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FAT HAM – Written by James Ijames; Directed by donnie l. betts. Produced by The Aurora Fox Arts Center (9900 East Colfax, Aurora) through April 19. Tickets available at 303-739-1970 or AuroraFoxArtsCenter.org.

Through a stretch of imagination, I guess a small pig could be a pig-let. Taking that further, any size pig could become a ham. So, a ham made from a small porker could come up with a Juicy nickname. This more or less explains the origins of the main character’s name in this Shakespeare adjacent dramedy. Juicy, a gay, emotionally abused, not a teenager but not-quite-a-man-yet (played with gravitas by Sa’Daiveon Newell), is thrown into an impossible situation, which encourages him to sink into his personal doldrums even further. His father was killed in prison; his mother immediately jumped into bed and marriage with his father’s brother; his uncle/stepdad spent Juicy’s college money on fixing up his mom’s house; and he is being forced to “be nice” to everyone hanging around. No wonder it seems he stands in the middle of a storm cloud just waiting for the lightning. But when he is amused and smiles, the sun comes out.

Not really enough to lighten the mood of the play. All the other characters seem to be desperately trying to find something to smile about, to no avail. His stepdad (Don Randle) is a downright mean and nasty SOB who apparently had no qualms about orchestrating the demise of his own brother. He’s an equal opportunity bastard, throwing his venom around to his new wife, his stepson, and other friends who have come to eat barbecue at the backyard wedding reception. Everyone tries to pretend they aren’t physically afraid of him, but don’t quite get the message across. Randle, in a two-for-one performance as both brothers, becomes the murdered brother/father in a sparkling white prison jumpsuit. But no ominous ghostly proclamations or tearful reunions with a loved son (a la HAMNET) for this angry, unforgiving specter. He has only one thing to give Juicy – an order to kill his uncle.

Tedra, the secondhand bride, knows her role is to “go along to get along” and makes no bones about fearing for her son’s safety. There is no guilt in her life. Neither of her men has shown respect, to the point that she no longer expects them to. This is a woman on the edge. What’s going to happen to her when she loses her looks or can’t keep up the facade any longer? Adrienne Martin Fullwood finds the inner strength to hold her head up, even when she is cowering. Latifah Johnson is the quiet-until-she’s-not neighbor with an attitude.

The younger people at this unfun party, Nadiya Jackson as Opal (as close as they could get to Ophelia in modern day language), Jozeph Mykaels as Larry (Laertes without a sword), and Antonio Minino as Tio (a Hora-tio [get it!] and Polonius combination) do the best they can in a totally unpleasant afternoon of “fun.” Juicy finally suggests a game of charades (to reference the “trippingly over the tongue” play within a play in the real Hamlet) and brings the violence to a head. No swords in this version, but watch out for those rib bones.

A cast that knows what they are doing, a script that bites and chuckles at the same time, a beautifully built back porch and yard with a real smoking BBQ pit, characters that spit and sparkle (in Larry’s case, literally) – what more could you want in an evening’s entertainment?

A WOW factor of 8.50!!

THE WIZ – Book by William F. Brown; Music and Lyrics by Charlie Smalls; Directed and Choreographed by Christopher Page-Sanders; Music Direction by Alex Burse. Produced by Town Hall Arts Center (2450 Main Street, Littleton) through April19. Tickets available at 303-794-2787 or TownHallArtsCenter.org.

THE WIZ is not some wimpy pale story about a lost girl in a magical land or a WICKED-adjacent fantastical tale. THE WIZ, under the artful direction and choreographic dreams of Christopher Page-Sanders, is an explosion of joy, a jubilant expression of discovery and friendship, a homage to Black culture and music, and, most of all, a walloping good time for everyone present, on stage and in the audience. You haven’t seen dancing like this since the last Page-Sanders production. It’s both primitive and polished, cultural and cosmopolitan, high-spirited and hilarious. The primary dancers who used their waist-length hair to create the tornado kicked off the fun. The whole evening moved with its own heartbeat of energy and excitement.

