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TUESDAYS WITH MORRIE – Written by Jeffrey Hatcher and Mitch Albom; Directed by Ray Brown.  Produced by Funky Little Theatre Company (Presented in the Palmer Lake Town Hall, 42 Valley Crescent Street, Palmer Lake) through August 23.  Tickets available at FunkyLittleTheater.org. 

Have you ever been to Palmer Lake?  I hadn’t until a recent Saturday afternoon to get Funkified.  Palmer Lake is gorgeous.  One of those little hidden gems that Colorado is famous for.  Like Ouray or Creede.  The streets are winding; each house is a different color and style, and well-kept; there are intriguing restaurants and shops.  It’s a fascinating place – almost Brigadoonish.  I can certainly see why they didn’t want to be Bucee–fied.  Even though the highway is several miles away, it would inevitably change the whole vibe of the place. 

And I finally caught up with the folks who work for and perform with the Funky Little Theatre Company.  They have been bouncing around between Colorado Springs, Cripple Creek, and now Palmer Lake in search of a permanent home.  Palmer Lake seems to have welcomed them with open arms; it’s also really close to Colorado Springs.  So a great part of their audience is willing to make the drive to see the good work done by this good company.  Actor/producer Chris Medina is the driving force behind the organization, with a whole cadre of Funky folk behind him. 

TUESDAYS WITH MORRIE was a lovely production – well-acted, thoughtful in its presentation, kept simple by the director to let the script speak for itself.  Mitch Albom is/was a sports journalist who studied sociology under a professor named Morrie Schwartz.  They bonded at school, but then lost track of each other until Mitch read that Morrie had contracted ALS.  He started visiting and was soon gently coerced into coming every Tuesday to visit Morrie.  Through their conversations, the teacher continued adding to his students’ store of knowledge and humanity.  Morrie’s gentle, teasing way of checking Mitch’s sometimes jaundiced view of the world cleared the way for a stronger understanding of what was important in life. 

John Longo was a spritely, feisty Morrie, getting what he wanted through teasing and hiding profound knowledge inside jokes.  The physicality of ALS was demonstrated quite well as he went from dancing to an office chair to an easy chair to a hospital bed. You could not help but be moved by his disintegration from smart talking, erudite teacher to a silent shell of a man.  Chris Medina also did an admirable job as Mitch, the visitor.  What started as a one-time visit, quick in and out “good to see you” kind of thing changed his life in ways even he could not predict.  Morrie became more than a friend and mentor; more like a father figure to Mitch, shaping his future, both journalistically and personally.  Their friendship rings true, authentic, and resonates with the audience. 

With luck, Chris can continue to bring his magic to Palmer Lake, and we can all continue to visit them there.  Besides good theatre, there’s that interesting-looking barbecue joint I want to try.  OMG, I’ve been funkyfied! 

A WOW factor of 8.50!! 

THE PLAY THAT GOES WRONG – Written by Henry Lewis, Jonathan Sayer, and Henry Shields; Directed by Mark Walden.  Produced by Shark Box Theatre Company (Presented at Stage Door Theatre, 25797 Conifer Road, Conifer) through August 23.  Tickets available at Sharkboxtheatre.com. 

How ironic for a theatre company that professes on their website mission statement that they “work day and night to make sure our performances are flawless and meaningful,” and then deliberately chooses to mount a production that gets its humor from all of the fails and inadequacies of a goofball mythical English theatre company gone wrong.  This leads to a new definition of “flawless.”  However, their audiences are so very glad they made this decision. 

Every script written requires that certain items, be they furniture, set dressing, props or articles of clothing, be available in the right place at the right time.  Some scripts make this easier than others.  Productions like NOISES OFF, COME FROM AWAY, and this little gem demand that certain pieces of the set work flawlessly.  Shark Box Theatre Company uses every bit of their engineering prowess to get their set to work the way it’s supposed to – even though it looks like it’s falling apart.  It’s self-destructing with a purpose.  There are things in this script that are “suggested,” but are unable to be produced by some companies. Too complicated or dangerous. Not here.  Everything that needs to fall, come undone, explode, be reconstructed on stage actually happens in front of the audience . . . to create high humor. 

