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JULIUS CAESAR – Written by William Shakespeare; Directed by Shelly Gaza. Produced by Colorado Shakespeare Festival (Presented at the Roe Green Theatre, CU campus, Boulder) through August 2nd. Tickets available at 303-492-8008 or https://cupresents.org/shakespeare-festival

One year, my boss at the Denver Center, being an enlightened individual and knowing of my deep love for theatre, instead of taking me out to lunch for Secretary Week, bought me a season ticket for the Colorado Shakespeare Festival as a thank you. Not just any year – the Val Kilmer year – 1988. It wasn’t my first time at the Shakes, but it was the first year I got to experience the whole season. Falling in love with Shakespeare under the stars, I was blessed seven years later with the opportunity to serve as Company Manager for the rest of the 90’s. It was a great pleasure to revisit JULIUS CAESAR this season.

Because of the scope of the story, this script is often staged outside. This year brought it inside, which allowed the interpretation to become similar to the evening news with roaming videographers giving us blow-by-blow live coverage of the bloody scenes and public condemnations. Two large video screens on both sides of the stage – similar to the jumbotrons at concerts – followed the action as it happened. The contemporary clothing of the players left no doubt as to the era being portrayed and the intent. While Shakespeare’s groundlings might have been shocked, the boldness of casting female actors in the leading roles of Brutus and Mark Antony gave a modernity to the tale of conspiracy and civil war.

This production moves swiftly through the story, illustrating the ambivalence of the conspirators, the nature of Caesar’s ambition and plans, the warnings given and ignored, and the bloody assassination. Of course, Antony’s famous proclamation of Caesar’s honor is given 5:00 coverage. In remembrance of past performances, what is usually forgotten is the aftermath of the bloody deeds – the civil war that proceeds, the price paid for “saving” Rome from the anticipated tyranny of a conquering hero, and the ignominious deaths of the major conspirators. All is told with the rapid-fire pace of the evening news, making it timely and memorable. The lesson being that no matter how temporarily satisfying a bloody solution to a problem may be, in the long run, it solves little and leads to more discourse.

Caesar, as played by Joe Hilsee in his first season with CSF, brings a solid, mature performance, a man confident but not arrogant. His ghostly return in Act II seems to be asking “Why?” rather than seeking vengeance. It will be fun to see him reprise his role of Caesar in the companion piece FRIENDS, ROMANS, AND COUNTRYMEN later in the season in a (hopefully) more light-hearted manner.

Karen Slack, CSF favorite, as Brutus appears conflicted over the plans for assassination, is almost dragged into the deed against her better judgment. Even hesitating at the final moment. But the deed being done, she assumes responsibility and becomes a powerful leader and spokesperson. Karen Slack can do no wrong in my book. Winning kudos for her turn as Caliban in last year’s TEMPEST, performing multiple roles in the beautiful production of BIRTHDAY CANDLES at Curious earlier this year, playing comedy as well as high drama time after time with thoughtfulness and creativity. As an audience member, you come to expect brilliance and are never disappointed.

Antoinette Robinson is a worthy opponent as Antony, whose oration stirs up civil unrest and dissent. A speech delivered with subtlety and quiet defiance. In the war of words between Brutus and Antony, Antoinette wins that round. She brings an impressive Shakespearean background to her first season with CSF, giving hope for future seasons. She too reprises her role in the later world premiere of FRIENDS, ROMANS, AND COUNTRYMEN.

Most of the actors jump from performing as the senators and conspirators to becoming the plebeians on the street as reporters, assistants to politicians, and rabble rousers. The production uses the whole theatre, with entrances being made from every door, and crowds of people shouting in anger from behind the audience. It places the audience in the middle of the chaos – a highly effective – and slightly frightening – way of recreating a street protest.

The versatile set, creating the grandeur of the Senate, the space for street gatherings and battle scenes, was designed by Kevin Nelson. The street clothing, both business-like and shabby, was curated by Sarah Zinn. Katie Gruenhagen’s bold lighting added creepiness to the arrival of Caesar’s ghost and to the offstage battle scenes. As did Jason Ducat’s sound design, incorporating such diverse elements as opening newscast music and enhancement of the riots.

A WOW factor of 8.5!!

THE BOOK CLUB PLAY – Written by Karen Zacarias; Directed by Brenden Cochran.  Produced by Vintage Theatre (1468 Dayton, Aurora) through July 19.  Tickets available at 303-856-7830 or VintageTheatre.org. 

