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STOP/KISS – Written by Diane Son; Directed by Emma Moonfield (Maxwell).  Produced by ER Productions (Presented at The Storyteller Theatre, 9905 East Colfax Avenue, Aurora) through August 29.  Tickets available at StoryTellerTheatre.com. 

An inaugural production by a brave new company in a brand-new space.  I was honored to be there on this auspicious occasion.  ER (Emma and Ratt) Productions proved more than ready to take on the difficult conversation that STOP/KISS offers.  A sweet Lesbian love story that grows slowly with the texture of a relationship changing after a violent encounter with a homophobic brute (never shown on stage).  This does not allow for light-handed guidance.  Emma Maxwell has used her own experience on stage to lead the confident production of this both funny and touching script. 

Written by Jennifer Son who, previous to this full-length script, had only written one-act plays.  She went on after the success of STOP/KISS to a career in episodic TV projects.  However, that background in short plays had not provided her the “boots on the ground” experience in writing a script that needed a strong physical through-line to tell its story.  The scenic reality of the format requires the actors (and the audience) to jump from the beginning of the relationship to another beginning after the assault, slipping back and forth in time.  Nothing wrong with that format.  It worked well to grow the relationship .  .  .  until you try to do it in a small space that can’t support multiple settings.  While the actor/stagehands were well-rehearsed in the dynamics of moving from scene to scene and did a yeoman’s job in getting furniture off and on stage, making and unmaking a sofa bed, creating an invisible cat, moving the story into a hospital room, it still creates a pause in the flow of the story to have to wait between scenes for a new set-up. I have no solutions – only observations. 

The two main characters are Callie (played by Helen Driesen) and Sarah (played by Ratt Walsh) who meet over a cat who needs a new home.  Their relationship builds slowly as histories and current situations are shared.  Both women have titular men in their lives.  Callie has George (Sa’Daiveon Newell), a school buddy with benefits, but no sense of a joint future.  Sarah has a boyfriend back home in St. Louis who is hurt and confused by her decision to abandon the Midwest to teach third grade students in Brooklyn.  He is Peter (played by Neil Soriano Isoles, Jr.).  He also takes on the role of Detective Cole, the NYPD investigator of the attack on the women.  The fifth player is Veronica Chavez-Salgado who does an excellent job playing the witness to the attack from her bedroom window and later as the nurse in the hospital.   

This crew pulls together to make sure the story is told using humor, telescoping time and action, authentic dialogue, and patience.  The quiet moments in this script are as important as the dialogue in many scenes.  They create an acceptance and an adventure for both women.  This is not a story about a head-long rush to bed, but an almost shy sense of discovery. Callie is an experienced City mouse with intimate knowledge of where to get the best of any kind of food, but she often can’t find her keys.  Sarah is calm, steady, a determined teacher, but innocent to the ways of the city.  A Country mouse, she can find the missing keys but doesn’t deliberate on appropriate clothing.  The changes that happen in the relationship culminate in one of the most sweet and touching scenes you’ll ever witness on a stage. 

The men in the cast create the rough edges around the women.  Our first encounter with a male character is a persistent detective who seems to be trying to blame the women for the assault perpetrated on them.  It takes the testimony of another woman observer to paint the whole picture.  Neil plays both the nervous cop and the distraught boyfriend who just wants Sarah to come back to St. Louis with equal grace, differentiating the two characters with ease.  Sa’Diveon is the cool sarcastic noncommittal born-to-the-City kind of guy who is suspicious of everyone he doesn’t know.  And of everyone who tries to come into his comfortable settled world.  All of the characters are well-developed and authentic. 

The Story Teller Theatre offers a cozy space in which to play, adequate lighting and excellent sound equipment . . . always important for a new space.  A Resource Room is offered that provides information about corollary activities that support the subject matter of the production.  The city parking lot behind the building (also supporting the People’s Building) offers adequate and free parking. 

All in all, an auspicious beginning for this new adventure.  BUT only one more weekend to catch this funny and touching performance.  Don’t get sidetracked.  You don’t have ANYTHING better to do next weekend. 

A WOW factor of 8.75!! 

504 – Book and Lyrics by Abbie Goldberg; Music by Mason McDowell; Directed by Ben Raanan; Music Direction by Trent Hines and Jerimiah Otto; Choreography by Savannah Svoboda.  Produced by Phamaly Theatre Company and the Denver Center for the Performing Arts (Presented at the Kilstrom Theatre, DCPA, 13th and Curtis, Denver) through August 23.  Tickets available at Phamaly.org or 303-893-4100. 

