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NICE WORK IF YOU CAN GET IT – Book by Joe Dipietro; Music by George and Ira Gershwin.  Produced by Lone Tree Arts Center (10075 Commons Street, Lone Tree) through October 26.  Tickets available at 720-509-1000 or Lonetreeartscenter.org. 

How fun it is to have a really great show to write about and encourage people to see!  The current production at Lone Tree is an absolute joy to behold.  Everything and everyone works – there are no flaws – no weak links.  It’s a silly bit of fluff that will make both adults and kids laugh out loud.  The singing is mountain-high magnificent; the dancing is over-the-moon delicious! 

Ok, first of all the script.  Joe DePietro is the same writer who brought us I LOVE YOU, YOU’RE PERFECT, NOW CHANGE; MEMPHIS, many other Broadway productions as well as this reworking of Gershwin music. All of the songs in the production were written by the Gershwin Brothers in the 20’s and 30’s for a variety of Broadway shows and movies, some becoming classics as a stand-alone piece.  “Someone to Watch Over Me” was originally written for PARDON MY ENGLISH in 1933; “S Wonderful” for the 1927 movie FUNNY FACE; several songs came from the Broadway shows LADY BE GOOD (1924) and GIRL CRAZY (1930).  This is music that has held up over the years. DePietro crafted a plot that incorporated humor, was era-specific, and provided a landing place for all this great music.  It’s a whimsical tale that involves bootleggers, bachelors, duchesses, chorus girls, bubbles , and butlers.  See – it doesn’t have to make sense to be Delightful and Delicious.  I’d forgotten how much I like real music. 

Because Broadway audiences of 2012 loved a full out dancing show, DePietro included numerous opportunities for today’s dancers to strut their stuff.  The choreography designed by Christopher Page-Sanders and performed by this troupe of incredible dancers is overwhelming.  Everyone on the stage is having a good time, although they must be totally exhausted by the end of the show. The leads, Billy and Jimmy, have a dance break at the end of Act I that seemed to go on for 15 minutes!!  And they were still smiling at the end of it. 

Then there’s this cast.  The winning team of Marco and Adrienne Leigh Robinson bring their combined charm and talent to the lead roles of Jimmy Walker, a ne’er do well millionaire who gets by on his good looks and his money, but Billie Bendix, a bootlegger with nowhere to hid her hootch, falls under his spell.  These two are unbeatable together and outstanding individual performers as well, as anyone who caught Marco’s turn as a troubled husband in CRY IT OUT recently will attest.  Adrienne has the voice of a diva with the personality of the girl next door.  Marco also “does” drunk very well. 

They are more than ably supported by Billy’s gangster friends (Cookie – yes, a mobster named Cookie!) (Shabazz Green) and Duke (Brian Davis).  By an improbably set of circumstances, both men end up as the Butler and Chef at Jimmy’s posh Long Island Beach House.  Together, they serve up the wildest dinner party ever and end up with romances of their own.  Shabazz’s double-take humor is a showstopper and Brian doing incredibly shy is sweet as you watch him fall in love.  Local favorite Carter Edward Smith plays the lawman also on the search for the notorious Brown Beard bootlegger but also gets distracted by a love interest. 

The women of the cast are allowed to be downright silly.  Elise Frances Daniells plays Jimmy’s supposed to be fourth (or fifth?) wife.  She has a strictly hands-off policy, however, until the ring is on the finger, and must run interference once Billy shows up.  With an indestructible spit curl on her forehead, her number “Delishious” in her elegant bathtub is just that.  The Duchess Estonia Dulworth is a crusading Prohibitionist and a diva all rolled into one performed by the amazing Jennifer DeDominici.  Determined to delay the nuptials until she finds out the identity of the notorious rum runner Brown Beard, she leads the fight against “Demon Rum.”  Fairin Moon Hightower does a sweet turn as a demure chorus girl taken in by Duke’s name and dreams of being a Duchess herself.  Anna Maria High brings humor to her short role as Jimmy’s overbearing but loving mother with a surprise for him. 

But we can’t forget the dance ensemble who are called into duty as Chorus Girls and Society Guys, FBI agents, the Vice Squad, a pseudo barber shop quartet, and all-around performers.  Their dancing is precise, authentic, and so much fun to watch.  The opening number at Jimmy’s bachelor party to “Sweet and Lowdown” gets the evening off to a perfect start; they continue supporting the production with sweat and energy to the very end. 