Put a group of people (friends or not) in front of a camera and ask them to forget it’s there, to “just be yourself,” and you’re asking for trouble.  Especially when they actually do forget it’s there.  This is the promise of the BOOK CLUB PLAY.  A famous director has chosen this particular book club as the prototype for his documentary about the American obsession with book clubs.  A camera is installed in the living room of the host to film their meetings for the next three months.  And off we go! 

Disagreements about the worth of the chosen books, how the books are chosen, personal histories revealed, and a new member with unorthodox views create vivid discussions and lively fun for the audience.  The twists and turns are revelatory as this group of friends discovers they didn’t really know each other as well as they thought.  As I like to say, “chaos ensues!”  This time in front of a camera. 

Director Brendon Cochran has pulled together a diverse and complicated group of actors to carry out this exploration of the “normal” book club.  The group meets in the living room of Ana (pronounced Aaaaah-na) Smith (Katie Medved) and her only slightly interested in books husband, Robert (Joshua Lamb) (“He’s only here for the food”).  Ana is very protective of HER book club, more than a little pompous, but a very discriminating reader.  Her husband, on the other hand, rarely finishes the books, would rather watch a game, but likes the people, so he goes along.  The other founder of the group is college friend William Lee Nothnagel (Marcus Turner in a rare role).  Yes, he is as pretentious as that name.  Those three are old college friends from way back.  William shares Ana’s discriminating tendencies and prefers to read REAL literature, not just books. 

They are joined by Lily Louise Jackson (Shanae Adams) as a work mate of Ana’s and Jennifer McClintock (Min Kyung Kim), another old friend.  They are all quite comfortable in their little patterns.  Everyone has opinions and the discussion of their books, such as Moby Dick and The Age of Innocence. That is, until Jennifer rashly – without getting Ana’s approval – invites a new person to join them one evening.  Alex (Austin Cohen) would be so easy to brush off he and his unorthodox views about books as too radical were it not for the fact that he is a professor of comparative literature at the local college.  A little hard to argue with those credentials.  Between the camera and the enthusiastic participation of Alex, the book club has hit critical mass. 

Every one of these actors brings their A game to this endeavor.  They each have distinctive personalities, evident in the first few minutes of conversation.  They know each other well enough to know when it is OK to argue or defend a point of view or when to submit to Ana’s superior opinion.   They enjoy each other, but at a distance.  Their discomfort or excitement at the arrival of a new participant with no agenda, but who is able to verbalize his experience and knowledge, brings a whole new level to the dynamic of the group.  The revelations that develop as a result of the new energy are startlingly funny, yet human.  You will laugh out loud as this little group comes apart . . . and then back together again. 

As usual, the presentation from Vintage is spot on in terms of setting, costumes, lighting and gentle sound.  An unforgettable night at the theatre. 

A WOW factor of 8.75!! 

MY FAIR LADY – Book and Lyrics by Alan Jay Lerner; Music by Frederick Loewe; Directed by Kelly Van Oosbree.  Produced by Performance Now Theatre Company (Presented at the Lakewood Cultural Center, 470 South Allison Parkway, Lakewood) through June 28.  Tickets available at 303-987-7845 or Lakewoodco.gov. 

C’mon now.  Admit it.  You get an invitation to see something like FIDDLER ON THE ROOF or SOUND OF MUSIC . . . . or MY FAIR LADY, and you think, “Oh, that ol’ thing.  I’ve seen it before.”  But then you go and suddenly, that gorgeous overture starts and you’re swept up into the story and the music and the costumes and the fun of the story.  And you’re so glad  you came.  These guys like Lerner and Loewe knew how to write music and tell a story.  I’m so glad I went. 

You all know the story.  I don’t have to remind you about Professor Higgins and his linguistic experiment with a flower-seller named Eliza.  How he taught her to speak and (almost) behave in a proper society.  How a special relationship developed.  Happy ending.   

So, let’s talk about what a good job Kelly Van Oosbree and her talented cast did in bringing this glorious tale back to life.  If you’re read my descriptions of previous Van Oosbree productions, you know how I salivate over the beautiful stage pictures she presents, how she uses light to create drama, how she moves her cast around in totally logical fashion, how she integrates dance into the story, how she accumulates people who want to work with her over and over, and how she creates a fan club of audience members (myself included) who will go to see anything she directs with complete confidence. 

One of those actors who works with Kelly often is Bill Diggle who just jumped from being Benedick in MUCH ADO at Platte Valley Theatre Arts (another production directed by Kelly) to Professor Higgins.  He gaveus the funniest, most self-righteously arrogant, oblivious, cultivated, class-aware Higgins you’ve ever seen.  Even at his most uncivil, you can’t help but adore his ambivalence.  He just has no comprehension of his own priggishness.  It’s delicious to see someone so confident in life play someone so confident on stage. 