A familiar tale told a new way, the creators of this seminal work of art have earned their place in the lexicon of meaningful musicals. This cast of exciting talent tells their story with enthusiasm; everyone on that stage is having a good time. No matter what happens, they are going to sing and dance and laugh their way through it. That joy spills over into the audience, and you are uplifted. Agape with wonder. Stretching your neck to see what’s going on in the other corner of the stage. Waiting with anticipation for the next song – the next entrance of a new outspoken character. What are they going to do now?? Even if you’ve seen the show before, this is a brand-new way of looking at it. Well done, Mr. Page-Sanders.

Casting is always crucial to the successful rendering of a big production. This cast of 18 has pulled together some of the best singers and dancers in Denver. Led by Thurzday as the reason for being here, Miss Dorothy on her magical journey, they are in good hands. She is confident in her performance yet tells a tale of uncertainty that blossoms into knowledge and gratitude. She is abetted along the way with her friends, the Scarecrow (Angel Miguel Garcia) with rubbery legs and more brains than he knows; the Tin Man (Simeon Wallace), whose heart beats with a hip hop rhythm; and the Lion (Daevon Robinson), the first to jump into a fight and the first to jump out. The end of the road came when they finally reached The Wiz (Colleen Christmas-Garner), who offers her own brand of wisdom and assistance.

Dorothy also has the help of a couple of Big Mama characters along the way. Glinda the Good (Cha’rel Ji’Cole) starts her down the Yellow Brick Road (illustrated by hats worn by the dancers). Cha’rel then has the fun of returning in Act II as the totally opposite Evillene who “don’t want no bad news,” but gets it anyway. This girl looks exceptionally wicked when she makes her grand entrance. Whew! Wouldn’t want to run into her in a dark alley. The surprise of the evening for this viewer was the appearance of Shakira Abney-Wisdom as the comic Addaperle. Having only known Shakira as an educator, who knew she could sing and dance like this.

What a treat this whole cast gave the watchers. This was an ensemble that clicked, backed by choreography that was solidly set on their bodies and music that came from their hearts. Backed by a six-piece band who were having their own brand of fun, the evening rocked. We all know it takes a village. It seems that Town Hall pulled out all the stops on this production with a set designed by master designer Brian Watson which provided a colorful platform without getting in the way of the dance, well designed props by Maru Garcia, a subtle yet dynamic light design by Amanda Fisk, and a sound design by the always creative Curt Behm. Not only that, but they had at least ten people backstage (like the Wiz herself) pulling the strings to make everything on stage happen. Special kudos go to Emily Valley who created an amazingly varied set of costumes which included crows, monkeys, brick roads, tornados, and all manner of colorful characters. Finding the meaning behind the costumes became part of the fun of watching.

This is a good one. This is a great way to end a week or start a new one. Or attend the DAF performance on April 13th and feel good that you are donating to a worthwhile cause while you get to enjoy an exciting evening. Go on – you’ll love it!!

A WOW factor of 9!!

TERMS OF ENDEARMENT – Adapted by Dan Gordon; Directed by Sarah Krom. Produced by Longmont Theatre Company (513 Main Street, Longmont) through April 12. Tickets available at 303-772-5200 or LongmontTheatre.org.

The Longmont Theatre Company is to be congratulated for a resurrection of a fine community theatre. Their beautiful space stood empty for a hiatus as they reformed and reorganized. They opened their doors again last October and have performed an additional three productions in the ensuing months. They move forward now with a touching adaptation of the Terms of Endearment movie. It takes a village. This audience member witnessed a village at work before, during, and after this performance. A group of people bonded by a love of theatre, determined to keep the lights on and the audiences happy.

