Memphis is a knock-out!

 

Wunderkind Mykai Eastman and veteran director Billie McBride co-direct this production of Memphis at Town Hall Arts Center in Littleton. Their stage direction of the piece together with their impeccable casting and steady pace make the show unmissable. Mr. Eastman, who assistant directed “The Color Purple” for the Denver Center Theatre Company, also designed the thrilling choreography for this show.

     Award-winning musical theatre actor Carter Edward Smith turns in a spectacular performance in the role of Huey Calhoun, the rebellious disc jockey who popularized songs by black artists in the racially divided Memphis of the 1950s.

      Krisangela Washington is a gorgeous triple threat knock-out as Felicia Farrell, the sexy black singer that Huey falls for at Delray’s black rock n’ roll bar on Beale Street. 

     This incredibly talented artist needs to be cast as a leading lady much more often! It was a delight to see - and hear - her onstage in this role.

     The excellent casting includes Denver favorites: John Ashton (Mr. Simmons), co-author of “Murder Most Fowl,” one of Denver’s longest running comedies, Rick Long (Marlowe Award for his portrayal of Big Daddy in Vintage Theatre’s “Cat on a Hot Tin Roof,”) and Abby Apple Boes, who has just completed an astonishing performance starring in David Nehls’ “The Great American Trailer Park Musical” at Miners Alley Playhouse. 

      As Huey’s mother, Gladys, Abby Apple Boes astonishes in the acting and the vocals. 

  New to this reviewer, the other stand-outs in the cast are Jozeph Michaels as Felicia’s brother, Delray,  Joseph Sanford IV as Bobby and Preston “P-Jay” Adams as Gator.

     It’s wonderful to see John Mackey back at Town Hall in numerous supporting roles as well.

     By turns heart-opening and heart-breaking, MEMPHIS won four Tony awards in 2010.

     The show includes incredible rock n roll, wailin’ blues, and exhilarating gospel. 

     The costume design by Nicole M. Harrison is eye-popping indeed!

     Trent Hines’ music direction of this Tony Award winning score is excellent! 

     El Armstrong’s projection design keeps us up to date regarding place and time, as well as providing visuals of relevant news clippings.

    With lighting design by Kate Bashore, set by M. Curtis Grittner and sound design by Curt Behm, the technical end of things is primo.

     The music for MEMPHIS was composed by David Bryan with lyrics by Bryan and Joe DiPietro. The book for the musical was written by DiPietro.

     This musical won four Tony awards in 2010 including Best Musical, Best Original Score, Best Book for a Musical and Best Orchestrations.

          Do Not Miss This Show!!!

 

For tickets call   303-794-2787 ext. 5 or go online at townhallartscenter.org

 THE HEADLINERS

CHERRY CREEK THEATRE: 5/5 – 5/21

 

L-R: Norrell Moore and Jeremy Rill

     The World Premiere of Jeffrey Neuman’s “The Headliners” brings us the story of the struggle of two very real Vaudeville stars who are trying to be their true authentic selves in the hostile social milieu of 1908 NYC.

     Neuman’s play was a finalist in the 2021 National Playwrights Conference at the Eugene O’Neill Theater Center.

 

     Norrell Moore is a whirlwind of fiery energy as Eva Tanguay. Belting out the stunning musical numbers in her delicious naughty, bawdy fashion, this diva has the audience eating out of her hand! As Eva, she has the dominant personality of a survivor and a conniver and will even go as far as fisticuffs with a heckling patron.

    Her final song “I Don’t Care” will take your breath away.

   Jeremy Rill is outstanding in his portrayal of Julian Eltinge, the best female impersonator of his time.

The scene near final curtain in which he sings in a black evening gown with elbow-length black gloves and white plumed fan, courtesy of costume designer Linda Morken, is stunning! Julian talks about his fear of getting beat up just walking to the theatre. His relationship with Eva is a "match made in headlines."

      Paul Jaquith as Walter provides intermittent comic moments performing his job of stage manager.

     Blurring the lines between the world of the stage and the unaccepting offstage world of bigotry towards anyone who does not conform, these characters “beard an unheard-of act of defiance.” (No spoilers!)  The struggle of these pioneers to come to terms with the inequalities of the day was ground-breaking in terms of drag performances today.

     Having cast the play impeccably, Director Nick Sugar paces it in such a way that the evening flies by.

     Tina Anderson’s scenic design gives us a vaudeville stage complete with crimson curtains and art deco lighting sconces.

     The music direction by David Nehls is remarkable. All the songs are SO good, you’ll wish there were a CD to purchase in the lobby.

      Emily A. Maddox’s lighting design shifts and enhances the moods dramatically.

   From Ms. Moore’s first frock made of dollar bills to the shimmering gold and ivory gown with ermine stole near show’s end, Linda Morken’s costume design dazzles the eye. 

     Max Silverman’s sound design rocks!

 

A tip of the hat to Susie Snodgrass and the board of Cherry Creek Theatre for fostering such great Art. It’s a gift. In this case, both artistically and socially! 

Get in line for tickets now. Soon this show may be SRO for the run!