Charlotte Campbell is a joy to watch evolve as Eliza.  Her fear, her determination, her unsteadiness that turns into confidence, her understanding of her righteous place in the world, her relationship with her father, and her comprehension of what a better life might actually mean.  It all happens so gradually, so naturally; then suddenly, there she is at the Ascot looking like one of the posh.  What a delight!! 

And Lars Preece!!  OMG, as Freddy Eynsford-Hill, he gets to sing “On the Street Where You Live.”  I have NEVER heard that song done so well.  Every woman (no matter how old at a Saturday matinee) wanted to have someone in their life sing that song like that to them.  It was heartbreaking and beautiful.  After that, most of us were rooting for Freddy to win Eliza, rather than the arrogant ol’ Higgins.  But, no, Freddy, bless his heart, was just a little too shallow and needy. 

Another breathtaking performance was given by Jim Hitzke as Alfred Doolittle, Eliza’s Dad. His no-nonsense approach to life won him friends on stage and friends in the audience.  He projected just the right amount of  earthiness, sweetened by an inborn savor faire.  He was everybody’s good father, drinking buddy, favorite flirt, and thoughtful advisor. 

There are too many people in the Ensemble category to name them all – 22 in fact.  There was one large group of people that made up the townspeople; there were at least six as house staff for Higgins; and everybody doubled as posh folk at Ascot and the Ball in Act Two.  Everyone jumped in and out of various costumes with alacrity and charm.  They learned a large variety of dances, movements, lines, and attitudes.  Fine individual work was done by Mary Campbell as Mrs. Higgins (Henry’s mother), Jennifer Harlan as Freddy’s mother; Ashlie Kirkpatrick with a lovely understated performance as Mrs. Pearce (Henry’s house manager), and an unrecognizable Wes Munsil behind a lovely set of facial hair as Colonel Pickering.  In short, everyone on stage knew what they were supposed to be doing each moment they were on stage – even if it was moving furniture efficiently into place. 

Attention must also be given to the beautiful workable pieces of the set designed by Andrew Bates that moved soundlessly into place with ease; the multitude of beautiful period costumes designed by Susan Rahmsdorff-Terry; the before-mentioned brilliant choices of lighting by Brett Maughan; and Audio Engineering by Tom Quinn.

A stunning production – get a ticket if you can!! 

A WOW factor of 9.0!! 

VIOLET – Music by Jeanine Tesori; Lyrics and Book by Brian Crawley; directed by Ben Ranann.  Produced by Aurora Fox Theatre Company and Phamaly Theatre Company (Presented at Aurora Fox Theatre, 9900 East Colfax, Aurora) through June 18.  Tickets available at 303-739-1970 or AuroraFoxArtsCenter.org. 

Violet is an unorthodox musical heroine.  The audience sees glimpses of the young Violet’s life with her father, hints of the accident that left her scarred, and her outspoken and bold approach to life as a young girl.  This attitude followed her into adulthood as she became self-sufficient and hardened by isolation. The scar on her cheek has set her apart and given her an arrogance that carries her through the sorrow of her life. 

When she learns of a “healer” who can make the lame walk, she decides to make the trip to Tulsa, Oklahoma, from her home in North Carolina by bus to seek his healing powers.  Her journey by bus introduces her to two soldiers traveling back to their base.  They both admire her skill at card-playing and accompany her the rest of the way to their destination.  This leads to a superficial romantic relationship.  But determined, she continues her pilgrimage to Tulsa. 

However, upon arrival, her interaction with the healer is realistic but unsatisfying until she realizes a deeper truth about her disfigurement and returns to her soldier friend with a new confidence and understanding. 

Musicals have been built on less.  This one was built on a short story called “The Ugliest Pilgram.” Composer Tesori has had an incredibly successful career, including scores composed for such successful productions as THOROUGHLY MODERN MILLIE, SHREK, and FUN HOME.  This script’s success is built around rooting for Violet to make her dreams come true.  There seems to be no song that jumps out and winds its tendrils around your heart, unlike the three shows of hers mentioned above.  The closest would be “Raise Me Up,” introduced by the Healer’s choir and reprised as Violet pleads with him for a miracle. 

The script has a lot of humor built on the down-home sensibilities of these Southern characters, on the situations they find themselves in, on the blunt personality of Violet herself who doesn’t suffer fools, and on the interplay between the three main characters.  There is a lot to offer in this production.  Both the young Violet, played by Meika Qutub, who at 14 has a considerable resume built up and holds the promise of an incredible career, and Katelyn Kendrick, who played the older Violet with confidence and compassion, are incredible singers.  They shared the same twinkle in the eye in tackling this grounded but whimsical story.  The audience loves them. 

