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MURDER FOR TWO – Music by Joe Kinosian; Lyrics by Kellen Blair; Book by Kellen Blair and Joe Kinosian; Directed by Julia Tobey. Produced by Give 5 Productions (Presented at Parker Arts Schoolhouse Theatre, 19650 East Main Street, Parker) through November 19. Tickets available at 303-805-6800 or parkerarts.org. 

Twenty-four hours later and I’m still trying to recover from the madcap round of energy expended by two hard-working actor/musicians in performing this silly good-for-nothing-but-laughs musical comedy. Brandon Bill and Blake Nawa’a reprise their roles (multiple) in this goofy musical romp for the enjoyment of the residents of Parker and surrounds at the perfectly sized Schoolhouse theatre. I don’t know how they can possibly do two shows a day some days – but they do. 

Brandon Bill reveals once again his ability to transform into multiple characters in front of your eyes as he did not that long ago in Vintage’s production of A GENTLEMEN’S GUIDE TO LOVE AND MURDER. He’s a maid, the wife of the victim, the niece of the victim, an argumentative married couple, a ballerina believed to be the mistress of the victim, a “twelve-boy” musical choir (must be seen to be believed), and one or two others thrown in for good measure. With the addition of gaudy glasses, a change in posture or vocal quality, a nervous hand gesture, or some other little give-away characteristic, Brandon slides into a new persona easily. At least easily as far as the audience is concerned, but just keeping “everyone” straight has got to be a lot of mental work, let alone becoming them within seconds of each other. In addition to jumping back to the piano to accompany Blake’s solos. Good job, Brandon. 

Which makes it sound like Blake has the easier job. Not really. In playing Marcus Moscowicz, the detective wanna-be, he provides the perfect slightly calmer foil for all of Brandon’s madness. He directs the dialogue, responds to each character with a different set of reactions, fends off the romantic advances of two “women,” and guides the investigation into the murder. In addition to jumping back to the piano to accompany Brandon’s solos. Good job, Blake. 

Both men, in addition to their acting and singing talents, are virtuosa piano players. Each takes turns in making the music part of the evening come alive, accompanying one another in solos and duets, making the simple act of playing the piano a comical skit and part of the action. Good job, boys. 

The script is the standard kind of whodunnit plot seen in variations from Agatha Christie to MURDER IN THE BUILDING. A gathering of friends and relatives plan a surprise party for a man, but he is shot as he enters his own house. Obviously one of the party guests committed the murder, but who? A police officer who really wants to be a detective decides to try to solve the crime in the hour before the real detective will get there. And the plot unfolds from there. He interviews the multiple party guests, investigates what few clues there are, accuses each one and then must backtrack, witnesses yet another murder, and on until, through a process of elimination, the true villain is found. The fun is more in searching than in solving. 

A great way to spend an evening or an afternoon on a sunny day in Parker. But get your ticket early. There was an absolutely sold-out house on a Saturday afternoon. 

A WOW factor of 8.5!! 

SONDHEIM ON SONDHEIM – Music and Lyrics by Stephen Sondheim; Book by James Lapine; Directed by Bernie Cardell; Musical Direction by Rob Lowe. Produced by Cherry Creek Theatre (Presented at the Pluss Theatre, Mizel Center at 350 South Dahlia, Denver) through November 19. Tickets available at 303-710-8454 or CherryCreekTheatre.org. 

A jukebox musical will always “just” be a jukebox musical to some people. You can dress them up with a story either real (as in BEAUTIFUL and JERSEY BOYS) or fictional (like MAMA MIA or FOREVER PLAID). Or you can just relax and sing the music (like MY WAY or RING OF FIRE). But long-time Sondheim collaborator James Lapine had the right idea when he decided to put together a show about Sondheim using his own words . . . literally. 

The sparkling music of Sondheim is presented by a cast of eight equally talented singers and one really good piano player. But interspersed between the musical numbers are short clips of film featuring Sondheim himself talking about his life, his career through the years, an explanation of how he works, his fondest memories, and his writing philosophy. This added charm and authenticity to the whole production, as well as a little education on how a musical is conceived and grows. Putting it together, you might say. 

