Little Shop of Horrors

The Space Theatre in the Plex

    Mark Dissette as Mr. Mushnik

     It’s always a pleasure to attend one of PHAMALY’s theatre productions. Whether you’re a fan from way back or attending for the first time, these actors delight, dazzle and deliver an evening – or in my case a matinee - that enchants.

     

     “Little Shop of Horrors” is this summer’s entry into the pantheon of Broadway musicals that have been produced by this very fine troupe. It’s the tale of Seymour, a geeky assistant at the floral shop, who introduces a carnivorous plant into the inventory. It’s great good fun. Daniel Traylor (Seymour) appears to be having a blast as his plant, Audrey II, grows from adorable seedling to plantling to monster with a taste for anything that’s blood rare. 

      Kathi Wood, Audrey II and Daniel Traylor 

     Seymour's  fantasy girl friend, Audrey I, is the masochistic girl friend of a sadistic dentist, played with relish by Denver favorite, Jeremy Palmer. Audrey I is thoroughly well sung and acted by Kathi Wood. Her singing of “Somewhere That’s Green” is one of the highlights of the show. Mark Dissette is hilarious in the role of Seymour’s boss, Mr. Mushnik.

     

                  Mark Dissette, Audrey II and Daniel Traylor

     However … the star of the show is the plant, which is seen in five different stages of growth. These are five puppets that have been superbly designed by Cory Gilstrap/ Imagined Creations.

      

     With outstanding direction (Steve Wilson), music direction (Donna Debreceni), choreography (Debbie Stark and Ronni Gallup) and costumes by Linda Morken one has to go in expecting a very fun show.

    

     I must admit that my favorite thing about this production is the voice of the plant. Don Mauck’s vocals as this carnivorous posey are outstanding. Mauck is an amazing vocalist. You have got to hear his renditions of “Feed Me” and “Suppertime.” Outstanding!

      

     The ensemble includes such favorites as Brianna Berthiaume, Lyndsay Palmer and Kathleen Traylor. 

     The cast seemed a little bit more uptight than usual in the performance at which this reviewer was in attendance. So was this reviewer! After the tragic events of the previous week we were all still grieving.

     

     Go and support this outstanding company.

     

     You’ll be glad you did.

Marlowe's Musings

Tickets are now on sale for the Physically Handicapped Actors & Musical Artists League’s (PHAMALY) production of “Little Shop of Horrors."  Previews begin on July 12 & 13, opening at the Space Theatre in the Denver Performing Arts Complex July 14 through August 5, 2012. Performances are 7:30 p.m. Fridays and Saturdays; 2:00 p.m., Sundays and 7:30 p.m. on Monday, July 30. Tickets are $30 - $34 adult, $28 - $34 senior/student/military, $24 groups of 10 or more, and $17 for July 12 and 13 previews and (Industry Night) Monday, July 30. Tickets can be purchased by calling Denver Center Ticketing at 303-893-4100; online at www.phamaly.org; or at the Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex in the Denver Performing Arts Complex. $24 tickets groups of ten or more - call 303-931-7241.

Jersey Boys

The Buell Theatre:

     Denver Center Attractions has a real winner on view at The Buell Theatre.

      “Jersey Boys,” the musical about the rise of Franki Valli and the Four Seasons, that took home the Tony for Best Musical in 2006 is currently causing sold out houses to go crazy with their applause as early as a quarter of the way through this show. 

     The performances, especially those of Brad Weinstock (Franki Valli) and Jason Kappus( Bob Gaudio), are outstanding. 

     Visually the show is a knock-out with a Tony Award-winning lighting design by Howell Binkley that is spectacular. 

     The sound of the show is off the charts musical theatre heaven from the vocals to the instrumental interpretations of such pop classics as: “Sherry,” “Big Girls Don’t Cry” and “Walk Like a Man.” 

     This show is electrifying!

      Not to be missed.

The cast of "Jersey Boys

                                        Buy tickets at www.denvercenter.org

"Marlowe's Musings

The Play About the Baby

Germinal Stage Denver

     When I was a young movie theater manager I had a boss who had a bold quote in a brass frame above his mahogany desk. It said: “Old age and treachery will overcome youth and skill.”

     

     “The Play About the Baby” is a real head scratcher. It's rich, dense and utterly fascinating. Edward Albee is our greatest living playwright and you owe it to yourself to see this play. Among other things it  deals with the lies of youth and shattered illusions. Albee asks us “if you have no wound how do you know you exist?”  His play speaks of the horror of “the knowledge of who we cannot be.” and of “time, the great controller.”

