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INTO THE WOODS – Music and Lyrics by Stephen Sondheim; Book by James LaPine; Directed by Michal McDowell; Musical Direction by Graham Anduri; Choreography by Rachael Lessard; Conducted by Patrick Lee. Produced by Ovation West Performing Arts (presented at Center Stage, 27608 Fireweed Drive, Evergreen) through October 8. Tickets available at 303/674-4002 or ovationwest.org. 

A few of the things I like about community theatre: 

1. They have untold nerve. They don’t do necessarily easy shows. No TIME OUT FOR GINGER or EVERYONE LOVES OPAL for them. Sometimes they pull up their big girl panties and take on Sondheim. By doing so, they elevate the work of the company, teach the young members in the company the value of being prepared in work and life (through rehearsals), the discipline of performance, the building of a community in solving mutual problems, the confidence of knowing well your part of the whole, and the joy of performing. The same communal problem solving keeps the older members of the cast connected and energetic, putting off senility to yet another day. The combination of older and younger working on a mutual project is enriching for both. And it’s fun. 

2. Community theatre gives everyone a chance to participate no matter your talent or skill level. If you want to get up on stage, there’s generally parts that you can fill whether for the first time or the fiftieth time. Every once and awhile, someone gets brave for the first time, steps into that spotlight and reveals an unexpected talent only previously hinted at in the privacy of their own bedroom. A shower singer has a real microphone strapped to their head and discovers a new confidence. The dancer who is good at Zumba finds she’s also good at ensemble dancing. The boy too shy to talk in class suddenly finds he likes making people laugh. If you choose not to take a place in front of the spotlight, someone always needs to be behind the spotlight. Any talent you have can be used by a creative theatre company. You can paint, build, sew, electify, play an instrument, hang posters, sell ads, bake concessions, move things into place for those who have chosen to be on stage – there is a place for everyone. 

3. It’s fun. No matter the show – no matter the place. Getting a group of like minded people together to work on a mutual project is just downright fun. Especially when it is designed to entertain your family, friends and community. There is no joy more concrete than making your own cast members laugh at your funny lines. The exultation of getting through a whole rehearsal for the first time not having to ask for lines. The thrill of getting your costumes and props for the first time. Of watching the set come together – all for you. And then, the lights going up on the first (and all other) performances knowing you have the bravery and moxie to be up there in the first place. 

That’s what I witnessed in watching this performance of INTO THE WOODS. Until you read the program, it is generally not obvious who is a first time performer or a seasoned thespian. In this particular case, it was a bunch of people doing their best to tell Sondheim’s story together. They had solved the problems of working in a small stage, of tackling extremely difficult music and conquering it, of getting everything off and on stage efficiently, of “putting it together.” And they were having fun. 

The extremely seasoned Justin Johnson starts the show off as the Narrator by introducing the players in the story. His easy relaxed style puts the audience at ease and moves us into the fairy tale world we are going to inhabit for the next couple of hours. We meet The Baker (Brandon Lopez) and his Wife (Penina Eisenberg) who are willing to go to extreme measures to have a baby. The Witch (Dani Soibelman) shows up and tells them why they are having so much trouble with the baby thing – she has cursed the Baker’s father and the curse has passed to him. Bummer! What to do? They must collect four items for her. Enter Jack (of beanstalk fame – Zane Larson) with one of the items – a cow as white as milk. But getting and keeping the cow proves problematic.  

Next we meet Little Red Riding Hood (Bridget Brown) who has the second item – a cape as red as blood. She too is loath to give up her cape until Jack saves her from the Wolf. Then she’s willing to share. The two reluctant Princesses – the disillusioned Cinderella (Anna Piper) and kidnapped Rapunzel (Rebecca Nelson) – deliver the last two items – a slipper as pure as gold and hair as yellow as corn. Happy ending – right?! Not really. 

Sondheim slips in life lessons, human nature foibles and pathways to personal happy endings (“No One is Alone”) all along the way. I’ve seen this show at least a dozen times and there are new lessons to learn each time you observe the wondrous flow of music and lyrics and the genius of the story. You will be missed, Mr. Sondheim. It must be such a revelation for cast members to do this show night after night and find something new in each performance. 