Opening the program and glancing through the voluminous list of songs to be included in the evening’s entertainment is daunting. Forty titles are mentioned, nearly all from Sondheim’s twenty plus major works. But not to worry. Some are only snippets of songs interlaced with others into a harmonious whole. Some songs are known; others are from more obscure works or more reminiscent of early work. It was pleasant to revisit old friends from well-known shows, but also to learn new works from shows not seen. Most were given an explanation for how they fit into their play or why they were cut. But all are entertaining and well presented.  

All eight singers got equal time in the spotlight. Isabelle Duran, Traci Kern, Carolyn Lohr and Susie Roelofsz made up the female contingent. The men in the songs were represented by David Kincannon, Brian Merz-Hutchinson, Lars Preece and Carter Edward Smith. Each contributed mightily to the music and the entertainment. I loved the jazzy interpretation they gave to “Something’s Coming,” from WEST SIDE STORY and Susie’s wistful rendering of “Send in the Clowns” from A LITTLE NIGHT MUSIC.  

The lone piano player mentioned earlier is Rob Lowe (no, not that Rob Lowe), the Music Director. Special kudos belong to him and to Director Bernie Cardell for schooling the singers on this complicated score and for finding creative ways of making the evening lively, entertaining, educational, and pretty – all at the same time. 

A WOW factor of 8.5!! 

THE LEGACY OF BAKER STREET – Written by Brian Dowling; Directed by Dan Schock. Produced by Coal Creek Theatre of Louisville (800 Grant Street, Louisville) through November 11^th. Tickets available at 303-665-0955 or cctlouisville.org. 

It’s always so enjoyable to drive up to Louisville for a night of entertainment at the charming little theatre in the park. It’s fun to see how they make their space work for whatever production they are doing and revel in the feeling of a true community theatre. I’ve gone enough times now that I’m beginning to recognize and look forward to seeing familiar faces. While they usually choose tried and true scripts, they also sponsor a Playwright’s Showcase that gives local Front Range authors a chance to see and hear a new work being read. 

Such was the case with their current production. THE LEGACY OF BAKER STREET was written – possibly a first effort – by local playwright/actor Brian Dowling to, in his own words, “create an action-adventure for women.” This is accomplished by his unveiling of the characters of Felicity Watson and Charlotte Holmes (sister to Enola??). They have inherited their respective father’s abilities to analyze a situation and act decisively to solve the problem. Dowling has a nice touch with dialogue and has carefully constructed plausible back stories for both women.  

Felicity is the more thoughtful, cautious one while Charlotte bulls ahead into dangerous situations with abandon. Together they create both a thinking and an acting pair of detectives. However, no matter how carefully you stage it, women engaged in physical fighting rarely works on stage. The people in the audience drop back mentally and begin to worry about the pseudo-fighters getting hurt in real life. It’s just a normal human reaction. It’s more interesting to see women use their brains to outsmart the villains. I grant you, sometimes it just takes a firm kick in the ass to overcome adversity. 

The plot involves finding Gregory, the curator of the reconstructed Baker Street office of Holmes (the original has been razed), who has been kidnapped. John Watson, who is still alive, gets involved and Sherlock and Irene Adler show up to offer consolation and advice to Charlotte. It’s a bit of a convoluted plot that thoroughly introduces us to these new characters and provides a set up for what I have a sneaky feeling will be one or two more sequels.  

The gang from Coal Creek do their usual competent job of putting together a well-dressed authentic set with movable parts that work efficiently. Jaccie Kitts as Charlotte and Staci York as Felicity created a pair of characters that work well together, are different enough to be interesting, and share a common goal. Staci brings a wry humor and a reluctant acceptance of the impetuous behavior of her partner. Jaccie, on the other hand, rarely sees danger in her quest to get to the truth. She shares the annoying habit of her father in revealing obscure information about everyone in sight by examining the dust on their shoes or the soup stain on their tie. It’s enjoyable to see how the whole team worked together to bring this new script to the stage. 

Another fun evening at Coal Creek! 

A WOW factor of 8!! 

MAN OF LA MANCHA – Book by Dale Wasserman; Music by Mitch Leigh; Lyrics by Joe Darion; Directed and Choreographed by Kelly Van Oosbree; Music Directed by Bonnie Simcox. Produced by Platte Valley Players Theatre Company (Presented at the Armory Performing Arts Center, 300 Strong Street, Brighton) through November 4^th. Tickets available at 720-263-2878 or pvptheatre@gmail.com. 

