Saturday, March 31, 2012
CHESS, THE MUSICAL (THE ARVADA CENTER) A SMASH HIT! REVIEW TO FOLLOW...
Thursday, March 29, 2012
The Busy World is Hushed
Keith Bunin’s “The Busy World is Hushed” is a thoughtful and deceptively simple play that deals with family, faith and romantic love. In this case that romantic love is homosexual. The play is about many things. Among them is the importance of accepting love in all its manifestations. Among them is the need for extracting what one’s soul knows needs to be tossed in the way of dead misconceptions of the past and moving forward in our lives. Among them is the importance of grieving and letting go and not getting stuck obsessively digging up past hurts, past pains and hollow, empty beliefs. Among them is the need to place a fiery passion for Life in their stead allowing one to forge more of and become more of who he truly is. Among them is understanding that deep in the recesses of one’s soul one knows that the poetry and mythology and the social guidelines of a distant culture’s holy writ are just the very interesting packaging for the concept that love is all that matters. “The Busy World is Hushed” is directed by Bernie Cardell and features very fine performances by Mari Geassair, Tim McGrath and Chris Silberman. There is a superbly appointed playing space featuring clerical furnishings designed by Jen Orf and masterfully built by Mike Uhlenkamp. Luke A. Terry has done some fine work in enhancing the work with a crystal clear sound design. Kudos to Bernie Cardell in his success in maintaining neutrality in his direction. As a result those in attendance will have the privilege of discovering the essence of this very provocative play through whichever facet of the diadem they wish to look. The final line of the play is: “Let’s go and bury our dead.” More than a statement, this is an exhortation to one and all in attendance to let go of the past and move on. Not flimsy, flip or flashy, this play has plumbable depths for the serious theatergoer. In this reviewer’s not so humble opinion this is what theatre ought to be.
Not to be missed.
Ignite Theatre presents the Regional Premiere of Keith Bunin’s The Busy World is Hushed (directed by Bernie Cardell) from March 23 through April 15, 2012 in the Aurora Fox Studio Theatre (9900 East Colfax, Aurora, CO 80010). Fridays and Saturdays at 7:30pm; Sundays at 6:00pm. Tickets: $25 – adults/$16 – students/$12 – groups of 6+. http://lucentperformingarts.org/busyworld.php.
Wednesday, March 28, 2012
Tommy Lee Jones Goes To Opera Alone
Tommy Lee Jones Goes to Opera Alone is a mind-altering evening that is mesmerizing in the true sense of the word. It’s truly remarkable that we have in this town a theatre troupe whose intimacy with the creative fire of the imagination has manifest an evening of theatre that could be called a lucid dream. To have a pop icon discussing Grand Opera is in itself astounding. A whimsical evening of the mondo bizarro variety, one would have to be Kuh-Ray-Zee to miss this one. The Buntport ensemble that animates this nearly life-sized puppet created in the image of the actor Tommy Lee Jones is as usual the very fire of passionate artistic innovation. This puppet’s s’ real it’s surreal. All in Bunraku black except for the inimitable Hannah Duggan as a lip-synching warbling and wafting waitress at a Texas roadhouse greasy spoon, this ensemble dazzles us. Erik Edborg is the unflappable voice of Mr. Jones.
Puppets, pie and Puccini. What could be better?
Not to be missed.
Through April 14. 8 p.m. Thursday-Saturday, 3 p.m. Sunday April 1. Tickets: $16 ($13 for students and seniors). 717 Lipan St. More: buntport.com or 720-946-1388
Hanna Duggan and Tommy Lee Jones
Wednesday, March 21, 2012
A Small Fire
Playwright Adam Bock’s “A Small Fire” is a worthy play that deserves your attention and your attendance. It's on view now at The Edge Theatre on West Colfax. In Bock's play a woman who heads up a construction company suddenly begins to lose her senses one by one. Kirsten Brant does well expressing the anguish of Emily Bridges, a person caught up in this disorienting experience. As she descends further and further into this void Brant makes us feel how important it is to see, hear, taste, smell and feel everything. Ms. Brant is new to Denver and a welcome addition to this theatre community.