The supporting characters filled their parts of the story with grace.  Erik Sandvold as the Preacher gave him a compassion and kindness that was not necessarily written into the script but is inherent in Erik’s own personality.  The bus passengers did double duty as the church choir and slid back and forth easily.  Such a joy to see Joannie Brosseau-Rubald back on stage and Anna Maria High in the kind of role she was born to play.  They were joined by Charlotte Gray, Garbriel Hannah Smothers, Brian Watson, and Alexis Webb in filling in the people on Violet’s journey.   

Long-time Phamaly performer Trent Schindele gave a poignant performance as Father who caused the accident that scarred his daughter and mourned it the rest of his life.  He was loving, tender, and tough with her, knowing he was not going to be around for her whole life.  While I enjoyed the comedy brought by both of the soldiers, Rakeem Lawrence as the sweet and thoughtful Flick, and Adam Johnson as the flirty, full-of-himself Monty, their ability to carry the difficult music was limited.  

I have such vast admiration for the professionalism of the Aurora Fox productions and the joy and talent that Phamaly brings to all their shows.  Yet, somehow, I came away ambivalent about this production.  For me, something just didn’t land the way it should have to raise it up. But – and this is a big But – so much of anyone’s enjoyment of ANY production depends on what they personally bring to the table.  In this case, I think it was my table that was asking too much.  The audience around me seemed to be enjoying the afternoon immensely.  Please –  see this show yourself and tell me that I don’t know what I’m talking about. 

A WOW factor of 8.50!! 

TWELFTH NIGHT – Written by William Shakespeare; Directed by Kevin Rich.   Produced by the Colorado Shakespeare Festival (presented at the Mary Rippon Theatre, University of Colorado Campus, Boulder) through August 2nd in repertory.  Tickets available at 303-492-8008 or CUpresents@Colorado.edu. 

How nice it is to return to Colorado Shakes the way we have always enjoyed it – under the stars at the Mary Rippon Theatre.  A newly opened and improved outdoor theatre, I might say.  Although the theatre looks pretty much the same, just cleaned up and a little shiny.  Two great big, beautiful light columns placed at the back of the house shed a whole new light on the surroundings.  The audience still sits on the stone benches, but there are now accommodations for handicapped seating in the front rows that weren’t there before.  Somehow, the wing space on both sides of the seating seems larger. 

But the biggest changes are inside the building that surrounds the theatre.  Several classrooms and offices have been removed to make room for a beautiful lobby inside the building that houses concession and merchandise stands now in an indoor space.  What a great idea!  The old wooden shacks that used to be the outside stands are gone and replaced by lovely, paved courtyards on both sides of the new lobby. In other words, you needn’t be upset thinking that the Rip is going to look different.  All the dramatic changes are indoors. 

TWELFTH NIGHT proved a fitting initiation to the new backstage changes as it flows easily from scene to scene on the giant stage (Is it a little closer to the audience?).  For this production, we have a grand and gracious circular facade of an Edwardian mansion.  As nearly everyone in this script is a semi-royal, it is fitting that they have this elegant place in which to perform.  The costumes too reflect the status of the players – even Malvolio’s “cross-gartered yellow stockings” look elegant. 

If you attend often, you come to expect a certain level of quality on these stages of the Shakes.  They rarely disappoint.  This production as well meets and exceeds what you may expect from this professional company.  Meg Rodgers’ Viola is convincing as both a bewildered but determined woman and a cute guy caught in a sticky situation.  Her counterpoint, Nisi Sturgis as Olivia, moves with elegance and certainty of her place in the world, brushing off suitors but losing her cool over the disguised Cesario. Brandon Carter, as the ignored Duke Orsino, can’t figure out “what’s wrong with this woman?”  Isn’t he everything a woman is looking for? But why does this young Cesario look so good to me? The gender-bending aspect of the script and misplaced romances always liven up the evening.   

But the greater part of the humor comes from the gaggle of servants who group to bring down one of their own.  Sir Toby Belch (Matthew Schneck), Sir Andrew Aguecheek (Sean Scrutchins in a funny wig), and Maria (Tara Falk) are all the hangers-on in Olivia’s court.  Seemingly slighted by the arrogance of Malvolio (Brik Berkes), the trio pranks him with a counterfeit “missive” from Olivia, whom he secretly covets.  While it is funny to see him brought down, he becomes so pitiful that you can’t help feeling sorry for him.  I love Shakespeare’s “peek-a-boo” scenes where someone on stage is “overhearing” a conversation that the speakers actually want to be heard.   