I want to wholeheartedly endorse this production of a new musical written about an unlikely topic.  In the 70’s, disability rights were stalled in Congress, leading to sit-ins call over the country.  Despite the determination of the peaceful protestors, most had to give up or were forcibly escorted out.  However, the group in San Francisco endured, won the attention of Congress and the nation.  Section 504 of the Rehabilitation Act provided the baseline for the Americans with Disabilities Act that has prevailed to this day.  However, in this day and age, when the rights of everyone who isn’t white and rich are being threatened, we need more than ever to be reminded of how hard-fought these rights were won. 

Phamaly took a chance on an untried script and brought it to life and the audience to their feet.  While it may limit future productions, it was amazing to see this first performance about disabled warriors actually being performed by actors living with the conditions described, instead of watching sighted, hearing and abled performers who would have to be taught how to dance in a wheelchair.  Phamaly’s unique perspective and set of abilities gives special significance to the opening and closing song, “We Are Here.” 

How nice to see Leonard Barrett, Jr. Back on a Phamaly stage.  There are literally no “starring” roles in this production; everyone on stage gets special moments to highlight the special talent they bring to the table.  But it’s hard not to single out the mellow tones of Mr. Barrett.  His experience and charisma show in every note.  Another crazy talented Phamaly old-timer, Trenton Schindele, who is seen working all over town, brings a prickly charm to his Viet vet, Keith.  His number, “Supercrip,” with his brother Paul (Grey Dumois) was a showstopper.  Juliet Villa, who proudly proclaims a twenty-year history with Phamaly, brings her crystal-clear soprano to the stage once again as a reluctant and fearful participant in the protest.  Her voice is like the North Star, sure, true, and sparkling.  Here’s to another twenty years. 

Only four people in the cast of seventeen are making their debut with Phamaly, which means that this cast brings experienced legs and wheels to the sandbox. What it also means is that people who have been quietly filling the ranks of the ensemble for years are not moving into the range of featured roles.  People such as Jen Anderman as Mary, who only takes part in the sit-in to find a boyfriend, gets to reveal the sexy side of disability. Eli Schroeder, who plays the object of her affection, makes a sweet and willing male suitor and knocks his songs out of the park.  Atlas Drake’s second Phamaly show gives them a chance to highlight their vulnerability and singing chops. 

The leader of the pack of protestors is June, played by first-timer Jolee Harston.  She takes on the arduous task of breaking into song repeatedly to keep the morale and determination of her tribe in place.  No small task, but she’s up to it.  Act II brings the delightful River Hetzel into the picture.  They play a journalist assigned to cover the action.   The funniest song of the whole show, “Please Forgive Me,” represents the difficulty many have in using appropriate language with people slightly different from them.  She suggests “sitting down” to discuss the “sit-in” to a woman in a wheelchair.  Then immediately castigates herself relentlessly for her faux pas by ending up face down on the stage in shame. 

The setting is dominated by a giant set of double doors that keep them all inside the invaded offices.  A great deal of American Sign Language (ASL) is used effectively with verbal interpretation by another actor and subtitles on screens. For the best visual observation of the subtitles and actors speaking from the balcony, try to purchase seats in Sections 2, 3, or 4.   

This production is led through the birthing process by Director Raanan with a sure hand and an experienced eye for the best way to use the six-sided playing space.  Choreographer Svoboda created visual joy with her versatile charges, using movement to create a range of emotions.  The instrumental accompaniment was provided by the always brilliant Trent Hines and his four-piece band. 

I’d like to say that Phamaly is Back!  Not that they were ever gone.  Who can forget their outstanding production of CHORUS LINE two years ago with their tap dancer in a wheelchair and the circular finale dance.  And PIPPIN, with Emma Maxwell (now Moonfield) last year and Shelly McMillion singing “No Time at All.” So many happy memories. But to have the courage and audacity to take on a brand-new script that demanded so much heart and soul from its cast displays a fresh level of moxie. 

A WOW factor of 8.75. 

WITCH – Written by Jen Silverman; Directed by Josh Hartwell.  Produced by BETC (presented at the Savoy Event Center, 1700 Arapahoe, Denver) through August 2 and (presented at the Dairy Center, 2590 Walnut Street, Boulder) from August 6 through August 23rd.  Tickets possibly available through the Savoy Event Center or the Dairy Center for the Arts. 

When the state of the world brings tears to the eyes of the devil, it’s time to make some changes.  This comedic piece by Jen Silverman has a deep and heartfelt message to all who see it.  A piece that reaches out from the past to expose the uselessness of ego gratification, the poison of jealousy, the pointless pursuit of power, the heartless love of riches, the dangers of duplicity . . . and brings it home to provide a modern message. 

