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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 

CHESS – Music by Bjorn Ulvaeus and Benny Andersson; Lyrics by Tim Rice; Book by Richard Nelson; Directed by Bryan Bell; Musical Directed by Jeejay Maccariella; Choreographed by Cory Michael Klements.  Produced by Bright Heart Stages (Presented at the People’s Building, 9995 East Colfax, Aurora) through March 9^th.  Tickets available at thepeoplesbuilding.com/chess. 

What’s happening to Aurora?  One little corner of East Colfax is beginning to resemble Vegas.  There’s a crap game going down on Dayton and an epic chess game being played out on Florence.  Epic, indeed!  Bright Heart Stages has put together an epic cast that is blowing the roof off the People’s Building for three more performances.  It’s a pity they can’t do it longer; there is so much good theatre going on in Denver and surrounds right now.  Too many people are going to miss it. 

CHESS is a bigger-than-life story based loosely on the media coverage around the Chess Match of the Century between the American Bobby Fischer and the Russian Boris Spassky – although the love stories are a bit of a stretch.   But the World Champion match between the two in 1972 created a whole new passion for chess among young players the world over.  Based on the exposure he got for his erratic behavior and arrogant confidence, Fischer became a media darling. 

Amy Warner and Brian Bell are to be congratulated for pulling off this difficult show which is almost operetta in its presentation with limited spoken dialogue.  The score includes seductive ballads, rousing anthems, and downright rock music in a style that embraces recitative and nearly rap sections to tell its story.  It demands a lot of its ensemble and even more of the lead characters.  The human aspect is truncated to provide room to illustrate the Cold War politics as a theme.  But this cast made the story clear and gave the production heart. 

Brian Cronan sings the lead role of Freddie, the brash arrogant American chess master who forgives himself for his bad behavior in “Pity the Child.” This role demands a strong temperament and an incredible vocal range.  Freddy is in love with his second, the dedicated Florence who sees him for what he is.  But as confident as he is leaning over a chessboard, he seems afraid to acknowledge any kind of weakness in his personal life.  Amy Warner as Florence, on the other hand, finds her loyalty tested by his thoughtless treatment and having to forever apologize for his behavior.  Amy has the moxie to pull off a strong woman who will only put up with so much crap.  Her voice has the power to carry off a musical argument, a mournful love song, and everything in between. 

The Russian side of this quartet of lovers is well represented by Nick Marshall as Anatoly, who is calm, deliberate, and dedicated to not only chess, but to his desire to escape the bonds of Mother Russia.  I don’t know what Nick is like off-stage, but Anatoly has a quietude and strength about his personality that leads you to believe that it is a reflection of Nick in real life.  His stage wife, in way too small a role, is Charlotte Campbell as Svetlana.  But she does get to sing one-half of one of the loveliest duets ever written for the Broadway stage – “I Know Him So Well.”  She and Florence reflect vocally on what “their” man needs, revealing totally opposite views. 

I’m not sure why Cole Emarine’s name was not put in the program as the Arbiter, the person who makes the rules and regs governing how the chess matches are conducted.  Usually presented as a male character, this production decided to shake it up a little and present the tough-talking, heavy-handed Arbiter as a woman.  Even in her power suits and sassy attitude, it seemed an unlikely gender bend, given the politics of the 70’s when this story took place.   

But Cole also costumed the show and did an amazing job.  There were dozens of costumes required and everyone got new pieces for every change of character, location, and time.  Florence wore subdued colors until her love story came alive when touches of Russian red crept into her wardrobe.  Svetlana, on the other hand, was entitled to wear bold Russian red immediately.  The checkerboard patterns were repeated whenever possible and the dancers from Merano, Budapest, and Bangkok all had new costumes reflecting their national culture.  An overwhelming job well done. 