When you see as much theatre as I do, sometimes it’s hard to separate the art from the craft. It is easy to sit in an audience and think “Oh, (fill in the name) is doing a really great job with that song,” or “(fill in the female name) looks really great in that costume.” “Look how well the ensemble is dancing together” or “This is an interesting story, but you know they are going to get together in the end.” Whether you know the actor’s work or not, it’s sometimes easy to see them as actors doing good work, rather than the characters they are playing. When viewing this production of MAN OF LA MANCHA, a familiar tale, I found myself instead thinking of what the characters were experiencing, their quality of life, their unified hope for something better. Instead of thinking Jeffrey is amazing in this role, I was thinking “Oh, Don Quixote is going to be so hurt, so disappointed when he finds out what they have done to her.” Or “How is Dulcinea going to survive this? What will it do to her?” It was a glorious feeling to lose myself in the magic of the play in the hands of these committed players. 

Our “fill in the name” in this production is Jeffrey Parker as Cervantes, the playwright and actor and Don Quixote, the noble character he is performing in his own play. Jeffrey was completely immersed in his roles, was having fun play-acting, and yet dedicated to telling his story that embodies the finest human qualities. He was gentle, brave, determined and a little bit crazy . . . in the nicest possible way. His voice was glorious and inspiring. 

His counterpart was Lindsey Falduto who played Aldonza, the foul-mouthed tramp who had seen the worst of life, had no hope of a better future, and was a bitter broken woman. The flip side of her character came to life when she began to believe in the possibility of Quixote’s beliefs about her, when he saw her as a beautiful woman of worth, and when she felt valued for the first time in her life. Watching this transformation was breathtaking. Her voice is wistful, angry, powerful, and heartbreaking. 

Usually played only for its comic relief, the role of Sancho, Quixote’s faithful manservant, found new depth and new compassion in the hands of George Zamarripa. His puppy-like devotion to Quixote is tempered with both a sense of reality and a dogged desire to make his master’s dreams come true. He was a pure column of compassion and care.  

This story of valor and dreams was being performed for and by simultaneously the men and women of the homeless camp. Each was offered and performed both a part in the story and a role in the reality of their lives. They started out as an argumentative group of people in a hard place and grew to become a band of friends with a determination to better themselves – even if it seemed an impossible dream. Special kudos to Doug Herman as The Governor who led the action as the head bad guy; Adam Luhrs in multiple roles all done well; Jacob McCrory as the sympathetic but helpless Innkeeper; and Vern Moody as the oldest in the camp who became The Padre singing “To Each His Dulcinea” about his own lost dreams. As an ensemble, their laser focus on telling this story was amazing to watch. They slid in and out of the minor characters with ease and fell back into the camp-dwellers when the time came with equal comfort. And sang their little hearts out. 

The homeless camp setting gave the opportunity to have junk-like props on the stage that were cleverly used to become everything from swords to horses to shields to windmills. Benches were moved in various configurations to form the tavern, the stable, the church and every other location needed. Two ladders were lashed together to form an instrument of torture for Aldonza in a harrowing scene. All gathered and moved in position by the devoted ensemble.  

The fourteen-piece orchestra under the leadership of Bonnie Simcox provided the musical support this strong production needed. Nikki Harrison’s costumes often started out as one thing and magically transformed into something else. A padded vest became a pseudo-suit of armor; pans became hats; scarves became aprons and shawls denoting the character’s economic status. My favorite was watching mops become horses eating oats out of buckets.  

I have often praised Director Van Oosbree for her ability to use light to form amazing stage pictures and to create mood and movement. She has outdone herself on this production. Not only did she direct, but she had the vision for the setting, created the movement for the dance and stage direction aspects of the production, came up with the clever use of props throughout, AND helped with the painting and construction of the set. A one-woman theatre machine. 

It will be hard to get a ticket for this last weekend – but try. You won’t be sorry. If it has all become too late for this one, watch for Kelly’s next production as she works in theatres all over town. Everything she does is worth your attention. 

A WOW factor of 9.75!! 

THE WOMAN IN BLACK – Written by Stephen Mallatratt; directed by Selena A. Naumoff. Produced by Wheat Ridge Theatre Company (5455 West 38^th Avenue, Wheat Ridge) through October 29. Tickets available at wheatridgetheatre.com. 