Not only the set pieces, but the actors too have to bear the brunt of being stepped on, knocked out on stage, dragged through the lone window, fall from platforms, use ladders to get to parts of the stage . . . . and on and on.  This motley crew suffered gladly for their art in this production – again, in front of the audience . . . to create high humor.  I hope they had a line item in their budget for Band-Aids and slings.  They tackle the slapstick no-holds-barred action of the script with gusto; I don’t see how they keep from breaking up on stage at their own silliness. 

The two women deserve high-blown kudos for how they weather the rough treatment they endure.  When one actress gets knocked out by a swinging door and dragged off stage through a window, she is replaced by a reluctant stage manager wearing the actress’s costume over her clothes.  When the actress wakes up and tries to regain her role, the stage manager has decided she likes being on stage and won’t give up the script or the costume.  Their bickering ultimately leads to a knock-down drag-out battle between the two with head-bashing trays and hair-pulling.  Yashila Permeswaran and Hayley Siedlik have way too much fun beating each other up. 

The men too get in their licks.  Head clown is Joshua Caraballo is Dennis, the Butler, with a decidedly Groucho Marx bent to his performance.  He has crib notes on his sleeves and can’t pronounce the cues correctly when he does find them.  All of the men bring their A game on stage with them, moving quickly through the required gymnastics and humpty-dumpty routines.  Arthur Mayer is Trevor, the sound man, jokester, and stand-in at the last minute.  Neil Isales Jr., Robert Martin, Luke Dumoulin, and Braden Egtvedt are, in turn, the murdered, the murderer, and the detective trying to solve the murder.  It’s an equal opportunity investigation with all members getting accused at one time or another.  By halfway through Act I,  you don’t really care whodunnit – just keep doing it. 

Kudos to everyone connected with this complicated production.  You can tell it took a village.  But it paid off for their audiences.  Conifer is just a 20-minute drive up in the hills.  You’ll discover a new theatre company that works hard for your attention, a new (for some of you) theatre space that always delivers, no matter who is playing in it, and a charming mountain village full of really good restaurants and really good theatre. 

You’ll go right with the PLAY THAT GOES WRONG!! 

WOW factor of 8. 75!! 

CRY IT OUT – Written by Molly Smith Metzler; Directed by Candace Orrino.  Produced by BETC (Presented at the Dairy Center, 2590 Walnut, Boulder) through August 24.  Tickets available at 303-444-7328 or thedairy.org. 

Some people can write plays.  Good plays.  Others put people on stage and open a window to their world.  Molly Smith Metzler is a window opener.  From the first delighted “Oh, this is so much fun!” delivered with such joy by Lina, one of the new mothers, the audience was in her pocket.  It usually takes at least a few minutes for the audience to discover who the people on stage are.  But we knew these women in the first 30 seconds with their baby monitors, iPhones, vulnerability, and joy. 

A script, however, is just words on a page.  Good words ready to be brought to life.  Noelia Antweiler and MacKenzie Beyer took those words and turned them into REAL women.  Happy, sad, funny, conflicted, angry at times, tender at other times – REAL unfiltered women.  All of us who have had a child have gone through some (if not all) of the emotional highs and lows these women experienced in the 90 minutes we shared with them.  MacKenzie gave the potty-mouthed Lina just the right amount of sparkle and kickass humor that you couldn’t be offended by anything she said or her reactions to the two interlopers into their backyard world.  Noelia was the tender-hearted, forgiving one of the pair.  Being kind, however, did not diminish her side-eyed view of the world and her place in it.  A true, loyal, no-matter-what friendship like theirs doesn’t come along every day.  My prayer at the end of the evening was the hope that everything they went through in the first months of their friendship would not diminish over time. 

The mentioned interlopers were Mitchell and Adrienne, another new baby couple who live “up the hill” on the posher side of their community.  Yet a similar set of misunderstandings and confusions is not made any easier by their financial ease.  Erika Mori as Adrienne is at first painted as an unfeeling mother in direct conflict with Lina and Jessie’s overwhelming connection to their new children.  A later scene gives her context and illustrates the schism in her marriage to Mitchell – played with subdued control by Marco Alberto Robinson.  Their viewpoints about marriage and parenting are equal and opposite, with neither wrong.  It’s a little harder to predict how their experiences will play out as the child grows. 