The play itself started slowly but picked up speed as it progressed. It is a semi-faithful rendering of the movie, retaining all the joy, angst, humor, and sorrow of the mother-daughter relationship it details. A typical love/hate dynamic between the two women is illustrated by a photo montage of baby to graduation pictures of the daughter on her journey to adulthood. Aurora, the mother, adores her daughter, but can’t help but be a little jealous of her youth, her potential. Aurora’s disappointment when Emma, the daughter, settles for marriage and motherhood is profound.

Aurora’s emotional salvation comes in the form of a renewed interest in the handsome ex-astronaut who lives next door. A devil-may-care rogue who has been everywhere and done everything, Garrett is ready for fun. Their mutual realistic approach to a mature relationship leads to both humor and hubris. They are a good feisty match for one another.

The script has stripped the superfluous characters away, focusing on Aurora’s surprise romance, Emma’s failing marriage, and Garrett’s determination to maintain his single status. Those who saw the movie will remember how it ends. While the actors did not seem to conscientiously mimic the movie’s characters, the story played out with a familiar feel. Erica Gunaca, apparently relatively new to the Denver theatre scene, but a very welcome addition, played Aurora. She caught the inconsistencies in her character and gave this full-of-life woman a winsome charm. She is the type of actress who inhabits a character so completely that her little unscripted gestures, facial expressions, and speech patterns become the real Aurora in a totally natural way. I can’t wait to see what she does next.

Maia Flat as Emma grew in strength as she transformed from a teenager into a mother and wife. She had to deal with an overpowering mother with love and determination. Their relationship seemed totally open and honest, while contentious. They knew the best and the worst of each other. She even managed to portray a loving mother despite her kids never being present on stage. She faced her final challenge with grace and dignity.

The clown of the cast, Christopher Brian, played the Jack Nicholson part with a touch of the movie’s character, but still made it his own. His character has a tight rope to walk. A charmer with the women and used to a free and easy lifestyle, his growing attachment to this feisty but fabulous woman next door puzzles and yet delights him. In spite of his determination to remain unfettered, his inner good guy can’t help but respond when his friend needs help.

A slightly bigger stage would have helped the set, which needs a space for Aurora’s bedroom, a garden spot in front, Garrett’s door next door, Emma’s living room, and a hospital room. That’s a lot of fit on a normal-sized stage. But they made it work. As soon as the boundaries of each space were set by the actors, it was easy to follow. The costumes were authentic to the era and the function of the scene.

The crew at Longmont has recreated a superior example of good community theatre. I look forward to attending future shows and recommending their fine work.

A WOW factor of 8.25!!

COME FROM AWAY – Book, Music and Lyrics by Irene Sankoff and David Hein; Directed by Kenny Moten; Music Direction by David Nehls, Choreography by Jessica Hindsley.  Produced by the Arvada Center (6901 Wadsworth Boulevard, Arvada) through May 10th.  Tickets available at 720-898-7200 or arvadacenter.org. 

When was the last time you attended a play that made you want to be a part of what was happening on-stage?  When you felt such kinship with the people on stage that you rejoiced with them and cried with them? That you wished you could have shared the experience they are portraying with them?  When a show hits you so hard in your heart that you know you’ll carry it with you forward?  If you haven’t seen COME FROM AWAY previously from the touring production or the filmed version on TV, you MUST get a ticket for the Arvada Center production if and when you can to see it now. (Of course, I realize that all good theatre creates that sentiment for its audiences every night! But this script and music is outstanding.) 

On 9/11, the people of Gander, Newfoundland, rallied to welcome 7000 stranded passengers from 38 planes diverted away from the events on the mainland.  Lodgings were created, food was found, activities scheduled, and friends were made over the five days they had to stay.  The show was written, as the playwrights stated, as “a tribute to the real people of Gander, but not necessarily them.” The music that propels the action of the production is at times lively, at times poignant, and at times rousing. The opening number, “Welcome to the Rock,” foreshadows what we are going to witness.  The rest of the show does not disappoint in welcoming us into their stories. 