Wheat Ridge Theatre Company is a relatively young company and has, until recently, been performing in various, often unexpected, places. They only moved into their new more permanent space a year ago and are learning to deal with its blessings and limitations. At this point, their productions have been a little hit or miss. But THE WOMAN IN BLACK is a solid hit. In the confident hands of Director Selena Naumoff who cast two competent and experienced actors, the script comes alive. 

Playwright Stephen Mallatratt, an actor himself, was commissioned by the theatre who employed him in 1987 to adapt a popular spooky short story written by Susan Hill for their Christmas play. It proved to be a popular and profitable production and slowly made its way to the West End in London in 1989. It became the second longest running non-musical production scaring patrons nightly until it closed 33 years later in March of this year. Because of its small cast, use of a minimalist set, and engrossing story, it has had multiple TV and movie adaptations and been a popular script for local theatres across the world. 

Mallatratt takes an unusual point of entry into the story. Kipps, a lawyer, has already gone through the episode with the Woman in Black years before and has hired an actor/director to help him understand and purge his unresolved memories. The two falteringly assume various roles with the actor taking Kipps place as Kipps himself tells the remembered story by assuming the other characters important to the telling. 

They proceed with acting out Kipps’ memories of an assignment that took him to an isolated village to close the estate of a deceased woman. Upon arriving at her mansion on a spit of land separated from the mainland at high tide, he begins to hear and experience unexplained phenomena. He is eventually driven to flee the countryside in fear. Together the two complete the tale and the exorcism of memories. It’s an engrossing story well told. 

Ronan Viard and Patrick Brownson are both talented and experienced local actors and brought their A game to this intimate production. In a theatre this small, there is an absolute necessity to be in the moment every moment. They tell this increasingly scary story with deadly seriousness. The script allows only occasional flashes of humor to ease the tension. The glimpses we are allowed of the Woman in Black played by Sina Hirsch startle by being unexpected and silent. Even when you begin anticipating her possible entrance, she continues to surprise by not being where you thought she was going to be. Brilliantly scary! 

The few but well used rehearsal boxes and small furniture pieces used for setting various locations within the story keep the action flowing. The costumes by Victoria Green are era authentic and versatile. A brilliant sound design by Rick Reid and a light design by Devan Meck establish and maintain the eerie quality of the whole production. 

A WOW factor of 8.5!! 

THE CHERRY ORCHARD – Written by Anton Chekhov; Directed by Len Matheo. Produced by Miners Alley Performing Arts Center (1224 Washington Avenue, Golden) through November 5. Tickets available at 303-935-3044 or minersalley.com. 

While Chekhov gets the credit for the original idea in 1904 of writing a play about the pre-Revolutionary decay of the aristocracy through the eyes of one family, this version was translated from the Russian by American playwright Stephen Karam. A success in his own right, Karam created a slightly Americanized version while retaining the deep-seated cultural markers of Chekhov’s original. While this version retains the Russian tongue-twisting names, it softens the mood by highlighting the humorous aspects of the family members and adding small changes such as moving the usual off-stage ball to an on-stage dance sequence. The family idiosyncracies and extended relationships retain their shape and purpose. 

A Russian family descends on the ancestral estate after a five-year absence in the hopes of a miracle to forestall the auction block. Somehow simply by the arrival of Lyubov, the matriarch (Mare Trevathan), and her brother Gaev (Brik Berkes), the angels are supposed to descend from the Heavens and save the homestead. The daughters are Varya (Jenna Moll Reyes) who has been keeping the home fires (barely) burning for these five years and Anya (Kira Wendland), the beauty of the family. The rest are needy neighbors and servants. Charlotta (Amy Arpan) is a former governess now turned into an amusing magician; Yasha (Brandon Billings) is a manservant accompanying Lyubov but anxious to return to the more civilized Paris; Dunyasha is a saucy maid at the estate who fancies herself an equal to the aristocracy she serves. Yepikhodov is the estate clerk who has asked Dunyasha to marry him, although she is more interested in Yasha for his urban sophistication and predatory ways. And Firs is the ever-faithful butler to Gaev and everyone’s “grandfather” figure. 