    

     As in some other Albee plays there are two couples.  It could be surmised that the man and woman and boy and girl of this play reflect a bit of George and Martha and Nick and Honey in “Who’s Afraid of Virginia Woolf.” You decide.

    

     Deborah Persoff is woman. Ed Baierlein is man. Cole Cribari is Boy. Kelsey Kaiserhot is Girl.

     

     Who was it that said, ”Life is what happens to us while we’re making other plans?” At 20 one thinks himself immortal and invincible. His elders are seen as sorry failures physically, emotionally and mentally. (He has not yet learned about ‘spiritually.’) Wandering on the periphery of his/her seeming paradise of youthful beauty and exuberant sexuality, these quasi comical/quasi tragic figures - the old ones - have lessons to teach. These are not always given with a generous spirit and an open heart. As in Edward Albee’s play they lay out the landscape in insidiously esoteric, and mostly less than charming fashion. As they taunt and tease with their delicious (to them) sardonic wit, those youthful students of Life are slowly inexorably drawn into the abyss. Sounds charming, huh? It puts one in mind of such Greek myths as Sisyphus and Tantalus. Eternally trucking on in the face of never ending failure at the seeming birth of success and longing for that luscious dream which is just out of reach. As the boy tells the girl: “They are here to hurt and to injure us beyond salvation.”

                                                     

                                            Left to Right: Deborah Persoff and Ed Baierlein

     Man and woman erase every thought that our younger selves may ever have been innocent or immortal. They have bad news for the two young lovers and for us. There is no such thing as the baby. Their inquisition regarding the whereabouts of the baby eventually wears these two lovers down until both admit that even they can’t remember the Edenic paradise they believe to have been the baby. Slowly man and woman erode any sense of joy or hope in the young couple, replacing it with the despair of emptiness, declining health, decrepitude and death.  They (man and woman) stand like two foreboding angels forever blocking the gates to paradise. They bully, lord it over, tease and tantalize these two naïve children as if they were the very serpent(s) that caused their expulsion from the garden.

     

     If not serpents one might choose to see man and woman as a pair of ghosts of Christmas Future from whom the youngsters receive the news that not only is there no Santa Claus, but no hope for a Happy New Year either.

     As woman Persoff toys with us as audience in the brilliant delivery of her long monologue. As she strides out to the short wall that separates stage and audience she leans against it virtually causing the fourth wall to disappear. With a deft slicing of her character’s cruel wit she eviscerates any sense in us of ever having been the innocent, enchanted baby born in the image of … well, you get my drift. She makes us believe that we had certain illusive vagaries in childhood that were mere fantasies of the nursery.

                                        Left to Right: Cole Cribari and Kelsey Kaisershot

    

     Director Tad Baierlein has chosen to use hugely contrasting stage movement to create tension and underscore conflict in this production. Persoff owns the stage as she strides, swivels and staggers drunkenly while laughing with malevolent scorn at these two sadly misguided greenhorns.

    

      Ed steps out and stands like a grim statue (think the Commendatore at the end of "Don Giovanni”) to state: ”We’ve come to take the baby.” Alternatively he may stroke the chair in which one of the young lovers sat, and sniffing his fingers with a wrinkled nose say: “Young smell.”

     

     Where Persoff illustrates her character by moving about the stage with a speedy silver energy, Baierlein moves but little. Director Tad Baierlein and actors Ed Baierlein and Deborah Persoff know all too well that action, whether quick or slow, is born out of stillness. The result is Power!

     

     The stage movement for boy and girl is intentionally,pronouncedly and correctly humiliating. From their cuddly endearments as they discuss armpit licking and adult breast feeding to the cutesy nude chase back and forth behind their less than impressed clothed elders, it’s clear who has the controlling upper hand.

     

     During much of Act One Persoff and Baierlein sit facing the young couple onstage in such a way as to mirror those sitting in the audience behind them. In this way Director Tad allows us as audience to identify with the omnisciently cruel man and woman.

     

     It’s a game of reality therapy chess in which man and woman unspool a seemingly unending series of checkmates upon these poor unfortunate pawns. Like the two couples in “Who’s Afraid of Virginia Woolf” and “A Delicate Balance” these couples show us that what we believe with all our hearts to be reality is often a cherished lie.

      

     “Red” was the pinnacle of the last theatre season. Although it’s awfully early to make predictions, Germinal Stage Denver’s “The Play About the Baby” could well be the pinnacle of the new one.

Not to be missed.

