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NATIONAL BOHEMIANS – Written by Luke Sorge; Directed by Warren Sherrill.  Produced by Miners Alley Performing Arts Center (1100 Miners Alley, Golden) through April 28th.  Tickets available at 303-935-3094 or minersalley.com. 

I generally start off talking about the story or the actors.  Even though this was an interesting story and the actors are terrific, the absolute superstars of this production are John Hauser, Sound Designer; Vance McKenzie, Lighting Designer; and Xander Claypool, who designed the set and made the lightning work.  The evening starts with a gusty wind blowing outside a garage loaded with junk.  While I’m at it, let me add Samantha Piel to that list of superstars.  She dressed that junky ol’ garage to the point that you could almost smell the oil spills on the floor and believe that everything had a greasy coat of dust on it.  The minifridge was filled with the exact number of National Bohemian (Natty Boh’s) beer, the brew of choice back East in Baltimore. 

Back to the storm.  First gusty winds blew the door out of people’s hands.  It gradually heightened in noise and velocity into a wind and rainstorm with lightning and thunder.  By Act II, it was a full-blown hurricane with horrible flashes of lightning, thunder that shook the building (literally), high velocity winds, and rain drenching the actors when they ran for the house outside.  Thunderclaps that made you jump in your seat.  Lightning flashing through the windows made you cringe.  It was not just a good storm; it was THE most realistic storm I’ve ever experienced in a theatre.  Kudos to all who had a part in making it happen.  And making it quit! 

This is one important part of the evening.  Another was the raucous but loving family drama playing out on the stage.  The oldest brother in a family of three, John (Tim Fishbaugh) has brought their mother home from her nursing home to “relieve her of her pain.”  He has been the closest to her geographically and has been taking care of her for some time.  The middle brother Thom (Len Matheo – who we don’t see on stage nearly enough) and the younger brother, Oscar (Steven Burge – who is also returning to the stage after too long an absence) hear of his actions and speed to their mother’s “rescue” with outrage at what he has done.  As the evening progresses, motives are discovered, personalities revealed, memories revisited, and unspoken reasons and plans uncovered.  A fourth character arrives – Thom’s estranged daughter Liah (Jenna Moll Reyes), who has her own bone to pick with all three of them.  A fifth unseen character is the mother – affectionally known as Boo Bird – whose voice comes querulously through the baby monitor.  During quiet moments, John often walks over and listens to his mother’s silence, as though expecting something to happen. 

There are surprising twists and turns to the story which create an unexpected conclusion – that it was a little hard to accept.  But no spoilers here!  You can render your own opinion in the comments after you’ve seen it. Luke has left unanswered questions for a sequel, I hope. The bottom line, however, is that you have to see it.  Come for the storm; stay for the story!

 

A WOW factor of 8.75!! 

ONCE – Book by Edna Walsh; Music and Lyrics by Glen Hansard and Marketa Irglova; Directed by Carrie Colton; Music Direction by AbdulKarim Islam; Choreography by Carrie Bolton.  Produced by Town Hall Arts Center (2450 Main Street, Littleton) through April 27.  Tickets available at 303-794-2787 or townhallartscenter.org. 

If I told you that I could take you to a play that was as sturdy as a shillelagh, as tasty as colcannon, as lyrical as a Friday night in Paddy’s Bar, and as rowdy as Saturday night in Paddy’s Bar, wouldn’t you want to go?  Well, then, be taking yourself down to the local on the stage in the luvly Town Hall Arts Center for a bit of the auld Irish yourself now.  You’ll see a feisty bunch of those actor fellas singing and dancing like they knew what they were doing. Oh, there’s a bit of an almost love story going on as well. 

Seriously, folks, from the moment you walk in and hear the singing and stomping, it takes you home again.  You’re offered a drink and a sit down to enjoy the music.  But then it gets all quiet and the lone feller stands in the middle of the stage and sings a sad sad song, sets his guitar on the floor, and starts to walk away.  You just know his heart is breaking.  But suddenly, there’s this girl and she’s askin’ him what does he think he’s doing.  And they’re off.  The story goes on from there. 

Oh, but it’s luvly.  They sing to each other and bring some other folk into the mix as well.  There’s all kinds of friends hangin’ around, trying to get these two together and makin’ a lot of music in the meantime.  There’s her Mam and his Da and a bunch of good natured foreign folk to play all kinds of instruments.  It’s a fecking wonder how sweet the music is.  There’s this one song that the Guy has wrote about “Falling Slowly.”  I swear it’ll break your heart. 