The devil (who makes no secret of who he is and why he’s here) arrives at the village casually making deals with two of the villagers with almost too much ease.  One wants the riches and legacy that comes with an inheritance; the other wants the first to lose in this battle of wills.  The devil Scratch seals all his deals with a left-handed shake and a “I think we can make that happen.”  Ironically, as soon as one of his victims is awarded his wish, the second deal gets met as well, all on their own because of botched paperwork.  This devil is not very efficient. 

But, of course, the third person he approaches, wise beyond her years, sees the flaw in his reasoning and avoids the trap.  This particular demon is devilishly handsome, so while she enjoys his company and recognizes the spark between them, is immune to his charms  . . . nearly.  Scratch, the devil, is not used to being told “no” or thwarted in his duties of entrapment.  He finds a particular charm in being “off the clock” with her and soon is willing to risk his own deal for a new idea. 

This script has comical situations based on easily recognized human foibles that lead to laughs galore and insightful glimpses of the state of their world.  The basis for the story is a 1621 play called “The Witch of Edmonton” that uses many of the same characters and situations. Being told, however, in modern language brings it forward from the village to the city.   

The cast is extraordinary. Torsten Hillhouse returns to BETC from his touching work in BROOKLYN LAUNDRY earlier in the year.  Playing Sir Arthur Banks, the big man in the village, the owner of the castle, and a man truly in love with his long-deceased wife, he is however, oblivious to the damage he is doing to his family by his need for a manly heir. 

Bryan J. Black is Cuddy, Sir Arthur’s less than masculine son, whose life’s desire is to be a really good Morris dancer (a dance form reserved for men at that time).  His bumbling helplessness is both sweet and dangerous at that time in history.  Cameron Davis is the self-confident but deceptive usurper, Frank, who hopes to fulfill Sir Arthur’s desire for an appropriate heir.  His personal charm is reserved only for his secret wife and Sir Arthur.  He has fallen into a honeypot and plans to make the most of it, no matter who gets hurt. 

The titular witch, Elizabeth, who shows no pre-disposition toward magic potions, is the always brilliant Jessica Robblee.  Jess is one of those actresses who refuses to be categorized; her talent allows her to play any kind of character.  She makes an insightful, charming, level-headed, but susceptible village woman, long scorned and feared for unknown reasons. Her playful scenes with the devil leave us wondering who is going to win in this growing flirtation.  The female intellect is upheld further in the story with the addition of Elizabeth Harlen as Winifred, the unwilling maid at the castle and the secret bride who is forced to watch her personal dreams begin to dissolve. 

Special attention needs to be paid to this particular devil, Marco Robinson, who exudes charm out of every pore, giving each character he meets exactly what they are looking for.  He is bold, upfront with his reason for being in the village, willing to “discuss” the possibilities with all he meets and cleverly maneuvers people into his way of thinking.  Until Elizabeth.  He is confounded by her brick wall, her ability to tempt him into thinking he may succeed after all, and then shattering all his hopes with a single “no.” What a tangled web we weave!! Marco the magnificent succeeds once again to win both the women on the stage and the women in the audience.  Where do we sign up for this so-called deal?? 

Tina Anderson continues to astound with her ability to create environments for actors that enhance and complete the story telling.  This set encompasses with equality both a dining hall in a Jacobean castle and a humble hut in the village.  Beautifully dressed by Katie Hopwood McCleaf, the picture is complete.  The lighting design by Erin Thibodaux keeps our eyes in the right place as the action moves back and forth between the two locations and also subtly addresses the differences within the two household’s character.  The unobtrusive sound design by Adara Baltazar adds drama to a crucial scene, provides background noise for a scene in the pub, and moves us easily between the action.  Special recognition must go to the stunningly authentic costumes created by Sarah Zinn.  Each actor is dressed with a sharpness and care that recognizes their place in the world and their character.  Ben Reigel also brings his specialized skills to a crucial event, terrifying to watch, that creates a conclusion to the rivalry between Cuddy and Frank. 

While I’m wishing that each of you readers would have the opportunity to see this fine example of the product put forth by BETC, I’m sad to report that the ENTIRE production is at this point SOLD OUT.  Before it even opens!!  You can now only hope for added performances or putting your names on the waiting list for every show.   

A WOW factor of 9.5!! 

FRIENDS, ROMAN, AND COUNTRYMEN – Written by David Davalos; Directed by Tim Orr. Produced by the Colorado Shakespeare Festival (Presented in the Green Roe Theatre, CU campus) through August 1. Tickets available at 303-492-8008 or CUpresents@colorado.edu.