Paul Page leads the cast as the husband who must hold the family together as his wife’s experiencing of life ebbs. Page's character reminds us that even with the loss of these first four senses-sight,hearing, taste and smell - it's the sense of touch and profound passionate love that make all the difference. Without these all the world is nothing more than mannequins and window dressing. More than friend, lover and confidante, this husband has his hands full trying to keep morale up on the home front. Page, who is brilliant throughout, turns in some especially fine work in the scene in which he describes the various activities and guests at their daughter’s wedding to a visually impaired wife.
Christian Mast is superb in a role, which allows him a balance between his outrageous comic side and the serious dramatic side we seldom get to see. His scenes as Emily’s foreman and close friend contrast nicely with one in which he plays a kind of cheerleader for some homing pigeons on the wing.
Haley Johnson (Mast’s wife in real life) plays Emily’s daughter, Jenny. The mother-daughter issues surrounding Jenny’s impending wedding that are hotly debated at the top of the play become less and less important as Emily continues her decline and Jenny becomes more empowered. Ms. Johnson, who has been brilliant as Blanche DuBois in “A Streetcar Named Desire” and Madame Merteuil in “Dangerous Liaisons” turns in some fine work in the supporting cast this time.
Robert Kramer directs the show with a clear eye and a poet’s touch. The dismantling of the fragmentary scenic design is choreographed with grace and precision by stagehands, who deserve high praise for their work.
Anyone in attendance will feel the heart of this play long after he leaves the theatre. For days afterward many of the simple things in life that one may have taken for granted take on a whole new flavor. The epiphanies engendered by “A Small Fire” will spark a new awareness of what's truly important in Life. Do yourself a favor and see it.
Paul Page leads the cast as the husband who must hold the family together as his wife’s experiencing of life ebbs. Page's character reminds us that even with the loss of these first four senses-sight,hearing, taste and smell - it's the sense of touch and profound passionate love that make all the difference. Without these all the world is nothing more than mannequins and window dressing. More than friend, lover and confidante, this husband has his hands full trying to keep morale up on the home front. Page, who is brilliant throughout, turns in some especially fine work in the scene in which he describes the various activities and guests at their daughter’s wedding to a visually impaired wife.
Christian Mast is superb in a role, which allows him a balance between his outrageous comic side and the serious dramatic side we seldom get to see. His scenes as Emily’s foreman and close friend contrast nicely with one in which he plays a kind of cheerleader for some homing pigeons on the wing.
Haley Johnson (Mast’s wife in real life) plays Emily’s daughter, Jenny. The mother-daughter issues surrounding Jenny’s impending wedding that are hotly debated at the top of the play become less and less important as Emily continues her decline and Jenny becomes more empowered. Ms. Johnson, who has been brilliant as Blanche DuBois in “A Streetcar Named Desire” and Madame Merteuil in “Dangerous Liaisons” turns in some fine work in the supporting cast this time.
Robert Kramer directs the show with a clear eye and a poet’s touch. The dismantling of the fragmentary scenic design is choreographed with grace and precision by stagehands, who deserve high praise for their work.
Anyone in attendance will feel the heart of this play long after he leaves the theatre. For days afterward many of the simple things in life that one may have taken for granted take on a whole new flavor. The epiphanies engendered by “A Small Fire” will spark a new awareness of what's truly important in Life. Do yourself a favor and see it.
L'chaim!
The Edge Theatre
“A Small Fire”
Unexpected loss leads to an unlikely love story.