They’re not really Irish, of course.  I mean, what kind of name is Syracuse?  That’s Andy, the nice lookin’ fella with the broken heart.  His would-be girlfriend (if she weren’t married already) is named Isabella (that could be Irish) Duran (but that isn’t).  Oh, she’s got a luvly voice, she does. The rest of the lot sort of shuffle around on the stage playing all their friends and all.  There was that Drew Bradley who thought he was a bartender but didn’t know how to keep the foam low; there was this Emma Rebecca Maxwell who tried to play a loose woman, but I could tell she had a good heart. They all played half a dozen instruments each – I even saw some flutes and clarinets and such.  What kinda bar is this anyway?? 

But you’ll be truly sorry if you miss the party.  And you’ll be rootin’ for those two kids to figure out what’s important in their lives.  And they kinda do.  But the music goes on. 

I’d be given it a 9 out of 10! Go see fer yourself, now! 

THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE – Music and Lyrics by William Finn; Book by Rachel Sheinkin; Directed by Ben Ranaan; Musical Direction by Trent Hines; Choreography by Claire Hayes.  Produced by Phamaly Theatre Company (Presented by Northglenn Arts, 1 East Memorial Parkway, Northglenn) through April 6.  Tickets available at 303-365-0005 or phamaly.org. 

One of the things you can always count on in a Phamaly production: They will always put a spin on even the most familiar of scripts to change the point of view in charming and creative ways.  In this one, many of the usual difficult words thrown at the spellers were exotic diseases or medical conditions accompanied by hilarious definitions and illustrative sentences.  Either a disease or an unheard-of Australian rodent. 

The whole evening was so much frivolous fun.  Even having seen the show multiple times, one never knows what is going to happen with this bunch.  They danced out into the auditorium in a mock Superman cape; they threw candy at the audience; they made us laugh and cry.  “Laughter through tears – my favorite emotion.” 

The so-called adults on the stage were Amy Stewart playing former Bee winner Rona Lisa Peretti.  Her beautiful voice set the tone for the evening in her first number, reminiscing about her own time in the winner’s spotlight.  Her level head kept the Bee on track – for the most part.  Her partner at the table was the dryly humorous Kurt White as Douglas Panch, the stand-in judge.  His deadpan delivery of the words, derivatives, definitions, and example sentences was one of the funniest parts of the show.  So off-handedly casual and so screamingly funny.  While he was reading the words from a list, everything else he said seemed delightfully extemporaneous. 

The kids in the Bee each had distinct personalities and were there for their own personal reasons.  Cass Dunn plays Logainne Schwartz and Grubenierre, who has two Dads pushing her (a little too hard) to succeed. Eli Schroeder as Barfee who, instead of using his magic foot to spell out a word, used his magic crutch flawlessly.  The sullen Marcy Park who only had a smile for the judges was given goth life by Junelle Gabrielle Flores.  Markus Rodriguez-Intulaksana did a great job as Chip Tolentino with the unfortunate physical difficulty and a crush on Coneybear’s sister.  Sam Barrasso sang her way into everyone’s heart with the “I Love You Song” that illustrated Olive Ostrovsky’s unusual home life. Romy Lopez as Mitch Mahoney, the comfort counselor for the losing contestants, got to hand out juice boxes and hugs with his very own “Prayer.”  Special kudos to Luke Fish who was all over the stage with an over-abundance of energy and enthusiasm as Leaf Coneybear.  His confused innocence and simple joy at being chosen to be there (the two people who should have been there got sick) was so much fun to watch. 

Equally fun to watch was how the spellers started the Bee as competitors but ended up rooting for each other.  The event was sprinkled with references to contemporary life with comments about “group chats” and paper straws.  One of the guest spellers was caught between a rock and a hard place when asked to spell “family,” not knowing whether to go with the traditional spelling or the Phamaly spelling. 

Phamaly shows are always such a treat with their offhand humor and quirky way of looking at the world.  This show is closing this weekend.  But PLEASE do not miss their summer show of PIPPIN at the Denver Center from August 7^th-24^th. 

A WOW factor of 8.5!! 