The playwrights also wanted to give future productions the ability to perform it easily by allowing for “flexible cast size and . . . technical creativity.”  The Arvada Center has taken advantage of this invitation for change.  Walls and carts of suitcases adorn the set and provide seating for the cast as they move through the story.  The cast of twelve easily moves from multiple roles as both passengers and townspeople.  It is always clear who they are at any given moment by their flexible costumes.  Their travelling clothes differ just slightly from their Newfoundlander everyday clothing, but it makes all the difference. 

Of course, the ease with which they move from the stranded passengers to the helpful townsfolk is primarily the result of the incredible skill of each of these actors.  They have all brought their “A” game to this complicated task, making it seem like child’s play.  The choreography of this production extends far beyond how they dance.  Kenny Moten, the director, has kept his cast focused, streamlined, and warm as they tell these stories and build this community.  Over and over, they illustrate the humanity and joy in caring, sharing, and giving to both humans and animals, If this production of this script doesn’t lighten your heart and move you to jump to your feet to reward with your applause at the end of the show, you are made of stone. 

It’s hard to call out individual actors in a brilliant ensemble piece such as this.  But there is the calm steady presence of the pilot of one of the downed planes (Kelsey Crismon), the two strangers who meet and make a life out of that chance meeting (Megan Van De Hey and Ralph Prentice Daniel), the lady who cares for the animals found in the planes (Mary McGroary), Randy Chalmers as a sexy pilot and a man fearful for his wallet; Nicole deBree whose son is a firefighter in New York, Colin Alexander as the Mayor of Gander, and so many other well-developed characters both from the air and on the ground.  The whole ensemble and the on-stage band make a rousing and restorative night at a bar come alive.   

In the middle of it all, you find yourself remembering.  Where was I on 9/11?  How did that horrible day impact my life?  Remember how proudly patriotic everyone was for awhile?  Flags flying everywhere.  What happened to that?  The show revisits the lasting impact of that day.  

A tiny bit of trivia to send this review:  I discovered that Rodney Hicks, a playwright and actor currently living and working in Denver, was in the original cast of COME FROM AWAY.  What a joy it must have been to have been a part of creating this original production. 

A WOW factor of 10!! 

PS: The Arvada Center has done us proud in this first production locally.  There will soon be productions all over the state, now that licensing has been released for versions.  If for some reason you are unable to attend this production, find one this summer in your travels as they begin to blossom in theatres large and small. You won’t be sorry. 

A CHORUS LINE – Book by James Kirkwood and Nicholas Dante; Music by Marvin Hamlisch; Lyrics by Edward Kleban; Directed and Choreographed by Allison Eversoll. Produced by Performance Now Theatre Company (Presented at the Lakewood Cultural Center, 470 South Allison Parkway, Lakewood) through March 29. Tickets available at 303-987-7845 or Tickets@Lakewood.org.

Bravo to a reimagined CHORUS LINE! This is an iconic script whose original production set the standard for most future productions. Allison Eversoll, as both the director of the stories and the choreographer for the illustrative dances, honors most profoundly the dreams – the talent – the lives of all dancers on this stage and off. Her work proudly proclaims, “That was where we started 25 years ago. This is where we are today. Thank you, Mr. Bennett. Moving on!!”

To achieve this lovely production, she cast amazing dancers proficient in Broadway-style, ballet, and tap. Twenty-four of them! Together they formed a community, a dancing machine, a true ensemble that honors each individual’s talent. She trained them in the traditional routines with only minor changes. She introduced new staging for those numbers that could be refreshed. Nothing felt vintage. Everything seemed fresh and original.