Mar 16 – Apr 15
Fri./ Sat. and Monday, Apr. 9 at 8:00 p.m.; Sun. at 6 p.m. (No performance on April 8)
Tickets are $20.00 adult $19 online; $15.00 Students & Seniors; $10 on Mon., April 9
303-232-0363 or online at www.theedgetheatre.com
The Edge Theater, 9797 W Colfax Ave - Lakewood, CO 80215
Tuesday, March 20, 2012
BECKY SHAW
Becky Shaw
Curious Theatre: 3/10-4/14
By George! I think they did it! “Becky Shaw” is one Hell of a good time!
A blind date gone bad has never been this much fun. Bill Hahn’s portrayal of Max, the exasperated and intimacy-challenged macho shithead of the piece is worth the price of admission all on its own. Karen Slack’s portrayal of the deliciously inept titular character is brilliant. From her entrance “dressed like a birthday cake”-Max’s words, not mine! - to her slow mo step-by-step advance on the object of her desires, Slack's performance is nothing short of Cosmic! Dame Billie McBride’s delivery of the conniving and controlling matriarch of this dysfunctional pack of degenerates is an utter pleasure to watch. Brava! Rachel Fowler’s kvetching Suzanna Slater is eminently watchable. John Jurcheck’s intentionally ungrounded and overly sensitive Andrew Porter is spot on.
From the laid back jazz at the top of the show to the cookin’ jazz as the play heats up Jason Ducat’s sound design sounds divine. Kevin Brainerd’s “birthday cake” costume design is of the hilariously edible variety. Shannon McKinney’s lighting design is her usual fine work. Although the four vertical panels adorned with rectangular frames in Tina Anderson’s scenic design lent a contemporary abstract backdrop to the piece, the chroma key employed was flat. Perhaps it was meant to be that way so that the characters would pop out more. If so, it succeeded marvelously. Chip Walton is at the top of his form as the director of “Becky Shaw." Was it Herbert Hoover's platform that called for “a chicken in every pot?” This reviewer’s platform for this show is “a butt in every seat!”
Not to be missed.
Bill Hahn, John Jurcheck and Rachel Fowler in "Becky Shaw
P.S. Gina Gionfriddo, who wrote "Becky Shaw" is that great playwright who penned that awesome play “After Ashley.”
Hmmm. That hasn’t been done in a while.
Thursday - Saturday; 8 p.m.
, Sunday; 2 p.m.
1080 Acoma Street
curioustheatre.org
303-623-052480 Acoma Street, Denver
Monday, March 19, 2012
Southern Baptist Sissies
Southern Baptist Sissies
Theatre Out Denver: 2/24 – 3/24
I’m way late on this one, but don’t you be!
There’s only one weekend left so you must run to get a ticket for this reprise of the 2006 Theatre on Broadway production of Del Shores’ hilarious and heartbreaking “Southern Baptist Sissies.” There are three vets in the cast and five newbies. Reprising their roles are: James O’Hagan-Murphy (Mark Lee Fuller), Preston Lee Britton (Benny) and David Ballew (Peanut.) This first production of Theatre Out Denver is outrageous, outstanding and outstripping (yes there are two alternating strippers: Cisco Yocisco and Bobby Lindsay) its predecessor in production values and heart. The story is about four gay boys from the Calvary Baptist Church in Dallas who are fixin’ to find love and acceptance in the Christian Charity of their conservative, myopic and homophobic Lone Star community. O’Hagan Murphy has a good grip on the narrative thread. This time his Mark Lee Fuller is less naïve and perhaps a bit more cynical than that first time he trod the boards at T.O. B. He’s been around the theatrical block a few times since that show including fine work in “Grey Gardens” at Vintage Theatre and “Some Girl(s)” at The Edge Theatre on West Colfax. As Fuller, O’Hagan Murphy gets to talk back to the preacher and then discuss the contradictions in Leviticus with the audience throughout. Preston Britton is even more outrageous than he was last time. As Benny he gets to do the drag numbers and his engagement of the audience keeps the laugh meter on overdrive. Brock Benson is brilliant in his portrayal of T.J. Brooks, Mark Lee Fuller’s guilt ridden heart-throb. It is to be hoped that we will see more of Mr. Brooks in future theatre productions at Theatre Out and elsewhere throughout the city. Todd Black gets to be the heavy in the role of the hardhearted preacher. Talk about the straight and the narrow. Lord have mercy! About the only humor given him by the playwright is in his initial scene with Linda Suttle who is reprising her role(s) as all the boys’ narrow minded and mostly sluttish moms. Stefin Woolever turns in a touching performance in the role of Andrew Thomas Ford. His delivery of the boyish anxiety required for this character is most memorable. Although the acting duet of David Ballew and Samara Bridwell as two sloshed bar flies is funny and ultimately touching, the material goes on for wayyyy too long. C.J. Hosier’s scenic design is as good as it was last time around. It’s a heartbreaker that such a fine artist, actor and friend should have passed away at such a young age. Steve Tangedal is once again in the director’s chair on this 2006 award-winning production.