The talented cast members I’ve named and the fifteen unnamed performers bring this story to marvelous life. I defy you to identify newcomers as opposed to oldtimers without looking at the program. Each contribution to the performance was given whole-heartedly with equal dedication.  Director Michal McDowell solved the problem of multiple locations which needed to be moved into and out of quickly by creating six wood nymphs to watch the excitement in the woods and jump into action to move trees and furniture when needed. A clever solution to what could have been a deal breaker for this show for this theatre. 

I love going up to Evergreen to see performances and then driving back into Denver humming the music and pondering the performances. I challenge my Denver readers to do the same. You won’t be disappointed. 

A WOW factor of 8.5!! 

CABARET – Music by John Kander; Lyrics by Fred Ebb; Book by Joe Masteroff; Directed by Bernie Cardell; Musical Direction by Tanner Kelly; Choreography by Adrianne Hampton.  Produced by Vintage Theatre Productions (1468 Dayton, Aurora) through October 22.  Tickets available at 303/856-7830 or vintagetheatre.org. 

“What would you do?” asks Frau Schneider as she faces the impossible task of choosing between giving in to the forces of evil invading her home from within or giving into a dangerous love found late in life – her last chance.  A “take sides” situation that brings fear no matter the choice.  A situation that still exists for thousands in a thousand ways – large and small – in the world today.  Mary Campbell gives a compelling performance as this sweetly sentimental survivor.  She is a shrewd businesswoman, an almost giddy lover, and a woman profoundly aware of and confused by the changes in her world.  Her rendering of “What Would You Do?” obviously breaks her heart.  And yours too. 

She is ably matched with Brian Trampler as the ever-optimistic boarder Herr Schultz who “shares a little schnapps” with her occasionally.  His bouncy energy is a charming contrast to her more mellow persona.  His shyly coy setting up of assignations with his lonely landlady is delightful. 

Director Bernie Cardell, while regaling his audience with the music and madness at the Kit Kat Klub, gives great emphasis to the scenes at the boarding house that bring together and separate two pairs of lovers we grow to care for.  The young lovers face the same decision but for different reasons leading to the same painful solution.  In light of the rise of the Nazi party in pre-war Germany, both couples are suffocated by the pressure.   

The younger lovers  – Grant Bowman as Cliff, the struggling author and babe in arms in the society he finds himself dropped into, and Aynsley Upton as Sally Bowles, the chanteuse at the Kit Kat Klub who revels in the decadence, cannot make their relationship work as well, despite the fact that they both – in their heart of hearts – want the same thing. It was hard to believe that Ms. Upton was the understudy for this role, stepping in at the last minute for the ill Abby McInerney, the actress cast in the role. She performed with ease, sang songs both cheeky and soulful, adjusted to new places in the dance choreography with grace (her usual role is Frenchie, one of the Kit Kat dancers), and, in general, became Sally at least for one night. 

As the Emcee, eden origin moves the story along from gay decadence to thoughtful realization of what was coming. His over-the-top flamboyant performance during the first half of the show salutes his recognition of what is expected of him at this time in that place. But as the production progresses, his recognition of what is happening begins to show. At about the time he is performing “If You Could See Her” – doubt and fear begin to reflect in his eyes. His final song “I Don’t Care Much” is the only time we get to see his personal despair and acknowledgement of a doomed future. It is a subtle but beautiful performance. 

Musical director Tanner Kelly and Choreographer Adrianne Hampton have done an exemplary job of training the Kit Kat Kuties – girls and boys and those who like to go back and forth – for the complicated routines on the small (but ever-growing) stage at Vintage. They fill it to overflowing, sometimes even splashing down into the audience. They are appropriately sultry, fun-loving and sinister as the song demands. Special kudos go to Samantha Barrasso as Fraulein Kost, the boarder who needs a little help from the Russian Navy sailors in paying the rent. Her lion-sized voice in “Tomorrow Belongs to Me” startles and emphasizes the anger of the common folk toward those they believe controls their world. A sort of “I want my piece of the good life dammit!” Unfortunately, that golden tomorrow so rarely materializes the way it is hoped for – even today. 

A moving performance of a well-known and favorite catalog of music reenacted by a talented group of performers – what more could you ask for on a Saturday night? 

A WOW factor of 8.75!! 