For instance, Patrick Clarke started the evening with a strong turn in “I Can Do That.” The wondrous staging of “At the Ballet” featured the talent of the sexy Krista McDonald as Sheila, Kira Wendland as Bebe, and Kristen Lester-Miller as Maggie. But the addition of the total ensemble in the piece brought home the importance of every dancer’s early training. The bold treatment of “Dance: Ten; Looks: Three” by Kellie Fox had us all looking at her purchased parts. Cole Emarine served two roles as the Production Costumer, pulling together the colorful rehearsal clothes and the iconic dazzling gold finale costumes. He also gave a touching performance as Paul, the gay “pony” dancer. Andrew Bates also played two important roles as both the Set Designer and in the role of Director Zach, who must choose eight dancers from the talented auditioners. Kristine Bachicha Hintz as Cassie danced a striking solo in “The Music and the Mirror. Versatile dancers Joe Barnard, Jeff Carara, and Stephen Turner all demonstrate why they are cast in show after show year after year.

While we can honor the individual work of cast members, the beauty of this production is in the beauty of the troupe. The way they invited us into their world and taught us, yet again, of their collective determination to keep on keeping on. There is a special poignancy to the conversation they have about how they will be reduced when they can no longer dance. This was beautifully illustrated by Andy Telesco as Diana singing “What I Did For Love.”

The production staff moved the bar as well, using a camera upstage to project both sides of the musical conversation. The hidden 8-piece band, led by Musical Director Zerek Dodson, assisted by Sound Designer Kat Allen, kept the musical accompaniment bright and balanced. Emily Maddox always does interesting things with lights; this production is no exception. Andrew Bates’ set, while deceptively simple, moved the show from reality to fantasy with ease. Cole’s costumes were both iconic and authentic. They also had to be built for a quick change. I can only imagine the chaos backstage in the change from rehearsal clothes to sparkling gold for the finale in something like 30 seconds. Another whole marvel of this delightful show.

If you have never seen A CHORUS LINE before, you will be amazed. If you have seen A CHORUS LINE before, you will be even more amazed. Keep on dancing, kids!!!

A WOW factor of 8.75!!

BIRTHDAY CANDLES – Written by Noah Haidle; Directed by Christy Montour-Larson.  Produced by Curious Theatre Company (presented at 1080 Acoma Street, Denver) through April 5.  Tickets available at 303-623-0524 or CuriousTheatre.org. 

This is the story of a woman.  A woman who lived a contained but full life.  Nothing spectacular, but full of love.  In my personal dotage, lately I’ve been saying to people “Treasure the moment because the years fly by.”  In a beautifully lyrical staging, that’s what happens in this script.  We follow Ernestine from her 17th birthday to the end 80 years later. 

As in the case of a lot of women who grew up in Ernestine’s time, her life revolves around her family and her kitchen.  Most particularly, a recipe handed down from her grandmother and mother creates the same birthday cake for each of her special days and those of her family.  The power of ritual is strong in her – the ties that bind generations together. But as the years go by, that tie gets stretched thin as children and grandchildren move on. And out. 

The same sort of play could most reasonably be done about anyone – or everyone.  What makes this one special is the lyrical quality with which it’s written and staged.  Enhanced by an absolutely beautiful kitchen set (designed by Caitlin Ayer and built by the students of the Tech Intern Program at the University of Denver), Christy Montour Larson has hit all the right notes with this one.

The script keeps Gabriella Cavallero as Ernestine on the stage for the entire time. (Welcome back, Gabriella!!) The years go by quickly through marriage, children, adult children getting married and having babies, familial pain, and new loves.  The extended family units are made up of Karen Slack, Michael McNeill, Rodney Lizcano, and Devon James, all playing multiple characters in Ernestine’s life and family.  Only Brian Landis Folkins has a single crucial role.  They all grow up and move on in front of us. Through carefully curated clothing (Designed by Janice Benning Lacek), we are kept in the era and the character of each player.  

I read this script a couple of years ago and thought at the time, “How the heck could you stage this thing so it made sense?”  Curious is not afraid to take those difficult problems, hire a creative director, and cast an adventurous and brilliant group of actors to give it a try.  This is one try that succeeded. The 90-minute play flew by with humor, affection, and determination – until there stands Ernestine alone on the stage. 