Tangedal hopes that he will be able to produce the recent off Broadway hit “Next Fall” next fall. Did I stutter? Run to get tickets.
Southern Baptist Sissies plays at the Crossroads Theatre, 2590 Washington St.
For tickets call: 303-832-0929
Tuesday, March 13, 2012
MASTER CLASS (5 Stars)
Master Class
Miners Alley: 2/24 – 4/1
“Master Class,” Terrence McNally’s play about Maria Callas will stun and astonish you!
Opera star Marcia Ragonetti delivers an outrageously well thought out cage rattler of a performance as Maria Callas in Miners Alley Playhouse’s outstanding production of Terrence McNally’s “Master Class.” As brilliant as her acting is jaws drop when this opera star sings. Playwright McNally has set the piece in a classroom at Julliard in 1971.For years Callas lived and worked at peak performance and then was unceremoniously dumped by the inevitable ravaging of time on her vocal chords and the callous nature of her husband, Aristotle Onassis. Ms. Ragonetti engages the audience in an intimate conversation, one sided though it is, which draws us in with her tongue in cheek banter and the off the cuff insults aimed at her pupils. This is a revenge play. When one has lived The Good Life full tilt onstage and off for a number of years and is summarily dumped by Life and Love simultaneously would one not tend to be bitter? Callas is enraged at her loss and takes it out on her students. Boni McIntyre co-stars in the show as the only one of this trio of students who is able to rise to Callas’s demands by equaling and momentarily overpowering her rage. This artist’s performance is riveting in the acting and her vocals. Kelly Twedt , the first victim, I mean student is subject to an excoriating humiliation by the embittered diva regarding her dress, her manner and her general ignorance of how one presents oneself upon the opera stage. Alex Sierra, another student, gives us the perfect specimen for Callas to denigrate due to his inability to know Cavardossi’s subject matter in his aria from “Tosca.” He can’t tell Callas the location and back-story even so far as his character’s sexual exploits of the previous night. Sierra was in fine voice on the night this reviewer was in attendance and one hopes he will continue his career as an opera singer. As the accompanist, Travis Yamamoto endears as he suffers some of the artist’s more callous digs regarding what’s in a name, one’s race and one’s religion. Director Kramer makes intermittent appearances as a stagehand, who must bow to Ms. Callas by bringing her a footstool and water as well as adjusting the lights and temperature in the studio. The lighting design by Jonathan Scott-McKean is of the professional quality theatre lovers have come to expect of him. There is passion and fury in this production that make it unmissable. It’s one of the most absorbing dramas in recent memory.
Not to be missed.
Tickets are $19.00 - $26.50
senior, student and group rates available.
Call 303-935-3044
Monday, March 12, 2012
XANADU,THE MUSICAL
XANADU, THE MUSICAL
Aurora Fox Arts: 3/2-4/1
Roller skates, disco balls, short shorts! Oh my.