FIDDLER ON THE ROOF– Music by Jerry Bock; Lyrics by Sheldon Hernick; Book by Joseph Stein; Directed by Kenny Moten; Music Direction by Neal Dunfee; Choreographed by Danielle Scheib and Jessica Hindsley.  Produced by BDT Stage (5501 Arapahoe, Boulder) through January 13.  Tickets available at 303-449-6000 or BDTStage.com.

Before you glance to the bottom of the page to see, this FIDDLER rates a perfect 10.  Not only is the show cast perfectly, but the knowledge that this is the final production lends a special grace to each performance.  No spoiler for this script we’ve all seen dozens of times to reveal that the ending finds the villagers of Anatevka being forced to leave their beloved homeland, separate and travel to an unknown future.  The parallels between the script and the plight of this band of actors, most of whom have worked together for years, cannot be ignored.  In this rotating cast of 33 players, only seven are new to BDT and four of those are child actors.  How lucky are these newbies who have a once in a lifetime opportunity to perform in a production of this quality and to be a part of the 46-year history. 

You might as well get another cup of coffee.  This is going to be a long one.  These people have entertained me for a long time.  I want to do right by them – every one. 

Let’s start at the top with the two players who propel this story of family.  Wayne Kennedy IS Tevye.  Plain and simple, there it is.  Not only has he played this role at least four or five times and has honed it to perfection, the role so ably echoes his own quiet, gentle, thoughtful personality.  Over the years he has branched out and developed other skills, such as Sound Design for most of the BDT shows for the last decade.  In his non-theatrical life, I can imagine him leaning into a conversation with the God of Sound Design about why a certain speaker isn’t working or why a particular sound effect doesn’t sound right.  As Tevye, these conversations with his God reveals his simple desire to be a rich man, to understand the world he lives in, to comprehend the ambiguity of the changing customs in the lives of his daughters, and to express his sorrow at the evolving social situation in his homeland.  Without knowing him, Joseph Stein wrote those scenes in 1964 for Wayne Kennedy to give them life in 2023.  Thank you, Mr. Stein. 

Alicia (Ally to her friends) Meyers’ own motherly behavior with daughter Prugh, herself a gifted young actress, has given her the chops to mother five daughters onstage as Golde, Tevye’s wife.  As Golde, she is harried, traditional, welcoming, protective, controlling and gently loving.  Her relationship to Tevye is the hand inside the glove.  She is unconsciously loving to her daughters, graceful in her movements and embarrassed to be asked about her own feelings.  Ally’s casual natural manner of expressing Golde’s place in the world is a Master Class in acting.  Nothing that could possibly accidentally happen on the stage would fluster the quiet confidence of Golde. 

These two are more than ably assisted by the remainder of the cast.  Indulge me for a second to allow me to heap a little praise on the people who have served this theatre and this community of theater attendees for so many years by mentioning their special talents.  Bob Hoppe is a senior as well with sixteen years of performances under his belt.  His dancing has enhanced many a SINGING IN THE RAIN; his King Arthur in CAMELOT moved him into the leading roles he had earned; his Nick Bottom in SOMETHING’S ROTTEN was brilliant.  Tracy Warren is also a beloved returnee, this time playing the well-balanced Fiddler (don’t ask – she won’t reveal if she is really playing the fiddle from the roof).  Tracy has done so many roles over the years, but my personal favorite was her Christine in the Yeston-Kopit version of PHANTOM.  “I’m Home” resonates with everyone who loves theatre. 

Scott Severtson has called BDT home for twelve years and has excelled in multiple roles, everything from romantic leads, to singing crooners and madcap dancers. My personal favorites being his cocky Gaston in BEAUTY AND THE BEAST and his equally cocky Shakespeare in the recent SOMETHING’S ROTTEN. We all know “How Hard it is to be the Bard.” Seamus McDonough who has been charged with bringing this whole adventure to a dignified conclusion, has done an elegant job of the process. In addition to his normal duties as Producing Artistic Director, he was also cast as Fyedka, the Russian who wins the love of middle daughter Chava and breaks her father’s heart. Brian Cronan as Motel the tailor returned after his winning role as Nigel in SOMETHING’S ROTTEN on the heels of many many performances at BDT.   

