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JEREMIAH – Written by Tami Canaday; Directed by Kate Poling.  Produced by Benchmark Theatre Company (1560 Teller, Lakewood) through September 2.  Tickets available at 303-519-9059 or benchmarktheatre.com. 

It starts very small.  You see money drop out of someone’s pocket, you pick it up and don’t return it to the person.  You tell your buddy a lie when he asks you where you got the money.  You tell your wife you went out for a drink with a co-worker without mentioning that the co-worker is the hot new redhead at the front desk.   You lie about your net worth or your weight or your age – whatever they are questioning you about today.  You are rude to a stranger . . . who is smaller and less important than you . . . in your eyes.  And then, you have to tell another lie to cover up the first.  In order to preserve  the web, another bigger lie is told.  Soon you find yourself sliding down a rabbit hole of your own making and there’s no getting out. 

Two sets of brothers brought up in the same neighborhood.  One downtrodden and helpless to defend themselves.  The second born into a family with just a little more street power and confidence.  An unspoken rivalry, an acknowledged fear.  But then everything changes with the arrival of a new source of power.  A gun creates a new set of rules, a new arrogance, a manly glow of confidence . . . even when you don’t really know how to use either the confidence or the gun.  A recipe for trouble.   

In this examination of a microcosm of one set of circumstances surrounding a situation getting out of hand all too rapidly, one set of brothers – Jeremiah and Mitchell – try to assert the power bestowed by the possession of a firearm.  The second set of brothers – cocky and physically brutal Tobias and Todd – take advantage of their position on the street and their knowledge of the source of the gun to assert control over the others.  An uncertain situation goes from really bad to out of control in no time at all.  A powerful examination of the fragility of the male ego and the misconception that you can keep a tenuous situation under control.  To paraphrase Winston Churchill, “The (person) who yields to war fever must realize that once the signal is given, he is no longer the master of policy but the slave of unforeseeable and uncontrollable events.”  Our boys quickly learn that once the gauntlet is thrown down, there is no turning back. 

All four actors do yeoman’s work on this production by running through a roller coaster of emotions. There were a few times when the script called for them to interrupt each other’s dialogue that the timing seemed stilted or didn’t flow as an interruption should have. But for the most part, this was a strong ensemble. Kaden Hinkle as the youngest of all the brothers showed the most intelligence and common sense of any of them. He seemed well aware of the dangers of the path his brother (James Giordano) was taking, but unable to veer him in another direction. Mitchell’s newborn confidence from his possession of a pistol felt too good. The street-smart Tobias and Todd, played by Brandon Billings and Nate Cushing, were steady in their confidence that they always got what they wanted and unafraid to use brute force to do so. It’s a moving examination of the visceral power that a weapon can yield. 

The stark alley in which the encounters took place was well designed and constructed by Neil Truglio. If I could suggest one change, it would be that the animated graphics showing news coverage of street shootings were, for the most part, lost to anyone not sitting dead center in the theatre. At the end of the row, I could hear them, but they were so distorted by the angle that it was difficult to tell what was going on. Projecting them to the available back wall would have allowed the whole audience to see them equally. For some reason, I’m thinking that this was probably tried but rejected for some other reason. 

A very thoughtful engrossing theatre evening to be sure. 

A WOW factor of 8.5! 

AVENUE Q – Music and Lyrics by Robert Lopez and Jeff Marx; Book by Jeff Whitty; Directed by Warren Sherrill; Musical Direction by Susan Draus.  Produced by Miners Alley Performing Arts Center (1224 Washington, Golden) through September 17. Tickets available at 303-935-3044 or minersalley.com. 

Having first opened on Broadway in 2003 and running for six years there, AVENUE Q then moved Off-Broadway for another ten years.  It has toured the world, had a Las Vegas residency and innumerable productions locally. Why would anyone want to do the show again or see the show again??  Well, it’s been a while since it was done in town; there is always new talent playing puppets to be enjoyed; and maybe because we haven’t learned the bluntly honest lessons of the show just yet.   

