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

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

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

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

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

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

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

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

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

A WOW factor of 8.75!! 

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

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

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

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

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

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

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

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

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

A WOW factor of 9!! 

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

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

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

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

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

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

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

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

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

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

A WOW factor of 8.5!! 

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

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

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

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

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

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

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

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

A WOW factor of 8.5!! 

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

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

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

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

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

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

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

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

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

A WOW factor of 8.75!! 

THE REVLON GIRL – Written by Neil Anthony Docking; Directed by Madalyn Rilling.  Produced by Springs Ensemble Theatre (Performed at the Fifty-Niner Speakeasy, 2409 West Colorado Avenue, Colorado Springs) through June 22.  Tickets available at 719-357-3080 or SpringsEnsembleTheatre.org. 

The first time you attend a SET show, it’s a little tentative.  You find the address in Old Town . . . but it doesn’t look like a theatre.  No marquee – just a brick storefront for a shop called Dice Guys.  You enter through a crowd of tables inhabited by groups of people either riotous or in deep and silent thought, garbed all in black.  That seems to be the classic uniform for Dungeons and Dragon warriors.  The front half of the building is a gaming shop where you can play before you pay.  You are guided through to the back of the room where a smiling Maitre de greets you and checks your name off his list.  Then you are escorted to the “back room” or the home of SET.  It is filled by tables and chairs, built in padded benches and a few pieces of comfortable furniture for the audience.  The back third of the room is the stage where the magic happens. 

THE REVLON GIRL starts out with the excited laughter of children as they enter their school for the last day of lessons before the half-term holiday.  In a few seconds, those laughing voices are drowned out by the excruciating noise of a landslide crashing into and covering their classrooms.  This is the true event that took the lives of 116 children and 28 adults in Aberfan, Wales in 1967.  The students (half the children in the village) and their teachers were buried side by side in a mass grave several days later. 

Our story starts eight months later when a small group of women gather in the community center to get a makeover from a representative from Revlon in an attempt to get their lives back on track.  Each have lost children in the tragedy and are in deep grief.  The thought is that anything that can take them out of their present state of mind for even a few minutes is worth trying.  The Revlon girl didn’t really have any idea of what she was walking into.   

Slowly, slowly, the various stories come out.  Each of them has anger toward the “tourist attraction” their village has become.  Each of them blames the mining company and the National Coal Board who knew of the danger but did nothing about it.  Each of them grieves in their own way with either anger, bewilderment, or hope for the future.  The women find community in sharing their feelings and circumstances with the stranger in their midst and, ultimately, with each other. 

To be based on such a tragic event, the character of the women still provides a sort of black humor that only they are allowed to express.  But the Revlon girl reveals a corresponding loss in her history that binds her to the women as well.  They seem to leave the gathering in a closer, more comforting place than when they arrived. 

This cast of five women did an extraordinary job of capturing all of the pathos of the situation.  If I should see one on the street later, I would have consoled her on her loss without remembering that she was acting the story.  Ellie Hinkle as Sian, with help from the absent Audrey, had pulled the meeting together in the hope that a makeover would make her attractive to her grieving husband again.  JoLynn Minns as Marilyn has been grief-driven into mental confusion by losing both of her girls.  The other women start the evening condescending to her fantasies of survival but end up comforting her.  Rona is the outspoken angry member of the group, given life by Sarah Sheppard Shaver.  The wife of the Vicar, she wants to take the settlement money offered by the NCB and get out of town.  And Jean (Zoe Flack) hopes that the new baby she is carrying will help fill the hole left in her heart by the death of her son.  Margaret Brophy plays the unfortunate Revlon Girl thrown into the midst of this scene of turmoil and pain.   

The setting is a simple meeting room with a table for the demonstration makeup and a few chairs.  The real setting is put in place by the opening sound effects, the amazing thunder and lightening effects as a storm breaks out overhead and the silences between the women.  Lighting Designer Eric Bowlby and Sound Designer Daniel Robbins did a fine job of keeping the audience in the room with the women, yet aware of the world outside.  Their Dialect Coach – Alysabeth Clements –Mosley – did an excellent job of helping the ladies with their Welsh accents. 

Yes, it’s a jaunt down to the Springs to see a show.  But you are missing out on what the excellent theatre community at our neighbors to the South are creating with their talent and imagination.  It’s not much further than Candlelight or the Dairy Center and you know you go there all the time.  Explore a little – find a new restaurant – try out a new environment for some fine theatre.  You’ll be glad you did. 

A WOW factor of 8.5!! 

RIPCORD – Written by David Lindsay-Abaire; Directed by Abby Apple Boes.  Produced by Firehouse Theater Company (Presented at the John Hand Theater, 7653 East First Place, Denver) through June 29.  Tickets available at 303-562-3232 or firehousetheater.com. 