Aurora Fox Arts is presenting a good production of “Xanadu, the Musical.” It’s based on the 80’s cult classic film starring Olivia Newton John. The main reason to go to this production is to see and hear the outstanding leads: Amy Board and Andrew Diessner. After a disappointing opening number due to a faulty mike, beloved female lead Amy Board put forth a formidable display of her superb vocal talents. Board plays the role Olivia Newton John originated in the film. Andrew Diessner provides the outstanding vocals and Herculean muscle required for this goddess’s human boy friend. It’s a pleasure to see Gregory Price onstage again. The professionalism of this artist's vocals and hoofing in the role of Danny provides an anchor for this otherwise uh, celestial show. Any time Sharon K. White is onstage one can expect powerful vocals. Likewise Ashley Amber Harris spikes the proceedings with her superb voice and high comic spirit. The often intentionally funny choreography by Piper Lindsey Arpan enhances the production, as does Nicole M. Harrison’s costume design. Charles Packard has done some nice work creating a set design depicting the home of the Greek gods on Mount Olympus that doubles as Sonny’s 80’s disco palace, the Apex of the Arts. Shannon McKinney’s lighting design is the professional work the Denver audience has come to expect. The dancing is delivered with enthusiasm and high energy by this cast. Standouts in this department are Rob Costigan and Tyrell D. Rae both of whom provide wild comic high-jinx therewith. The just offstage band is phenomenal. Director Ben Dicke (the star of last season’s “The Wedding Singer”) creates an over the top disco era fantasia with this show. It’s ditzy and glitzy and afterwards you may feel as though you just spent ninety minutes in a helium-filled balloon. And isn’t that what glitz, ditz and fluff are expected to deliver? If we’re looking for reality therapy we go to see something by Arthur Miller. The book for this musical is so shallow that the dialogue between the musical numbers needs to pop more. Sadly the presentation of the flimsy bridges of dialogue that glue the show together disappoints. The choice of having the actors caressing some patrons seated onstage cloys.
If you’re looking for great vocals, goofy choreography and eye-popping muscles this show may be the escapist entertainment to make your week.
Willie Lohman is not in this one.
To reserve tickets for Xanadu visit www.AuroraFox.org or call the Box Office at 303-739-1970. Onstage seating is limited and must be booked in advance. The Aurora Fox Theatre is located at 9900 East Colfax Avenue, Aurora, five blocks west of Havana. Parking for the venue is free and located behind the theatre. Doors open half an hour prior to curtain and concessions are available for purchase upon arrival. For any additional information, contact the Box Office.
Six Degrees of Separation
Six Degrees of Separation
Vintage Theatre: 3/9 -4/1
John Guare's play,“Six Degrees of Separation” is based upon the true story of a young black man who conned his way into some upper class homes by playing upon the white owners’ feelings of superiority back in the 1980’s.
Conservative, politically correct and spiritually empty, Flan (Josh Hartwell) and Ouisa (Lisa DeCaro) Kittredge inhabit a world of status and prestige. They drink fine wine, they dine at the finest restaurants and they dress impeccably in the latest haute couture. When they believe they have been robbed by a con man, who has duped them they are confused and momentarily inconsolable. Like their friends, who suffer the same fate for the same reason, they are prime targets for the same con artist. The Kittredges and all of their adult friends have children who are studying in prestigious colleges. They are all successful in their chosen careers. They have cocktail parties at which the awfulness of apartheid is discussed with waspish charity. All of these savvy culture vultures-the Kittredges even own a Kandinsky- are so love starved they jump at the vague possibility of being seen in a movie of “Cats,” that’s being produced by a black director. One is used to hearing about a show’s principals in reviews. Josh Hartwell and Lisa DeCaro are certainly brilliant. Seldom, however, does one hear about the supporting cast. Every single member of the supporting cast knows who he is portraying, and why, communicating it brilliantly in every bit of facial, physiological and verbal expression. Much of this is thanks to director Len Matheo’s talent for eliciting fine performances from actors both young and old. Although Josh Hartwell appears to be a rather youngish Flan and Theo Wilson a bit long in the tooth for Paul, both turn in splendid performances. Not a perfect production, it is nevertheless a supremely satisfying evening of theatre.