This production is a two-hour lesson in adulting based on the previous lessons taught by its predecessor SESAME STREET to children.  While the earlier lessons were about the letters of the alphabet, AVENUE Q teaches that “The Internet is for Porn” and “Everyone’s a Little Bit Racist.”  These characters – puppets and humans – face the facts that there’s little you can do with a BA in English, that you can love and hate someone at the same time, that there’s a fine, fine line between reality and pretend; and it’s OK to laugh at someone else’s misfortune (“Schadenfreude”).  These are lessons learned through the comic songs of composers Jeff Marx and Robert Lopez, who not content to rest on his laurels after putting this little skit together, went on to co-write THE BOOK OF MORMON.  Not too bad. 

It’s easy to absorb these subtle lessons in the hands of this talented cast.  New to Denver is the sweet-faced Ava Francis as Kate Monster and Lucy the Slut.  She’s a tiny brunette Barbie with a voice like Zendaya. Another new face is Keandra Hunt making her Colorado debut as Gary Coleman, the landlord of Avenue Q. Her cocky attitude and smart mouth are enhanced by her ease and confidence for being on stage. Emily Iwata Gerhard plays Christmas Eve, the novice shrink that helps Rod find his true self. These newcomers are bolstered by the familiar faces of Carter Edward Smith, Corey Exline, Michael Martinkus and David Otto. Michael’s voice gets a workout from the basso tones of Trekkie the Monster (“a person of fur”) to the whiney Bad Idea Bear that wants everyone to be an alcoholic in the making. The music is beautifully done and the relationships between human and puppet clearly delineated. 

Because of the configuration of the Miners Alley stage, some maneuvering had to be done; sometimes the people wearing the puppets were not the ones saying the lines. Other times the people saying the lines of one of their characters were actually wearing the puppet of a separate character. It was a little disconcerting at first until you just say, “Oh, who cares? I know who is supposed to be talking” and go for it. It’s amazing how fast you give up looking at the human faces and concentrate on the puppets. 

A most enjoyable production of an old favorite.  There is a line from the show I’m going to have put on a T-shirt. “Crabby old bitches are the bedrock of this nation!” And wear it proudly. 

A WOW factor of 8!! 

An interesting bit of trivia: Jordan Gilber, the original Brian in the Broadway production, did two summers at the Colorado Shakespeare Festival back in the late 1990’s. His real-life personality was a cross between the Bad Idea Bear who whined his way through the summer and Trekkie who had to be a big slob. Ha – you thought I was going to say something about porn – didn’t you!!? 

A MIDSUMMER NIGHT’S DREAM – Written by William Shakespeare; Directed by Shelly Gaza. Produced by Phamaly Theatre Company (Presented at the Kilstrom Theatre at the Denver Center for the Performing Arts, 14^th and Curtis, Denver) through September 2. Tickets available at 303-893-4100 or phamaly.org. 

 Shelly Gaza makes her debut as Director with Phamaly in a tight delightful, abbreviated version of the classic comedy. Some scenes have been rearranged and shortened to add emphasis to the comic aspects of the story. The four main story lines – the dust up between King and Queen that starts the whole fairy dust in the eyes plot; the confused lovers in the forest; the tricks that Puck manages to mess up and pull off; and the play within the play of Thisbe and Pyramus by the Mechanicals – are given clear concise and a charming retelling. Because of this clarity, this would be a perfect way to introduce Shakespeare to the young people in your life. They would learn the lesson of inclusivity that Phamaly teaches by just existing as well as learning that Shakespeare is funny.  

Not only is the length and the language somewhat abbreviated, but they also perform in a stylish and compact set designed by Nicholas Renaud. Three-dimensional movable trees and bushes provided the forest enhanced by three gorgeous hanging tree branch-like chandeliers. These worked well to be rolled off and on for the outdoor scenes. The indoor environment was created with ornate benches and a stunning double throne for the Royal Court. It was fun to listen to the various animal sounds provided by Sound Designer Sam Morin as the lovers wandered in the forest. If the goal of the Lighting Designer is to provide mood and visibility without being obtrusive, then Designer W. Alejandro Melendez succeeded. Costume Designer Tim Cortez enhanced the Roaring Twenties theme of the evening with his sparkly fringy gowns for the women and his top hatted elegance for the men. The one exception was the costumes provided for Titania/ Hippolyta worn by Maggie Whittum. Neither of them seemed to denote the royalty she represented.  