About twenty-five years ago, I took my grandson Joe to a production of FUDDY MEERS at Curious Theatre featuring Frank Oden and Katherine Grey.  It wasn’t the first play that I had taken Joe to, but it was the first time I remember him laughing so hard, he nearly fell out of his seat.  And saying with laugh tears in his eyes as we left, “That was really fun, Grandma.  Can we see it again?”  I’ve been a fan of David Lindsay-Abaire ever since.  Having worked on productions of KIMBERLY AKIMBO, WONDER OF THE WORLD, SHREK, RABBIT HOLE, and GOOD PEOPLE and enjoyed other productions of RIPCORD, I’ve never been disappointed in Lindsay-Abaire’s gift for realistic dialogue, his ability to plumb the depths of human emotion (both light and dark), and his hope for a happy ending when none seems possible.  So I greeted Firehouse’s current production with great anticipation. 

What I could not have anticipated was the hand-in-glove fit of the two lead actresses, Darcy Kennedy and Colette Brown, into their respective roles.  Darcy plays the cantankerous Abby Binder, alone and bitter who has alienated her son and pushed away all potential friends.  Colette takes on the everlastingly cheerful character of Marylin Dunne, who has led a fulfilling and love-filled life leaving her with a joyful fun-loving attitude.  While it’s obvious to the careful observer that these ladies could have easily changed roles and the show would have been just as funny, I’m glad they ended up the way they did.   

Darcy’s grumpy Abby is funny beyond words.  She is disappointed with her life but seems to look upon it as fate, not because of decisions she made herself.  Her responses to the bet made between the two fighting for sole ownership of their shared room are mean-spirited and personally hurtful.  When a third unseen but meaningful character enters Abby’s life and starts to thaw her heart, you can’t help but rejoice that there is still sunshine left in her soul.

 

Colette is indeed her match.  Undyingly optimistic, convinced that everything can be fixed with kindness, Marylin never reveals her secret weapon – that she genuinely wants Abby to be happy.  She doesn’t really care about the room; it’s just the fulcrum upon which their challenges balance.  Her personal relationships with the staff, other residents and her family are her points of light.  But she loves the challenge of bringing Abby back to life. 

These two opposing warrior women are ably aided in this adventure by staff member Scotty, played by Jozeph Mykeals.  He switches from companionable friendship to frustration with ease until he gets tired of the contest and Abby’s scorn.  An amateur actor, he gets the last laugh when his acting skills are put to the test, and he passes.  Marylin’s abetting family consists of her daughter Colleen (Shanae Adams) and son-in-law Derek (Jysten Atom) who become her partners in crime against Abby.  They orchestrate some truly amazing scenarios designed to “scare” Abby that sometimes work better than they could have anticipated. Tho Abby will never admit to fear. 

The cast is rounded out by Jaylin Wiese who plays minor roles until the last hour of the show when he takes on the pivotal part of Abby’s long-lost son.  In a realistically touching scene, fences are (sort of) mended and (some) walls broken down.  It’s a scene that calls for a delicate touch by both actors to illustrate both the hesitancy and the need.  Both Darcy and Jaylin have the skill and heart to make the scene true. 

The set also illustrates the differences between the two women.  Marylin’s side has pictures on the walls, mementoes on the bookshelves, drawings by her grandson – the story of life being enjoyed.  Abby’s side has bare walls, her books are her Kindle, her only decor are plants (that can’t talk back).  Her watering can is a cute little elephant-shaped thing with water coming out of the trunk – certainly a gift.  That’s nothing Abby would have ever bought for herself.  The danger and adventure scenes are beautifully enhanced by the sound effects provided by Madison Kuebler and the light design of Emily Maddox.  While the costumes are contemporary, they too reflect the differences between our protagonists in that Abby’s are casual and pretty colorless while Marylin’s have style and a touch of fashion.   

Denver for the next few weeks has its own abbreviated version of THE GOLDEN GIRLS on steroids playing at Firehouse.  Once again, Lindsay-Abraire and Firehouse teach that a gentle landing – even at an older age – is possible. 

A WOW factor of 8.75!! 

THE COTTAGE – Written by Sandy Rustin; Directed by Kelly Van Oosbree.  Produced by Platte Valley Theatre Arts (Presented at the Armory, 300 Strong Street, Brighton) through May 17.  Tickets available at PlatteValleyTheatreArts.org.

 

You can always count on a good time when you visit a Kelly Van Oosbree production in Brighton or anywhere for that matter.  She takes the words and intent in a script to new heights with her imagination and creativity.  When the words are funny, she enhances them with unexpected physicality and schtick.  When the words are dramatic, she will create an environment that encourages authenticity and honest emotion from her cast.  When there’s music involved, watch out!  You’ll see stories with new eyes that allow her interpretation to take the most familiar and make it sparkle with originality.  Put a script in KVO’s hands and it’s automatically better.  This particular little bundle of fluff went from a scone to a creme puff under her direction.   