A GENTLEMEN’S GUIDE TO LOVE AND MURDER – Book and Lyrics by Robert L. Freedman; Music and Lyrics by Steven Lutvak; Directed by Geoffrey Kent; Musical Direction by Alec Steinhorn; Choreography by Grady Soapes.  Produced by the Arvada Center (6901 Wadsworth Boulevard, Arvada) through May 11.  Tickets available at 720-898-7200 or ArvadaCenter.org. 

Geoffrey Kent has been one of my favorite people to watch on stage since URINETOWN at the Denver Water Works a hundred years ago.  Through several seasons of the Shakespeare Festival, the Denver Center, and now, recently becoming a handsome and playful Dracula at the Arvada Center.  He brings honesty to everything he does, to every part, whether large or small.  There is a pixie-like quality to his take on humor and an unforgettable twinkle in his eye.  Now he is imbuing that same whimsy into the plays he directs as well.  He seems to have given his actors permission to enjoy a “look-what-we-are-doing-here!” kind of mentality that encourages the audience to also enjoy this bit of foolishness. 

Much of the foolishness is brought to the stage in this production by Shabazz Green, a New York actor who seems to enjoy coming back to Colorado occasionally.  As the bulk of the D’ysquith family who continuously drop dead on cue, he is cunningly clever in all of his roles.  My personal favorite was the tumble off the tower of the Reverend Lord Ezekial D’ysquith, but they all have a certain deadly charm about them.  You can tell that Shabazz, while slightly out of breath, is also having a hoot. 

This is the story of Monty Navarro (an energetic and handsome Marco Alberto Robinson), who learns of the slights given to his mother who married for love and was shunned by her royal family.  He resolves to right the wrongs done to her by ascending to the highest ranks in her family by any means necessary.  He is already involved romantically with a spoiled actress, Sibella (a stunning Adriene Leigh Robinson), who is determined to achieve security and status by marrying money.  Which leaves poor Monty out of the picture, but still in her arms.  His travels into the D’ysquith family introduce him to Phoebe (the beautiful and talented Katie Jackson), another rich heiress.  But the deeper Monty gets into his plot and in the family, the more complicated his life becomes.  Until he ends up in jail. 

This production keeps the main players and the six-person ensemble hopping as they move quickly from location to location, funeral to funeral.  The set designed by Matthew Crane and greatly enhanced by Topher Blair’s amazing projections (I choked laughing at the blood splatter!) allowed smooth transitions from scene to scene.  What a joy it must be to work at a theatre with talent in every role, on and off the stage.  The costumes designed by Kevin Copenhaver, a long-time designer for the Denver Center, were spectacular and allowed for occasional 30-second quick changes. 

The choreography of one man keeping two women and two doors separated in “I’ve Decided to Marry You” is a gymnastic miracle.  You’ll walk around for days saying you’ve got “the poison in my pocket.”  And marvel at how the playwright finagled a happy ending for everyone.  Almost!! 

There are no flaws!  No shortcuts! Just laugh out loud sight gags, comic improbable situations, and visual and auditory delights. 

A WOW factor of 8.75!! 

DOWNSTATE – Written by Bruce Norris; Directed by Christy Montour-Larson.  Produced by Curious Theatre Company (1080 Acoma, Denver) through April 13.  Tickets available at 303-623-0524 or curioustheatre.org. 

Downstate!  As a born and bred Illini, I know what “downstate” means.  There are two regions in Illinois:  Chicago and Downstate.  A person born in Springfield, Peoria, Champaign, Edwardsville, or anywhere south of the 13 counties that comprise Chicagoland will automatically start a description of their birthplace with “downstate Bement (my home village).”  Depending on who is using the term, it is either said with disdain by those up north who look on downstaters as less, unworthy somehow, or country hicks.  If said by a resident in the lower 89 counties, it will be issued with a pride of accomplishment (after all, we feed a large part of the nation).  Bruce Norris may have grown up in Texas, but he went to college and has had a long successful relationship with Chicago theatres.  He knows what Downstate means intimately. 

And I think it shows in his writing.  His two biggest plays – CLYBOURNE PARK (now playing at the Arvada Center, a Tony, Pulitzer, and Olivier prize-winner) and now DOWNSTATE all involve characters who live in Illinois.  The Younger family and their descendants fight for a house in Chicago.  The men in DOWNSTATE fight for a place in an unforgiving world.  Which is the more noble fight? 