But what a ride we have been on in the meantime.  The drama is played out in a typical uncared-for backyard, complete with the all-American white picket fence and inappropriate (for years to come) children’s toys.  But it’s where both mothers’ baby monitors reach, and they can hear their babies finish their naps.  The inspiration for the set belongs to Tina Anderson, Set Designer extraordinaire.  Costumes by Riley Anne Martin delineated the differences in character and financial status among the actors, while Katie Hopwood found the props that filled in the story.  Lighting by Erin Thibodaux and Sound by Rowan Livengood (including occasional crying babies) completed the picture.  The nuanced script is carefully explored under the direction of Candace Orrino (forgive my bias!) as only a woman and a mother could. 

BETC chooses wisely the shows to present and then pulls out all the stops to bring those scripts to life.  The “new” (relatively) management for this company – Jessica Robblee and Mark Ragan – is doing an outstanding job of guiding the company to new successes. 

A WOW factor of 9!! 

DIXIE’S TUPPERWARE PARTY – Written and performed by Kris Andersson.  Presented by the Denver Center for the Performing Arts (Garner Galleria Theatre, 14th and Curtis, Denver) through August 17.  Tickets available at 303-893-4100 or denvercenter.org. 

Anyone who has ever been to Dixie Longate’s little party, no matter how long ago, will never forget her.  My first dip into Dixie was on her original trip through Denver – what?  10? 15? Years ago?  Dixie, my dear, you are holding up as well as the Tupperware I bought way back when.  She is the most perfect representative of Southern raunchy gentility you could ever meet.  She is the combination of a stand-up comic, an improv artist, and a sweet, genuine, real lady. 

The inventive ways she demonstrates her “product” start with the conventional use; then rapidly progress to a more realistic option for most of this modern audience.  For instance, her cake carrier can be used for a sheet cake or two dozen cupcakes.  Even more likely, it also easily lends itself to carrying about 30 Jello shots to your next tailgate party.  The medium-sized bow,l which all of us had, can be used for stirring up that sheet cake but can also be used when your kids are likely to upchuck.  Then rinse it out and whip up a salad for dinner!! 

Not only do we get usage tips, but we also get the history of Tupperware and how Miss Brownie Wise created the whole monster that became “home parties” for a multitude of products.  Some about as far from kitchenware as you can get. 

Dixie has a gift for engaging people in the audience in her shenanigans.  But she does it in such a loving, comical way, carefully choosing those who would not be embarrassed by being called out so that everyone in the audience goes along with the jokes and applauds her target.  Right, Rodney??  She ends the show with stories of her own life and troubles and a heartfelt plea for everyone to be especially nice to each other in these turbulent times.  I’m sure a few tears flowed besides mine. 

My request to you, dear reader, is this!  If you have never been to Dixie’s party, treat yourself to a date with Dixie.  You won’t be sorry. Don’t think you are too cool to laugh at something so silly.  You may surprise even your stuffy self. If you saw her years ago, go back and say Hi again.  She will remember you – or, at least, pretend to.  

 

Dixie is winding down her 28-year journey with this last performance in Denver.  Why, you ask?  Why? Why? Why?  Well, her kids are getting older, and she needs to get home and knock a few heads together.  Or maybe she’s just tired and this good thing she has created has run its course. 

We’ll miss you, Kris.  Thanks for all the laughs. 

A WOW factor of 9!! 

RICHARD II – Written by William Shakespeare; Directed by Tim Orr.  Produced by the Colorado Shakespeare Festival (Roe Green Theatre, CU campus, Boulder) through August 10.  Tickets available at 303-492-8008 or cupresents@colorado.edu. 

If you think about it, in 1595 when Shakespeare was writing about Richard II who reigned from 1377 to 1399 two hundred years in the past, it is much the same as someone  – say Lin Manuel Miranda – today writing about James Madison (or his contemporary Alexander Hamilton) who was the American President 200 years ago.  Even though Shakespeare’s Queen from the House of Windsor was not directly related to Richard II of the House of Lancaster, Shakespeare did not include the abdication scene (during which Richard is forced to give up his throne) until after the death of his Queen.  No one likes to be reminded they can be replaced.  By the same token, Queen Elizabeth II had a strong appreciation for Shakespeare and is actually the Great-Great-Great-Great-Granddaughter of Richard II – AND – it is rumoured that she also greatly enjoyed HAMILTON.   

