Garfield because he was “passed over for an appointment to become Ambassador to France” – a delusional event that only had reality in Guiteau’s mind.  Matthew portrays Guiteau’s impatient madness well in a comic reading of a poem written by him, “I Am Going to the Lordy” on the way to his execution by hanging.  

The third in line was Leon Czolgosz, an anarchist greatly influenced by the work of Emma Goldman, a union organizer, and depressed by the economic conditions that existed in 1901.  His point-blank shot at William McKinley in front of a crowd resulted in an immediate arrest and subsequent electrocution.  As presented by David Otto (assisted by Sondheim), he is given the character of a man genuinely committed to his cause and honestly believing McKinley’s death would change things.  

 

We go 62 years before another death in the hands of an assassin.  John F. Kennedy’s journey through Dallas has been well documented.  Clark Destin Jones gives Lee Harvey Oswald a bewildered persona, a puppet being led to killing by sinister outside forces.  Even acknowledging that his actions would be debated for years after they happened.   

So far, so good since then, although we have had some near misses.  John Hauser creates a confused and tormented John Hinckley writing forlorn love letters to Jodie Foster.  To prove his love and get his name in the paper, he attempted to kill Ronald Reagan. He argues with Squeaky Fromme (Kira Wendland), who was a follower of Charlie Manson. According to her, Manson was in every way better than Hinckley. She earned her place in history by taking a shot at Gerald Ford.  A pretty but clueless girl, her attempt went south when her gun misfired. She is paired historically with Sara Jane Moore, a seemingly ordinary housewife and bookkeeper who took another shot at Ford only three weeks later.  Sharon Kay White provides the comic relief in her portrayal of a gun-shy woman target practicing by shooting at a Colonel Sanders Chicken container. 

Another failed attempt was carried out by Samuel Byck, relatively lost to history for his planned hijacking of a plane to crash into the Nixon White House.  Delusional, he recorded his plans and motives so that the world would understand he was really a hero prepared to take the hit for ridding the world of this criminal.  Damon Guerrasio gives him a humorous persona as well as illustrating his madness and helplessness. 

A more powerful ensemble of players would be hard to find. The group supported each other in the telling of their individual stories and songs.  Led by Czolgosz, who, as an ironworker, details the making of a gun, the Gun Song extols the convenience of being able to “Move your little finger and you can change the world.”  “Another National Anthem” allows the characters to give voice to their various reasons for thinking they needed to “move their little finger.” Another makes us all recall where we were when we learned of Kennedy’s death; everyone alive at that time has instant recall of the horror and pain of that moment.  “Something Just Broke” brings it all home again. 

While it sounds like a gruesome subject for a musical, it has cohesion and purpose.  It is a great deal funnier than you might think because these were, after all, merely human beings – flawed and confused like so many others who never pick up a gun.  If you are triggered by gunshots, there are only rimshot noises from a drum to keep us in the moment, and no real guns are ever on the stage. 

Warren Sherrill did a fine job of corralling this all-over-the-place piece and moving his actors in a choreographed gavotte that keeps time, place, and player firmly planted for the audience.  The shabby shooting gallery designed by Tina Anderson was enhanced by the moody light design of Vance McKenzie.  The equally shabby and dirty, but authentic, period clothing was designed by Crystal McKenzie.  They all work together to create the special place in Hell where misguided assassins spend eternity. 

A WOW factor of 8.75!! 

PIPPIN – Music and Lyrics by Stephen Schwartz; Book by Roger O. Hirson; Directed by Robert Michael Sanders; Musical Direction by Heather Iris Holt; Choreography by Jessica Hindsley.  Produced by Phamaly Theatre Company (Presented at Denver Center for the Performing Arts, 15th and Curtis, Denver) through August 24th.  Tickets available at 303-893-4100 or Phamaly.org. 

Maybe your “favorite time of the year” is Christmas, but I think my favorite is the two and a half months I have from early June to mid-August to enjoy the summer theatre season.  A quick trip to Creede and Pagosa, an exploration of new theatres to be discovered, the anticipation of fall seasons being announced, and PHAMALY’S ANNUAL MUSICAL.  As I wait to see this year’s production, I ponder the difficulty of matching last year’s magnificent rendering of CHORUS LINE.  I need not have worried – Phamaly came through once again with a startling performance of PIPPIN.   