At first glance, one wonders, “Why do we need another play about the assassination of Julius Caesar? Didn’t Shakespeare cover all the important parts?” The assassination play was told through the point of view of the diplomats, the triumvirate of men who could and would benefit from his death. The people of Rome who welcomed Caesar back from his battles were shown to be fickle and plebeian. FRIENDS, ROMANS, AND COUNTRYMEN gives us a look at two of those common men and the impact the politics at the time had on their lives.

Virgil (played by Alexander Quinones) is a lowly but dedicated poet, forced into working as a street cleaner to make ends meet. He meets Xenarchus (Jihad Millhem), doing the same kind of work, but a dedicated philosopher from a conquered land. Their conversations reveal the observations they share and the ideas that cause disagreement, but both are carried along in different directions by the activities following Caesar’s murder. This quietly illustrates how a society, to survive and thrive, needs both artists and humanitarians to prosper. The battles brought on by the politicians are carried out, the sacrifices made, the victories celebrated . . . under the watchful eyes of both men. They become the hopeful arbiters of the future, on behalf of all of us watching, as would-be emperors invade their lives. They repeat the warning about future times expressed in Shakespeare’s vision.

While there are dramatic insights, poignant prayers, and consequential decisions made throughout this examination of Roman adventures, the characters are given a humorous point of view and dialogue that presents them as authentically thoughtful and intelligent. You can’t help but root for both of them to avoid the perils that are thrown their way just because of their presence in places they didn’t choose for themselves. They are pragmatic but positive, harassed but hopeful.

As actors, both Alexander and Jihad brought these original characters to life in profound ways. The audience is made to understand their dilemmas and their dreams. Playwright David Davalos’ insight into both sides of a political situation is thoughtful and comprehensive. He allows his characters to both stumble and prosper, as most humans do as they traverse tricky situations. There is much to be learned here in subtext and thoughtful reflection. The story is told with a precision occasionally lacking in Shakespeare’s work, who seems to think we know more history than modern education has taught. But like most of us in troubled times, both Virgil and Xanarchus, through prayer and deliberation, make it through to a new tomorrow.

Kevin Nelson’s dramatic set of levels, stairs, and grand spaces, with only small adjustments, sufficed to provide space and grandeur for both of these stories of Roman leaders and followers. Katie Gruenhagen’s lighting effects made it dramatic, while Jason Ducat’s sound effects made it real.

While the CSF production of JULIUS CAESAR is huge, loud, a big show using the whole theatre, this is like a smaller, but equally important story going on behind the scenes at the same time. A fitting and appropriate “backstage” accompaniment to the events both before and after the death of Caesar.

A WOW factor of 8.5!!

THE IMPROVISED SHAKESPEARE COMPANY – Written and Performed by the company. Presented by the Denver Center for the Performing Arts (Garner Galleria Theatre, 14th and Curtis, Denver) through July 26. Tickets available at 303-893-4100 or DenverCenter.org.

You’d think – after all the titles they have yelled out at them – that they could have come up with a better name for their company. But it’s short enough and tells the story of what you are going to get when you attend one of their performances. A totally new and original Shakespeare-LIKE play created right before your eyes. The night I attended Blaine Swen, Randall Harr, Brendan Dowling, Steve Waltien, and Joey Bland – five brilliant comedians and Shakespeare scholars verbalized a performance of THE TAMING OF THE BRO for their stunned audience. Can’t say wrote it – because there was no paper involved.

Can’t really review it either – because it will never be done that way again. They may be able to create a show that merges aspects of THE TAMING OF THE SHREW and TWELFTH NIGHT some time in the future, but it will contain different words, a different story line, and different characters. Let me just say that I was laughing from the opening prologue created on the spot in rhyming couplets by one of the cast members. The others sat just off the stage, two on each side, listening. At the conclusion of the prologue (or it ran out of steam), two members of the company jumped on to the stage and began setting up the story. No conversation – no consulting about what to do – just jump up and do it! What incredible moxie (I could have said something else, but there are women reading this!) that takes. What incredible confidence in their fellow players. They develop (or stumble) into the story creating multiple characters (main and secondary) all in somewhat Shakespearean language and syntax (except, of course, when the Bro in question falls into a Joisey accent).

But this was our show. You will see an entirely different one. Members of the company have been doing this together for twenty years. While it is a challenge every night, there are patterns and plots that have been explored enough times that it seems apparent that part of it comes easy and part of it doesn’t. But they worm their way through it. At our performance, because of gender-bending and multiple parts assigned to the same actors, they would have to occasionally call a halt and determine who was who on the stage at that particular moment. But always with the greatest of humor and self-deprecating honesty. These guys are pro’s. They are NOT going to be thrown by anything that happens.