The subject matter of this script does not invite neutrality. Your point of view could hinge on your personal exposure (no joke intended) to the crime?  Sin?  Abhorrence? Whatever you want to call it, pedophilia brands the children involved and deserves the punishment doled out to the perpetrators.  But, as with grief, disaster, calamity, there has to be a way found to go on – to keep living somehow.  This is what Norris explores by taking us into the house whose residents are four men who have served their sentences in prison but carry the burden of their acts the rest of their lives.  Rakeem Lawrence as Gio carries on with small rebellions at his Staples workplace and a flash anger barely under control.  Cajardo Lindsey as Dee is a quiet caregiver, the intellectual of the group who will step into an argument in a heartbeat to keep it from escalating.  Sam Gilstrap as Felix suffers from isolation from the daughter he loves as a father and who he abused as a man.  Jim Hunt, in a wheelchair, is held captive by a couple who hope that confronting him can provide closure to an unwanted chapter—a quartet of downstate bad boys. 

Sean Scrutchins plays Andy, a man abused as a boy whose experience is reawakened by the birth of his own child.  Karen Slack as Em is his incredibly annoying wife who (we get the feeling) has pushed her husband into this confrontation with his abuser in the hopes that it will lay it to rest once and for all.  She is given an incredibly irritating personality by the playwright, which only adds to the awkwardness of the situation.  It seems that Andy only wanted a one-to-one meeting to say the things he wanted to say and leave on.  Instead he gets interruptions of all kinds, loss of attention, meaningless side discussions, a pitch for a job, and on and on.  Very little is resolved but getting to the end of the painful (for everyone) evening is very satisfying. 

Others who contribute to this group of players include GerRee Hinshaw, as the parole officer for all of them who makes scheduled visits to the house to see how everything is going and to confront her own set of problems with her charges.  She is hard-nosed but understanding, tough but compassionate; she walks the line and then erases it.  She is joined in this cast by new-to-Denver Julia McGowan.  Watch this one; she’s going to make a splash.  In this role, she is a “normal” teenager, another worker at Staples, unafraid of anything, quick to argue but equally quick to forget.  While not really involved with the life of the house, she is both a breath of fresh air and a fish out of water.

Together, this cast pulls the very best of this script to the stage making characters who could be nothing but unlikable into fully realized humans doing the best they can with what they have done and what they have been dealt.  Those who have been touched by these life events are given a degree of compassion without forgiveness by the playwright.  Those who come into their house and their world seeking emotional restitution are made clueless and annoying.  It’s a viewpoint that takes a little while to accept, but somehow, by the end, you’re rooting for everyone. 

A WOW factor of 8.75!! 

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME – Written by Simon Stephens; Directed by Richard Cowden.  Produced by the Aurora Fox Theatre (9900 East Colfax, Aurora) through April 13.  Tickets available at 303-739-1970 or AuroraArtsCenter.org. 

Henry Judge ALERT!!  There is a young talent performing at the Fox to which attention must be paid.  River Hetzel steps into a well-deserved spotlight by taking on the challenging role of Christopher Boone in the current production at the Fox.  

Christopher is a severely autistic child whose inner confusions, ways of processing information, and ritualistic behavior have driven both mother and father to painful decisions.  Unable to bear the touch of another human, Christopher erupts into panic mode with placed under stressful situations.  They have no filters in conversation yet view the world in a straightforward unblinking manner with an honesty that can be both startling and funny.  In a positively riveting performance, River explores, loses control, regains it, and tells their story with honesty and humor.  It is such a delight to watch the gradual progression from confusion to understanding sweep across their face and be greeted with a silly grin. 

Christopher is an extremely complicated character that River completely inhabits.  Their every move seems uncalculated and authentic.  At times, the clarity of their thinking startles into a smile.  There is sometimes an unexpected twinkle in the eyes which seems part Christopher and part River.  There are so many levels to this performance that I could ramble on for pages. 

But then I would be neglecting the other excellent players and technical aspects of this production.  The talented ensemble cast includes local favorites Jessica Austgen as Christopher’s painfully absent mother; Matthew Murry as a misguided but loving father, and Andrea Rutherford as an insightful and understanding teacher.  Making their debuts at the Fox in this production include Colin Alexander (a longtime favorite at the Arvada Center); Rachel Darden, Kenny Fedorko, Katelyn Kendrick, Chris Petersen, and Prescilla Young-Anker.  This band of players provides with ease and grace all the other characters in Christopher’s neighborhood and journey.  They allow the story to move forward with purpose by generally sitting quietly on the sidelines until called upon to contribute a line or two.  They quickly add a costume piece to become a police officer, a kindly neighbor, an angry housewife, the principal at a school, and the dozens of other characters that help tell Christopher’s story. 