This just opened.  You have time to get to it.  Get to it. 

A WOW factor of 8.75!! 

BELLA BELLA – Written by Harvey Fierstein; Directed by Mari Geasair. Produced by Vintage Theatre (1468 Dayton, Aurora) through March 18. Tickets available at 303-856-7830 or VintageTheatre.org.

We have outspoken women in politics now on both sides of the aisle. A few of them didn’t last too long. But there had to be the first one and Bella was it. On this evening of theatre, we sit and float through time backwards and forwards with her as she waits in a hotel suite bathroom for the results of her long-shot five-way race to become the first female Senator from New York.

During the evening, she reminisces about her journey and shares her dreams. Her strong feminist beliefs earned her the nickname Battling Bella. But she didn’t mind because she was battling for Women’s Rights in every way possible during her time in politics from 1945 to 1998. She passed legislation that allowed a woman to obtain credit in her own name, without needing her husband’s signature. She founded the Women’s Caucus in the UN and a multitude of worthwhile women’s lobbying efforts. She was determined, earthy, at times profane, but forever unforgettable.

Erika Scotti takes on the daunting one-woman role in this production. She brings to life the brash beauty of Bella, not mincing her words, not afraid of controversy. Her life in politics dominates the conversation and illustrates her passion for feminist issues. She knows she has fallen behind in this particular race. She and everyone in the audience know, however, that this is just a little bump in the road. Erika captures that outspoken, almost belligerent personality. Even her personal nervousness illustrated Bella’s own troubled soul at her possible failure.

A little history: Harvey Fierstein, who wrote the piece, also performed it in 2019. Bella has also been portrayed by Margo Martindale and Bette Midler in various movies. Poignantly, Bella was born in the part of Russia that is now Ukraine. I wonder what she would think of what is going on over there now. The evening provided a comprehensive illustration of her life and works with humor and grace.

A WOW factor of 8.5!!

Y MOTHER AND THE MICHIGAN/OHIO WAR – Written by Paul Stroili; Directed by Len Matheo. Produced by Miners Alley Performing Arts Center (1100 Miners Alley, Golden) through March 29. Tickets available at 303-935-3044 or MinersAlley.com.

The Purple Rose Theatre is a small, intimate company in Chelsea, Michigan, about 20 minutes west of Ann Arbor. It started in a garage owned by Jeff Daniels’ grandfather in 1991. Early success allowed for the construction of a new theatre building in 2001, and there’s been no stopping them since. They have attracted a cadre of playwrights and actors who present, along with American classics, a program of new scripts doled out four a year. Early Purple Rose scripts hit Denver years ago when the Fox presented ESCANABA IN DA MOONLIGHT, directed by John Ashton. They have continued entertaining Colorado audiences, with the guidance of Len Matheo at Miners Alley, which has presented four, now five, of the original plays to come from the Rose.

And this one lives up to the reputation they have established as presenting crazy funny scripts with the heart and voice of the Midwest. MY MOTHER . . . is another crazy funny three-character comedy about a “typical” Michigan family of mother and two grown siblings from different sides of the football field. It wraps in a lot of Michigan history (you get a graphic description of the “war” over a strip of land), family dynamics, and a woman dealing with grief in her own way. The dialogue starts by breaking the fourth wall immediately when Izzy, the Mom (given comic life by Cindy Laudadio Hill), explains why her house is a mess and what’s going on in her life to the audience. She introduces us to her grown children – Carey, a loving but independent daughter (played by the always pleasing Kate Poling) and Josh, an adopted younger brother (Orion Carrington in his Miners Alley debut). In addition to having a great connection as a family, each player gets a plethora of one-liners and “in” jokes with the audience. Izzy occasionally breaks the scene to explain to the audience what is really happening in the family history.