This is a delightful way to start the summer with three shows yet coming.  Come join the players for two delightful outings under the stars – TWELFTH NIGHT and SHAKESPEARE’S IN LOVE – with two equally well-done performances at the inside Roe Green theatre  – JULIUS CEASAR and the new FRIENDS, ROMANS, AND COUNTRYMEN.

A WOW factor of 8.75!!  

                                                                                                                                       

DISASTER – Written by Jack Plotnick and Seth Rudetsky; Directed and Music Direction by Tanner Kelly; Choreography by Heather Westenskow. Produced by StageDoor Theatre Company (25797 Conifer Road, Conifer) through June 28. Tickets available at 303-838-0809 or StageDoorTheatre.org..

I will start off by saying, “You HAVE to make a DISASTER plan.” Not that Conifer has anything to worry about . . . . except that their theatre building might be in danger from the shaking caused by the laughter that will be coming out of the building for the next month. Unequivocally, I can say that this is the funniest show I’ve seen since the first time I saw NOISES OFF – but this show has music. And what music!! This is the way jukebox musicals should be written – making the music part of the joke. For instance, the show starts with a rousing all-crew ensemble singing “Hot Stuff” with three or four illustrations of what ‘hot stuff’ might mean to different characters. Later on, when a group of characters is trying to locate missing passengers, they literally “Knock Three Times” on walls and the floors to determine where they are.

My enthusiasm for this wacky piece is scattering my thoughts. I can’t wait to tell you about this or that crazy thing this cast came up with to show you the next new disaster. But let’s start with a bit of the story. A floating casino (The Barracuda) is having their opening night ceremony when it is discovered that they have built their mooring pier over a fault line that could blow at any time, sinking the boat and everyone on it. The remaining evening is spent working up to the impending disaster, the rapid-fire solution to various emergencies that develop (piranha’s, explosions, addictions, broken romances rekindled, missing people, earthquakes, a lost dog, and on and on . . . and on).

But watching this particular crew of characters move through this disaster shit storm with compassion for their fellow passengers, with an everlasting hope for survival, with faith in a new and better future, with a sense of humor . . . makes it all worthwhile. Comic solutions such as tap dancing in Morse Code, swimming through shark-infested waters, and crawling through a portal in the bottom of the boat (now sticking out of the water because the boat is upside-down) (and wait till you see how they turn the boat upside down!!!) proves the inventiveness of the cast and crew who made all of these situations plausible but silly at the same time.

The genius of the writing and the gift of this cast is that you “know” all these people from the moment they step on the stage. By the way they each approach their role, how they are dressed, how they treat the people they are meeting for the first time, you know their stories immediately. And you care. You want Jackie to find a man to marry her and take care of her two adorable children, Ben and Lisa. You know who the bad guy, Casino Owner Tony, is, and you want him to get his comeuppance in the end. You want Sister Mary to get on board and sell her raffle tickets for the orphans – and stay away from the slot machines (“Torn Between Two Lovers”). You want Maury and Shirley Winters (see what they did there!) to have a wonderful anniversary and survive the ultimate destruction. Each of the main characters and the ensemble dancers have specific moments when they provide an answer or become heroic or show kindness to one another. So, you care what happens to them. A disaster musical with heart. Who woulda thunk it?

But all of this would have been impossible without the group of people gathered by director Tanner Kelly to bring this story to life. Tanner’s ability to move people in a constructive, illustrative manner is unmatched. He gets the best performances from his cast members because of his gift for casting and his artistic partnership with Heather Westenkow, his choreographer. If you lived through the 70’s, the era of the music used in the show, you will recognize the dance moves. It’s how “we” (us old fogies) used to dance – only they did it better. Heather has the gift of taking relatively simple steps and making them look slick, polished, and professional. This cast was up for it with their Bandstand and Soul Train moves.

On top of everything else, this is a cast with voices. Everyone gets a song or three and knocks them consistently to the ceiling. Seeing Jennifer Burnett and Brian Trampler singing and dancing to “You’re Still the One” is to be desired. Watching Thurzday rock out in multiple scenes stops the show each time. The beautiful voices of the male leads, Andy Ray and Gavin Juckette, in multiple musical renditions was lovely (“Feelings” was my favorite!); the magnificent singing of the female leads (Brekken Baker and Cooper Rae) was breathtaking; Cooper Kaminsky as Tony, the bad guy, wasn’t SO bad that you couldn’t laugh at his villainy; Isabelle Duran as a wise and worldly nun cracked me up. Everyone in the total ensemble got a chance to shine – and shine they did!