The production crew at Lone Tree, starting with Director Kate Gleason, has assembled a top-notch evening for their audiences.  Kate has found every bit of fun in the script and embellished it with a creative imagination.  Costume Designer Madison Booth caught the era in every amazing costume, from tuxes for the men to multiple fringed outfits for the Chorus Girls to a wedding veil for Eileen, Jimmy’s bride-to-be, that floats down a gigantic, curved staircase.  AND everyone got new and beautiful formal outfits for the curtain call!  That gigantic, curved staircase was designed by Scenic Designer Kevin Nelson, along with nightclubs, piers, and various other locations that were designed for speed in making quick changes.  Music Director Alec Steinhorn schooled the singers on the beautiful music (if you don’t get a tear in your eye when Adrienne sings “Someone to Watch Over Me,” you aren’t human) and led the 14-piece pit band, which included a MANDOLIN!! 

Are you getting the picture?  If you like good music, dynamic dancing, and an all-around good time for the whole family, here’s your ticket. 

A WOW factor of 10!! 

EUREKA DAY – Written by Jonathan Spector; Directed by Christy Montour-Larson. Produced by Curious Theatre Company (Presented at 1080 Acoma Street, Denver) through October 5. Tickets unavailable.

A LOVE LETTER TO THE CAST OF EUREKA DAY: I didn’t realize until I started this that I saw the show on its last weekend in production. Even though I hope you saw it, I want to recognize the brilliance of the work that went into getting it on its feet. So, this is a Congratulations and Thanks to the people of Curious for their superlative work.

Every theatregoer in Denver knows that Curious Theatre does not do funny. Oh, their plays will have an occasional laugh line or situation that shocks you into a laugh. POTUS last year was a definite break in the routine. It must have done well for them, because here they come again with a funny funny play. But the humor in this piece is not based on jokes or schtick. It’s simple, honest, totally human foibles . . . which, since the advent of the internet, can be publicly totally ridiculous.

The administration at Eureka Day School was enlightened enough to have a parent committee to provide guidance and input to the school’s policies. BIG mistake!! One member has been there forever and believes she was the be-all and end-all of wisdom regarding school issues. When she was challenged, the proverbial feces sweetly and oh-so-politely hit the cooling device. A crisis arises when one child got the mumps which quickly spread to other kids, and this oh-so-enlightened board must decide vaxxing or not vaxxing. A tempest in a traumatic teapot, which playwright Jonathan Spector has expressed with both solemnity (because there are kids involved) and a pointed look at human nature in today’s culture (because there are adults involved). Scene 3 had you laughing through tears and dismay – my favorite emotion.

This script called for a cast that could walk that knife’s edge between too much or too little. There were a few snappy comebacks, but, for the most part, the humor was derived from the behavior of the characters, not a written joke line. While these good natured, well-meaning people do their best, it’s just that the subject is too volatile and personal for all of them.

Eric Sandvold played Don, the school administrator charged with mediating this group. He’s willing to turn some decisions over to his parent committee, but this particular issue needs a balanced approach. His attempts at mediation and his misplaced trust in the anticipated kinder nature of his students’ parents created frustration. Josh Robinson, Karen Slack, Kristina Fountaine, Rhianna DeVries, and Nadia White portrayed the parents, each one intent on bringing determination and thoughtful consideration to the problems of the school. In talent, they were all a balanced and brilliant group.

Karen’s smooth, soothing, overly thoughtful voice betrayed her method of rising to the top of the heap. “Kill them with Kindness.” But Kristina saw right through that and held her own against the onslaught of saccharine. Josh and Rhianna were playing footsie behind the scenes until a bigger crisis than when his wife returns from a trip interrupts the fun. Poor Erik was left trying to balance the needs of the school against the needs of this cantankerous group.

Director Christy Montour–Larson kept the stakes high and the atmosphere controlled. She understood that human nature provides its own comedy and pathos without being pushed.

I would have given them an 8.75 for this production. Their next show is JOB, a startling therapy session between a woman destroyed by her day-to-day job and a therapist with a back story. Back to the Guts and Glory days.

ALABAMA STORY – Written by Kenneth Jones; Directed by Melissa Lucero McCarl.  Produced by Firehouse Theater Company (Presented at the John Hand Theater, 7653 East First Place, Denver) through October 26.  Tickets available at 303-562-3232 or firehousetheater.com. 

Everyone has a personal relationship with books.  You can’t escape them.  As a child, you are taught to read by being read to; as a student, by schoolbooks that open your world, even comic books that entertain; as an adult, by textbooks that create specificity in your life in fields as diverse as cooking to brain surgery.  In my own life, I’ve always treasured tomes that challenged me to solve something, gave me answers, or made me laugh.  I acknowledge that there are books I could never have read, but I have enjoyed by listening to the works of Charles Dickens, Jane Austen, Oscar Wilde, and Thomas Hardy, for example, through Books on Tape (discs now actually). The Denver Public Library system sorely dismayed me recently by taking their collection of recorded books out of circulation without asking my permission!! 

So, you know that a play about saving and honoring books will appeal.  This one brings both purpose and laughs.  The story telling is rolled in grits and baked in charm.  It’s two story lines intertwine like magnolias on a garden trellis – made even more lovely by the fact that one is based on a true story. 