Richard had the reputation of being a petulant, extravagant, and foolhardy monarch.  He was coronated when his older brother (second to the throne), his father (first in line to the throne), and his grandfather (on the throne) all died, leaving him the only heir – at ten years of age. In the second decade of his life, he was the titular king but was governed by a Council of Lords who made the decisions.  Who wouldn’t chaff under those restrictions?  Finally, at 21, he came into his power and began the reign of manipulation, playing those same Lords against each other for revenge.  He gave men power and then took it away.  He entered into foolish battles with his own subjects and then had to back down, blaming someone else for his defeat.  He turned his most trusted councilors against him with his thoughtless extravagance and disregard for his subjects.  Of course, it all backfired on him eventually and he was imprisoned by the very men he had blackmailed in the past.  Hmmmmm. .  . How ‘bout that?! 

This cast told this tale with alacrity and confidence. The shifting loyalties were easy to follow.  The fate of Richard, from powerful arrogance to humble prisoner, is both satisfying and sorrowful.  Kevin Rich as Richard makes a meaningful statement regarding the destiny of arrogant monarchs.  The company of actors supported his downfall, playing multiple parts with clarity. 

The costumes designed by Sarah Zim and constructed by the multi-talented ladies of the costume shop were outstanding.  The various Houses of Lords are designated by banners and armaments to create a free-flowing change of side. 

While the histories are not many people’s favorite Shakespearean adventures, there are lessons to be learned and past mistakes to be examined in this tale of royalty’s loss of grace. 

A WOW factor of 8.25!! 

FLYIN’ WEST – Written by Pearl Cleage; Directed by Marisa D. Hebert.  Produced by the Ent Center for the Arts (Dusty Loo Bon Vivant Theatre, 5225 North Nevada Avenue, Colorado Springs) through July 27.  Tickets available at 719-255-8181 or tickets@uccs.edu. 

This Pearl Cleage classic is based on a real-life experiment by freed African Americans creating their own township in Kansas in 1877.  Desiring a self-governing place to live far from the tyranny of their former owners, Nicodemus struggled but suffered a near-death knell when the promised railroad failed to come through the area. By 1888, the once booming town had shrunk to only about 40 residents.  The 2020 census reported a population of 14, most of whom are involved with the Nicodemus Historical Society that offers tours of the remaining buildings and the visitor’s center that bears witness to the lost dreams. 

In this tale of early prospects, a pair of sisters, Fannie (Cheerish Martin) and Minnie (Tresha Farris) have been “adopted” by the slightly older Sophie (Kristine Fountain) who showed up at their door one day to work in their laundry business and stayed on when they moved west to be part of this exciting new project.  They have taken in an older, earlier resident of Nicodemus, Miss Leah (Lynne Hastings).  Another neighbor, Wil (Calvin Thompson), has his own place but is sweet on Fannie and helps the ladies at every turn.  The youngest sister is returning with her poet husband from London, where they have been living at the largesse of his plantation owner father.  But all that luxury came to an end when his father died, and his half-brothers disavowed his birthright and stopped sending money. 

The legal agreement for potential landowners is that if they can live and manage a plot of 160 acres for five years, they then have the option to buy it.  Miss Leah owns her place, and Minnie and Sophie have worked hard to fulfill the requirements to own the land they have been working as well.  When Fannie returns with her husband (Bobby Bennett), he discovers how much land they now own and how much white speculators are paying per acre.  A plot is hatched to regain his lost lifestyle. 

This cast is outstanding.  The way they work together to tell this story is lovely to behold.  The small second-nature gestures and shared looks tell a story of family joined in a common cause.  The way they close around each other when invaded by one who doesn’t share their vision is exactly how any close-knit family would function – stilted politeness, growing anxiety, and, finally, outright rebellion. 

Kristina as Sophie is the strong, rough-and-tumble leader of the pack with her ever-present shotgun and her suspicious nature.  Cheerish as Fannie is pure sweetness, trusting, the mediator, until her home is threatened.  Tresha’s Minnie is a troubled soul caught between the dreams of her sisters and the reality of her husband.  When he had money and a place in British society, he was exciting and loving.  It was hard to accept that his true nature only came out under the duress of poverty.  Lynn is the loving elder figure with experience and wisdom in her pocket who provides the solution to their problems.  All are layered, authentic players deeply committed to this narrative. 