Old-timers AK Klimpke and Brian Norber are coming back to play the Rabbi for one last show. AK is remembered for his easy laid-back roles as the leads in THE WILL ROGERS FOLLIES and PAINT YOUR WAGON. Brian is known for his sterling performance as The Man in the Chair in THE DROWSY CHAPERONE. My personal favorite was his Tommy Tune-like turn in MY ONE AND ONLY. Mary McGroary comes back to play Grandma Tzeitel. Brian Burron and his bride Bren. Eyestone Burron are doing Lazar Wolf, the discarded groom, and Yente, the matchmaker, a role she shares with Annie Dwyer, another favorite of BDT audiences. Bren. is remembered as the crazy Church Lady in that series while Annie stopped the show in DISENCHANTED as a frustrated Disney Princess. 

Relative newcomers are Abigail Kochevar who delights as oldest daughter Tzeitel joined by Jennesea Pearce as second daughter Hodel who falls in love with a radical student. Alei Russo as middle daughter Chava shares a beautiful dance moment with her father.  Anna High who has thrilled audiences with her bigger-than-life personality, is a spooky Fruma Sarah.   Eric Heine, a frequent recruit from Candlelight, took an honored place among the villagers of Anatevka.  Melissa Morris joins as a villager and understudies all three daughters. 

And finally, the first-timers who add their talent to this production are Aaron Szindler, Jazz Mueller and Chris Tempel.  It’s too bad we won’t get to see them back on this stage again.  But watch for them in future productions in other theatres. The children’s parts were ably filled by Daisy O’Brien, Lily Sergeeff, Elise Meier, Etta McCurdy, Kieran O‘Brien, Uri Novak, Noah Levey and Ocean Ogren. 

Too many times theatre companies fall into closure for a variety of reasons – usually something to do with money. BDT has done it right and given us the opportunity for a long good-bye and one more peek at the troop in action. DO NOT MISS this chance to see a magnificent production of FIDDLER and the opportunity to say “Thanks for the Memories.” 

A WOW factor of 10!! 

SEUSSICAL – Music by Stephen Flaherty; Lyrics by Lynn Ahrens; Book by Lynn Ahrens, Stephen Flaherty, and Eric Idle; Co-directed by Kelly Van Oosbree and Victoria Holloway; Music Direction by Heather Iris Holt; Choreographed by Kelly Van Oosbree. Produced by Performance Now Theatre Company (presented at the Lakewood Cultural Center, 470 South Allison Parkway, Lakewood) through September 24^th. Tickets available at 303-987-7845 or tickets@lakewood.org. 

If you’re in the mood for a bouncy fun-loving musical full of bright costumes and fantastical characters, have I got a show for you. And, of course, because it’s based on the Dr. Seuss books that both you and your children grew up on, it’s appropriate for everyone. I actually think the elders in the audience enjoyed the show as much – in a different way – than the grandkids they brought with them. Beneath all the clever choreography and rhyming lyrics, there was lessons to be learned for everyone old enough to suss them out. “A person’s a person, no matter how small.” “How Lucky You Are,” “Oh, the Thinks you can Think,” and never break a promise. 

We naturally must have a Narrator, the one who starts and guides the story. In this case, it’s the Cat in the Hat played with impish charm by Chris Boeckx, a long way from his role as the smooth suave con artist in DIRTY ROTTEN SCOUNDRELS. Instead of gliding around the stage smoothly, he’s bouncing all over the place, popping up out of the orchestra pit, leading the fun. But he’s also the wise one who illustrates the lessons in song and action. Through his supple movements and knowing comments, we learn who is worthy and who is not to be copied. His sly looks at the audience convey more in a glance than a long speech. 

The good guys line up behind Horton, the kindhearted elephant (Joshua Harris) who only wants to help . . . whoever. His efforts to help the Who’s down in Whoville are postponed while he completes a baby-sitting assignment. In step behind him is JoJo (Sarah Atkinson) and the other Whoville folk who just need help. Also in that category is Gertrude with a One Feather Tail (Sarah Forman) whose eyes are glazed over with love for Horton. She, however, thinks by improving her physical appearance with more feathers in her tail, she will get his attention. It’s only after she learns otherwise that she has a new think. She offers to hep Horton with his new responsibility – “You teach him Earth; I’ll teach him Sky.” 