Evelyn Reed, who was actually the State Librarian of Alabama in the 50’s, was charged with keeping the libraries well stocked and well managed.  Martha Harmon Pardee is a brilliant actress who only chooses special projects to perform every year or so.  In this, she has become Ms. Reed’s buttoned-up self, calm, unflappable, self-confident, not likely to suffer fools.  But also, ready to admit when she’s made a mistake; a caring individual. 

Matt Hindmarch, playing against his own personality, takes on the role of Senator E.W. Higgins, a composite character created by the playwright.  He’s a Senator in the State Legislature who has strong opinions about and treasures everything South (with a capital S).  In the 1950’s, that invites unpleasant tirades regarding race relations, censorship, and white power.  He’s not an evil man, just the product of a long line of Southern gentlemen . . . and plantation owners.  His racism is inbred and without thought.  And sincere.  He has succeeded in the world just as it is and sees no need to change the boundaries. 

In a secondary plot line, two people who were childhood friends reconnect as adults.  Their early friendship was cut short by racism about 30 years earlier.  They now find it easy to fall back into a comfortable reminiscing friendship.  While Ms. Reed and Senator Higgins reflect what was at this time in history (1959 – four years after Rosa Parks refused to sit in the back of the bus), Joshua (Jysten Atom) and Lilly (Elicia Hesselgrave) show what it could be in the future – understanding, forgiving, thoughtful, and kind.   Both give touching performances. 

These characters are supported by the hyper-efficient library assistant Thomas.  Cal Meakins is a comic foil and a faithful friend, well above the role of assistant librarian to Ms. Reed.  Cal bring a shyness and subservient air to his role that, under Ms. Reed’s tutelage, morphs into a confident and competent Head Librarian.  Jeff Jesmer is an everyman character, starting as the Narrator Garth Williams, the author of the children’s book that dared to memorialize the wedding of a Black bunny and a White bunny.  But he also slides into other roles to move the narrative forward.  Especially meaningful is his turn as an older Senator who sees the writing on the wall (“It’s coming, E.W.”) and encourages the senator to choose his battles carefully.  Jeff has such a natural charm and place on any stage that he infuses his times on stage as though he’s sharing a joke with the audience. 

The six of them tell a story bigger than any of them.  A story that should be in our past; that, unfortunately, is not.  There are libraries in this country that will not put TO KILL A MOCKINGBIRD or HUCKLEBERRY FINN on their shelves. Our mantra today is “Read for Your Rights.” 

The set built and painted by Jeff Jesmer and Megan Davis supplies a corner of the library, an outside park, and generic neutral space for everything else.  the lighting design by Emily Maddox keeps the areas both separated and highlighted.  Melissa McCarl brings her own brand of loving care to this important story, finding both the solemnity and the humor in this delicate situation. 

A WOW factor of 9!! 

PYGMALION – Written by George Bernard Shaw; Directed by Melissa Taylor. Produced by Elemental Theatre Company (Presented at the Sam and Freda Davis Auditorium, 2000 East Asbury Avenue, Denver) through October 12. Tickets available at Elementaltheatrecompany.org.

Doing theatre is a dicey proposition, even when you have a history of good shows behind you and a reasonable amount of money in the bank to back you up. So why would anyone in their right mind decide to start a new theatre company? And why start that company with a weighty tome like a George Bernard Shaw script? Why not start with something light and frothy that everyone would love? The newly formed Elemental Theatre Company has taken the attitude of “Go big or go home!” And go big they have.

The stage at the Davis Auditorium in the heart of the University of Denver campus is huge, with plenty of room for the ten-person cast to tell their story. Furniture pieces are brought in and out to move the location from Covent Garden to various parlors and ballrooms. They have made the discovery of a beautiful performing space not used by the theatrical community before.

Everyone recognizes this tale as the seed for the popular MY FAIR LADY musical. So there is little need to describe the story of the flower girl Eliza being turned into a “proper” lady with elocution lessons taught by the stuffy Professor Higgins. In Shaw’s version, Eliza learns to speak with velvety tones. But even while sounding lovely, what she says still reflects her street mentality and casual education. A more devious change is happening in Eliza’s soul as she learns what it is to be a lady, to crave independence, to come into a sense of power, and what it is to be and have a friend. Shaw’s version does not come to a “happily ever after” conclusion, but a satisfactory one, nevertheless.

Elemental struck gold with their two main characters. Stephen Mathis, as Henry Higgins, brings an intimate knowledge of the part to this stage, having done the role previously. His understanding of the character and ease in arrogance comes easily to him, or so it seems. He embraces the quirks of Higgins’ character and supplies an inborn grace for him. Lindsey Gwinner also seems an easy fit for the character of Eliza. She rails, screeches, cries at the drop of a vowel, then easily slides into the graceful, elegant, finished product of the Professor’s “project.” Her down-to-earth approach to life’s little quirks and expressive way of verbalizing them provide much of the humor of the piece. It’s easy to believe her concern as she realizes what she’s done and how she has changed her life. Is it for the better or not? What is she to do with this newfound persona, with neither education nor finances to back it up? But she achieves an acceptance of who she has finally become.