The lone outsider is Lopakhin who grew up on the estate with his father who was a farmer for Lyubov’s father. A sensible and clever businessman who has made a success of his financial life (to his own surprise), he offers suggestions to the family for getting out of their monetary difficulties. But since his bright idea calls for saving the estate by destroying it (cutting down the cherry orchard and parceling the land out to developers of vacation homes), his ideas are soundly rejected. But no one else has a better idea, so they decide to have a party and ignore the problem. They must finally say goodbye to the home they have loved but not treasured and go back to Paris. 

This first class cast zips through the scenario with enthusiasm. Mare Trevathan as Lyubov creates a woman joyful at being at home but unwilling to accept the reality of this last trip. She is giddy with delight at times; then thrown in the despair of futility. Brik Berkes plays her talkative pompous brother who hasn’t a serious thought in his head. Everyone is always telling him not to talk anymore. He just loves the sound of his own voice. Jenna Moll Reyes as the stay-at-home daughter with her ring of important keys, matronly manner, and tightly wound nerves, also seems to think the arrival of her mother and uncle will signal the end of her futile efforts at keeping the farms and house going. Her disappointment only makes her angrier. She is more than a little fond of Lopakhim (Rob Payo) who could be the answer to her prayers if only he weren’t too shy or felt unworthy to act on his feelings.  

Dunyasha is given a bouncy breezy portrayal by Samantha Piel who is unwilling to consider the slow and steady Yepikhodov (Matthew Murry) as a suitor in favor of Yasha, the much more handsome and worldly candidate as played by Brandon Billings. Tannis Joaquin Gonzales is the everlasting student Trofimov is “above love” with his grandiose philosophies ground in unreality. Anya (Kira Wnedland) is enamored by his high-blown ideas and will probably find a way to support his on-going “studies.” 

Rob Payo does a great job at highlighting these idle dreamers who have NO idea of the surprises around the corner in 1917. His own work ethic and common-sense approach is tempered by his desire to be accepted by these people. He cannot believe that his financial position has changed everything . . . and nothing. 

Comic relief abounds throughout. Logan Ernstthal is the needy neighbor who always manages to lead the conversation back to the subject of a loan of 240 or maybe 320 rubles. Amy Arpan jumps into the scene occasionally with a card trick or a little ventriloquism to be the court jester because they have nothing else for her to do as a governess. And the ever-faithful Firs the butler wins smiles with his unending delivery of drinks and coats for Gaev, his pseudo-son. 

THE CHERRY ORCHARD was deemed a comedy by its author. Although the actors could have donned present day clothing and Americanized their names to connect its themes of societal decay to present day life, I choose instead to enjoy it as intended, a look at a family in distress who somehow survive. And go on as we all must. 

Director Len Matheo and Scenic Designer Jonathan Scott-McKean chose not to surround the stage with cherry references and give the players a clean minimalist playing area. John Houser’s sound design give us subtle ominous echoes of chopping trees and rousing Russian music. The dance sequence grounded in Russian folk steps was choreographed by Angie Simmons. Steffani Bolmer-Day’s costumes – both elaborate and plain – kept us firmly planted in the era, class and locale. 

A WOW factor of 8.5!! 

NAUGHTY BITS – Written and Directed by Buntport Theatre Company Members.  Produced by Buntport Theatre Co (717 Lipan, Denver) through October 22.  Tickets available at 720/946-1388 or buntport.com. 

You can always count on the wacky crew at Buntport to provide its audiences with a good time.  They make you laugh, first and foremost, but they also make you think and, in spite of yourself, learn something about some subject in which you previously had no interest whatsoever.  Art history is a big one – they seem to love exploring art. What immediately comes to mind whenever I contemplate art history (which I do often . . . . right!!) is THE REMBRANDT ROOM in which company member Erin Rollman became a museum security guard in front of a Rembrandt painting so long she knew every little thing there was to know about it.   Literature is another – MOBY DICK UNREAD, THE ODYSSEY WALKING TOUR, MY SIGNIFICANT BOTHER (about James Thurber’s short stories), PAPER MONSTERS (reviewing the cliff notes on BEOWULF), KAFKA ON ICE, and QUIXOTE  – the very first Buntport script.  Not to be overlooked are their homages to Shakespeare oft repeated because they are favorites of so many patrons:  TITUS ANDRONICUS THE MUSICAL (done at least four times and could be repeated each year), MACBLANK, SOMETHING IS ROTTEN (their version of HAMLET long before the Broadway musical) and WAKE (a take on THE TEMPEST). 