The men in this cast provide both sides of human nature.  Calvin as Wil is shy and tremulous around Fannie until he gets a little encouragement.  They then settle into couplehood with ease and grace.  He is every man you would want as a life companion.  Bobby, on the other hand, is the snake in the grass you too often get taken in by who proves to be your undoing.  His portrayal of Frank, Minnie’s husband, is pure evil.  He’s arrogant, condescending, thoughtless, cruel, manipulative, and self-centered.  Did I leave anything out?  Oh, yeah – he’s also literally and figuratively a bastard.  Watching him is like observing a master class and provides a measure of his talent in that sweet-natured Bobby Bennett (in real life) can play a cad so convincingly. 

The two rooms that are visible of their cabin are perfectly dressed and made realistic with the rustic touches provided by Dan Porten (Scenic Designer and Technical Director) and Cate Hoke, who pulled together an amazing set of authentic furniture, props, and set dressing.  The Old West costumes by Nicole Watts kept us solidly placed in the late 1800s.  The show starts with the sound of the wind sweeping over the Kansas landscape, all made possible by Bryse Taylor Boynton (Sound Designer).  And it is all pulled together and directed by the understanding and oversight of Marisa Hebert, Director. 

I know it’s a jaunt down to the Springs – but this is a worthwhile jaunt to make for a fine show. 

A WOW factor of 8.75!! 

ANASTASIA – Book by Terrence McNally; Music by Stephen Flaherty; Lyrics by Lynn Ahrens; Directed by Shelly Gaza; Music Direction by Katie Hughes; Choreography by Kate Vallee Maclaren.  Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through August 31.  Tickets available at 970-744-3747 or ColoradoCandlelight.com. 

Months ago, when the touring company of ANASTASIA played at the Buell, they told the romantic story and sang the beautiful music in a production that was blessed with magnificent, mind-bending projection special effects.  An faux explosion that practically blew those in the first ten rows out of their seats, a realistic journey on a train that allowed the prospective to change as they ran to different parts of the machine, and, the most amazing, which allowed Anastasia to revisit the site of a ball she had attended as a child and to dance with the ghosts of her murdered family.   

When Candlelight announced that they were doing this show, I wondered how they were going to duplicate those complicated technical special effects.  Wisely, they chose not to.  Instead, they created the chaos of the explosion and its aftermath through smoke, the frightened action of the actors, and the dramatic music that accompanied the scene.  While not enjoying the movement of the complicated train journey, they still managed to convey the anxious dialogue of that scene without changing the background.  The scene with the dancing ghosts became beautifully nostalgic when the actors returned to the stage in their ball gowns and danced through a cloud of mist and around the watching Anastasia.  What this achieved was a much more authentic style of storytelling, which relied on the stage pictures created by talented actors/dancers rather than on the (while beautiful) artifact of special effects.  This had to be the result of a collaboration between the creative team of Shelly Gaza (the director whose theatrical vision was honored), Kate Vallee Maclaren and Dave Clark (the administrators who said “make it happen), Josiah Buhre (the technical director who implemented the vision visually), Mark Derryberry (who created the sound design that made everything believable), Katie Simonson (whose lighting design tricked our eyes into seeing what they all wanted us to see) and the hard-working crew in the booth and backstage who made it all happen. Congratulations to all of you for making these particular creative decisions to create authenticity. 

But, of course, it wouldn’t have all happened without the dedication of the people on stage who worked equally hard to add their own touch of genius to the project.  New to the mix is the young lady who took on the crucial role of Anastasia herself with confidence and moxie.  Katie Stone, only a junior in college, has the promise of a long and successful career as a performer if this is any indication.  The journey of Anya (as Anastasia is called through most of the play) calls for the actress to express fear, confusion, vulnerability, sorrow, spunkiness, character, and confidence, all the while singing like an angel.  No small feat and yet . . .  

Her two mentors, who initially exploit her for financial gain, are Dmitry, played by returning Jazz Mueller, and Vlad, created by Scott Severtson.  Jazz, a relative newcomer to Candlelight, delights again as a romantic partner to Anya.  His slow acceptance of her truth and what it will mean to them is heartbreaking to watch.  His partner in “crime” is Vlad, a true con man who also comes under Anya’s spell and doesn’t mind having an excuse to journey to Paris to reunite with his love.  Scott provides early comic relief with a touch of humanity mixed into his larceny. 

It’s also delightful to see Scott and Tracy Warren be reunited on stage again after years of doing shows together at BDT Stage.  Tracy returns to bring Anastasia’s grandmother to life.  Because of her life in Paris, she avoided being shot with the rest of the family, which forms the need for the trio to get there to be hopefully “accepted” by her grandmother.  The scene in which they confront each other is a classic as they share memories.  Not to be missed.   