This all takes place in another supportive set designed by Brandon Case whose work has evolved from the traditional paint and carpentry sets of old to the electronic support now available to productions.  His brilliant projections across the walls of the basic room that becomes home – street – school – train – everything seamlessly.  The production is further enhanced by the sound effects designed by Rich Cowden and the original music composed by Liam Cowden.  The rest of the tech team includes Susan Rahmsdorff-Terry’s understated costumes, Jen Orf’s mood lighting that contributed so much when chaos enters Christopher’s life, Ben Raanan’s assistance with the accurate portrayal of autism, and Zach Madison, Stage Manager, who keeps everything operating smoothly. 

Congratulations to Rich Cowden who directed this complicated script into a meaningful experience.  We the audience walked out with a deeper understanding of the sometimes static that can inhabit the brain of the differently formed.  He created significant patterns of movement that could create both chaos and peace, told the story with rehearsal blocks as seating when required, and had the wisdom to cast River.  One last special kudo to the two dogs in the show – one dead (Wellington designed by Wesley Schwarz) and one live puppy (designed by God). 

A WOW factor of 9.5!! 

THE LIFE OF PI – Adapted from the Yann Martel novel by Lolita Chakrabarti; Directed by Max Webster.  Presented by the Denver Center for the Performing Arts Broadway (Buell Theatre, 14^th and Curtis, Denver) through March 30.  Tickets available at denvercenter.com and 303-893-4100. 

I’d like to think that people read what I write knowing they are going to get a preview of what they will see if they choose to go see the show I’m writing about.  Maybe a little more about the playwright, the history of the script or a little inside information.  Here’s my tip for LIFE OF PI:  Usually the seats midway in the Orchestra Center section are considered the best seats in the house.  I’m going to tell you that , for this show, you can save a little money and buy balcony seats.  in order to see the amazing projections, the full water effect, the sweet dance of the ensemble as they move in and out with puppets and small prop pieces, you actually need to be a little higher than the stage floor.  So if you’re just now getting your tickets, try for the balcony. 

It isn’t until you really look at the program and begin to see how everyone in this cast carries multiple roles and fills in around the edges as ensemble and everything else, that you begin to appreciate the versatility of this group of actors and puppeteers.  For instance, the tiger puppet has eight people trained on his maneuvers.  It makes me feel better to know that the center person of the trio it takes to make him pounce and prowl does not have to do the whole show bent over at the waist – that it gets passed around once and awhile.  Without looking at the program, I never could have guessed that the actress who plays Pi’s mother – Jessica Angleskhan – also plays the nurse and an occasional orangutang.  That everyone – except Taha Mandviwala playing Pi – has a role in transforming a room in a hospital to a zoo to a boat in the middle or the ocean and back again several times.  The choreography of the scene set ups and the movement of the puppets through the air and water was like watching a ballet in sandals. 

The story is easy to follow as it moves back and forth in Pi’s memory and the “present” day in the hospital.  Pi’s presentation of his fantastical journey is dynamic, energetic and, as told, somehow believable.  Which makes the ending all the more surprising (for those who haven’t read the book or seen the movie).    The bigger puppets are segmented and include both an inanimate and a costumed human component.   Your eyes learn to ignore the occasional human body part and follow the animals with believability.  The score written by Andrew T. Mackay, greatly enhances both the storms at sea and the quiet floating for days on end.  There is great tragedy and occasional humor played out on this stage. 

For those who have read and admired the book, this is an evening of recollection.  For those seeing a good story well told, this is an evening of discovery.  For those who admire creativity and imagination in staging, this is a landmark. 

A WOW factor of 8.5!! 

TO THE BONE – Written by Catherine Butterfield; Directed by Lauren Kottenstette.  Produced by Three Leaches Theatre Company (1560 Teller, Lakewood) through March 22.  Tickets available at thethreeleaches.com. 

I have to admit to trepidation at approaching this production.  Based on the tiny synopsis provided, it was hard to ascertain the mood and tone of the show in advance.  Having gone through the experience of meeting an adopted-out granddaughter as an adult myself, I knew it could go in any direction.  Did I want to live through that again? 