One of the roles of the music director is to make sure that the accompaniment to the voices in a production supports the singers without overwhelming them.  A very difficult task with a pit band on stage with the cast.  The nine musicians – who I believe are members of the Aurora Symphony – created a lot of music for some of the ensemble numbers that led the singers to increase their volume.  I’m not going to call it a battle royale, but it did seem to be overwhelming at times. Yet they were able to provide a subdued beautiful background for the ballads.  It’s always more enjoyable to have live music; thank you for being willing to learn the music and participate.  

I hate short runs – but you’ve got one more weekend.  Bright Heart Stage’s mission is to bring to life seldom-done musicals that deserve more attention.  Keep your eye on this group – they will bring to life old memories or help you create new ones.  Next up:  BLOOD BROTHERS. 

A WOW factor of 8.75! 

CLYBOURNE PARK – Written by Bruce Norris; Directed by Kenny Moten.  Produced by the Arvada Center Theatre Company (6901 Wadsworth Boulevard, Arvada) through March 30.  Tickets available at 720-898-7200 or arvadacenter.org. 

This script starts out with a truly inane conversation between a husband and wife over the derivation of the word “Neapolitan” as it pertains to ice cream. She is packing to move from the house; he is reading National Geographic and eating said ice cream.  Yet all the time they are conversing, there is an underpinning of tension, of things unspoken, of a desperate need to keep things light, superficial.  A clergyman arrives peddling prayer to an uninterested audience.  A neighbor and his wife arrive with unsettling news about the prospective buyers of the house they are moving from.  The age-old prejudices have been brought to an also unwilling audience.  In the background hover Francine, their Black maid of many years, and her husband, polite, helpful and bewildered.  A heart-rending story about the death of the homeowner’s military son unfolds and reveals the reasons they are moving and why they could care less who is moving in. 

During the intermission, a moving crew arrives on stage, finishes the packing, removes the furniture, and proceeds to totally demolish the house – turning it from a comfortable family home into a stereotypical crack house.  Designed by the brilliant Brian Mallgrave, built by Nick Cimyotte and the crew in the shop, dressed by Jalana Sloatman and her prop crew, and lit by Shannon McKinney, this is a set that goes the extra mile to provide two views of the same house, enhances the passage of the years, and belies the hope of a better life for its inhabitants. 

Fifty years have passed.  The family that bought the house are long gone and two generations of neglect has ruined it.  A young white couple have bought the old derelict with plans to demolish it and rebuild on the same lot, but there seems to be some legal issue about the dimensions of the proposed new house.  A meeting has been called between the legacy owners, the new prospective buyers, the real estate dealer and a lawyer.  We quickly surmise that, even though fifty years have passed, any discussion involving racial differences are going to result in walking on eggs and high tension.  While attempts at “understanding” and humor are tried, the second act ends as the first act – with fierce arguments going in all directions.  As they storm out, a workman who has been digging a trench for new pipes walks in with a trunk he found buried in the yard – a remnant from the end of the story from Act I.  Its contents provide a sweet but powerful coda to the anger we have witnessed. 

The work done by this cadre of actors is amazing to behold.  Brik Berkes’ grieving father barely able to hold it together is heartbreaking in Act One.  At one point, he leaves the stage in anger, only to come back a few minutes later with tears running down his cheeks in frustration.  He flips in Act Two to become the uninvolved but curious opener of the trunk uncovered.  Kate Gleason plays the loving but helpless mother in Act One, grasping at straws in an attempt to help her husband assuage his anger.  A fast-talking real estate agent in Act Two, she tries to deflect with distraction but finally loses her patience with these people who can’t stay on point.  Ghandia Johnson is the quiet talking docile maid in Act One, until they have managed to push her last button.  Don Randle plays her husband in both acts as the go –along-to-get-along guy who seems to avoid boat-rocking by being helpful and polite.  They represent the neighborhood and the family that once owned the house with fears that the new house will lead to a high grade gentrification and force the now Black community out of the market.  Nik Vlachos brings three characters to life.  The first is the fish-out-of-water clergyman in Act One whose attempts at comfort fall dreadfully short.  In Act Two, he plays a lawyer involved in the negotiations and, in the final moments, the memory of the military son.   