I have to give special kudos to an actress who did double-duty in this little romp. Sarah Holmes is a wonder to behold playing both twins in a family, Ben and Lisa. Changing hats and voices allowed her to convincingly become two people right in front of you. Watch for the scene behind the casino table and be amazed.

Not only the cast, but the crew too, went above and beyond to provide a workable set for this demanding show, great sound effects that created more than one disaster, and the lighting kept us in the dark as much as in the light to great effect. OMG, the costumes!! These poor people get totally beaten up as the show goes on, and so do their costumes. What incredible work went into making all the disasters realistic and hysterical.

Have you gotten the picture yet? There are too many good shows being done in Colorado right now to take the time to see a show twice. But I’m going to go to this one again and bring a bunch of people with me. Wanna go???

A WOW factor of 10!!

AIN’T NOTHING BUT THE BLUES – Written by Charles Bevel, Lita Gaithers, Randal Myler, Ron Taylor and Dan Wheetman; Directed by Johnathan Underwood. Produced by Vintage Theatre Productions (Presented at 1468 Dayton Street, Aurora) through June 21. Tickets available at 303-856-7830 or VintageTheatre.org.

The gaggle of writers and performers who originated this show came together at the Denver Center in 1994. Ron Taylor, who had performed in another of Randy Myler’s concert-type shows, LOST HIGHWAY, which featured the life and music of Hank Williams, was voicing Audrey II in a Denver Center production of LITTLE SHOP OF HORRORS. Ron had made his mark with that show, performing it more than 2000 times from backstage on Broadway. He suggested a montage-style historical musical about the blues to Director Myler, which caught fire. They drew in Blues musician Mississippi Charles Bevel and singer Lita Gaithers for their expertise and Danny Wheetman, a member of John Denver’s old band, and set to it. The result was a 45-minute revue that toured high schools first, then received an expanded two-hour production at the Denver Center. A series of other performances took it all the way to Broadway, where it was nominated for multiple Tonys. Randy and Danny went on to collaborate on additional scripts highlighting the music of Janis Joplin, Mark Twain’s RIVER OF FIRE, which explored the music of Twain’s era, and others. Both are still working today, with Myler having just directed a reading of a new script by Joy Behar. The singers all went on to have long-lived and active careers as performers.

The script that came out of that collaboration, beginning in Denver, has been performed all over the country. And has now made it back to Vintage Theatre for a rousing version directed by Johnathan Underwood and performed by a talented cast of eight. The original production featured 41 songs; the Vintage version has pared this down to 29 with one reprise. But they are 29 of the best, tracing the roots of the Blues from its African origins through songs of the enslaved all the way to 20th-century country music and rock ‘n’ roll. Comic songs such as “Wang Dang Doodle” and “I’m Your Hoochie Coochie Man” bring humor to the evening. “Crossroad Blues” honors the legacy of Robert Johnson, father of the Delta Blues. Z.Z. Hill‘s last album brought us “I’m a Blues Man,” while W. C. Handy’s “St Louis Blues” has been covered by every singer and inducted into the Grammy Hall of Fame twice. “Someone Else is Steppin’ In” warns that while you are stepping out, your lady ain’t wasting her time. The evening would not be complete without a rendition of “Strange Fruit” made famous by Billie Holiday and honored as the song that started the civil rights movement.

All of this amazing music that dips into both a mournful and a joyful past is brought to us by this cast of amazing singers: Chrisnel Akele, Atlas Drake, Kenya Mahogany Fashaw, Daja McLeod, Jozeph Mykaels, Liyah V. Patrick, CJ Swain, and Myles Wright. Each brings a special gift to their solos and the ensemble work that brings them all together. Directed by Underwood to both honor the music and heritage represented as well as provide an encyclopedic history of this American musical legacy.

A simple but effective set is adorned with remnants of the respective eras with hand props, musical instruments, and costume pieces used during the songs. Costumes that identified the era were provided by Jordan Hull. Effective lighting highlighted the solos and enhanced the ensemble numbers. You won’t be sorry to give the night to this educational and enjoyable evening.

A WOW factor of 8.5!!

THIS IS THE DAY 91 – Written and Directed by the Buntport Theatre Company. Produced by the Buntport Theatre Company (presented at 717 Lipan, Denver) through June 14. Tickets available at 720-946-1388 or Buntport.com.