The production also provides talented local actors with a chance to shine. Bevin Antea makes a sweet and caring Mrs. Pearce, the housekeeper at Higgins’ laboratory. The audience knows immediately that Eliza is in good hands and will not be harmed. Jeamus Wilkes as Colonel Pickering is a good foil for Higgins’ exposition as another scholar interested in the role of diction in human development. He asks all the right questions that allow Higgins to go on and on about his theories while still becoming a father figure for Eliza. A forceful and humorous Kathy Trageser plays Mrs. Higgins, Henry’s delightfully normal mother, despite her place in society. She has affection for her son but understands his faults as well. She sees exactly what is happening to Eliza and the position her son has put her in. She does not approve and makes that very clear. Patrick Brownson, being the consummate professional that he is, stepped into the role of Eliza’s father, Alfred Doolittle, with only two days’ preparation. Patrick’s Doolittle proves that you don’t have to have a formal education and a posh voice to manage a fulfilling and successful life. You just need to “touch” a bit of money now and then off the working class, just enough to keep a drop in your mug.

This gives an indication of the type of shows we can expect from this newly born theatre company. It will be fun to watch them grow.

A WOW factor of 8.25!

MERRILY WE ROLL ALONG – Music and Lyrics by Stephen Sondheim; Book by George Furth. Directed by Bernie Cardell; Musical Direction by Brandon Bill; Choreography by Adrienne Hampton.  Produced by Vintage Theatre (1468 Dayton Street, Aurora) through October 19.  Tickets available at 303-856-7830 or VintageTheatre.org. 

Imagine, if you can, the opening night of the first Broadway preview of this show. The young cast in their (usually) first Broadway show – all of them aspiring singers and dancers, counting on their good fortune of being in a new Sondheim musical directed by Broadway legend Hal Prince. They peek through the curtains, seeing a full house eager to be entertained. They have worked hard all through rehearsals to do justice to this new script and songs. Looking again through the curtains at intermission to see the house now half empty from all the people who left as soon as they could! Going back to the rehearsal room the next day and starting to rework the show with new songs in and old songs out, with new dialogue and relationships differently portrayed. After 44 preview performances that included changes in the cast, book, and score, finally a “real” opening night. But still, dreams were shattered by dreadful reviews, leading to the show closing after only 16 performances. The Broadway Gods of Sondheim and Prince were mortal after all.

But Sondheim never really gave up on this piece. He collaborated with new productions over the years, allowing changes to the script making the complicated device of going backwards through the working lives of the three “old” friends from end to beginning more cohesive. He rearranged songs, added a new one occasionally, wrote for adults instead of young actors, until we finally have the version that has been popularly revived on Broadway to great success. This is the version being presented currently at Vintage Theatre which does them proud.

By combining the top-notch production talent of Bernie Cardell to tell the story, Brandon Bill to teach the music, and Adrianne Hampton to choreograph the dances, they have found the heart of the story and a smooth uncomplicated way of telling it. As the three leads walk on to the stage in the middle of a post-show party of yet another successful 1976 production by Franklin Shepard, we revel in their collective success. It is only as the scene progresses that we learn at what price this success has cost. The musical moves from this dubious success backwards through struggle, all the way to the casual introductions and spoken dreams of three kids in New York in 1957 watching Sputnik fly over the US for the first time.

The equally successful pairing of Patric Case, Jason Rexx, and Kara Morrissey as the three friends certainly guaranteed a sweet-sounding, well-acted production. Patric is fresh off a long-running stint of shows at Candlelight Dinner Playhouse. His entrance on stage as Franklin Shepard, successful movie producer, in a gorgeous white tuxedo (thank you, Susan; thank you, Patric) will make your heart go pitty-pat. That wouldn’t count if he didn’t follow it up with beautiful renderings from the Sondheim songbook and the delicious turmoil of having to grow up in painful ways. Jason Rexx has made a splash in some of the better musicals around Denver, most recently in SOMETHING’S ROTTEN as the sexy Shakespeare in leather pants. This role as Frank’s writing partner, Charlie, allows him to go a little deeper into disappointment and anger. His bitter song about “Franklin Shepard, Inc.” is a tongue-twister of the highest order, but Jason nails it. The distaff side of the trio is well-represented by Kara Morrissey as Mary, the now-successful writer who is the emotional glue that holds them together. Her heartfelt repetition of “Old Friends” under distressingly difficult times almost works every time. Her from-the-beginning secret is finally revealed during a reprise of “Not a Day Goes By” in the second act.