While everyone does an exemplary job with high-pressure, fast-talking characters who must express a mountain of unpleasant emotions while seeking to maintain a cool demeanor, this evening belonged to Damon Guerrasio and his two wives.  Damon – always an excellent choice for any kind of role – usually plays comic parts and musical characters.  He pulls up his big boy pants in this show and takes on two of the toughest, ugliest roles.  In Act One, Karl, the guy from the neighborhood, has just returned from a visit with the Youngers, the first Black family to buy into this neighborhood.  The ugliness started off stage before the show commenced and continued into his belligerent conversation with Russ and Bev, the sellers.  Kendall Malkin plays his very pregnant wife whose deafness protects her from some of the turmoil.  Corey Exline joins Damon as his wife Lindsay in the second act.  These two are Generation X through and through – on their way up, eventually 2.5 kids plus a dog, “important” jobs, confident and clearly not racist (because some of their best friends are Black).  Watching them maneuver the stepping stones over the pit of fire they find themselves in is part of the fun of this show.  Damon turns a little clueless, a little doofus in the second act, but still stands up for himself (and his equally doofus wife) with vigor. 

Kenny Moten once again proves why he is one of the most sought-after directors in the state.  He keeps everything moving without forcing you to make decisions.  The truth and the hurt of the words just wash over you and soak in.  There’s a LOT packed into these two hours that you will find yourself pondering days later.  Can we ever really have a rational discussion about race?  Are the folks who live on Avenue Q correct is assuming that “Everybody’s just a little bit racist?”  Will we ever be able to get it straight?  Is DEI a waste of time as some would have us believe?   Or, in the words of Anne Frank, “In spite of everything, I still believe that people are really good at heart.” 

A WOW factor of 9!! 

THE SUFFRAGETTE’S MURDER – Written by Sandy Rustin; Directed by Margot Bordelon.  Produced by the Denver Center Theatre Company (the Kilstrom Theatre, 14^th and Curtis, Denver) through March 9^th.  Tickets available at 303-893-4800 or denvercenter.org. 

Sandy Rustin is an up-and-comer in the world of American playwrights. Having just seen the Colorado premiere of her lighthearted British comedy, THE COTTAGE (now playing at the StageDoor Theatre in Conifer), I fully expected another complicated farcical high-energy comedy, and I was not disappointed. 

THE COTTAGE is a parade of purloined partners.  MURDER has its own set of improbable twists and turns that, as they are performed, seem perfectly logical until they pile in another unexpected complication.  It’s so much fun to see it all come alive in front of you and respond in shock with the whole audience at the next revelation.  You’ll never see them coming. 

The owners and tenants of a boarding house in the 1850’s in lower Manhattan were fierce activists in favor of women’s right to vote.  Even the men get in on the action.  They are planning a rebellious act that is just a little bit on this side of shady.  The arrival of a constable upsets their plans and forces them into hiding their “weapons” and creating an impromptu seance to cover their activities.  Chaos ensues. 

The cast is committed to comedy and does excellent work.  Mr. And Mrs. Mayhew (as played by Megan Hill and Mathew Boston) are the owners of the boarding house, happily married until they aren’t.  Linda Mugleston and Annie Abramczyk are mother and daughter boarders, Mariam and Mabel Adams, having escaped their small town to wait for Mabel’s impending (but unmarried) happy event.  Rowan Vickers and Curtis Wiley are two boarders who could not be more opposite.  Vickers as Leopold Albright is unpleasant, rude, and bigoted.  Wiley as Tennyson Jennings is pleasant, polite, and helpful.  There is one other boarder – the silent Mr. Orton (Gareth Saxe) who sits quietly in the nook under the staircase observing the activity.  He proves to be a most valuable asset in saving the day for the boarders.  The Constable is investigating the disappearance and supposed murdered sixth boarder.  it’s sort of a “Who’s on First” routine as he tries to sort out everyone’s connection.  It’s a little bit pointless as relationships change throughout the evening. 