Buntport also has a gift for destroying time – often working in several dimensions or eras simultaneously. They enjoy moving characters out of their true historical era and placing them in unfamiliar territory. Or putting invisible shields between characters to allow multiple stories to be told all at the same time. Sounds complicated – but when you see the shows, you understand. 

NAUGHTY BITS is also a take on art history, art owners, and art writers (if romance novels are considered art). It uses three eras and three points of view to investigate the history of a statue of Hericles (or Hercules, if you prefer) who has inexplicably lost his largest naughty bit. We first meet the nouveau riche couple (Brian Colonna and Erin Rollman) who have moved into the mansion currently housing the artwork. By their costumes and dialogue, they are obviously from somewhere in the 20’s or 30’s. It’s the first time she has been in the ‘new’ house and is being mildly reprimanded for her propensity to vandalize the artwork in previous rentals. She is an overly dramatic actress of sorts; he is a loving husband who can seemingly deny her nothing; together they enjoy a frisky and loving relationship. 

The second to arrive with his projection equipment is a nerdy art history professor (Erik Edborg) delivering a lecture regarding the same statue’s origins and dimensions (or lack thereof) complete with what looks like the first ever slide projector. Thirdly, we meet a modern-day author (Hannah Duggan) who is using the statue as a character in her latest romance novel. In a prolonged phone conversation with her publisher, she explains her Pygmalion-type plot. In great detail.  

All three conversations are happening simultaneously one at a time. When one character speaks, the other two (or three) mime silently their own conversations. It becomes a jigsaw of a revelation during which we learn facets of art we’ve probably never contemplated. It’s only in the last few minutes that the three conversations collide into a nervous breakdown. 

It’s difficult to praise these players enough and what to praise them for most. You must remember that not only are these folk acting these complicated sets of dialogue overlapping each other, they also wrote what you are watching. They have conceived the idea, created the characters, researched the subject, written the words, directed themselves, built the set, found the costumes and devised the accompanying lights and sound. The four on stage are supported technically every step of the way by the fifth brilliant member of the troupe, SamAnTha Schmitz. Is there another company in Denver – nay, in Colorado – who does this? I think not! Their class, intelligence and confidence shows through every moment of every production. 

A WOW factor of 9.5!! 

WOLF AT THE DOOR – Written by Marisela Trevino Orta; Directed by Micaela Garcia De Benevidez. Produced by Su Teatro (721 Santa Fe Drive, Denver) through October 29. Tickets available at 303/296-0219 or Suteatro.org. 

Playwright Trevino Orta has taken the theme from traditional Latinx folk tales about shape-changers such as La Lechuza (in which a woman turns into an owl) and has created a trilogy of theatrical scripts humanizing the concept. During the first play, THE RIVER BRIDE, a dolphin turned human pursues a bride to retain his human shape, but his efforts do not end with a “happy ever after.” In WOLF AT THE DOOR, there is a more satisfying ending where everyone gets what they want except the villain – who gets what he deserves. A cautionary tale exceedingly well done by the company at Su Teatro. 

The very pregnant Isadora and her sister, Rocio are bound together by guilt and the circumstances of Isadora’s marriage to the vicious Septimo. He has brutalized his wife in the latter stages of her pregnancy resulting in an unsuccessful birth of the son he has built his future on. When another pregnant woman, Yolot, shows up in his barn, he suddenly sees another way to get a son. Isadora and Rocio do everything they can to dissuade him from his scheme but must finally take things into their own hands to protect Yolot and the new baby. Of all the endings I had mentally visualized for this scenario as the play progressed, the one illustrated was not one I had anticipated. I love being surprised by a plot turn. 

The sisters portrayed by Paola Miranda and Magally Luna have the easy familiarity of family members who have been through good and bad together. Rocio’s guilt over not warning her sister of Septimo’s brutality before she married him binds her to her sister as a protective angel. Magally imbues her every act of servitude with this shame and devotion. Paola plays the wife who, at one time, was deeply in love with her husband and saw a gentle soul in him. She, in typical fashion, thinks she can change him and get him back to how he was during their courting. Septimo is given a brutal reality by Camilo Luera based on being an unloved seventh son in his family growing up. He has great hope for a new life with his own son who he will raise “right.” Camilo walks a fine line between a craven coward who beats women when they do not do as he wishes and the unloved son of a cruel family. How difficult it must be for an actor to be so consistently unliked throughout the whole production when, in reality, he’s a good guy. Natalie Fuentes brings an authentic feral character to her Yolot who is ferocious in her efforts at escape and in her protection of her child. Complications in Yolot’s existence create the necessity for drastic actions on the part of the three women to protect the newborn and allow her to return to her wolf brothers. A riveting and surprising tale. 