There is a whole new generation of theatergoers who are "Six Degrees of Separation" virgins so I will say only one thing more so as not to spoil the fun.
Run to get tickets.
Just FYI: the play includes nudity and adult situations.
Lisa DeCaro (Ouisa) and Theo Wilson (Paul)
Photo credit: Ellen Nelson
Six Degrees of Separation plays through April 1 Fridays and Saturdays at 7:30p.m. and Sundays at 2:30p.m. The show includes adult content and nudity. For tickets call 303-839-1316 or go online at www.vintagetheatre.com
Saturday, March 10, 2012
HIts and Misses this week 3/
This week’s pics for what’s HOT and what’s NOT!
Musical of the week:
THE DROWSY CHAPERONE
FIVE STARS
The Drowsy Chaperone at Boulder’s Dinner Theatre provides Broadway musical talent non pareil. Brian Norber is outstanding as Man in Chair. Seth Caikowski is a hoot as Adolpho. Ali Dunfee is magnificent doing a sort of choreographed semaphore as the titular Chaperone. For production values of the first magnitude don’t miss this one! Superb live orchestra led by Neal Dunfee. Rapturous escapism! This is the perfect way to dump the stress of the week!
Drama of the week:
MASTER CLASS
FIVE STARS
Miners Alley Playhouse has an outstanding production of “Master Class” now on view starring real life opera star Marcia Ragonetti. This artist astounds with her acting and her voice. Also onstage is superb actor/singer Boni McIntyre as a student who bolsters her courage enough to stand up to the embittered Callas who is taking her rage at having been dumped by love and life out on her students. Fine direction by Rob Kramer.
What to miss:
CORONADO
NO STARS
“Coronado” at John Hand Theatre is the missable entry of the week. Dennis Lehane’s first play is of the truly skipable variety. Lehane later went on to grow into a superb screenwriter with Mystic River and Gone Baby Gone. However… there is nothing to recommend about this evening of theatre.
See it if you must.
Miss Julie
Miss Julie
Paragon Theatre :2/24-3/17
Barbra Andrews and Matthew Blood Smyth in Paragon's "Miss Julie"
“Classism kills” is the directorial core concept for Paragon Theatre’s current production of August Strindberg’s “Miss Julie.” With this play playwright Strindberg was emulating Emile Zola who was the literary father of naturalism. Zola believed that Life could be described as a slaughterhouse. Lurid, pungent and as deterministic as it was ugly, Zola painted a dark picture of Life that left his characters powerless in the face of brutality, addiction and squalid poverty. Someone once described naturalism as a style that puts forth a “deterministic plot of decline or degeneration where characters are crushed by the forces of a universe they cannot understand nor control.” The three-person cast has been well chosen with regard to visual aspects of facial and physiological appearance. With regard to natural talent, style and technique Barbra Andrews is outrageous and outstanding. The facial expressions of Ms. Andrews in her portrayal of Miss Julie provide us as audience with a kaleidoscopic out-picturing of this power broker’s cerebral contortions. The multitude of nearly simultaneous synapses occurring in Miss Julie’s brain is instantly on view with exquisite timing and a vivid visual communication of the title character’s thoughts. Ms. Andrews’ coiffure and costume are of the exquisite variety providing exaggerated contrast to those of both her servants. Matthew Blood Smyth portrays Jean, the servant after whom miss Julie lusts. Suzanne Favette is Kristin, another servant, who is also in the thrall of Jean. In the interplay of Jean and Kristin the word “classism” referred to above may be seen as interchangeable with that of “sexism” since male chauvinism was rampant at the time of this play’s appearance. All the characters in this show have major control issues and as Strindberg sees it, so does everyone on this planet. The characters in this play use rank, sex and religious belief to further their cause in pushing the negative ego into the foreground to the detriment and dismay of everyone else. It’s bad enough having these control freak issues pulling them together and pushing them apart. Besides having to deal with each other’s narcissistic negative egos there is the fear of losing face and fortune at the hands of society. Outside the walls of the room in which these three characters interact is the audible roar of society, which we hear first as a kind of raucous party and later as a threatening mob. There is a scene in the play in which a canary meets its maker at the hands of one of the principals. We only hear the blow. If this were true naturalism we would not only hear but see the awful existential act in its totality and the blood would splatter out before - perhaps even upon - us all. This scene leads us as audience out of the Naturalism of Messrs Strindberg and Zola and into the Realism of Monsieur Flaubert. Had Miss Julie’s bird’s canarial demise had just a touch more of the spiritual apotheosis of Felicite’s parrot in Flaubert’s “Un Coeur Simple,” the whole situation might have been “tweetable.” Sorry.