Watching a Buntport show is like listening to a symphony. There are the major themes that outline the story . . . . but then in-between those signposts of storytelling, there is an onslaught of grace notes, jazz riffs, head-banging shock, and occasionally, a thoughtful pause or two. Then back to the symphonic parts, and you start all over again. You eventually get the whole story (more or less), but the tangents that get thrown into the mix are often educational or pointless or silly . . . or all three.

The basic story of this new adventure – THIS IS THE DAY 91 (never did figure out what the title had to do with the story) – is about three grown friends who are seeking to replicate an event from their teen years that won them an extraordinary honor. They have had a duplicate of a teenage bedroom constructed (complete with a hallway); they have found appropriate clothing from the era; they have rehearsed their dialogue from before, during, and after the event; they have the timer ready. But they have to wait until the exact time is right to start. It is the back and forth, the memories revealed, the uncertainty of the worth of their efforts, and the depth of the connections between the three now-grown friends that create those grace notes – those jazz riffs. There’s no point in even trying to describe the chaos and gut-busting comedy of the situation. It has to be seen and heard to be believed.

Erin Rollman and Hannah Duggan are the pseudo-teenage motivators behind this reconstruction. Brian Colonna is their somewhat stunned but enthusiastic co-conspirator. There is a long build-up to this mysterious event that is way too much fun to watch than to worry about “when are they going to get to it?” Trust me, folks, it’s worth the wait.

Brian, in a recent interview, when asked about the group’s achievements, reported that he was drawn to moments of magic. “When the unexpected happens and it’s truly transporting . . . for the audience.” Well, something totally unexpected happened near the end of this chaotic evening that left the audience shocked and stunned . . . . in a good way. Even for the innovative and creative playmakers of this troupe, this was a masterful finale to the always brilliant work of the babes of Buntport. I think it’s safe to say that nothing ever happens by accident on the set of one of their shows.

I can’t leave out the work of the silent fourth in this little sonata. SamAnTha Schmitz brings her own brand of magic to the table by providing the innovative bass notes to the evening. It is she who masterminds the accompanying sound effects, musical background, enlightening lighting and crazy-ass special effects. I can’t say the shows would be flat without her magic, but I can say they are a lot more visually and aurally stimulating because of her.

If there is anyone in the theatre-going citizens of Denver and surrounds that has yet to discover Buntport, what the hell are you waiting for???

A WOW factor of 9.5!!

SOMEWHERE – Written by Matthew Lopez; Directed by Laurie Woolery. Produced by the Denver Center for the Performing Arts Theatre Company (Presented in the Kilstrom Theatre at the Denver Center) through May 31. Tickets available at 303-893-4100 or DenverCenter.org.

The lights dim; the opening strains of the familiar music from WEST SIDE STORY fill the theatre. The heartbreaking lyrics enter your head – “There’s a place for us – somewhere a place for us” – and you know you’re in for something special. And, oh, how special it is. The music combined with the presence of a two-story fire escape framing a shabby but well-kept apartment foreshadows the ever-present dreams of a better life – “Hold my hand and I’ll take you there.”

This is the home of the Candelaria family of dancers in pursuit of their own place. Mother Inez, (Adriana Sevan) a dancer, married a musician for whom the lure of the next “gig” overcame his love of family. But the die was cast for their three children. They were destined to pursue their own dreams of success. The oldest, Alejandro (Angel Lozada), had an early role as a child actor in the Broadway version of THE KING AND I, which has encouraged the family to keep trying. Daughter Rebecca (Bella Serrano) shows promise with her natural talent and looks, if she can get through her quiet rebellion against the constant need for classes and practice. The youngest Francisco (Danny Gomez), while displaying grace and ease of movement, wants to be an actor rather than a dancer. His model is Marlon Brando, fresh off his success in ON THE WATERFRONT.

The last member of the family is a “taken in” son, raised by Inez when abandoned by his people. Jamie (Keaton Miller) is the most successful of the dancers, having performed in Broadway shows previously and now serving as Assistant to Jerome Robbins, who is currently casting and training dancers for the film version of WEST SIDE STORY in their neighborhood. Making their dream so close they could touch it and hear it.

If only the noise of demolition weren’t drowning out their inner music. They have received notice that the building they are living in has been condemned and scheduled for demolition to make room for the new and beautiful Lincoln Center. Inez refuses to accept this until the building starts to come down on her head. Not to be thwarted, they move to a slightly worse apartment and carry on with their dreams. The conflict between Alejandro, who has become the breadwinner and the responsible one in the family, and his mother is palpable and intense. This is a woman who would take their food money to keep the dance classes going for her daughter. A combination of Amanda from THE GLASS MENAGERIE and Rose from GYPSY, Inez is relentless in her pursuit of what she perceives as her children’s future.