                                        RUNS THROUGH AUGUST 26th

   Friday, 8:00, $21.75

Saturday, 8:00, $23.75

Sunday, 7:00, $19.75

SPECIAL OFFERS

$17 PREVIEW PERFORMANCES

JULY 20th, 21st, & 22nd

(Including preview matinee on Saturday, July 21st, 2:00)

&

FRIDAY, JULY 27th

TWO-FOR-ONE TICKETS

&

$15 RUSH TICKETS, 15 MINUTES BEFORE CURTAIN

ALL OTHER PERFORMANCES

CALL 303.455.7108 FOR RESERVATIONS

 Marlowe's Musings

RICHARD III

COLORADO SHAKESPEARE FESTIVAL

     Director Tina Packer may not make this a “glorious summer” with her “Richard III,” but the attendance thereof will definitely make it a richer one.

                                       

     Nigel Gore is a good Richard. He could have been a great one. His crookbacked regent is constantly on the move. That in itself is not a bad thing, but with a bit of a pause now and again one might get a chance to see the gears whirring in this miscreant’s head. Gore’s Richard is well described in physiological terms. However … the only time he made this reviewer cringe was in the humiliation of Buckingham (Gary Alan Wright), in which he describes his (Richard’s) not being “in the vein.” Gore is at his best when he lets his cruel inner child come out in moments such as the one in which he swings his legs playfully over the battlements while verbally spewing venom.

     The star of this production is Mare Trevathan in the role of Queen Elizabeth. The passionate reading given by this actor is brilliant! She is regal and her rage is riveting! Trevathan’s fiery passion in her big scene with Gore’s Richard late in the play is indelible! Her performance makes one dream of seeing her in a staging of “The Trojan Women.”

      In the role of the Duke of Clarence Steven Weitz reads the verse like a champ. One cannot stress this too much! In this reviewer’s not so humble opinion Weitz’s delivery of Shakespeare’s verse is the pinnacle of the evening. Clear, crisp and passionately spoken, Weitz’s delivery is spellbinding.  

     The scene in which the Duke of Clarence is murdered is one of the best in this production. Although it is a brief scene the two actors, who play Clarence’s murderers, Benaiah Anderson and Peter Giffin, perform brilliantly. These two actors make one feel and know more about their characters’ humanity than many of those in the grander roles. Their performances make one wish that there were a Henry Award for Best Minor Role or Walk On.

     As Queen Margaret, diminutive Bella Merlin comes off more as an irritated fairy than a raging royal wraith.

     

     The scenic design for Richard III done by Andrea Bechert is a work of art. It fills the stage beautifully and speaks volumes about the play to come even before the show begins.

     Hugh Hanson’s costuming for the women is eye-popping and truly magnificent.  One wonders at that of some of the children though. One of their little khaki costumes with a flat khaki hat made the young man appear to be a sort of Elizabethan boy scout.

     It was unfortunate that a huge bank of lights had been rendered inoperable by inclement weather early in the run. As a result one was unable to experience the impact of the lighting design of award-winning lighting designer, Shannon McKinney.

This show may not be a perfect Richard III but it’s well worth your ducats.  You’ll have to see it late in the week now. Due to an unfortunate oversight Richard has not been scheduled to play on Hump Day. (Sorry!)

marlowe's musings

OKLAHOMA

CENTRAL CITY OPERA

     Central City Opera is proving that Rodgers and Hammerstein’s old warhorse of a musical, “Oklahoma” has not been put out to pasture. Their production of this landmark of the American musical theatre gives us a frisky colt that just won’t stop until we admit what a thoroughbred it is.

    Maureen McKay (Laurie) and Matthew Worth ( Curley)

     Matthew Worth’s performance of Curley is worthy of the trip to Central City Opera all by itself. When this actor strides through the auditorium to sing “O What a Beautiful Morning” you'll believe that you are on Broadway! Many of you, dear readers, hopefully heard him sing Jupiter in “Orpheus in the Underworld” and discovered what celestial singing was a couple of seasons back.

               

                                           

                                                               Curt Olds as Will Parker

     This time he’s joined by Curt Olds (John Styx in “Orpheus”) as Will Parker. Thjs actor is a charismatic fireball of a musical theatre triple threat. His performance in the role of Will Parker is outstanding.

     And even though mezzo soprano Joyce Castle doesn’t ever get to release that powerful instrument we all know so well, her portrayal of Aunt Eller is a solid joy throughout.

     The team of director Ken Cazan and choreographer Danny Pelzig – remember “West Side Story?”-return to bless us with another smashing revival.
     From overture to final curtain the Central City Opera orchestra makes Richard Rodgers' score an auditory banquet.


       Conductor Christopher Zemliauskas paces the show "at a nice clip-clop, never rushing with the surrey with the fringe on the top." 