Several of the remaining performances are sold out already, with good reason. You don’t have to know much about Shakespeare to enjoy these high-energy madcap players. It’s best if you just go online and get your tickets now while you still can. You’ll regret it on July 27th if you let them leave without seeing their show at least once. NOW, you dolts!!

A WOW factor of 9!

RED, WHITE, AND TUNA – Written by Jaston Williams, Joe Sears, and Ed Howard; Directed by Tom Bruett.  Produced by the Bailey Theatre Company (Presented at the Glen Isle Resort, Bailey) through July 19.  Tickets available at BaileyTheatreCompany.org. 

At the end of a lovely summer’s evening drive up the hill to Bailey awaited restaurants featuring delicious food and a fun theatre evening featuring a couple of Denver’s best actors bringing to life a witty story about the All-American residents of tiny Tuna, Texas where everybody knows everybody and everybody’s business. Plus, it’s SO MUCH cooler up there. 

Bill Bruner’s efforts to bring good theatre to his mountain town is really beginning to pay off.  Jeff Jesmer and Matt Hindmarch are much in demand in Denver theatre because of their talent and charisma.  They both go from show to show and continue to contribute to award-winning productions.  RED, WHITE AND TUNA – while not a walk in the park for actors this talented – gave them both the opportunity to show off their silly sides.  The script includes approximately 30 characters all brought to life by the two actors in a series of quick costume and wig changes – all residents of the third smallest town in Texas.  While it doesn’t exactly glorify small town living, it doesn’t make it sound so bad either. 

Built around a high school reunion on a recent fourth of July, it brings many of the characters from previous scripts about Tuna back to their hometown and the people they know and love.  There’s not only a reunion going on, but there’s the very distinct possibility of a wedding happening if just a couple of little things can get worked out.  If you grew up in a small town – and in most ways, didn’t we all?  Even if that small town was part of a larger one? – you will recognize many of these personalities.  The busybody who knows everybody’s business – the local self-important sheriff – the Tasty Kreme girls whose “prize-winning” potato salad has been out in the sun a little too long – the Smut Snatchers watching over the moral high ground – dear Petey Fisks attempts to find homes for all the wayward animal creatures (even resorting to out–of-this-world-solutions).  We witness the broadcasters from local radio station OKKK giving us the news of the day – they did, they did, they did!  Complete with sponsorship by Didi’s Used Weapon store (“If we can’t kill it, it’s immortal!”).  All the way through to a honeymoon night at the local motel between the young newlyweds – embarrassing to everyone involved, even those watching.  The light-hearted, high-energy, down-home humor goes on and on in the hands of these two talented actors. 

The physical domain of the theatre itself is still a little rustic, but the technical aspects of the production took a huge leap forward from previous productions.  The music and sound effects provided by master designer Rick Reid gave a realistic surround sound effect to the tiny theatre.  The lighting design by Bri Angle gave us a spaceship landing, fireworks, and everything in between.  Johnathan Underwood’s simple but effective costumes made the quick changes even quicker and kept us firmly locked into who each actor “was” at any given moment.  And the whole package was kept running smoothly in the hands of Heidi Baker behind the board. 

The problem is there’s only one more weekend to catch these polyester-clad citizens before they go back to Texas.  Hie yourself up the mountain this weekend for a breath of fresh air, literally, by visiting Tuna, Texas by way of Bailey, Colorado.  Oh, and Didi said to remind you she’s having a special this weekend on weapons powerful enough to take down a Big Foot!  Just saying . . . . 

A WOW factor of 8.25!! 

ALL SHOOK UP – Book by Joe DePietro; Music and Lyrics by various composers; Directed by Nancy Evans Begley; Musical Direction by Trent Hines; Choreography by Piper Lindsay Arpan.  Produced by Parker Arts (Presented at the PACE Center, 20000 Pikes Peak Avenue, Parker) through July 19.  Tickets available at 303-805-6800 or ParkerArts.org. 

 Joe DePietro works both sides of the musical fence.  He writes original music for shows like LOVE/PERFECT, MEMPHIS, and THE TOXIC AVENGER.  He is also gifted in writing juke box musical books that utilize the best of other composers and lyricists.  He collects the music which made someone like Frank Sinatra popular or a sampling of the music of George Gershwin and wraps a musical like NICE WORK IF YOU CAN GET IT into a cohesive musical joy.  ALL SHOOK UP is also a compilation of the music Elvis Presley made his own in movies and albums.  (Tiny bit of trivia, however, illustrates how tough it is to get a hit every time.  His latest musical DIANA lasted only a month on Broadway and won the Razzie for that year.)  But Mr. DePietro and Ms. Begley both have a hit on their hands with this production of ALL SHOOK UP currently in residence at the PACE Center. 