Additional comic relief comes in the form of Vlad’s former lover, Countess Lily, played by Sara Kowalski.  Her residence with the Dowager Countess in Paris has allowed her to indulge in the high life of the Russian emigre community and welcome Vlad back into her life with gusto. 

There must be a villain, of course, and, in this case, it’s a KGB officer determined to eliminate the last possible remnant of the aristocracy.  Finding himself strangely attracted to this woman who pretends to be the lost princess, Jerod Mose plays the conflicted officer with appropriate nastiness and confusion. 

This is a fairy tale production full of adventure, wrapped around a mystery, and embracing a love story.  Another instance in which the Candlelight production brings heart and joy to their audiences. 

A WOW factor of 9!! 

ROCK OF AGES – Written by Chris D’Arienzo; Music by Rockers of the 80’s; Directed and Choreographed by Kelly Van Oosbree; Music Direction by Tanner Kelly.  Produced by Veritas Productions (Presented by Parker Arts, 20000 Pikes Peak Avenue, Parker) through July 20.  Tickets available at 303-805-6800 or ParkerArts.org. 

There are at least three kinds of juke box musicals – first, those that unabashedly celebrate the music of a particular group or artist (a la SIDE BY SIDE BY SONDHEIM or MY WAY, honoring the music of Frank Sinatra).  The next group celebrates the music and life of the music makers (as in JERSEY BOYS or ALWAYS, PATSY CLINE).  Then there is the genre that pastes the music of an artist into a free-standing created story like MAMA MIA or ESCAPE TO  MARGARITAVILLE.  ROCK OF AGES fits into this final category with great success. It makes no bones about what it is – a total homage to the hard-rocking musicians of the ’80s.  It features music from Journey, Poison, Van Halen, and Twisted Sister, among dozens of other hair bands. 

The lightweight story combines the clubs of the era, the fashions of the day, the energetic and raucous dance styles that had evolved, and the evolution of attitude.  The hard rock songs feature repetitive, rhythmic, distorted, blues-based riffs and guitar solos, often deploying feedback to create a heavy feel to the music.  They often celebrate freedom, partying, beautiful partners, sex, and the singer’s appreciation of all four. 

While the music is more important than the story in an homage musical such as this, we still need to have a bit of a story to hang the music on.  A pretty girl travels to LA in search of fame and fortune and meets a nice guy with the same dream.  Despite her innocent dreams, she ends up temporarily as a stripper in a dance club, and he has to unplug a lot of toilets before he gets to sing on the stage in a different club.  Along the way, we meet both bar owners, the manager of the Bourbon Club, the mayor of LA, the villainous German father and son duo who want to level the bars to build a shopping mall, and assorted dancers and guitar players.  All having a lot of fun and making a lot of theatre. 

But a musical performed in the 2020s that looks back fondly on that era can’t help but make gentle fun of itself at the same time.  No holding back here.  The script breaks the 4th wall continuously, engaging and flirting with the audience members; it honors its own theatricality by reminding the actors that they are, after all, only actors telling a story; it features no holds barred costumes and wigs; and it celebrates the famous LA music club Whisky A-Go-Go and clubs like it. 

Congrats go to Shelby Varra, who filled in for the temporarily sidelined Kayleigh Bernier.  Had it not been announced that the cover for the lead role was performing, no one in the audience would have known.  She was confident, polished, and professional.  Knocked it out of the park.  To their credit, the other ensemble dancers (Alex Jacobsen, Heather McClain, Logan Travers, Pierre Andre’ McNair, and Trevor Targowski) covered the loss of their 7th partner in dance very well.  Additionally, the one-named actress Thurzday had a nice turn as the sexy owner of the strip club.  Shannon Foley had a fun time playing a belligerent protester. 

Among the men, you’ll enjoy Nick Madson as the manager of the Bourbon Club for his enthusiastic interaction with the audience, his gentle self-mocking acceptance of the silliness of the script, and his energetic attack on the music.  Carter Edward Smith plays Dennis, the flower power hold-out owner of the bar, Cole Emarine’s comic relief as the over-the-top German son who is NOT gay; Charlie Schmidt as his overpowering father, and Ben Kaan as the born-to-be-a-rocker newbie who learns in the school of hard knocks. 