     Mosey on down and get tickets.

     p.s. There are going to be two fully-orbed productions of this show at The Newmann Center at D. U. for those not able to get up the mountain. Call for dates and times.

www.centralcityopera.org

Summer festival performances take place from June 30 through August 12 at the Central City Opera House, 124 Eureka St., Central City CO 80427. 
The year-round administrative offices and box office are located at 400 S. Colorado Blvd, Suite 530, Denver CO 80246. 
BOX OFFICE: 303.292.6700

 Marlowe's Musings

Leading Ladies

Aurora Fox Studio: July 12-21

Backstage Theatre:  July 26-August 19

     Director Missy Moore has paced this production at a sparkling gallop. The sparkling aspect refers to Moore’s superb casting of Ken Ludwig’s farce.

      This sensational cast includes dazzling comic character work by Michael Bouchard(Jack),Rachel Bouchard(Meg), Daymond Caylo(Doc), David Blumenstock (Duncan)and Bethany Lillis(Audrey.) 

     Zach Andrews(Leo) leads the cast in a deliriously funny tour de force. Brilliant!

     Edith Weiss blows the roof off with her comic genius. Her turbo-charged portrayal of the elderly Florence is outstanding! 

     Chris Willard’s sound design bridges the scenes with crisply recorded tunes that keep the audience happily engaged even during the black-outs. 

     Tina Anderson’s set is lovely to look at and splendidly functional.

      There’s one more weekend of performances at The Aurora Fox Studio theatre. Then it plays Backstage Theatre in Breckenridge through August 19. If you miss it here you must drive to Breckenridge. This is a delightfully funny evening of theatre.

     To order tickets for this weekend at Aurora Fox Arts Studio Theatre call 303-733-1970

Or go online at www.aurorafoxartscenter.org

     To order via phone for the Breckenridge run, call 970.453.0199 or go online at www.backstagetheatre.org.

 Marlowe's Musings

                        The Turn of the Screw”

                                                 IT’S A GHOST STORY!
                                      

                     Left to right Sinead Mulhern (the Governess) and John Healy Miles
                                              photo credit to Mark Kiryluk

     Benjamin Britten’s “The Turn of the Screw” is currently on view at Central City Opera. Britten composed the English chamber opera and Myfanwy Piper did the libretto based on the Henry James novella of the same title. The opera premiered in London in 1954.

     Visually the opera is given a stark look of black and white that is almost completely devoid of color. Even the costumes are done in varied shades of black and grey. An iris-like effect is used to open and close upon black and white images of the children’s house at Bly and its bleak environs. Often the slides used are presented upside down. As a result those in attendance are given to wonder whether the events in the opera are really happening or are indicative of the Governess’s descent into madness. Upon leaving the opera house one lady who had attended was heard to say that she had felt as if she had been present at a black and white film. Perhaps. But certainly not silent.

     The music is a mix of tonality and dissonance. The unsettling nature of the music may cause one to think of John Williams’ theme for the movie “Jaws,” and the dissonant nature of Bernard Hermann’s musical composition for the shower in Alfred Hitchcock’s “Psycho.”

     The story has to do with a Governess who is hired by a man who is relinquishing the guardianship of two children to her care. She is told in the Prologue that she is not to contact him or to abandon them. Throughout the opera one is aware of two previous servants at Bly House – Peter Quint and Miss Jessel- who, now dead, one supposes abused the children and are presently attempting to “possess” them.
                                    

Left to right: John Healy as Miles, Vale Rideout as Quint, Rebecca Nash as Miss Jessel and Alisa Suzanne Jordheim as Flora.   Photo credit : Mark Kiryluk

     It’s a dark story that is quite esoteric and cryptic to say the least. Should one wish to dig deeper into Britten’s subtext one might find clues of a highly sexual nature in the Latin chants which are sung at various points in the opera.

     The technical work is of the usual high quality expected at this venue. Half lighting, back lighting and lighting, which isolates and confines a character to a specific pool of light on a darkened stage are all used to great advantage.

     It’s a chilly night of opera that may not be the cup of tea deemed suitable for some opera fans.

Director Allesandro Talevi involves the audience right from the start by having Vale Rideout walk through the auditorium to sing the Prologue. Rideout is superb in the opener and then later as the apparition of Peter Quint. Sinead Mulhern is outstanding in the role of the Governess. John Healy navigates the difficult singing of young Miles with more success than many opera singers of his age could. 

Vale Rideout as Quint

Photo credit to Mark Kiryluk

     This opera is sensationally well produced. Nevertheless … its unsettling and disturbing nature may not be every operagoer’s cup o’ tea.

For tickets go online at centralcityopera.org

Marlowe's Musings