But there is joy in this family as well. They love each other fiercely and demonstrate it in sweet ways. Setting the table becomes a pas de deux; moving onto the balcony is done with a graceful swing. Music from the record player initiates a group dance. It is easy to forget the difficulty of their lives in those moments of camaraderie that unite them. But the pressure on Jandro reaches a breaking point because of Inez’s recklessness.

This is a group of actor/dancers who have created a family that is real to them. The small gestures of familiarity and routine immediately create the heart of the family. They embody the dance of their lives with grace and determination. Each contributes equally to the success of the family and the production – with little separation between the two. As with all truly successful productions, it would be hard to picture anyone else in these roles.

The choreography of actual dance routines and the way the actors move during normal activity was brilliantly created by Mayte Natalio, the choreographer. The tension and the release is kept tightly in tow by the careful direction of Laurie Woolery. Just when you think all Hell is going to break loose, a joke emerges. The set designed by Efren Delgadillo, Jr., is startling in its mobility and authenticity. Paul James Prendergast created the sound design that underscores many scenes and bursts forth in excitement when there is real dancing to be done.

Matthew Lopez once again proves himself to be one of the most prolific and meaningful playwrights of this century. Denver audiences have enjoyed previous productions of his scripts for THE WHIPPING MAN, THE INHERITANCE, ZOEY’S PERFECT WEDDING, and THE LEGEND OF GEORGIA McBRIDE and look forward to many more. This script is a loving homage to those who toil to earn a place in the world of theatre.

A WOW factor of 9.5!!

SHE KILLS MONSTERS – Written by Qui Nguyen; Directed by Hannah Richards. Produced by Theatre Company of Lafayette (Arapaho Center Theatre, 300 East Simpson, Lafayette) through May 17. Tickets available at tclstage.org.

The Theatre Company of Lafayette performs in an historic building, built in 1892, that served as a church, emergency hospital, library, and theatre. The City of Lafayette has authorized a major renovation project to expand the capabilities, usefulness, and role in the community for this small building. Best to visit it now or forever lose the sense of authenticity and history when you enter. But congratulations to long-time leader of the pack, Madge Montgomery, for being present and open to these improvements. I just hope it doesn’t dampen the charm of going to the theatre in Lafayette.

The basic storyline of this show is based on the desire of Agnes (Rachel Ward), a young adult who has lost her high school-aged sister Tilly (Jo Niederhoff) to a car accident. She realizes she knew very little about her sister’s life . . . until she finds her Dungeons and Dragons playbook. Still not knowing what it all meant, she enlists a friend of Tilly’s to explain it to her. Chuck, the Dungeon Master (Tim Inthavong), does so by dragging her into Tilly’s fantasy world in which she was a Paladin (“a knight renowned for heroism”) admired by the other players. The other characters are either friends of Tilly’s, including her girlfriend, Lilith (Hannah Stewart), or foes based on the bullies in her high school. What follows is a romp through the highly regulated but robust journey into Tilly’s inner life. Agnes is overwhelmed by what she discovers and finds herself fighting monsters beside her sister. Even Agnes’ totally normal boyfriend, Miles (Jeff Paley), gets dragged into the game and turned into a Jello mold.

The logic of the script is faulty, the story jumps back and forth, and the characters change rapidly from good to bad and back again. It’s always been truly confusing to non-fantasy lovers. But I must say, because of TCL’s small stage and choice not to make this into a spectacle with a huge set, it was much easier to follow the story as it wound from the real world to the Middle-earth-like world of Tilly’s imagination. Dungeon Master Chuck, with his book of rules and barked-out commands, helped us place ourselves in the correct setting consistently.

Technically, it’s a tough show for a small theatre to take on. But TCL came up with solutions to the problems of presentation that didn’t detract from the basic story and yet occasionally provided an amusing jaunt into the whimsical. It outlined the problems for young people coming to grips with changing sexual modes and personal choices. This production made clear the ultimate bond between sisters and provided a satisfying conclusion to the tale.

I’m also very pleased to see that the theatre companies in Boulder County are banding together to encourage cross-marketing. The program encourages attendance at Longmont Theatre Company’s production of ONCE UPON A MATTRESS, Coal Creek Theatre Company’s A FOX ON THE FAIRWAY, and Upstart Crow’s TARTUFFE. If you like the work of one small theatre, it’s quite likely you will enjoy attending the other small theatres in the neighborhood. Good for all of youl!!

A WOW factor of 8.25!!