This core trio is ably supported by Miranda Byers in the thankless role of the conniving and self-serving actress Gussie, who uses men to advance her career. The only glimpse of her inner turmoil is glimpsed in the duet “Growing Up.” Madison Falkenstein does a standout job as Beth, Franklin’s first wife, who gets the best song in the whole show when singing “Not a Day Goes By” for the first time. Charley, Frank, and Beth share a delightful cabaret song riffing on the Kennedys called “Bobbie and Jackie and Jack” at the start of their collective careers.

A well-rounded cast of supporting characters fill the role of people in their collective lives and the always-present and wise ensemble looking on. These include Evan Marquez, Isabella Sanchez, Erica Caruso, Jerod Mose, Shaina Levison, Matt Kok, and Amy Sheff in a variety of smaller but crucial roles.

All together they display the difficulty of negotiating the dreams they all bought into in their youth with the changing needs of your life as an adult. “There’s so much stuff to sing” in the beginning. At the end, during the first song, when Mary is asked what she does, she answers, “I drink.” “No, what do you really do?” “I really drink” and sums up the fall of the trio.

The set design by Don Fuller allows for the smooth transition between scenes; the costume designs by Susan Rahmsdorff-Terry make all the men handsome and all the women beautiful. Emily Maddox, Light Designer, makes everyone look good, while Luke Rahmsdorff-Terry helps them sound good. Jennifer Schmitz, Stage Manager, keeps everything running smoothly both backstage and on without blinking.

Denver patrons have come to depend on Vintage’s talented casts and crews to provide a superlative evening of entertainment. Here’s another one in their long history of truth-telling productions.

A WOW factor of 8.75!

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YOU’LL BE MADE OF ASHES TOO – Written by Baylee Shlichtman; Directed by Veronica Straight-Lingo.  Produced by Flamboyan Theatre Company (presented at Three Leaches Theatre, 1560 Teller, Lakewood) through September 27.  Tickets available at thethreeleaches.com. 

What an exciting time for theatre in Denver for people who love new, untried plays.  There are script readings taking place all over town with original pieces seeking directors and producers.  Such a burst of ideas and creativity perhaps spawned during the isolation of Covid and finally being able to walk on to the stage. 

One such piece is playing now at the Three Leaches Theatre under the guidance of Flamboyan Theatre Company.  YOU WILL BE MADE OF ASHES TOO paints a bold picture of sibling rivalry. 

Two sisters – one who left the family home for her own safety and mental health and one who stayed under the thumb of her mother.  When the unexpected death of this mother brings them together again, the old childhood antagonism rears its ugly head.   Despite attempts on both sides to reconcile their differences, they seem unable to escape the burden of past wrongs.  To complicate the matter, a strange and ominous presence haunts both their dreams and waking hours.  Never explained, it creates an uneasiness over everything else happening to the women.  They are both intelligent thoughtful women – just unable to escape the shadow of their mutual childhood. 

The script weaves back and forth between memories pleasant and unpleasant, attempts at friendship and sisterhood paired with bitterness and anger.  Liana (Gisselle Morales) doesn’t seem to be certain if she wants to stay or go, while her sister, even though admitting to loneliness, is not forthcoming with an invitation to stay.  Then Evie (Kit Silver) drops a bomb into the conversation that makes it clear that LIana needs to get out of town.  These are two no-holds-barred sisters.  But who or what is the ghost?  It leaves you wondering what is going to happen to both of them now. 

The script, written by Baylee Schlichtman, gives both actresses a chance to engage in physical and emotional trauma.  Both actresses chew it up and spit it out.  They are evenly matched in bringing complicated emotions alive on stage.  Veronica Straight-Lingo is a careful guide for this complicated story. 

The simple set with translucent walls keeps the mystery contained and yet ever present.  As in life, there are no easy answers for these two haunted women. 

A WOW factor of 8!! 

MISS MANHATTAN – Music and Lyrics by Graham and Kristina Fuller; Book by Graham and Kristina Fuller and Stephanie Ronco; Directed by Robert Michael Sanders; Music Direction by Dan Graeber; Choreography by McKayla McDonough.  Produced by 19K Productions and CenterStage Theatre Company (Presented at the Dairy Center, 2590 Walnut, Boulder) through September 28.  Tickets available at thedairy.org. 

The usual path for a new musical to wend its way to New York for either a Broadway of off-Broadway production is readings and sing-throughs (several); one or two workshop productions (or five or six), a full production in a small hometown (or at least friendly) local theatre,  a producer’s showcase (to raise the money), and, finally (if you’re lucky and your product is good), a production in New York.  Now I ask you: How often do you get to be a part of the process of moving a show from a composer and lyricist’s living room all the way to final production?  Here’s your chance. 