This is a cast well-schooled in the linguistics and logic of the story being told. They tackle it with gusto and come out triumphant. Each player pulls their own weight and brings their own specialness to their role. The Royals are played by B. Ryan Glick and Ms. Whittum with appropriate solemnity and the dignity befitting their station. That is until they revert to their second roles as King and Queen in the fairy world. King Theseus turning into Oberon becomes more comical and mean-spirited in his demands upon Puck, his loyal sprite. Hippolyta becoming Titania is more gullible and easily manipulated with the help of a little fairy dust.  

The four lovers who keep switching partners and falling in and out of love with each other gets brilliant treatment in the hands of these talented actors. Demetrius and Lysander played by Graham Bryant and Keenan Gluck become confused, determined and heartfelt all at the same time. The actresses playing Hermia and Helena – Kennedy Isaac and Madison Stout – go from being besties to screaming at each other in anger and confusion. It’s perversely kind of funny to see women go at each other, but these ladies brought out all the humor in the situation. All’s well that ends well when the fairy dust wears off.  

The workers from the town that want to win favor with the King on his wedding day make great sport of preparing for and presenting a mythic tale to the Royal Court and the audience. Their merry band is made up of Goofy Cunningham, River Hetzel, Laurice Quinn and Eli Schroeder, led by Ratt Walsh as the infamous Nick Bottom who is convinced, he could play all the parts simultaneously. They are accompanied by Trusty the Barker, a retired guide dog making his second appearance on the Phamaly stage.  

There are people born to be on stage. It is a DNA feature that is with them in the womb, but usually has nothing to do with what Mom and Dad liked to do. It is in their bones, their muscles, in the ease with which they move, the grace inherent in their soul. When they walk on the stage, playing a lead or a silent role, you can’t take your eyes off of them. They speak the words trippingly without being schooled in how to do it. They are often athletic, possess a singing voice that can bring you to tears and feet that can remember multiple tap routines. I can name perhaps a dozen of those kinds of performers here in Denver. One is in this show. Her name is Emma Maxwell and she as Puck and the singing minstrel Philostrate becomes the heart of the show. The comfort she shows on stage; the ease with which she changes mood; her humor expressed with a look, a grimace, even an invisible wink to let the audience know she knows what’s going on . . . you can’t learn that. You are born with it. Her entrance at the top of Act II with a guitar and an appropriate rock song stops you cold. Her Puck is . . . well, puckish, cute, mischievous, and fun. She pulls us into the fun with her. I can’t wait to see what she does next. I just hope it’s in Colorado.  

Those of you who have seen a Phamaly show will delight in this one, their first Shakespeare. Those of you who haven’t seen a Phamaly show will be delighted with the professionalism, talent and determination of these players. The thing you WON’T be is disappointed.  

A WOW factor of 8.75!!

 FOOTNOTE: Sam’s No. 3 is a sponsor of this performance. I coincidentally took myself to lunch at Sam’s just yesterday and had the pleasure of ordering from their Shakespearean themed menu which returns 20% to the organization. There is a Sam’s only two blocks from the theatre; go there for dinner before the show. You’ll get a good meal for a reasonable price and have the pleasure of donating to your host for the evening. 

JERSEY BOYS – Book by Marshall Brickman and Rick Elice; Music by Bob Guadio; Lyrics by Bob Crewe. Produced by Thingamajig Theatre Company (2313 Eagle Drive, Pagosa Springs) through August 27. Tickets available at 970-731-7469 or thingamajigbox@gmail.com. 

You don’t drive all the way down to Pagosa Springs to see just one show. The second evening in Pagosa entertained with a fine production of one of the best jukebox musicals written to date. Writers Brickman and Elice dug into the history of the group they were celebrating and found the things that were not publicized when they were on top of the charts. The petty theft, the intermittent jail sentences, the mob connections, the gambling problems, the thrill of success and the life on the road. By fitting the music to the era, their story is both authentic and compelling.

Each of the Four Season performers narrated a section of their biography. Tommy DeVito (Evan Hoefer) starts the story in the Spring of their formation. How he kept working to find the perfect combination of voices and name for the group to lead to their success. But it also illustrates his recklessness, arrogance, and controlling attitude. The Summer is given to Bob Gaudio (Trevor Brown), the groups composer of such lasting songs as “Sherry,” “You’re Too Good to Be True,” and the one no one believed would succeed “My Eyes Adored You.” This section covers the peak of their success which inevitably also led to the personal downfalls of divorce and debt. 