The two-story set reminded me so much of the set for a Victorian NOISES OFF, I kept imagining what was going on behind those formidable walls to the second floor.  Beautifully appointed, comfortable without being ostentatious, the Mayhews boarding house for people in need would have been a good place to live in for a while.  Director Margot Bordelon kept the action moving and the changing relationships clear.  Ms. Rustin should be very happy with this inaugural production. 

A WOW factor of 8.75!! 

GUYS AND DOLLS – Book by Abe Burroughs and Jo Swerling; Music by Frank Loesser; Directed by Carter Edward Smith.  Produced by Vintage Theatre (1468 Dayton, Aurora) through March 23.  Tickets available at 303-856-7830 or Vintagetheatre.org. 

Oh, no, not another one of those old pieces from ancient times.  Might as well do SOUND OF MUSIC or FIDDLER Again!  Oh, well, I like Vintage and have to trust them to do a good job.  Wait! What?  They got Jessica Sotwick as Adelaide!!  And Justin Milner as Sky?  That hottie that stole ONCE UPON A MATTRESS!  OK  – hold the curtain!  I’m there . . . . 

I should learn not to prejudge a show because of its age.  There’s a reason audiences don’t leave the theatre humming after a contemporary production.  And why almost everyone can name two or three songs out of the shows written in the 1900’s?  They are pure joy to listen to and great fun to watch.  The stories are compelling, the emotions authentic, and the jokes corny.  The Damon Runyon-type characters ring a bell; we’ve seen them in a dozen movies and they probably remind you of your Uncle Shorty.  The moment they started singing “I got a horse right here; his name is Paul Revere,” they had me. 

Keywords: “Sit down, you’re rocking the boat” – floating crap game – trip to Havana – Salvation Army doll – Bushel and a Peck – post nasal drip.  Ah, it all comes back now, doesn’t it?  But please don’t forget “More I Cannot Wish You” sung by Sister Sarah’s grandfather to her, so beautifully done by Brian Trampler.  One of the most beautiful songs ever written. 

This show has found wonderfully rich characters to play wonderfully rich characters.  The guys looking for a place to have a crap game have those faces, those bodies that say – without a word – “I been around.”  Grant Bowman (Big Jule ) – Patrick Brownson (Harry the Horse) – Cooper Kaminsky (Benny Southstreet) – David Kincannon (Nicely Nicely) – Scotty Shaffer (Nathan Detroit) – all have seen the other side of thirty but can belt a song and dance a jig or two with the young guys.  So proud of them – and of Carter for casting them – and Dallas Slankard and Danielle Morris for teaching them the dances.  They all did great. 

Nicole Cherecwich is a relative newcomer to Denver theatre but here’s hoping we see a lot more of her.  Her bell-like soprano lit up the stage; her natural grace made her a perfect Sister Sarah, innocently led astray by that dastardly Justin Milner as Sky.  They worked well together, making sugar and spice a dish to enjoy.  The duet between Sarah and Adelaide – “Marry the Man Today: – was a show-stopping melding of styles. 

Speaking of Adelaide – here she comes, folks.  Anyone who saw Jessica Sotwick as Ursula in LITTLE MERMAID at Parker Arts or Mrs. Lovett in SWEENEY TODD at Stagedoor Theatre in Conifer knows that she can take a small role and make it big.  And a big role and blow a hole in the back wall of the theatre.  As Adelaide, she was loving and familiar with Scotty Shaffer as Nathan, her fiancé of 14 years.  She could melt into tears at yet another postponement of the wedding bells; she could sing and dance her legs off as the star of the Hot Box Girls; her anger knew no bounds when betrayed again by a pair of dice.  She will take a simple line, adorn it with her own touch – a twist, a sneer, a smile, a sneeze – and the line takes on a whole new meaning. She makes watching her a surprise and a delight in every scene.  I keep telling her I’m her #1 fan; I can’t understand why she keeps backing away. 