A troupe of amazing singers and dancers have been put together and put through their paces to bring a rock ‘n’ roll banquet to the hall.  Starting the evening off with “Jailhouse Rock” and finishing with hunka hunka “Burning Love,” the pace slows down only to tell a story that still needs to be told 20 years after it debuted on Broadway. 

Matthew Austin Combs embodies the soul and dance moves of our hero Chad (the Elvis doppelganger) in a performance that barely gives him a moment off stage to breathe.  He swoops into a small town in the vast Midwest (which SO reminded me of my tiny Illinois hometown with its backward beliefs) and provides a breath of fresh air to the depressed population.  He invites them to sing, to experience a fresh look at the life they could be living, and then “intends” to move on as soon as his motorcycle is fixed.  However, the female mechanic Natalie (Marisa Dinsmoor) is one of the women bowled over by him and she has different ideas.  The plot gets convoluted as hidden romances bloom all over the stage, and no one ends up with who they thought they would.  The plot – while funny and easy to follow – is not as important as revisiting all the great music from the 60’s and 70’s that we associate with the late great Elvis. 

While everyone involved in this production deserves a pat on the back, outstanding work from cast members needs to be recognized.  Matthew Combs provides the star quality necessary to carry this role to the end.  His voice, his dance moves, his cockiness are all fun to watch and exciting. His bewilderment at his never-experienced-before failures and feelings is genuine, which makes it all the more touching. Other men in the cast who find themselves in the same sort of puzzling dilemmas include George Zamarripa , playing the man blind to the woman who has loved him all along; Adam Kinney, who has loved all along but is forced into being the faithful best friend; and Zachary Lee Boswell, who finds first love despite a domineering mother.  Experiencing new feelings for women they have known all their lives or for twenty minutes puts each of them in awkward situations that are fun for the audience to watch.  But – Jim Honiotes , who has performed in nearly every theatre in town, lands the greatest line of all.  The whole theatre erupted!  Wait for it!!! 

The women hold their own as well.  I wondered where Marisa Dinsmoor came from with her pixie-like quality, her Broadway belt voice, and her cute-as-a-button persona.  But she’s been in town all along, working her way up to this role. A rose-filled curtain call for you, my dear – can’t wait to see what you do next. Arabella Beaubrun and Suzanne Connors Nepi are familiar faces to those who follow theatre in Denver.  Both are solid performers, no matter the role; but it’s nice to see them have fun as Sylvia, the local bar owner, and Mayor Matilda, the prudish strong woman mayor.  The unwilling seductive museum director, Sandra, gives Shelby Varra another fun role on the PACE stage after performing in last year’s ROCK OF AGES. Jessica Czapla, who plays the other half of the young love couple, is another actress who has been waiting in the wings for a chance to show us what she can do on stage . . .  and what she does is sing like an angel! 

It’s also worth noting that a dance ensemble of ten talented performers, in addition to dancing their booties off each show, has also signed on as covers for the main performers.  In addition to learning parts of FOURTEEN dance numbers, they have also learned the lines and blocking for one of the main characters, should they need to go on for them one night.  I call that dedication of the highest order. 

That’s also the kind of loyalty Nancy Begley gets as a producer.  She obviously takes good care of her people to generate that kind of return.  As a director, she found all the moments of both humor and significance in the script.  Coupled with the brilliance of long-time musical director Trent Hines and the sparkling choreography of local favorite dancer Piper Arpan, the cast is in good hands.  It shows.  A good time was had by all. 

A name I’m seeing all over town as a Scenic Director is Matthew Crane whose deceptively simple set for this show moved in and out of place easily, gave the dancers plenty of space to move their feet, and used subtle projections and light (thanks to Brett Maughan) to create the time and mood of the moment.  A yeoman’s job was performed by Alicia Pope as the Wardrobe Coordinator for this production. We enjoyed sparkly dance garb, leather jackets (both black and white), and MULTIPLE changes of clothing throughout the performance.  Just getting everyone to get their costumes back on hangers and in the right place at the end of the day must have taken hours. 

Are you getting the picture that I had a good time at this show?  Obviously, part of my personal fun was revisiting the music of my young adulthood.  I’m not sorry to say I was in high school when LOVE ME TENDER premiered at the local drive in; I saw Elvis in performance from backstage in Vegas; and he passed two days before my birthday in 1977.  Some things just live in your memory.   

A WOW factor of 9!! 