The Fall section belongs to Nick Massi (Justin Autz) who covers their break-up with Tommy and the aftermath of taking on DeVito’s gambling debts. Nick also gives his own version of what it was like being on the road and of backstage life. The final Winter section is covered by Frankie Valli himself (Ze’ev Barmor) as he weathers on after the others have stopped performing, leaving only Bob as his partner composer. But even then, Frankie’s personal life is in shambles. The group reunites to sing at their induction to the Rock and Roll Hall of Fame. 

The tight harmonies of these singers and the choreography that reflects their performance style (created by Dani Loewen) form a concert-like evening for the audience, interspersed with the fascinating aspects of their real life, warts and all. No holds barred. If it didn’t put you off traveling with a group on the road, you’re either totally starstruck or not paying attention. However, it’s all forgiven because of the music. 

The supporting cast did yeoman’s work playing multiple characters in the story. Caden Brauch jumped in and out of roles like an Olympic athlete, playing Joe Pesci who as a teenager helped the band form up, as well as about four other characters while singing and dancing in the ensemble as well. Nazmokeem Harvey, a young man, did a formidable job as Gyp DeCarlo, an elderly Mafia kingpin, as well as other roles as needed. The women – Allie Tamburello, Ashley Woodson, and Samantha Luck – became wives, lovers, backup singers and the Three Angels, a girl group from the era. All and all, a synchronized and talented group of performers – “Can’t Take My Eyes Off of You.” 

The simplicity of the set allowed the action to move smoothly with no breaks to interrupt the flow of the music. Director Dennis Elkins knows that the music is going to be what is remembered about this show and allows the production to get out of the way.  

Congratulations to the winning team at Thingamajig Theatre Company for another successful summer season. Remember – this is a group that does theatre all year round. So, if you’re ever in the area, check them out.  

A WOW factor of 8.5!! 

THE GREAT AMERICAN TRAILER PARK MUSICAL – Book by Betsy Kelso; Music and Lyrics by David Nehls; Directed by Ann Evans Watson. Produced by Thingamajig Theatre Company (2313 Eagle Drive, Pagosa Springs) through August 25. Tickets available at 970-731-7469 or thingamajigbox@gmail.com. 

 In the interest of transparency, I need to say that this little theatre holds a special place in my heart. I’ve spent a summer and a half working here and enjoyed every moment. But it’s been four years since I’ve been back, and a few things have changed. One thing that hasn’t changed – thank goodness – is the people at the top of the heap – Tim and Laura Moore. Under their guidance, the excellent program they have in place involving theatre camps, children’s theatre and outstanding year-round entertainment for everyone has thrived. A lovely new gift shop and bar adorns a permanent corner of the spacious lobby. And Tim is at the door to greet people as they arrive.  

It is a familiar place to many of the cast and crew who return each summer if they can to perform with the company. Only six out of the company of fourteen actors are new to their summer employment in Pagosa. The crew – builders, costumers, painters, musicians, and all the other artisans who work to get a show on its feet – are also returnees. And why not!? The opportunity to spend a summer in Pagosa where the breezes are cooler, the people are friendly, the food is great, and you have the hot springs!

But the thing that brings the audiences of locals and tourists back year after year are the shows. In rep this summer, we have GODSPELL, JERSEY BOYS, and this raunchy and ridiculous TRAILER PARK MUSICAL. Could there be three more different shows? I don’t think so. This one put nine of the actors into white trash clothes, parks them in front of the Armadillo Arms Trailer Park in Stark, Florida, and lets them tell the audience their stories.

Betty (Samantha Luck) inherited this piece of God’s green earth and works hard(ly) at keeping it pristine.  Pickles (a baby-faced Nadia Belaouchi) is a wife staying close to the local prison, the habitat of her current husband, while she awaits the birth of her (hysterical) baby. Rough and ready Lin (Rosa Julia Campbell) is the third member of this Ozark Greek chorus who work hard(ly) at keeping the audience informed. The last two residents we meet are Jeannie and Nobert Gorstecki (Allie Tamburello and Zac Mitchell), an agoraphobic wife and a getting-tired-of-it-all husband. He has bought these fancy tickets to the Ice Capades as a special treat for their anniversary and she can’t leave the house so she can go with him. Her efforts to get to the bottom of the steps with a swim float, sheets tied together as a tether, and a Titanic life jacket are hysterical. 