A musical journey of discovery as boy turns into man, PIPPIN brings thoughtfulness, charm, advice, humor, and drama into your lives for a couple of hours.  The 20-member cast climbed on board the PIPPIN wagon and didn’t let up until they had the audience on their feet cheering.  I had the pleasure of watching people who had never seen a Phamaly show before become lifelong fans.  The resilience, determination, talent, and heart of this group always warms the cockles and thrills the spirit.  Somehow, by singing and dancing, this group gives us faith in the ability to overcome.  Something sorely needed at this time in our history. 

Ben Raanan, the Artistic Director for Phamaly, and his staff did well in choosing this rarely done, but charming, musical that follows Pippin, the son of Charlemagne, on a personal journey to find his way to fulfillment.  As a journey we have all made in some form, it’s reassuring to those of us who are in the later stages of the trip to know that our realization of family and community is the ultimate and worthwhile goal.  But what fun to watch Pippin take those tentative steps into adulthood. 

The choice of Robert Michael Sanders as director for this piece was also a major step in the right direction.  Adding Heather Holt as Music Director and Jessica Hindsley as Choreographer created a team that could enhance the innate talent of their acting company and move them with confidence into the spotlight.  The set design by that Renaissance man Brian Watson featured circus motifs and bright shiny things.  The lighting design by Emily Maddox that made the whole evening, in turns, bright and shiny, then dark and dramatic, added to the enjoyment.  Madison Booth’s carnival costumes contained even more bright and shiny things and made everyone even prettier.  Curt Behm created the balance between musical instruments and musical voices.  Also, how very nice to see Rob Costigan back at work (where he belongs) doing props for the show.  What a team they all made to bring this delightful story to life. 

Let’s get to the actors.  It’s Kaden Hinkle’s story to tell and he does it with charm and confidence.  No surprise there.  Kaden has been performing since he was a young whipper-snapper; he has learned how to sell a song, keep his feet moving in the right direction, and bring his personality forward to tell a story.  He is a young man with a sparkling future on stage. 

With his acting partner of Emma Maxfield as the Leading Player, the two of them move us through time and history with ease to tell a timeless story of growth and wisdom.  Emma is the Narrator, the Pusher-Along, the Ringmaster in this circus of life.  They are a bundle of controlled energy on stage.  If you remember their recent work in ONCE at Town Hall and their Phamaly work as Puck in MIDSUMMER, there will be no surprises in their performance here.  They step on the stage, open their hand, and you’re in it.  Easy-peasy!  Don’t think about it – just go with the flow.  They are one of those actors whose work is instinctual; they have no fears, no boundaries.  What a joy to watch! 

Pippin’s family is made up of his father, Charlemagne (or Charlie) played by Phamaly veteran, Mark Dissette – still one of the best Tevye’s I’ve ever witnessed.  He gives a humorous and defiant portrayal of a man used to ruling. Shelly McMillion as Pippin’s grandmother has a show-stopping song with “No Time at All” as she warns him of the transient nature of life.  As an elder, she begs him that it’s “Time to take a little from this world we’re given.”  But, of course, he has to learn that on his own. 

Jessica Swanson, another Phamaly veteran, gives Pippin’s stepmother scheming life.  She manipulates, misdirects, and maneuvers all on behalf of her son.  You see, if Charlie and Pippin were gone, she and Lewis would rule the kingdom – the ultimate goal.  Her son Lewis is played by the talented Casey Myers (Phamaly fans will remember him as the hand-tap-dancing guy in a wheelchair in last year’s CHORUS LINE).  What family tree created this bunch of schemers? 

Pippin’s second family is completed by Katelyn Kendrick as his true love Catherine.  A widow with a son, they teach Pippin the value of family and responsibility. The son, Theo, is played on alternate nights by Catherine’s real son, Asher, or Aries La Plante in a belligerent but adorable scene.  The idea of a new father on the scene isn’t cutting it for this kid. 

You can’t say enough about the world of support given by the ensemble members as they move set pieces into place, enhance the singers with background melodies, provide a troupe that moves with synchronicity, and do their individual bits and bobs and ad-libs to add to the humor.  We all know it takes a village to accomplish great things.  Great things are accomplished by this particular village every night on stage. 

A WOW factor of 9!!