Kristina and Graham Fuller are the couple who saw that process through to an Off-Broadway production of their first musical together in recent years.  IN THE TRENCHES was a funny montage of songs about the joys of parenthood.  This time, they have chosen to follow the ups and downs of America’s first Super Model, the real-life Audrey Munson.  Starting at a very young age, encouraged by her mother, Audrey posed unclothed for several statues that still adorn parks and museums in New York.  Her mother Kitty kept her docile with the new medication called morphine. Her willingness to pose nude eventually got her roles in silent movies.  But her life went downhill after a scandal erupted when a man killed his wife to be with her.  She and her mother eventually settled in Mexico, New York, Kitty’s hometown.  Her mother later had the courts declare her disturbed and sent to a mental hospital.  She lived until 1996 and died at the age of 104. But before that, she had A LIFE; this is her story. 

In this work, a young Claire (Sophia Dotson) in the present time is having a hard time dealing with the death of her mother and her father’s abandoning her to live with her grandmother.  For a school project, she researched the story of Audrey Munson (Anne Terze-Schwarz) and used it for her presentation.  Audrey, in turn, was abused by her mother and abandoned by her father. As their stories are performed, the parallels between the two lives bind them together.   

This is a top-notch cast headed by Anne Terze-Schwarz in a powerful performance of the many faces of Audrey.  She plays a young woman determined to “Make Something Happen” for herself.  Despite the advice given by her mother about how to “Keep a Man,” she has no desire to get married.  Anne brings a poignancy and innocence to all parts of Audrey’s life, never losing her charm.  Her mother, played by the always brilliant Megan Van De Hey, in a role that will put Mama Rose to shame, never loses her willingness to sacrifice her daughter to the almighty dollar or encourage her to marry rich.  She is the product of a different era, moving reluctantly into a new century and a new role for women.  She quickly adapts the new morality to her own purposes and never loses her grip on her daughter, ultimately consigning Audrey to the care of the state when she is no longer valuable monetarily.  Megan gives her a backbone and equal determination to succeed, an antique quality to her dependence on men, an adorable whimsy at times, and abject cruelty at others.   

The parallel story of Claire is given energy and spark by the performance of Sophia Dotson, who essays the depression she feels around the loneliness of being away from her father, the inspiration she gets from learning Audrey’s story, and the happy ending she deserves.  “Statue Spotting with Claire” takes the whole class on a tour of New York to Audrey’s statues in an almost rap song.  Sophia is a young actress who has a brilliant career ahead of her. 

The cast is completed by a talented ensemble of six who play all the other characters in Audrey’s troubled life.  The men who want her as a model or a mistress, the sculptors, the doctors, the classmates and teacher of Clair, the attendants at the mental institute, the absent fathers, and others who go in and out of Audrey and Claire’s lives.  Vidushi Goyal shines as a wealthy sculptress who becomes a friend; Scott Rathbun plays multiple doctors and lechers.  Katja Podisdly, Elton Tanega, and the composers themselves, Kristina and Graham Fuller, also take musical turns to support the story of Audrey.  They move with ease into the next role required of them with small costume changes and defining songs. 

The simple set of two elevated platforms and small furniture pieces in front of the on-stage nine-piece band allows the action to never falter or slow down.  The costumes are sparkly when they need to be or dowdy when it’s appropriate.  The band, led by Music Director Dan Graeber, provides a strong, lively performance of the new music. 

The producers provide an opportunity for the audience to give feedback on this script and music.  As an audience member observing the first full performance of the music and book, your opinion counts.  They are sincere in their desire to hear your comments.  Which songs did you like?  Could any of them have been cut?  Does the show tell the story well?  Which characters did you like, and which were you not supposed to like?  Is that made clear?  Help in the sharpening of this brand new musical and, maybe someday soon, you could see it in New York and be able to say, “Oh, yes, I saw this at its first performance in Boulder.”  The Fullers are counting on you. 

A WOW FACTOR of 8.75!! 

THE PRINCESS AND THE GOBLIN – Written by Brian Dowling and Kellie Fox (from the novel by George MacDonald); Directed by Aaron Vega; Original Music by Abdulkarim Islam, Ryan Glaser, and Alex Seracuse. Produced by Third Side Theatre Company (Presented at the People’s Building, 9995 East Colfax, Aurora) through September 20.  Tickets available at thepeople’sbuilding.com. 

A beloved children’s story has been converted by Third Side Theatre Company into a delightfully sparkling production that will delight children and amuse adults with its inventive storytelling.  Using live actors, puppets, projections, sound effects, and music, the cast tells the story of the curious Princess who discovers Goblins in caverns near her castle and then needs to be rescued by a steadfast village boy. 