SO glad I went. 

What I discovered was a redecorated space where Benchmark played for a few years, a welcoming producer at the door greeting guests, a bar that invites you to enjoy a beer or a glass of wine, and a wildly funny show that induced snorts of laughter all the way through.  They picked a script that not only created awkward and cringe-worthy scenes but did it with humanity and humor. They found a director and a cast that understood the fine line they were walking together and nailed every aspect of the situation being created.  There were some “Oh, no, now what?” moments but even those were saturated in hilarity.  The tech director understood the need for speed and created two sets that worked for all occasions and could be changed at intermission instead of interrupting the flow of this fast–moving dialogue.  All and all, an all-around success.  I also discovered a new – though experienced – theatre company that knows their stuff and is happy in their new home. 

The over-reaching theme seems to be the damage little white lies and hidden motivations can cause.  A long overdue meeting has been set up between Geneva and her birth mother Kelly.  They have known of each other’s existence and proximity for a few years but, for reasons of their own, have put off a face-to-face meeting and kept their secret from others in their respective families. (White lie #1) Geneva arrives with a friend with a movie camera in tow to document the big event.  She meets her mother, aunt and finally a brother she knew nothing about. (White lie #2)  The documentation quickly reveals Geneva’s motive for the meeting. (White lie #3).  A difficult conversation uncovers Kelly’s poignant need for the meeting. (White lie #4).  The truths about Kelly’s two marriages uncover White lies #5 and #6. And on and on until about White lie #45 or so at the very end of the show that changes everything for everyone in a positive way. 

The actors bring their A-game to the show with them.  Alex Bair brings confidence in the truth of her motherly character that explores every aspect of this woman’s life.  She projects her disappointment in her life, her dismissive attitude toward the past, and her hope for the future with equal grace.  Libby Shull as the long-lost daughter has her own motives for exploiting her “new” mother and has her own set of angers.  In a part that starts small, Kim Egan develops into a fully blown character as the friend with a camera who finds other depths to explore.  Elizabeth Kirchmeier is the sister who has taken a psychology class or two and tries to keep everyone on track and conversing.  Which only annoys everyone.  The final member of this exceptional cast is Mattie Macaya as Sean, the son, who becomes the focus of everyone’s attention to his personal dismay.  All together, they tell this meaningful story in delightful collaboration. 

In a situation like this, you can’t help but look for the things that bind you to your new-found family member.  “We have the same hairline!”  What else do we share?  Am I anything like you?  Though neither Geneva or Kelly would ever admit it (both too arrogant), they share exactly the same temperament – self-involved, profane, angry, and needy all at once.  And Kelly has passed that same blunt don’t-hold-back attitude to her son Sean.  Genetics and family connections prove to be a very important component of this script.  I don’t want to tell you the whole story because it unfolds in such a logical but comic way that is delightful to behold.  You just have to observe the revelations yourself. 

This is really a DON’T MISS event – but they are only playing one more weekend.  I HATE short runs – you only hear about them and then they are gone.  But whatever you had planned for next weekend, re-arrange it and get yourself over to the new Three Leaches Theater to see this delightful production. 

A WOW factor of 8.75!! 

THE MENAGERIST – Created by the Buntport Theater Company and Regan Linton.  Produced by the Buntport Theater Company (717 Lipan, Denver) through March 29^th.  Tickets available at buntport.com. 

Tennessee Williams wrote THE GLASS MENAGERIE in 1944; Buntport Theater Company rewrote it in 2025. The usual gang of Erik, Hannah, Brian, Erin, and SamAnTha were joined for this sojourn into the ridiculous by Regan Linton, the well-known and talented actress associated for years with the best works of Phamaly, the theatre by and for the differently-abled.  It’s good to see her back in town. 

Other than telling you it’s another one of Buntport’s deep dives into a classic piece of literature to present a different take (in this case, several different takes) on a familiar story.  We have seen them dismantle Don Quixote, Moby Dick, Titus Andronicus, the Odyssey, even Hamlet.  What made us think Tennessee Williams would be safe?  Tom, the older brother with wonderlust is played by Erik Edborg with a sardonic edge and an overload of message tee shirts.  The winsome and wistful mother Amanda has her lines drawled out by Hannah Duggan in a housedress. Jim, the gentleman caller on Laura, features a puzzled Brian Colonna.  The interchanges of dialogue happening between Laura, the down-to-earth daughter, are given a thoughtful treatment by guest artist Regan Linton and one of her personal menagerie of glass animals brought to bigger than life portrayal by class clown Erin Rollman in a white body suit, hoof-like shoes and a plastic unicorn floatie with horns.  She has a smart mouth answer for every question brought forth and disdain for every other character.  You’ll never be able to see a legit performance of THE GLASS MENAGERIE again. 