A set encompassing both the rooms they live in and a barn for the animals designed by Steve Nash gave us a look both inside and outside the house. Costumes were designed by Mica Garcia De Benevidez with shifts for the pregnant women. An uncredited sound designer did a great job of creating wolves in the hills and a horse in the stable. Technically, one of the best shows I’ve seen at Su Teatro AND one of the best acted. 

A WOW factor of 8.5!! 

YOU ENJOY MYSELF – Written by Topher Payne; Directed by Betty Hart. Produced by Local Theatre Company (Presented at the Dairy Center, 2590 Walnut St, Boulder) through October 14. Tickets available at 303/444-7328 or the dairy.org. 

What a delightful script! Topher Payne is a genius at creating the strings of a plot, revealing them in a series of unrelated scenes, and then pulling them all together to create an Act I final scene full of shock and awe. At least in this play, Act II is then spent sorting out all the problems/relationships unleashed in Act I. All of which creates a funny yet thoughtful story about the many ways people can win love, lose love, and just fool around a little. He’s a playwright we should be seeing more of; his bio reports that he has more than 20 scripts published. Local is lucky to have scored the world premiere of this one.  

But, of course, the most clever and witty script would be nothing without the strong hand of a knowing director and a sterling cast. Luckily, Local Theatre has both. Betty Hart oversaw the creation of this fun piece of theatre, found a way of using the set to accommodate a variety of settings, and drew strong performances out of her cast of six. It helps that she has perfectly cast the show. 

Eden Lane, a beloved individual in the community for the work she has done on behalf of advancing theatre as an art form, makes her Colorado debut in this piece. As the Narrator of the story and a participant in the action, Judith’s steady calm demeanor belies the heady romantic story she begins. But after her short exposition about Phish, their phans, and the part they have played in her history, the next scene starts with a bang as we find an attractive older woman in bed wondering “what the heck did I do at that concert?” as an attractive younger man finishes his shower and returns to her side. 

The fun builds from there on. A pair of lovers (Isabel and Jasper) argue over his misinterpretation of a “hall pass.” A tour musician, he leaves for an extended trip, so she decides to travel with her best friend Cory to an origin source for all Phish phans, a cottage in the woods of Vermont to visit the author of the definitive book about Phish. They don’t meet who they anticipated but are invited to stay. Because of Cory’s incessant posting on social media, Jasper can track down where Isabel is; he and his tour buddy Archie make a side trip to Vermont in an effort at reconciliation. The sixth member of this sextet (pun intended) arrives to set up the most convoluted coincidental gathering of Phish Phanery you’ve ever seen. It takes another whole act to sort out the connections that work, those that don’t and those that have possibilities. Including one of the cutest and (probably) most authentic gay seductions written for the stage to date. 

But wrapped around the fun of this production are equally meaningful conversations about the nature of love, the need to care and be cared for, and the pain of becoming convinced that it isn’t going to work, no matter how fond you are of each other. References to interpretations of Phish songs abound throughout including an impromptu jam session led by guitarist Joe Mazza who sits on the sidelines throughout the performance chiming in with background music when appropriate. The other actors join in on harmonica, tambourine, guitar and vocally with a few random “heys” thrown in for good measure (a signature call by Phish in performance inviting the audience to join in the music). As one not familiar with this particular band or type of music, I don’t feel qualified to comment on this groups devotion to the music and the lifestyle it engendered, but I’m staggered by their commitment and knowledge. “What was the encore?” becomes a rallying cry. 