Pippi (Ashley Woodson) is an exotic dancer on the run from her magic marker sniffing boyfriend. Let’s just say she seems to have the answer for Nobert’s frustrations. At least until said boyfriend Duke (Trevor Brown) shows up. Big twist at the end brings everything to a satisfactory conclusion but not before you have a ripping good time “This Side of the Tracks.” 

There are so many good one-liners and funny lyrics in this show, you can tell that Ms. Kelso and Mr. Nehls must have had a blast writing this. We need a cast album! It reads like a complicated script but it’s easy to just lean back and enjoy the silliness. One of my favorites: Pickles bemoans the fact that her efforts to keep her husband away from the electric chair had failed – “There used to be a time when sexual favors meant something to a governor!” There’s a number called “Flushed Down the Pipes” in which the singers announce that “My marriage is in the hands of the Tidy Bowl Man.” The final song for Act I is “Storm’s A-Brewing” with the whole cast dressed in Supreme-like costumes. In one song, the girls lament that they must “make like a nail and press on.”  

Clever sight and sound gags abound. A kid’s plastic wading pool is drug on and off stage with regularity. But every time someone steps or falls into it, there’s a loud splash – despite the absence of water. Duke’s appearance is performed on a “motorcycle” that is actually a rolling office chair and a steering wheel. Duke’s formidable pistol named Big Bertha is only a squirt gun. Beware all those sitting in the front row. He’s not a very good shotl Or maybe he is? 

As it says on the bathroom wall at the Litter Box Show Palace where Pippi dances, “For a good time, call the number above.”  

A WOW factor of 8.5! 

MOUNTAIN OCTOPUS – Written by Beth Kander; Directed by Betty Hart.  Produced by Creede Repertory Theatre (Ruth Brown Theatre, 120 South Main, Creede) through August 26.  Tickets available at 719-658-2540 or creederep.org. 

Beth Kander seems to have channeled Thornton Wilder in her new play currently being performed at Creede.  MOUNTAIN OCTOPUS chronicles a few days in Chance – a town very similar to Creede itself and to the mythical Grover’s Corners of Wilder’s OUR TOWN.  A town where people live a quiet life, enjoying each other’s company, looking forward to tomorrow with few expectations.  A town that accepts the inevitable pains of life as well as the hoped-for joy.  A town that takes everyone’s problems seriously, but with a grain of salt. 

               

There has been a death in the larger family of Chance.  Happening as it did in the middle of the pandemic, the mourning has been stifled and extended because of the lack of closure.  A restaurant/bar owned by Helen, the wife of the deceased, is still shuttered.  Making that step of turning the sign on the door from Closed to Open is proving difficult.  Her uncle and aunt, Kurt and Martha, are embroiled in their own way past midlife crisis.  Ava, the deceased’s daughter, has put the brakes on her life and a planned enrollment in an art school.  Michael, a stranger newly laid off from a job and wandering, arrives in town for a hiking expedition and a direction.  Lou from a nearby town has information they all need while Charlie, a consistent summer tourist, thinks this death will change everything and he can’t come back to Chance because of it.  A maelstrom of confusion and uncertainty cloaked in off-handed humor and the familiarity of an extended family.  As an audience member, you care for these individuals immediately because you see how they care for each other. 

Getting this group of troubled individuals through their personal traumas – large and small – creates the basis for the plot for this sweet negotiation with life.  Each will slowly find a way . . . together.  But before we must leave Chance, we blow up balloons, learn how to play cornhole, trace a painting, watch the blossoming of a new relationship and the salvation of an old one, maybe see a mountain lion, put up a tent, absorb new information about the death and watch this group slowly emerge from the cocoon of grief. 

It is easy to anticipate sterling performances from the summer company at Creede.  Most of them have long-standing relationships with each other that breeds familiarity on stage.  Trust and authentic friendships are created through summers of working side by side which easily translates to magic on stage.  Kate Berry, who plays Helen, has been a member of the company for thirteen seasons and lives year-round in Creede.  Stuart Rider who plays Kurt is in his fourth season.  All the other actors (Michael Tyler Horn, Teonna Wesley, Savanna Padilla, and Cameron Davis) are all returnees as well.  But Christy Brandt who plays the cantankerous Martha wins the prize as she returns for her 49^th season at Creede. 