This is yet another imaginatively staged, expertly choreographed, and thoughtfully directed production by Kelly Van Oosbree.  There didn’t seem to be as much room in this script for the ultra-creative touches that generally adorn a KVO show.  The addition of Tanner Kelly as music director and Trint Hines as conductor guarantees a strong music background, necessary in a heavily scored piece like ROA.  The set by Brian Mallgrave placed us solidly in the heart of LA, inside the music scene.  Nikki Harrison’s nearly too-bare-to-wear costumes were sexy and fun.  Pay particular attention to the chain link dress in the second act.  Brilliant!! 

With an almost guest artist status, local actor Joshua Bess returns to Denver to play Bad Boy Rock Star Stacee Jaxx.  Based on Poison lead singer Bret Michaels, Josh makes the most of his role as the celebrity rocker who woo’s and shoo’s all the females on stage.  Josh has been touring internationally in several shows and returned to work with his favorite director again before heading off to St. Louis to star in DEAR EVAN HANSON there. 

This is a musical for all those born in the 50s and 60s who grew up with this music.  You will achieve nirvana without the drugs!! 

A WOW factor of 8.5!! 

THE TEMPEST – Written by William Shakespeare; Directed by Kevin Rich.  Produced by the Colorado Shakespeare Festival (CU campus, Roe Green Theatre, Boulder) through August 10th.  Tickets available at 303-492-8008 or CUpresents@colorado.edu. 

Dramaturg Amanda Giguere uncovers a fantastical, yet authentic, tale of the probable origins of the storyline for THE TEMPEST. It involves a large fleet of ships departing from England in 1609 with supplies for the colonies in Jamestown.  However, one of the ships became lost during a huge “tempest” at sea, drifted for days, finally coming upon what is probably now Bermuda.  They found naturally growing food, a temperate climate, and set to work rebuilding their ship.  Sound a little familiar? Their story of hardship and survival made its way back to England into the mind of Shakespeare, who uses it to tell a tale of revenge using magic and heart. 

Director Kevin Rich has created both a realistic depiction of the dangers of sea travel, the struggle for survival, the wonder of first love, and the humor of human foibles.  He has found the darkness of disappointment and the need for recompence while maintaining the possibility of reunion and forgiveness. “Thou shalt be free as mountain winds; but then exactly do all points of my command.”  

Roll in an endearing love story as Miranda (Madison Taylor) sees Ferdinand (Jordan Pettis) for the first time – “How beauteous mankind is! O brave new world, that has such people in’t!”  

And, best of all, plumbs the depths of the humor as the fallen sailors, Trinculo and Stephano (Matt Zambrano and Sean Scrutchins), encounter the “monster” Caliban (Karen Slack) for the first time. “Be not afeard; the isle is full of noises, sounds, and sweet airs, that give delight and hurt not.” He has staged this scene of discovery to highlight the common sense of Caliban juxtaposed against the drunken belligerent behavior of the supposed more civilized Englishmen sailors.   All three actors make the most of their scenes together which brings a smile of anticipation to the audience when they show up on stage again.  Ms. Slack is a bold (in some sense) choice for the role of Caliban who is often portrayed as a dirty animal-like creature.  Not so bold in the sense that she brings a clever and conniving Caliban to life with her ability to do “sly.”  Her partners in this frivolity, Mr. Zambrano and Mr. Scrutchins are up to the challenge of sorting out what this creature is and how they can use it, in spite of their inebriated state. 

Prospera (Ellen McLaughlin) speaks to her sprite Ariel that “I have required some heavenly music, which even now I do.” In this case the heavenly music was composed and performed by Jordan Coughtry in his role as Ariel.  This addition to the production introduces action, sets the mood for both endearing and amusing scenes, and accompanies scenes both quiet and rowdy.  A great enhancement overall. 

Ms. McLaughlin gives maturity and gravitas to her role as the abandoned and betrayed ruler of Milan who practices magic she has learned from her salvaged books.  Depictions of this control of not only the human heart, but the weather and physical manifestation of the island are subtle, but meaningful.  Her personal decisions toward those she has “kidnapped” are painfully accomplished but positive, changing her posture and demeanor. 