Each of her cast entered into the fun of the ridiculous script with energy and enthusiasm.  Ms. Rustin’s sense of the absurd knows no bounds.  I can imagine her in her studio pondering, “Now what would happen if we had two brothers who were married to two lovely women but having an affair with the other’s wife?”  And she’s off!  She endows all the characters with sardonic senses of humor and a need for honesty.  But wait!  Let’s throw two more characters in the mix to see what happens.  How about a second mistress and her murderous husband with a mysterious past?  The rollicking fun just gets better and better. 

This cast took the improbable story and told it with seriousness, genuine shock and fear, and made it deadpan funny.  Bill Diggle is the rather prim, slightly stuffy Beau married to Marjorie and away for a weekend with his sister-in-law Sylvia.  You get the feeling that he’s OK with keeping his once-a-year appointment with her but wouldn’t be heartbroken if it didn’t happen.  Sylvia, on the other hand, played by Sarah Kit Farrell, lived for this “same time next year” scandalous scenario.  She fancies herself truly in Love (with a capitol L) and is over the top bubbly.  Ms. Ferrell oozes comic timing and gives off a sort of Bette Midler “no-holds-barred” vibe as she navigates through the real time changes in her life during the two hour play. 

The second brother is Clarke, even more stuffy than his sibling and hopelessly enamored with his sister-in-law,  Marjorie, while married to Sylvia.  Clarke is given henpecked life by Cory Lowe as most of his lines start with “Yes, Dear.”  His very pregnant Dear is the commanding Jordann Zbylski who forces the confrontation at the cottage because she’s tired of sneaking around and wants everything out in the open.  Of course, they are British – so everything is VERY civilized.  The arrival of the final two characters – Diedre, a ditzy blonde, and Richard, her jealous husband – played by Alex Jacobsen and Adam Luhrs – add an element of surprise and danger to the afternoon.  Your mental scorecard fills up fast with the changes of partners all happening at a breakneck pace. 

It is a pity that the PVTA group only run their offerings for two weeks; they deserve a longer run so that more people can enjoy.  But it remains – if you are looking for a fun date night this weekend, drive up to Brighton, have dinner at one of the dozens of great Mexican restaurants up there, and pop on over to the Armory to laugh yourself silly — and revel in your stable relationship.  You aren’t anything like these crazy people in this play . . .  . Right? 

A WOW factor of 8.5!! 

RIDE THE CYCLONE – Book, Music, and Lyrics by Jacob Richmond and Brooke Maxwell; Directed by Jennifer Schmitz.  Produced by Vintage Theatre Productions (1468 Dayton, Aurora) through June 8.  Tickets available at 303-856-7830 or VintageTheatre.org. 

A new musical!!  Joy abounds!  Even if it sounds like it might be a little dark, it is NOT SOUND OF MUSIC.  So let’s see what it’s all about. 

RIDE THE CYCLONE is built on the plight of six teenagers who met an untimely death in the grips of a runaway rollercoaster.  After they wake up in limbo, the mysterious gypsy fortune telling machine offers one of them the chance to resurrect.  The choice, however, is based on what they would do with that new life, resulting in a competition which reveals how they spent their past time on earth and what they would do differently in the future.  Each of the teenagers gets a time in the spotlight to explain themselves in exceedingly funny episodes that include a wannabe French prostitute, a superhero from an alien Cat planet, a lonely Ukrainian poet, and a heartfelt realization that life wasn’t as bad as they may have thought it was.  One poor girl suffered a debilitating injury that removed her memory of who she was and her past.  The puzzle is resolved and the decision made to everyone’s delight. 

This cast of young singers do a superlative job with rather difficult music, implementing effective and charming choreography led by Carrie Colton.  It seems simple – but we know that’s a lie, don’t we?  Music Director Jerimiah Otto has schooled the singers in the story songs so, as ridiculous as they are, they still make fun sense.  The six singers are Laila Aniyah (in college), Isaac Dechtman (in high school for another month), Sabrina Patten (in college), Megan Schraeder (semi-adult), Silas Vazquez (in college), and Samuel Wersch (a college graduate).  But they are all very authentic members of the St. Caspian’s High School Chamber Choir.  Daevon Robinson creates a sardonic, sarcastic, smart-talking Karnak, being both mechanical and humane.  Don’t keep your eyes center stage ALL the time; his reactions to the kid’s revelations are comical as well. 