To try to explain or find the logic in nearly any Buntport show is an exercise in futility.  They move so fast with so many twists and turns in so many unexpected directions that if you were trying to take notes or chart the progress of the story, you’d miss too much.  You just open your eyes, ears, and heart to what they bring to you – their facile humor, their knowledge of the subject matter, their unique point(s) of view, their willingness to do or say (or wear or not) anything to tell their story and their collective intelligence. 

Because Sam is not on stage, her contribution to the evening is often overlooked.  But she is an integral part of the company, bringing forth exactly the right lighting effect and sound cue at exactly the right time.  These technical enhancements add brilliance and humor to every production.  The show would not be the same without quiet Sam sitting in the booth pushing the buttons that make the show come alive. 

It takes someone with an equally quick mind to fit into and contribute to a Buntport production – to the point, that they semi-rarely invite the participation of others.  But Regan proved herself up to and adding to the frivolity.  With her help, they engrained a message about the plight of any-abled actors getting roles that suit them and for which they can bring new perspectives. Welcome back, Regan. 

You’ve only got a couple of weeks left.  Get on this!! 

A WOW factor of 8.75!! 

BECKY’S NEW CAR – Written by Steven Dietz; Directed by Rob Mess.  Produced by Coal Creek Theatre of Louisville (801Grant St, Louisville) through March 15.  Tickets available at cctlouisville.org. 

One of the difficulties with staging this script is the speed with which it moves between locations and times.  With a standard full-built set, changing locations with speed becomes problematic.  Luckily, Coal Creek peeps are too clever to let that slow down the traffic.  They came up with five movable pieces of furniture and scenery that became everything the show needed – including two different front assemblies of cars.  This allowed the three Ninja stagehands to move things in and out of place in seconds – in most cases, not even adjusting the lights.  From living room to office to patio – slam bam!  This greatly enhanced the enjoyment of watching the show go from 0 to 60 in seconds. 

You hear about men having midlife crisis all the time; it’s rare to hear about the same sort of uncertainty raising its ugly head in the life of a woman.  We’re supposed to be the level-headed, self-aware, mature home-keepers.  So watching Becky’s slow dissolve from that role into a confused guilt-ridden wreck gave the audience that schadenfreude feeling we shouldn’t enjoy so much.  But do. 

Courtney Velarde, a new face in town, with her grimaces and open-faced honesty about her feelings and her predicament gave us glimpses of a young Carol Burnett.  She was equally at ease in engaging the audience in her travails as she was in conversing with her stage husband and son . . . and lover.  Accidentally walking in on a conversation between the two men in her life who were never supposed to meet each other did not result in an overblown double-take – just a quiet two-second look of shock and a slow backing out of the room.  Courtney knows how to create a big moment and to identify when one is not needed. 

A lot of that sort of thing comes from the director – in this case, Rob Mess.  There were a number of clever solutions to the script’s problems that must have come from the creative mind of Mr. Mess.  A drip in the ceiling became a turkey baster held high in the air by a Ninja.  Those little brilliant touches were dropped into the production randomly, but caused a smile or chuckle of recognition of the cleverness each time.  It was easy to see how the director, the actors, and the crew worked together to create the totality of this production. 

Ms Velarde was ably supported by Chris Martinez playing her easy-going husband Joe; JC Reyes as her still-living-at-home grown son Chris; and Max Cabot as her bumbling co-worker.  The cast is rounded by the people on the OTHER side of Becky’s life:  her new-found suitor Walter who has more money than he knows what to do with (somebody get me his number!); Walter’s daughter Kenni who knows her father’s weaknesses very well, and their neighbor Ginger who already has Walter’s phone number (darn!).  All bring their special joy to the stage and spread it around. 

Once again, I hate short runs.  But you’ve got one more weekend to catch this sweet and thoughtful piece up in sweet Louisville. 

A WOW factor of 8.5