SHAKESPEARE IN LOVE – Original Screenplay written by Marc Norman and Tom Soppard; Adapted for the stage by Lee Hall; Directed by Terri McMahon.  Produced by CU Presents and the Colorado Shakespeare Festival (presented at the Mary Rippon Theatre, CU campus) through August 1.  Tickets available at 303-492-8008 or CUpresents@Colorado.edu 

A recent conversation between Timothy Orr (Producing Artistic Director) and Terri McMahon (Director) in the words from the script: “Will Shakespeare has a play.  I have a theatre.  The [Rippon] is yours.”  On behalf of all who have seen SHAKESPEARE IN LOVE by this time or will by the end of the run, we say “Thank you.”  What a delightful way to spend a summer evening.  Reveling in the performed fun of creating theater – “It’s a mystery.”   Rejoicing that (even in our imaginations), Shakespeare had this kind of joy in his life.  Laughing with our fellow Shakespearean lovers in the recognition of little Easter Eggs buried in this script that only Shakespearean lovers would recognize.  And weeping at sorrowful partings . . . but at least, they are both alive at the end of the play.  What a night! 

In quick summation, a noblewoman, enamored of what she sees on stage, encourages her to audition for a role in a new as yet unwritten play by Shakespeare disguised as a male actor.  Women being still not allowed on stage as it being too “unseemly.”  She gets the role which throws her and Will Shakespeare into proximity and his discovery of her true identity, relieving him of his confusion over being drawn to this young “actor.”  But, of course, because of their class differences, his marriage, and her impending betrothal to a lord approved by the Queen, it’s a doomed affair.  However, the audience is treated to a “backstage” look at how theatre was created back in the day, the camaraderie of playwrights of the time, the agony of writer’s block, and the magnificent language of Shakespeare in the meantime. 

Brandon Carter and Meg Rodgers, once again, get to spar vocally, live through hidden gender confusion, and find true love by playing Will Shakespeare and Viola de Lesseps, the lovers in this performance, after having fun with Orsino and Viola earlier in TWELFTH NIGHT.  They have this love thing down pat by now.  How wonderfully they blend their talents making the true lines of the true Shakespeare their own in the balcony scene and the death scene of ROMEO AND JULIET.  They capture the flirtatious nature of their characters, the whimsy of their situation, the humor of intelligent adults, and the overpowering joy of young love.  As Viola says in response to her nurse’s comment about a brand-new day, “It’s a brand-new world.” Will is the reason. 

The lovers are ably supported by the actors and men of theatre surrounding them.  Nathaniel Cushing has a way too small role as Kit Marlowe, fellow playwright and friend.  Brik Berkes is the rather ruthless money man Fennyman who reluctantly provides funds for forthcoming productions yet gets caught up in the excitement.  Sean Scrutchins is the desperate theatre owner of the Rose Theatre about to get his boots burned.  Matthew Schneck plays the useless Lord Wessex, the man Viola’s father has determined she will marry. Tara Falk, who has fun as Olivia’s underhanded maid Maria in TWELFTH NIGHT, is rewarded with the even more fun role of Queen Elizabeth I in this production.  Her astute comments to Lord Wessex about getting “plucked” made us all laugh. 

Special attention must be given to CU student actor Aaron Klass who, in addition to four other roles during the course of the evening, takes on the part of the narrator who, with a long monologue, announces the text of the play they are going to perform. The poor lad is a stutterer and a reluctant participant in this work.  But is a team player and will do his best.    He begins hesitantly, stumbling occasionally, but finally gaining a little confidence, and finishes to backstage cheers and a big smile.  It is a touching homage to all the under-blessed ensemble who go on night after night with short bits and unspoken business to add their part to the mystery of theatre.  Thank you, Mr. Klass –  you made us weep. 

Kudos must go as well to the carpenters, painters, and designer (Matthew Crane) who gave us this remarkably versatile set that works beautifully for both TWELFTH NIGHT and SHAKESPEARE IN LOVE.  A magnificent structure that becomes a tavern, a rehearsal hall, a theatre, a Lord’s home, and a garden for both productions.  Also our own Meghan Anderson Doyle did a yeoman’s work on the costumes which, in turn, were incredible royal garments for Queen Elizabeth I, street clothes for the players with costumes bits as needed, and quick-change clothes for Viola, who with amazing degrees of speed, transformed from woman to male actor and back. 

This is a delightful Shakespeare-adjacent love story that will make you laugh out loud, smile as you get the subtle jabs at familiar Shakespeare lines and situations which seem to suggest how he got many of his famous lines and bits of business, and ultimately, weep at the fate of Shakespeare’s most famous lovers.  This one is selling out fast; get your tickets NOW. 

A WOW factor of 9!! 

MATILDA – Music and Lyrics written by Tim Minchin; Book by Dennis Kelly; Directed by Steve Wilson; Musical direction by Zerek Dodson; Choreography by Carrie Colton.  Produced by Candlelight Dinner Playhouse (presented at 4747 Marketplace Drive, Johnstown) through August 30.  Tickets available at 970-744-3747 or ColoradoCandlelight.com. 