With its simple setting (designed by Lindsay Fuori), the action moves easily from bar to backyard to hiking trail seamlessly with no interruption to the story.  The lighting design by Kevin Frazier draws your eye to the appropriate corner of the stage.  The lighting is supported by an appropriate and authentic sound design by Kevin Frazier that tells us immediately if we are indoors or outside.   

This is a brand-new play that was commissioned by Creede to Ms. Kander, a friend of the company and a prolific playwright.  She catches the essence of small-town life and gives each player an appropriate answer to their “what do I do now” questions.  Thornton Wilder would approve of this script and so will you. 

A WOW factor of 9.5!! 

CLUE – Written by Sandy Rustin; Directed by John DiAntonio. Produced by Creede Repertory Theatre (Main Stage Theatre, 124 North Main, Creede) through August 26. Tickets available at 719-658-2540 or creederep.org.

“Madcap” as defined by Webster is “used to describe silly and funny behavior; zany as with a clown.” Madcap as defined by Creede is CLUE. This cast of eleven actors moves at a madcap pace for a full 90 minutes performing madcap antics at a breakneck speed.

It starts slowly enough as each character arrives at an isolated mansion by special invitation and is greeted by Wadsworth, the butler (Graham Ward). As in the popular game version, each character is identified by a color name, as in Miss Scarlet, Mrs. Peacock, and so on. But soon enough, bodies start falling out of closets and turning up in previously empty rooms. The madcap adventures start then as Wadsworth leads them all on a merry chase to find the killer, the weapon, and the location.

The mansion is located somewhere close to Washington, D.C. and all these characters have some sort of connection to a federal agency, job, or individual. Providing a natural lead-in to political humor, it soon becomes clear that their various affiliations have made them each vulnerable to bribery or blackmailing. While Mrs. Peacock declares that her “lips belong to the Lord,” none of them are squeaky clean. The people getting killed off are the corollary characters, such as the maid, the cook, a singing telegram delivery person, etc. How does this all tie together? It’s all explained at the end but not before these crazy people nearly kill the audience with laughter.

A true ensemble, this cast rolls together like a boulder down a hill. But special praise must go to Graham Ward for his controlling role of the Butler (after all, isn’t it usually true that the butler “did it”?). His madcap re-visit to the events “up till now” is a spectacular piece of comic pantomime of old-school proportions. All of this is accompanied by Silent Movie music played live by Andy Hudson.

Kudos to the Scenic Designer Lindsay Fuori who created the set with folding and unfolding walls, sliding doors and windows, revolving furniture, and doors that slam also at a madcap speed. The fully engaged ninja stagehands get as much of a workout with this show as the actors.

In choosing a season, an Artistic Director usually tries to find a balance between serious drama, sparkling musicals, and knock-down drag-out comedies. This show fits the last category; Artistic Director John DiAntonio picked this one and then saved it for himself to direct because he knew how much fun it was going to be. Well played, Mr. DiAntonio!!

A WOW factor of 8.5!!

THE HALF-LIFE OF MARIE CURIE – Written by Lauren Gunderson; Directed by Sarah Sheppard Shaver.  Produced by Theatre Silco (460 Blue River Parkway, Silverthorne) through August 20.  Tickets available at 970-513-9386 or thesilco.org. 

Early in the production, Hertha explains her contribution to creating a quiet, flicker-free light bulb.  At the end, as she calls attention to the quiet non-flickering lights in the theatre, she proclaims, “That’s the sound of a good idea!”  Casting Emma Messenger in this role is also the sound of a good idea.  Miss Emma Messenger (always Miss Emma as a sign of respect, but she is one of the most happily married persons I know) is one of the finest actresses in Colorado.  With her stage partner, Claire Kennedy, playing Marie Curie, they make theatre magic in Silverthorne in this delightful thoughtful show about the supportive friendship between two female scientists.  Together, they face media shame, misogyny, sexism, widowhood, single motherhood, and the loss of significance in their work environment.  With shoulders held high, they comfort, support, argue, drink, plan revenge, and laugh at the silliness of it all.  When you have a friend like that, you do everything you can to hang on to them. 