So, if we have good guys, it must follow that there are also some bad guys to thwart. Horton is tormented by the Wickersham Brothers (Hayes Burton, Ben Davis and Riley Holmes) who try to destroy Whoville and get Horton to leave his nest. But the really horrible no good mean villain is Mayzie played with over-the-top glee by Brekken Baker. She is such a manipulator that somehow, she makes everything she gets you to do for her seem like it was your own really good idea in the first place. It’s fun watching her from the audience maneuver everyone, but it isn’t fair or nice what she does to Horton or Gertrude – just because she has the prettiest bunch of feathers and the biggest tail. 

Performance Now always puts on a good show, professionally presented with thoughtful charming sets and the best of the other stuff provided by the technical staff. The costumer Nikki Harrison outdid herself with the brightly themed costumes for the Who’s, the Bird Girls and all the other characters. The choreography, as always under the guidance of Kelly Van Oosbree, was flawless and well-rehearsed. The eight-piece orchestra lead by Heather Holt managed to carry on beautifully in spite of a certain Cat prowling around in the pit. 

A WOW factor of 8.5!! 

MOON OVER BUFFALO – Written by Ken Ludwig; Directed by Pat Payne. Produced by the Longmont Theatre Company (513 Main Street, Longmont) through September 23. Tickets available at 303-772-5200 or longmonttheatre.org.  

When what is basically a community theatre group can pull from the pool of actors from professional theatres, you know they’ve got a little sumpin sumpin  going for them. Longmont theatregoers might not have seen Johanna Jaquith break your heart in her role as a mother who has agreed to allow a wealthier couple adopt her unborn baby. But they do get to see her on a faux balcony in a faux theatre under a spotlight trying to save face when her drunken castmate has missed his cue. The funniest moment in the play – a real actor’s nightmare. They may not have gotten to see Elliot Clough take on the gentle role of Mr. Lundie in Candlelight’s brilliant production of BRIGADOON, but they do get to see him fall back in love with his ex-girlfriend. These two plus Clint Heyn (who cut off his shoulder length hair for this role), Michelle Jeffres, and Linda Button are familiar faces in the Denver theatre scene. These actors are joined by Don Prather back on the stage after eight years, Reanna Magruder and Noah Cohen-Vogel to join in the chaos that is MOON OVER BUFFALO. 

A professional theatre couple are trying to keep everything together to impress a Hollywood director scheduled to be at their next performance. Unrelenting marital difficulties, dissolving relationships, spiked coffee, mistaken identity, and the discovery of an unwanted little bun in the oven all conspire to keep the mad confusion going on on-stage and backstage. In typical Ken Ludwig fashion, the pace is fast and furious, the jokes are one after the other, and the action is a mile a minute. Director Pay Payne makes sure that all four doors on the set get slammed at every opportunity. 

The set is a cleverly adorned green room in a small theatre in (obviously) Buffalo, New York – a far cry from Broadway. But small successes have kept big dreams alive for this small family of actors. Like many backstage spaces I have seen firsthand, the walls are adorned with posters and publicity photos from past glories. Pieces from previous productions provide the furniture for the room; people enter the picture dressed in costumes from a number of productions. It all works to create an authentic picture of backstage life. Think NOISES OFF without the British accents. 

As the returning daughter, in spite of her desire to escape the theatrical life, Roz pitches in to help her parents when everything starts going downhill. Additionally, nice work was done by Noah as Roz’s shy, starstruck and overwhelmed fiancé. Linda Button plays the dotty and deaf mother-in-law with sly charm. Don Prather and Michelle Jeffres lend bombastic energy to their roles as the theatrical couple, George and Charlotte Hay, with big dreams. You can tell they thrive on the bedlam of their lives and wouldn’t have it any other way. Despite threatening to run off with their lawyer (Clint Heyn) and leaving her husband because of his tryst with the ingenue (Reanna Magruder), you never doubt that Charlotte will make it back to the green room where she belongs. 

Longmont Theatre company is entering their 66^th season and hope to entice you with a season of comedies (I HATE HAMLET and NANA’S NAUGHTY KNICKERS – I didn’t make that up!) and musicals (WINTER WONDERETTES and an unannounced musical show in May). 

A WOW factor of 8! 

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!