Unsuitable for bleeding heart ornithologists.
Paragon Theatre, 2810 Larimer St. Shows are at 7:30 p.m. Thursdays, Fridays and Saturdays through March 17. 1:30 p.m.matinees on March 4 and 11. Tickets start at $21 ($17 for matinees) at paragontheatre.org or 303-300-2210.
Thursday, March 8, 2012
The Drowsy Chaperone
The Drowsy Chaperone
Boulder’s Dinner Theatre: 2/24 – 5/13
The much-lauded 2006 Broadway musical “The Drowsy Chaperone “is currently wowing crowds at Boulder’s Dinner Theatre. As directed by Michael J. Duran the show is an all night non=stop whirlwind of hilarious send-ups of the musicals of the early twentieth century. The show garnered Tonys for Best Book for a Musical, Best Costumes, Best Original Score, Best Scenic Design and Best Featured Actress in a Musical - Beth Leavell. The Drama Desk Awards even gave it the nod for Best Musical. Brian Norber plays Man in Chair, a gay man who is feeling a bit “blue” and turns to his collection of musical theatre records for consolation. As he listens to his favorite, “The Drowsy Chaperone,” he engages the audience in a sort of one-sided dialogue wherein he describes the original cast in glowing terms as well as telling the sordid details of their real lives. It is impossible for the viewer not to fall in love with and wish to take home in his back pocket the adorable rangy, rubber faced Brian Norber who plays Man in Chair. His performance is outstanding and truly steals the show. The scenic design by Amy Campion gives us his dingy apartment out of which emerges an outrageously entertaining Broadway show of the past. This show within a show describes the ups and downs of two young lovers trying to get to the altar. The characters in the show are archetypes including a Latin Lothario named Aldolpho played with excruciatingly funny panache by Seth Caikowski. Denver/Boulder favorite Ali Dunfee is a stellar stitch as the titular character. Her hand nearly always clutching a Gibson, this actor belts out the song “As We Stumble Along” with a choreographed semaphore of comic brio. Brian Jackson (the groom) and Matthew Peters (the best man) give us some magnificent tap dancing as the groom struggles with his “Cold Feets.” Katy Ulrich’s the bride. As Janet Van de Graff this young actor pulls out all the stops in her show-stopping number, ”I Don’t Want to Show Off.” Director Michael Duran and Wayne Kennedy play The Hairy Brothers, two bald gangsters posing as pastry chefs. Their duet, “Toledo Surprise,” in which kitchen utensils provide a sort of culinary metaphor for tommy guns, is a killer. No really. Joanie Brosseau is hilarious as Kitty, a squeaky dumb blonde babe trying to land an acting role by cozying up to these gangstas and auditioning for roles in shows such as “Swanee Lake.” Neal Dunfee provides his usual magic music directing Boulder’s Dinner Theatre’s luscious live orchestra.
Dopey, daffy, and utterly delightful, this show is so entertaining you will not believe your ears and eyes.
And when you bite into that Prime Rib you won’t believe your taste buds!
Run to get tickets!