The action moves quickly and seamlessly between genres, with a puppet being visible on the stage one moment and then magically jumping into a projection on the screen the next.  A pair of live actors converse in the middle of the stage, surrounded by body puppets.  Vocal effects are used to transform the puppets from helpful to threatening.  Simple sound effects – like tapping a pen against a water bottle amplified – add to the realism.  Projections move, becoming stalactites crashing down or a flood moving through a cavern.  It’s all very magical, but in a visible, in-your-face kinda way. 

The puppets are handmade but effective.  All members of the troupe use Body, Hand, and Shadow puppets. For instance, the nanny is a body puppet with a paper mâché head and a burlap body on a pole to give her volume, and utilizes a high-pitched human voice to give her age and anger.  She is threatening and funny at the same time.  Her shenanigans had the children in the audience laughing in delight while the adults couldn’t help but smile. Because no attempt is made to disguise their human carriers, they are not scary to the kids in the audience.  

Original works of music were developed to enhance the story with songs sung live to both express an emotion and to scare away the goblins.  They don’t like music.  Background music would also creep in quietly along the way. All very melodic and sweet. 

The Third Side troupe, consisting of Brian Dowling, Kellie Fox, Lisa Kraai, Max Lubeck, and Jeremiah Martinez, slip from one role into another without breaking a sweat.  They are live characters in costume on the stage one moment, handling one or two puppets the next, then moving over to slide projections onto the back wall screen quickly following.  It’s an equal opportunity to be both an actor, a voice talent, and a tech all at once. 

I know this whole production was a collaboration – theatre from scratch, as it were.  Kudos must be given to director Aaron Vega, who obviously took all the suggestions of his cast members and fellow collaborators to mold this new script into a smoothly operating performance with many moving parts.  Everyone keeps the three-ring circus moving forward. 

This is not the kind of theatre you see every day.  It’s creative in new ways, doesn’t take itself seriously but has people serious about their art making it, and it’s appealing to adults and children alike.  It trusts that the kids will get the jokes and not be fearful of goblins, and that adults will admire the artistry.  Third Side Theatre Company has a promising future ahead of it with new ways of looking at old stories. 

A WOW factor of 8.5!! 

THE THIN PLACE – Written by Lucas Hnath; Directed by Jessica Robblee.  Produced by BETC (Presented at the Savoy Event Center, 2700 Arapahoe, Denver, and the Dairy Arts Center, 2590 Walnut Street, Boulder) through September 28 at the Savoy Event Center and October 3-26 at the Dairy Arts Center.  Tickets available at betc.vbotickets.com for the Denver engagement; thedairy.org for the Boulder performances. 

It starts in silence.  A young girl quietly slips into a chair on stage, not wanting to be noticed.  The audience notices and grows silent . . . waiting.  We wait together.  Finally, she looks up shyly, not sure if she should speak.  But then she does, addressing the house with a story of how her grandmother taught her to communicate telepathically with her.  She wanted them to be able to communicate after she had passed on. 

Hilda is her name; her interest in psychic abilities leads to a meeting with a “professional” communicator with the deceased who pacifies people with her ability to guess what they want to hear “from the other side.”  This quiet girl reveals a story confusing and mysterious.  A timely phone call and a visit to her childhood home add to the confusion. 

Madison Taylor is a mesmerizing actress.  She controls the room even when she isn’t speaking.  Her ability to use silence engagingly, to be absorbed in action that surrounds her but does not involve her, her impeccable diction, her palpable fear that draws you into concern for her… just brilliant. I can’t wait to see her again. 

Tara Falk is a treasured Denver actress and director.  She takes on the role of Linda with a soothing confidence.  She is certain that her “gift” is secure enough that she can reveal its deceptive qualities to her new friend with no consequences.  She has the lazy grace of a Southern belle but the voice and attitude of a posh Londoner.  She sees nothing wrong with the way she makes a living, although the London police beg to differ. 

Linda has a couple of friends who share a bottle of wine with her and Hilda.  The evening turns rambunctious and argumentative, finally devolving into the telling of a sort of ghost story.  Jerry (Jihad Milhem) is a cocky, self-important world traveler who has opinions. Everyone must agree with his opinions.  But when he’s left alone with the quietude that is Hilda, he turns into a bumbling schoolboy. The second friend is Sylvia, played by local favorite Maggie Tisdale.  She has been secretly supporting Linda’s lifestyle and is beginning to resent it.  A full bottle of wine later, words are exchanged, tempers flare, but inevitably, peace is made.  Then, Hilda is urged by the others to tell the story of the last time she saw her mother. 

The play is so well written that the momentum it is gathering is unnoticeable until, suddenly, you are in the middle of it. It’s ramped up in the second scene with the arrival of the two argumentative friends.  But it has a third scene that grabs you by the hair and pulls you into the darkness.  The audience was leaning into the space, trying to get a better look.  To discover – Does the thin place exist? 