While the entire evening is fun and worthy of your attention, I was especially touched by a couple of moments to watch (and listen) for.  Sabrina Patten as Jane Doe, the girl who can’t remember her past, sings an extremely difficult almost-aria in “The Ballad of Jane Doe.” Her pleas to St. Peter to let her in the pearly gates are executed with rills and operatic vocal runs that must be heard to be believed.  Megan Schraeder as Constance sums up the out-of-life experience in a musical “Jawbreaker” that gives her a beautiful OUR TOWN moment to lament all the things she took for granted and now realizes she discounted unfairly.  Like her parents.  Megan gives this time to reflect a touching meaningful performance.  Both Sabrina and Megan and the rest of the cast are fairly new to the acting pool in Denver, but here’s hoping they stick around for a while.  I can’t wait to see what they do next.  

This little hidden gem of a script that is bound to become a small theatre staple in the genre of LOVE/PERFECT and FOREVER PLAID was found by producer Bernie Cardell and offered to experienced Vintage stage manager Jennifer Schmitz for a directorial debut.  It is a pleasure to welcome Jenn to the inner circle of honored Denver directors.  We expect big things from her now and accept that they will probably have to bribe her to get back in the booth again.   

The set depicting a run down and deserted amusement park was designed by Lexi Renfro and built by Production Manager Brendan Cochran, augmented with clever props by Gabby Lentini.  Look for her light up umbrellas!  The Canadian school uniforms were created by Susan Rahmsdorff-Terry with Emily Maddox adding the spooky lighting.  Russ Kirby added roller coaster sound effects and the whole caboodle was managed by Maddie Morgan. 

You may never ride a roller coaster again – but you’ll have fond memories of this evening, nevertheless. 

A WOW factor of 8.5!! 

THE HOT WING KING – Written by Katori Hall; Directed by Timothy Douglas.  Produced by the Denver Center Theatre Company (14^th and Curtis, Denver) through May 25.  Tickets available at 303-893-4100 or denvercenter.org. 

Last summer, I finally got to attend a play at the National Theatre in London – a bucket list item for me since watching so many of the filmed versions of their performances.  And the show I got to see – THE HOT WING KING!.  I was totally convinced that the cast of Black actors had been imported from the States for the show as they had the Southern swagger, the inflections in their salty language, and the grace of the confident all down so smoothly.  They had to be “real” American actors.  But I was wrong.  Later, reading the program, I discovered they were just incredibly gifted and dedicated British actors. 

This was a delightful introduction to this new script by Ms. Hall and made my anticipation of seeing the show again in Denver even higher.  Perhaps – but only perhaps – if the swagger, the slang, the sexiness may have come a little more naturally to the Denver cast, it wasn’t by much.  They all gave wonderful performances of this sexy and thoughtful script. 

Three experienced to the point of being pro barbeque chefs have come together again in an attempt to win the crown as creating the best Hot Wings in Memphis.  They are joined by a new member of the team who needs coaching in how to stir and who spreads his gay sauciness all over the gathering.  The two men who live in the condo with the kitchen are exploring a still raw and uncertain relationship.  One man is tormented by having left his family for this experimental time in Memphis; the other is haunted by the death of his sister at the hands of the police and the impact it has had on her son.  The final two characters are the ex-husband of the deceased sister and her teenage son. 

The banter between the men as they chop, season, stir, and sear is gay in every sense of the word.  They are comfortable in their skins and make no bones about their enjoyment of music, food, and each other.  Terence Archie as Cordell is unsure of parts of his life, but very secure in his ability to make marinades and sauces.  His George Clooney good looks and confidence make him easy to watch and lend gravitas to his conflicting emotions.  His new partner Dwayne, played by Curtis Wiley, has one-part helpless devotion and two-parts steely determination.  These men are wise beyond their years and experience, but fight to find a way to a middle ground.   Isaiah Tyrelle Boyd creates a unique but somehow familiar character for Isom, the newest to the group.  His sass is unlimited; he is sexy and sweet at the same time; he is a trash talker supreme and as funny as Will Smith thinks he is.  He provides the crowning touch to the HOT sauce and the sauce to the dialogue all evening long. 

Isom’s sometime partner is Big Charles, played by Tobias A. Young with a slow grace and a sweet heart.  As the past champion and most knowledgeable of the team, he is a mentor and a partner in the whole enterprise.  TJ is the struggling father caught between the desire to do good and the need to do well to provide for his son.  Dogged by failure as a provider, father, and even as a drug dealer, his way down seems destined.  A brilliant young actor – Jacques Jean-Mary – takes on the role of the troubled teen Everett, who has seen his mother killed by the police, been evicted several times with his father, seen his own dreams fall by the wayside, yet still manages to act badly – like a normal teenager.  His life thus far has given him the strength to carve his own path in this world of caring but clueless adults. 

The script contains the best of raucous humor and a thoughtful consideration of relationships of all kinds.  It explores the beauty of kinship of those related by blood and those related by love and friendship.  Oh, yes, you will laugh out loud, but you will also watch in quiet wonder as these men bare their souls. 

A WOW factor of 8.75!