The three actors command the stage the moment they arrive. Cindy is charged with monologues explaining both family and Michigan history. Her quiet confidence and cheerful Mom-like personality make it a joy to watch and listen to her stories. She shares everything with the audience, engaging them in gentle immersive actions that captivate the watchers with ease and grace. The children, while seeming to be polar opposites, soon reveal a love for their mother and each other that is heart-warming and familial. Both Kate and Orion have created whole personalities and enter into the family dynamic with no hesitation. Their rivalry both captivates and reveals their sibling connection.

There is a story being told here, but it’s not nearly as important as the building of the relationships within this family for the audience. Though they might not want to admit it, there is a lot of love spilled out on the stage during this show. Despite the tricks, game- playing, and rivalry over opposing football teams, these people care for each other deeply. After the stories are told and the games won (and lost), the evening culminates in one of the funniest command performances you’ll ever see. Carey and Josh have lost a bet to their mother and end up doing a parody reconstruction of the war over that infamous strip of land that includes a rewriting of HAMILTON.

To escape the chaos of the world outside right now, treat yourself to an evening of unadulterated joy and family humor. You’ll feel the better for it.

A WOW factor of 9!!

THE RUNNER STUMBLES – Written by Milan Stitt; Directed by Sina Hirsch. Produced by Elemental Theatre Company (Presented at the People’s Building, 9995 East Colfax, Aurora) through March 8. Tickets available at 720-244-6205 or ElementalTheatrecompany.org.

Playwright Stitt found an interesting real-life story that happened in 1907 in a very religious small community in Michigan. A priest and a nun’s relationship was misunderstood, which led to tragedy for both of them. She lost her life; he was accused of her murder and forced out of the village in disgrace. The true story only came out years later when he was arrested and charged. It’s an intriguing look at the morals of the time, the unforgiving nature of the disappointed, the need for companionship, and the impact of the discipline of the Church.

Elemental does a fine job of telling the story. The relatively new faces of Mark Caswell-Yee and Calista Rain Masters take on the difficult roles of Father Rivard and Sister Rita. Father Rivard is surprised and dismayed by his attraction to Sister Rita’s youth and charm. Sister Rita, on the other hand, seems oblivious to the effect she is having on everyone she meets in this small provincial village. She is too pretty to be a nun – and yet, there she is. Their relationship is innocent except in thought, but even that is overpowering.

They are supported with fine performances by Lisa Ann Collins as their disapproving housekeeper; John Greene (who you hardly ever see on stage anymore) as the gruff and determined prosecutor in Father Rivard’s trial; Jim Hayes as the Monsignor who cracks the whip and provides the straw that breaks the camel’s back; and Myrrh Curie Powers as Louise, a village girl with sausage curls. They all contribute their crucial, sometimes cruel parts to the story.

The People’s Building is an interesting place in which to stage and watch a play. You never know quite what you’re going to be walking into as you approach the playing area. It can be small and intimate or big and grandiose (think ANNE BONNEY and EXIT CHASED BY A BEAR as two examples of big). The playing area is approximately 1,500 square feet, and they do not rent by the square foot. You rent it; you’ve got the whole thing. More than once or twice, I’ve seen productions here that would have been greatly enhanced by using more of the space for their set.

This play, too, could have been made easier on everyone by using a little more of the space. The play is acted out in basically two settings: the Priest’s study and the courtroom. Once and awhile, an outdoor setting was used. There’s enough space that those could have been three separate spaces set up and prepared for the actors to move into as the scene changed. The lighting could have told us where to look. The actors would have been spared the chore of moving everything off and on and off again between each scene. Those set-up delays broke the pacing of the story, created what became almost comical movement of tables and chairs by the cast, and made the play at least a half hour longer than it should have been. If there’s ever any way to avoid making the actors into temporary stagehands, I applaud the company for figuring it out.

Only one more weekend to catch this production.

A WOW factor of 8!

 

NINE TO FIVE – Music and Lyrics by Dolly Parton; Book by Patricia Resnick; Co-directed by Dana Hart Wright and Paul Page; Musical Direction by Tanner Kelly; Choreography by Dallas Slankard. Produced by Vintage Theatre (1468 Dayton St, Aurora) through March 29. Tickets available at 303-856-7830 or Vintagetheatre.org.