This is not to say that these strong independent women do not have flaws, that they do not make mistakes.  Marie’s fascination with radium creates a problem for Hertha that leads to a monumental argument.  Like true friends, they work their way through.  As a matter of fact, the reconciliation leads to one of the funniest drunk scenes to have taken place on stage in a long time.  Both women are perfectly cast and work in tandem on stage to tell this fascinating story. 

One amazing scene takes place underwater when Marie dives into the ocean.  The combination of a projected water scene on the back wall and oceanic sound effects creates a truly beautiful meditation on life choices. 

In a later scene, Marie explains what happened at the ceremony awarding her an unprecedented second Nobel Prize in 1911.  Because of the scandal surrounding her personal life, she was asked not to attend.  The illustrious male scientists didn’t want to be in the same room with her.  Her response:  “It’s an affair, gentleman.  It’s not contagious.” 

The welcoming Theatre Silco is a fun place to experience theatre with its three theaters and spacious lobby.  This production is a fine example of the quality of work that can be expected at this theatre.  The surefooted direction by Director Sarah Sheppard Shaver and the support of an excellent technical crew promises a thrilling visual experience. 

A WOW factor of 9!! 

ALL TRAINS LEAD TO HOME or TRAINING SPACES – Written by Richard Sebastian-Coleman; Directed by Lori Adams-Miller.  Produced by the Iron Springs Chateau Historic Melodrama Theatre (444 South Ruxton, Manitou Springs) through September 23.  Tickets available at 719-685-5104 or info@ironspringschateau.com.

 

Ever since I’ve started monitoring Colorado theatre, I’ve been intrigued by this place in Manitou Springs with the strangely French name.  Since we lost Heritage Square, we haven’t had an old-fashioned melodrama theatre to enjoy without going all the way to Cripple Creek.  So, a friend and I decided to check this place out.  Turns out it was fortuitous timing as the theatre is under new management.  Jolene and Craig Howard purchased the restaurant and theatre only two months ago.  Whatever it has been in the past 60 years, this is what it is now. 

And what it is is a cozy sunlit restaurant on the ground floor surrounded by trees.  The restaurant servers are friendly, introduce themselves and serve your pre-ordered meal family style with heaping bowls of mashed potatoes, veggies and warm bread.  No credit is given in the program to the chef in the kitchen, but it seems to be an in-house operation using fresh ingredients to present a delicious meal.  I had the well-seasoned chicken breast; my friend had the excellent pot roast; both were delicious. 

The small theatre seats about 120 people comfortably around tables on the second floor.  No elevator but there is a way of getting to the second floor without using stairs.  The theatre features an old-fashioned fire curtain with ads for local businesses and a piano stage right. 

The show starts with a careful explanation of what is expected of the audience.  This form of performance was the original immersive theatre because, as an audience member, you are not just encouraged, but expected to cheer the hero, boo the bad guy and whoop at the vamp. Our audience took their duties seriously and participated with gusto.  The players as well entered the performance with energy and a twinkle in their collective eyes, telling their railroad story interspersed with contemporary songs.  The company consists of two men – Luke Steiner and Noah Dale Whitstine – and three women – Cassidy Forrest, Lexi Remy and Daisya Brown – all accompanied by Kathryn Allen on the piano. 

The intermission brought owner/entertainer Craig Howard to the stage to perform a medley of Bobby Darin songs.  He also led the audience in a singalong segment featuring songs whose words were in the program – like ‘Bill Bailey” and “Bye Bye Blackbird 

The second act was an extended Curtain Call olio of songs, skits and Dad jokes.  The funniest song was performed by Luke and Noah singing “Your Feets Too Big” from AIN’T MISBEHAVIN’.  Daisya Brown did a version of “Harper Valley PTA” that took her out in the audience kissing bald men’s heads.  But the best voice in the whole company was the surprise appearance of the stage manager Sarah Greenley. 

So, this seemed more like a house party than a professional performance.  It had a home-grown vibe – a sort of “we’re gonna have a good time” feeling to the whole evening.  The energy, the expectation of participation, the engagement with the audience all contributed to the success of the total evening.   While this group is nowhere close to Broadway, they are having fun and making sure that you have fun too.  I went away looking forward to coming back.  Is that not the highest compliment you could pay to a theatre? 

A WOW factor of 8 for the show!  Meal – WOW factor of 9! 