Bobby Bennett as the droll gay best friend Cory is fast becoming one of my favorite actors. His recent turn in THE INHERITANCE was unforgettable; now he follows it up with this lighter role with equal skill. You believe every word that comes out of his mouth; he’s not saying dialogue that someone else wrote, he’s simply talking. He is the master of the eye roll. His scene with Archie as played with Ryan Omar Stack is a model of well written dialogue delivered with ease and authenticity. Iliana Lucero Barron is a beautiful young woman who is confused by her boyfriend’s actions and feels the need to reconnect with something solid. Her confusion and hurt are well translated. Jihad Milhem, always a force to be reckoned with on stage, plays an equally hurt and confused boyfriend who tries desperately to make things right before everything goes wrong. Anne Sandoe bravely plays Eileen, the older woman from the first scene. Anne is a long-time playmaker in theatres all over the Front Range and brings a steadiness and naturalness born of experience in addition to talent to her role as a long lost lover. Eden in her debut role holds her own with this crew with a sensitive poignant performance of the one who waits.  

Special kudos to Susan Crabtree, Benjamin Smith, Mandy Kay Heath and Cipriano Orgeta who designed the set, lights and props and worked together to create this charming little cottage in the woods complete with a porch outlined in colored lights, a headboard made out of branches, a living room you can’t even see into that looks fully furnished, a whimsical Barbie masthead over the house, and a background painting of a green lush bower that wraps around the house. Susan Rahmsdorff-Terry provided the semi-hippy clothing for Judith and Eileen and the contemporary clothing for the others, including a donut dress which is obviously emblematic of a Phish song. 

While not exactly providing a happy ending for everyone, this script and this cast provides a thoroughly enjoyable afternoon or evening for their audiences. Unfortunately, there’s only one more weekend to this run – so grab some tickets while you can. 

A WOW factor of 8.75!! 

MIDGE AND THE BUTCHER – Written by Quinn Smola; Directed by Sarah Sheppard Shaver. Produced by Springs Ensemble Theatre (Presented at the Fifty-Niner Speakeasy, 2409 West Colorado Avenue, Colorado Springs) through October 15. Tickets available at 719/357-3080 or SpringsEnsembleTheatre.org. 

Quinn Smola who wrote this monstrous missive is a college student, not far from the age of his high school heroine himself. This undoubtedly explains his ease with the teen vocabulary prevalent throughout the script. And his familiarity with the monsters that hide under the bed, in the closet, and in the halls of your high school. This is not his first play, but he shows a lot of promise, having a firm grasp on the character, the dialogue and a talent for telling a story with a minimum of diversions. In addition, apparently, he made the truly terrifying mask for his monster Xantheus.  

A skulls head adorned with a skeletal bird’s beak and goat’s horns. It was cleverly devised that you couldn’t see any of the face behind it, its mouth moved when he talked, and his eyes were invisible until he turned them on you and stared. The monster, known as the Butcher, was performed with great gusto by Isaiah Culling. While the rest of the costume included padding to create Popeye arms and Sumo wrestler legs, the bulk of his fearfulness came through his ferocious voice and ability to snap into cruelty mode without warning when upset. The Butcher was aptly named. Conversely, he became more like a Baker when bored with waiting for the “right time” to strike and showed great understanding and compassion for Midge’s dilemma. 

The Midge of the story is just entering high school, problems enough. But at the same time, he is transitioning into she, much to the dismay of her best friend. Rose Mitchell used the nervous mannerisms (uncontrollable hands, fussing with her hair, hesitation in her speech) of a teenager in turmoil to create a character on the edge of a breakdown. Calling forth a monster from Hell was a last resort. Little by little, the consequences became evident – both comic and horrific. 

In the second act, we finally meet her tormentor, a fellow student named Hunter (appropriate) whose own journey into puberty is upset and confused by the changes in his friend. Instead of trying to understand, he lashes out with anger and confusion. His cruelty is rewarded by a session with the Butcher during which his fear and pain is palpable. Gabriel Meadows brings a believable nastiness and reluctant repentance to his character. 

The acting space at the new Speakeasy space is tiny, just big enough to realistically portray the treehouse room in which the play takes place. SET will have to choose carefully their future shows to fit the space. Each of their upcoming plays this season fit into a single room or backyard set. The Fifty-Niner, when it’s not being a theatre, is a small restaurant/bar behind the Dice Guys Game Store. You kinda have to know it’s there because there’s limited street side signage and you go through a door at the back of the game store to get there. They are planning live concerts with solo performers and small bands when SET is not using the space for theatre. A real find with good pizza. 

A WOW factor of 8!