You can always tell when you’re going to have a good time at a musical production. There’s a certain precision, a certain confidence in the first number that gives you a clue. There’s a “just you wait” attitude in the air that tells you something special is going to happen. It’s in the little things, like the way the costumes fit, the way the chorus hits the high notes, the way the dance ensemble looks the audience in the eye. All that confidence and joy burst forth in the opening minutes of NINE TO FIVE and didn’t let up until the closing number. The Vintage team brought their best to this production.

NINE TO FIVE is a huge production with constant movement on and off the stage of set pieces and people. A well-trained army of dancers moved the office equipment off and on like little soldiers, unobtrusively, smiling, and in character. All part of the gig. Then they moved into their dance positions and carried on. Everyone knows the basic plot of Dolly’s little musical – the call for women empowerment, the fight against existing working conditions, the misogynistic boss, the triumph of the working class. Dolly herself has been a successful businesswoman all her life; she knows what she’s talking about.

Nancy Evans Begley takes on the role of the tough businesswoman who hides her frustration and insecurity under a hard edge (Lily Tomlin in the movie). Nancy, in real life, is a tough, successful businesswoman, so this was a natural progression for her. She brings both fear and gentleness to the role as well as a kickass voice. She gets the rousing “One of the Boys” dance number with the male dancers as well as a love song, “Let Love Grow,” with her younger brand-new boyfriend (Matthew Combs). Judy (the Jane Fonda role) was blessed by the appearance of Abby McInerney. This girl can sing, as she demonstrated in one of the closing numbers when she tells her ratty husband to “Get Out and Stay Out.” It takes a special woman to give her whole heart to that song; Abby was that woman. And, of course, the Dolly role goes to relative newcomer Sarah Kit Farrell, who, since she arrived in Denver, has been cutting a swath through some of the best theatres in town. Her little ol’ twangy self rocked this role and brought a sweet Southern charm to her portrayal, as well as a fiery spirit that you didn’t want to get in front of. The three of them make the six trio songs assigned to them a master class in harmony.

One more crazily talented woman nearly walked away with the kudos of the night. Jennifer Burnett as the lusty, but unsatisfied Roz, who is stupid in love with her bad boy boss, rocks the room with “Heart to Hart.” Then repeats in the second act with “5 to 9.” A totally unexpected sleeper role that Jennifer elevates to a show-stopper.

Not to overlook the men in the cast. If you, as an audience member, didn’t believe that Franklin Hart was the worst boss in the world, none of the bad-boy humor would work. Trust me! Keith Hershman was obnoxious to the point of getting booed during the curtain call. But funny obnoxious. Over the top obnoxious – which enhanced the humor and elevated everything the women did to bring him down. I can’t wait to see him again in a role I can like him in. Matthew Combs plays a sweet and fervent suitor for Violet. Rick Long makes a “don’t blink or you’ll miss it” appearance as the wise “not to be fooled” corporate head that sorts the whole thing out at the end of the show with a few well-chosen words. And – I don’t know about you – but when Cory Klements is on the stage dancing, I can’t take my eyes off him. So, the men upheld their end of this storytelling.

The versatile set pieces provided just enough “stuff” to illustrate easily where you were geographically, without cluttering the space or leaving insufficient room for the wonderful dances. The A-team of musical contributors – Tanner Kelly and Dallas Slankard – brought their magic as well. Dallas has the gift of making complicated dances look like you could get out of your seat and join the dancers on stage. This group was well-schooled and precise; sang beautifully and danced well. Co-directors Paul Page and Dana Hart Wright caught the humor and the intent of the script just right, tempering the laughs with a hard look at the way things used to be for women in the workplace. (Did you see what I did there? Used to be – Ha!)

A WOW factor of 9!!