Well, I was wrong.  Everything about this “tired” old show is fresh and new and delightful.  Carter Edward Smith has come into his own as a director and has a bright future ahead of him. 

A WOW factor of 9.25!! 

BLUES FOR AN ALABAMA SKY – Written by Pearl Cleage; Directed by Adrienne Martin-Fullwood.  Produced by Firehouse Theatre Company (Presented in the John Hand Theatre at 7653 East 1^st Street, Denver) through March 9^th.  Tickets available at 303-562-3232 or firehousetheatercompany.com. 

BLUES seems like a slice-of-life drama but it’s a bit more than that.  It’s also a character study and a look at how attitude influences the outcome.  It’s funny, touching, and historical. 

Basically, there are two couples living in comfortable co-existence across the hall from each other.  Guy and Angel live in one apartment but only as temporary roommates.  Angel just got dumped by her gangster boyfriend and lost her job as a singer in his nightclub.  She’s sleeping on Guy’s sofa until she can find a new job and a new sugar daddy.  She is self–centered, selfish, and scared yet confident in her ability to snare a man with her sexual prowess.  Guy, on the other hand, is a costume designer with an over-weening determination to become the exclusive designer for the legendary Josephine Baker.  But, instead of hoping it will just happen miraculously, he works hard at sending her sketches of his ideas and making his dream known to her.  As a gay man, Guy is generous, outgoing, optimistic, and a determined dreamer. 

The other couple are just beginning their couplehood.  Delia is a pioneer in her desire to open a clinic in Harlem to teach women about birth control.  She is happy for the strides she is making in the right direction and the quiet sweet relationship she is beginning with Sam, the local doctor. Sam likes a party – “Let the Good Times Roll!” – but also seems content to sit around the kitchen table and talk with Delia.  He reluctantly takes care of the women for whom Delia’s lessons are too late.   

The fifth character Leland enters the picture from way down South.  A country boy mourning the loss of his two-year-gone wife, he is immediately drawn to Angel because of her resemblance to his deceased wife – and – she to him for his willingness to take care of her.  However, his are not big city ways and attitudes. 

Johnathan Underwood takes the role of Guy with a high-pitched energy that emphasizes his dynamic approach to his passion and underwrites his innate goodness.  Nadiya Jackson enters the scene drunk and angry and rarely gets more than ten minutes away from those emotions for the rest of the evening.  If she’s not sleeping one off, she’s buzzing around the apartment like a hummingbird on steroids.  It’s only when she slows down that you can see her fear. 

Jysten Atom and Marissa Joy play second banana to the dramatics going on across the hall.  But they are supportive friends and possess an air of simplicity and authenticity that serves their roles.  Their camaraderie with each other and their friends is natural and adds believability to the depth and longevity of their friendship.  Throwing Leland with his outdated, homophobic, and misogynistic ideas into this experienced intelligent New York group of old friends is a big mistake. 

The set designed, constructed, and painted by Jeff Jesmer and Megan Davis achieves the seediness of a NY cold water flat in Harlem in the 30’s with its plaster walls and mismatched furniture.  The center of attention in Guy’s room is his alter to Josephine Baker.  The costumes designed by Molly Gallegos are stunning and include Angel’s “work” clothes and the pitiful excuse for a dress that Leland deems more suitable for her new role as his girlfriend.  Guy is a designer of drag costumes so, of course, he must display his wares like a peacock.  It’s a good look for Johnathan. 

It’s Black History Month and there are many fine offerings in Denver theatres right now to honor legacy and heritage.  GEE’S BEND at the Fox, CLYBOURNE PARK at the Arvada Center, CHASING BREADCRUMBS by Local Theatre at the Dairy Center, THE CASE FOR THE EXISTENCE OF GOD at Curious, and this show at Firehouse. 

A WOW factor of 8.50!