Just a word or two about what’s coming up.  In October they are doing a ROCKY HORROR PICTURE SHOW lip-sync set of performances.  You should get your toast, toilet paper and water guns and go on down to participate.  Then after a short break, they start a new holiday melodrama in November. Yea! An opportunity to go back. 

SHERLOCK HOLMES: THE CASE OF ALICE FAULKNER – Written by William Gillette and Arthur Conan Doyle; Directed by Maru Garcia. Produced by the Wheat Ridge Theatre Company (5455 West 38^th Avenue, Wheat Ridge) through August 13. Tickets available at 720-244-5204 or wheatridgetheatre@gmail.com. 

I would call the Wheat Ridge Theatre Company a start-up theatre. They have been in business since 2017 and have done about ten shows in a variety of locations ranging from a Mexican restaurant to the back room of a brewery to parking lots and finally to their new space at 38^th and Sheridan. The SHERLOCK HOLMES episode was about their fifth show in this location. They offer entertainment for theatregoers and a place where fledgling actors can work side by side with more experienced performers and directors. So “start-up” in two senses of the word. 

Which often means that you don’t know what you’re going to get when you attend a performance there. They don’t quite have an established track record yet. I have seen about nine of their shows over the years in a variety of locations, including two of the drive-through shows they did during the pandemic which allowed participants to enjoy a little theatre while remaining in their cars. I am inclined to keep attending because when they are good, they are very very good. A comedy called THE IRISH CURSE done earlier this year was excellent and could hold its own against other bigger theatres in town.  

Their production of SHERLOCK HOLMES hits somewhere in the middle. It’s a somewhat dated script (more on that later) which called for an acting style not altogether familiar to most modern actors. The script walks a fine line between a serious mystery and dramedy (both dramatic and comic). Jeamus Wilkes who plays Sherlock did, for the most part, a fine job of portraying a serious detective, secure in his own deductive abilities, confident in his experience in solving difficult crimes and creative as an actor to bring the character to life. Only once or twice did I detect a sly remark or humorous aside that probably wasn’t in the original script but made sense in a modern setting.

 

As Alice Faulkner, Jacci Kitts became a dignified member of the nobility in desperate need of Sherlock’s assistance and woman enough to catch his eye. Bryan Sanchez was a “hop to it” pageboy Billy with the right amount of deference and trust in his service as an assistant to Sherlock. Jim Hayes had the experience of allowing his Dr. Watson to be an authentic background player and fulfill his role with confidence. Jason Rexx, even while playing a smarmy safecracker, brought humor and a realistic attitude to his role. 

Jaime Lewis was the player with the most current experience on the stage and it showed in his no-nonsense portrayal of Moriarty. His business-like handling of the task of being a bad guy in charge of a small army of gangsters taking care of all sorts of sordid business was crisp and clean. Done in a matter-of-fact military precision, he “handled” all the underground problems without lifting a finger. Until it came to Sherlock. That he had to take care of himself. Which led to the one awkward scene involving his status of being in a wheelchair. The only time it made any difference was in the final scene when he comes into the room in “disguise,” recognized only by Sherlock. While it was easy enough to change costumes to become a cab-man for the scene, there was no disguising his wheelchair. Believing firmly in the proviso that the best actor should get the part, I applaud WRTC for casting Jaime in the role. I think authors Gillette and Doyle would have forgiven them for rewriting that single scene to make it more authentic for the actor. 

There is very little mystery to this script; you know immediately who the bad guy is. The mystery is why everyone wants this certain packet of letters. What’s in them that is most damning? The play was actually written in 1899 by playwright/actor/manager Gillette while he was touring with another play. Suggested to him by his long-time producer, he wrote to Arthur Conan Doyle for permission to adapt three of his stories into a theatre production. Permission was given and a long-term friendship and business relationship evolved out of this first effort. Gillette went on to play the role over 1300 times across the country and in England and France. He was one of the first actors to use a “naturalistic” style of acting which worked very well for his laconic characterization of Holmes.  

You must give kudos to Wheat Ridge Theatre Company for their variety. They have their modern version of this turn-of-the-century script running now. They just finished performing a brand-new musical. Their next production is a tense ultra-modern dilemma situation involving corporate bigwigs trying to solve an elimination problem which turns macabre. They come back in October with the truly spooky WOMAN IN BLACK. Who knows what they will come up with next. 

A WOW factor of 8!