It’s no wonder Candlelight folk are not saying “We’re doing a play.”  Instead, they proudly invite you to “Come play with us.”  MATILDA invites audience participation, being shouted at by cast members, and being revolting.  What a fun time we all had.  And what a talented group of young singer/dancer/actors the theatre recruited to perform those rowdy kids.  A double cast of nine actors per night who dance their boots off, sing their hearts out, and, in general, have as much fun on stage as is possible.  What a treat to watch so many talented kids at once.  Read their resumes in the program if you get a chance.  Most of them have credits all over the Front Range in area theatres and promise to be the stars of tomorrow. 

Of course, special congratulations have to go to Khloe Trainor and Morrow Pavlik who share the role of the dynamic and thoroughly underappreciated Matilda.  She’s a girl.  A girl who knows what it’s like to experience sorrow and isolation.  A girl who finds ultimate happiness in the best possible way.  A girl whose intelligence and heart are ridiculed by her stupid petty parents. A problem solver; a book reader; a storyteller per excellence.  I don’t know which actress performed Matilda on opening night, but she was magnificent and heartbreaking all at the same time. 

One other of the semi-child actors – Grant Kinzie – deserves a pat on the back for taking a generally throw-away role of Matilda’s big brother and making it his own.  His reactions to his ridiculous parents and his (to him) pathetic little sister  – often without words – added to the fun and Matilda’s sorrowful home situation.  Another minor but crazily enjoyable turn was taken by Brandon Sutorius as Rudolpho, Mrs. Wormwood’s dance partner.  In just a few scenes, he displays his incredibly limber dance moves and totally arrogant attitude toward . . . well, everything. 

Speaking of Matilda’s ridiculous parents, Nikki Salinas, as the vain and thoughtless Mrs. Wormwood didn’t get an ounce of sympathy from the audience.  Her dance gyrations, her acceptance of her cruel husband, her unreasonable point of view about everything added to the fun the audience was having and to her own superficial character.  The other bad guy in this scenario is Mr. Wormwood as played by long-time Candlelight favorite, Stephen Charles Turner, nearly unrecognizable with his green hair, verbally abusive treatment of his unwanted daughter, and ham-handed petty larceny.  Is there a worst father in the world?  I don’t think so. Did he have any saving graces?  No – unless you count showing Matilda the door as he runs from the police.  Great job, Stephen. 

The good guys in this tale of woe are Megan Schraeder as Miss Honey, Matilda’s teacher, and India Thompson as the friendly librarian.  Between them, they show Matilda the love and attention she deserves that softens the whole tone of the play.  Megan has an amazingly expressive voice, as exhibited in her songs of “My House” and “The Little Girl.”  India is an instantly likable plus in Matilda’s life and an audience for her creative storytelling.  The two women in her young life make it tolerable. 

BUT BUT . . . wait for it!! The show is written to display the total cruelty and intolerable pettiness of the headmistress of Matilda’s school, Miss Agatha Trunchbull. The always brilliant Patric Case returns to Candlelight just in time to give this role the ugly, mean, no-good treatment Miss Trunchbull deserves.  He is unrecognizable with his zoftig bosom, his unibrow, his gnarly teeth, and his attitude from hell.  Normally, Patric plays the good guys, the sweethearts, but what fun to see him take on this totally out-of-character character.  OMG! You guys!  You’ve got to see this turnaround.  The interaction between him/her and the kids is fantastically fun to watch.  I don’t know how they keep a straight face on stage.  Trunchbull rules the roost!!  Until the end . . . . 

A deceptively simple set designed by Ranae Selmeyer and built by Josiah Buhre’s team of carpenters and painters allows for the smooth transition between scenes, even when pieces are being handled on stage by kids.  The school uniforms and boho costumes of the good guys were designed by Charlotte Campbell.  But costuming also included fantastical dance costumes for Rudolpho and Mrs. Wormwood which made them look even more ridiculous.  To say nothing of the costuming and makeup dynamics that turned a handsome man into an ugly headmistress. The lights designed by Vance McKenzie were sweet and soft when it was just Matilda on stage, but flared up loud when the Wormwoods arrived. 

Steve Wilson’s sure-handed direction allowed no drop in pace, no overlooked laugh in word or deed, and, in spite of the chaos required on stage, told a straight-forward story of compassion.  The children in the troupe have been well-trained in the music by Zerek Dodson and in the clever dance routines by Carrie Colton.  The winning team at Candlelight comes through again. 

A WOW factor of 9!!