The set, designed by Matthew Crane and lit by Katie Gruenhagen, suggests both the uninhabited island and the broken ships which brought creatures to land. The costumes designed by Sarah Zinn are authentic to the period when appropriate and magical in nature when not.  As in the tie-dyed garb of Ariel and his fellow spirits.  The use of puppets to illustrate the history of the situation is also an interesting concept devised, no doubt, by Director Rich and the Puppet Designer Myra Su.  All in all, a team effort that has resulted in a luxurious production. 

A WOW factor of 8.5!! 

SOMETHING’S ROTTEN – Music and Lyrics by Karey and Wayne Kirkpatrick; Book by Karey Kirkpatrick and John O’Farrell.  Directed and Musical Direction by Tanner Kelly; Choreographed by Heather Westenskow.  Produced by Stagedoor Theatre (25797 Conifer Road, Conifer) through June 29.  Tickets available at 303-838-0809 or StagedoorTheatre.org. 

Some families play sports together or cook as a family or just binge the same movies in the evening.  The Kirkpatrick family writes musicals together.  Starting over a family holiday as a joke, a “what if” scenario became an on-going and growing Idea for a real life musical. Not a total random pairing since Karey made his living as a screenwriter for Disney and Wayne was a composer with songs that were covered by nearly every country singer in Nashville. After playing with the script and complicated lyrics for nearly fifteen years, they finally got serious and buckled down in 2010.  By  2015, they were nominated for nine Tony’s.  And that’s how that fairy tale ends. 

Ends except for the people who now get to enjoy the fruits of the brother’s efforts.   Which includes knowledgeable people along the front range.  The small theatre in Conifer continues to roll out excellent productions month after month, many of them under the guidance of Tanner Kelly whose soft, sweet touch with a script never fails to delight.  He captures every bit of the humor, honors the talent of his actors, and finds the heart of the story. He is ably assisted in these efforts by master choreographer Heather Westenskow. Her skill is revealed in creating structurally sound dance pictures, teaching the ensemble to enjoy the dances, and finding the fun in the music with new interpretations.  If you want an example of the sterling work by these two, watch the opening number “Welcome to the Renaissance” or the overwhelmingly complicated lyrics and dance patterns of “Make an Omelette” which gives respect to and references every Broadway show ever done. 

It doesn’t hurt that they have a cast that understands the jokes and rejoices in being able to bring this homage to Broadway musicals to life.  Nick and Nigel Bottom are searching for the next big thing to put them ahead of Shakespeare back in 1600 England.  In a trance of mystical magic, a seer predicts it will be adding music to the story-telling and off they go.  Just one little misconception – in trying to tell them the name of “the next big thing,” Nostradamus comes up with “Omelette” (as opposed to HAMLET) as the name of the sure success.  This sets Nick on a wavering path to failure.  But along the way, we are treated to musical numbers lauding the arrogant Bard and a love match for Nigel.  Bea, Nick’s wife, dresses as a man to take jobs for money to keep the family afloat.  The whole theatrical community is chastised by the Puritan Brother Jeremiah.  The plot is perfectly illustrated by the music and the skill of the ensemble of actors. 

The brothers Sean Davis and Andy Roy carry the twin plots of the story with ease.  Their brotherly differences are authentic without causing long-lasting dissension in the family.  Nikki Salinas is the third member of the family group as Bea, Nick’s loving wife.  She proclaims herself with her beautiful voice as their “Right Hand Man.”   

Of course, the Man himself complains that “It’s Hard to be the Bard,” between writing plays and being a star.  Jason Rexx makes the most of this show-stopping number and revels in the fun of performing as Shakespeare.  Even Brother Jeremiah’s daughter Portia, while she’s falling in love with Nigel, still swoons over Will.  Portia and Nigel’s mutual love of poetry unites them in “I Love the Way.” 

Moving the plot along are Scotty Shaffer as Thomas Nostradamus (the original’s nephew), Stephen Sbanotto who makes funny as Brother Jeremiah; and Jessica Sotwick as Shylock, the Jewish investor in the Bottom musical in return for having a character named after her. 

As usual, the tech crew at Stagedoor designs simple but amazingly effective sets and accompaniment to the production.  Biz Schaugaard and Dean Arinotes have come up with another singular set that fulfills the needs of the production without calling for a lot of complicated changes.  The costumes curated by Jennifer Middleton keep us solidly in the Renaissance with everything from black leathers for Shakespeare, modest black garb for the Puritans, and Ren dress for the dancers. 

It may be hard being the Bard, but the crew at Stagedoor make doing theatre look easy. 

A WOW factor of 8.75!!