This exercise in suspense plays in Denver at the Savoy through September; then it moves to the Dairy Center in Boulder for an October engagement.  Order your tickets NOW.  Once the buzz on this one hits the streets, they will become scarce.  If you are a fan of stories that intrigue; of clean, crisp acting; of a work that leaves you walking out of the theatre shaking your head and asking, “What just happened?”, this is the one for you. Mesmerizing is the name of the game for THE THIN PLACE. 

A WOW factor of 9.25! 

STEEL MAGNOLIAS – Written by Robert Harling; Directed by Shelly Gaza.  Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through November 11.  Tickets available at 970-744- 3747 or ColoradoCandlelight.com. 

Candlelight has broken their usual pattern of producing musicals and brought this classic straight comic script to their spacious playing space.  “Why?” you ask.  Well, for one thing, it probably gives them a little bit of a break in the action of not having to deal with a musical director, a choreographer, and dozens of singers/dancers/actors.  It allowed them to create a platform over the pit area and transform it into a lovely, spacious beauty salon for the ladies of Chinquapin Parish, Louisiana.   

While Chinquapin Parish is a fictional place, the location that inspired it is celebrated in Natchitoches, Louisiana, where Mr. Harling grew up and went to college.   Truvy’s beauty parlor is based on the place where the female members of Mr. Harling’s family got their hair done and their weekly dose of gossip. Sadly, the character of Shelby is based on Mr. Harling’s sister, who passed away from complications of diabetes in 1985. He admits to being fascinated by the mocking but loving relationships between the women of his youth.  He recognized that they talked like bumper stickers and that the story told is funny, until it isn’t. The authenticity is profound.  As a result, it is a script that has been performed repeatedly since 1987, resonating yet today. 

This cast revels in the “Bless your heart” one-liners that have earned a place in modern dialogue.  “I love you more than my luggage;” “Laughing through tears is my favorite emotion;” “If you don’t have anything nice to say about anybody, come sit by me” (first said by Alice Roosevelt – Teddy’s daughter).  All the ladies of this cast know how to highlight a laugh line while throwing it casually away at the same time. 

The cast seems to be led by Truvy as they all come to her place of employment (a room added on to her house for her shop) to catch up and slow down.  It’s easy to see why Jalyn Courtenay Webb, a familiar face around Candlelight, was chosen to play Truvy.  Jalyn’s own caring personality matches Truvy’s tough exterior and marshmallow heart.  She brings a joyful persona and a pile of hair into her turn as Truvy.  You want a good hug, go see Jalyn. 

The principal family members whose story of love and sacrifice is being told are M’Lynn and her daughter, Shelby.  Over the course of four scenes, we go from the day of Shelby’s wedding to nearly four years later, after the birth of her son.  The humor between all the ladies is laced with the tension between mother and daughter about the wisdom of Shelby’s pregnancy.  But Shelby has absorbed the steel as well as the magnolias from this band of women and holds her own in this ongoing battle.  Shelby, as created by Cate Rounds, is respectful toward her mother but determined; her signature color of all shades of pink hides a personality all her own.  By the same token, Vicki White’s portrayal of M’Lynn is heartfelt and heartbreaking.  She sees what might happen but can’t do anything to stop it.  How many mothers do you know who have been in the same place? 

The friends are a motley but delightful crew.  We must start with Ouiser, a crotchety old Southern lady who puts on funny hats and grows vegetables she’s never going to eat.  Abby Apple Boes brings both sides of her personality to the stage as the “couldn’t care less” smart aleck to the first to offer a helping hand when needed.  While caustic to all appearances, you kind of get the feeling that she’s just kidding and knows it.  Clairee represents the more sophisticated side of the Southern mentality as a wealthy widow who buys a radio station and supports the local football team.  Melissa Williams as Clairee dresses just a little bit better, travels just a little more, and presents as just a little calmer most of the time.  But still as funny as the rest of them.  And, finally, we have Annelle, the mystery woman who just appeared one day, asking for a job who goes from nearly pathetic to professional within those four years.  Nicole Harwell gives Annelle a vulnerability that is very appealing and a somewhat comical (in the eyes of the others) religious fervor.  Director Shelly Gaza must have been delighted to have such a juicy bunch of ladies to bring her production to life, and what fun they must have all had in doing it. 

Mike Grittner’s design for Truvy’s House of Hair is spectacular and even features, in an homage to the movie we all loved, a small picture of the original cast on a side table.  The props and dressing adorning the set add to the authenticity of the picture, including the Baby Jesus Christmas tree.  All were provided by Rachel Ross.  Deb Faber did her usual fine job of dressing the ladies in colorful, down-home clothing of the era.  All in all, a very pretty picture is presented of the place and time. 

This is a good reason to go see yet another version of a classic-in-the-making performance of STEEL MAGNOLIAS. Be sure to put a leaf on the magnolia tree in the lobby for your own personal woman of steel. 

A WOW factor of 8.75!!