 

For tickets call:   303-800-6578                or go online at cherrycreektheatre.org

 

 

 

 

 

 

 THE SOUND OF MUSIC

BDT STAGE: 4/29 -8/19

BDT Stage’s production of the perennial favorite THE SOUND OF MUSIC is the Hottest Ticket in Town for Denver families this summer! It was the most requested musical by the patrons of this beloved theatre, and BDT Stage has given those patrons an experience to remember! This musical is so universally loved, and the emotions run so high during this production, it will, I am certain, prove to be an unforgettable evening of familial bonding. 

     Under the astute directorial eye of Alicia K. Meyers (she also plays Elsa,) BDT Stage has taken this musical from an out-to-pasture old war-horse to a coltish, fresh-feeling and healing experience. It’s one we all need after Covid and the political travesties of the last several years. 

     McKayla Marso McDonough is a Maria for the ages! This beautiful actor has a soprano to die for and blesses us with a Maria that is not only innocent, but the embodiment of real ‘goodness.’  Her singing of the title song, “My Favorite Things,” and “Confidence,” stun!

     Scott Severtson gives us one of the most endearing performances of Georg ever! “Something Good,” his duet with Ms. McDonough, enchants.

     As the Mother Abbess, Colorado favorite    Tracy Warren’s singing of “Climb Every Mountain,” will lift you out of your seat!  A shining musical moment indeed!

     Bob Hoppe plays an exceptionally animated Matt Dettweiler. He’s at his best leading the Von Trapp children singing “The Lonely Goatherd.”

       In their delightful duet “Sixteen Going on Seventeen,” Claire Leon is an adorable Liesl, and Chris Warren, a strong Rolf.      

     All the young actors who act and sing the parts of the Von Trapp children are excellent. Their “So Long, Farewell” and “Edelweiss,” most memorable.

     Under the baton of Music director Neal Dunfee, the scrumptions BDT Stage orchestra sounds better than ever.

     The morphing of Amy Campion’s scenic design from the Abbey to the Von Trapp family’s mansion is sheer magic.

    The traditional choreography of this piece by Tracey Dennig, is spot on.

    Wayne Kennedy’s sound design is outstanding. 

     The lighting design by Brett Maughan is the professional work we have all come to expect from him.

     The projection design by Tom Quinn gives us glorious views of the stained glass rose window in the Abbey as well as views of the soaring mountainous landscape at the top of the show.

     

     As devastated as we all are to have heard that this much loved 45-year-old dinner theatre is closing due to some people from another state buying her, there is, I am told, some hope. There are rumors flying everywhere! It is to be hoped that there will at least be an extension of time. If so, the theatre’s creator, Ross Haley is surely blessing us once more. This time from Heaven.

    

     And “Wonder of wonders, Miracle of miracles,” It’s just come across the internet! BDT gets one more production. FIDDLER ON THE ROOF with WAYNE KENNEDY reprising his outstanding portrayal of Tevye  from September 9 to January 13, 2024. The show will be directed by Colorado favorite, Kenny Moten. 

 

                           GRATEFUL!

 

For tickets call 303-449-6000 or go online at bdtstage.com

 ELIZABETH REX

11 MINUTES THEATRE COMPANY: APRIL 27 – MAY 15

 

                Margaret Casart and Verl Hite

Written by Paul Thompson and Timothy Findley, and directed by Tiya Trent and Janine Ann Kehlenbach,” Elizabeth Rex” is currently playing at the People’s Building on East Colfax.

    What a treat to get to see Margaret  Casart as Elizabeth the First. Frequently seen in the classics presented by Ed Baierlein and Sallie Diamond over at Germinal Stage Denver, one is overjoyed to see her treading the boards once again.   Ms. Casart is a truly great actor, and costumed in gold and ivory, she commands the stage beautifully as Queen Elizabeth I. 

     Matthew Schultz turns in a passionate performance as Ned Lowenscraft, a male actor who performs the female roles in Shakespeare’s plays. This time, it’s Beatrice in “Much Ado About Nothing.” 

     Visiting the Bard and cast after the performance, Elizabeth is distraught. It’s the evening before her one-time lover, The Earl of Essex’s execution.

     The Queen has required herself to take on a ‘manly’ disposition as regent to protect her England. Ned has been required by custom-and sexuality-to conform with the tradition of taking on a womanly disposition playing the Bard’s female characters.

    The catch-line for the play, which is spoken by the queen is, “If you will teach me how to be a woman, I will teach you how to be a man." 

     This compelling puzzle that Elizabeth creates as a distraction from the inevitable, is muddied by some of the other characters' lack of understanding of protocols required in the presence of a monarch. The treatment of this sovereign by the characters in this play is on several occasions less than deferential.

     One must lay this at the feet of the playwright(s). 

     One would not argue, dispute her opinion, or raise one’s voice to her. The punishment for this would have been immediate “towering” and execution.

     That said, there is much good to be said  about the performances. 

     Joseph Graves Jr. is an amiable and articulate Shakespeare.     

     Shashauna Staton, is a very funny Mistress Kate Tardwell.

     Alison Talvacchio is appropriately proper and sober as Lord Cecil.

           Verl Hite is outrageously hilarious as Percy, a fool who’s remembered by the queen for his “exquisite falling down.”

     Julie Williamson delivers a Lady Anne Henslowe who is appropriately sour and barely ambulatory.

     First produced in 2000 at the Stratford Festival in Ontario, Canada, it won the prestigious Governor General’s Literary Award.

Go and support the 11 Minutes Theatre Company at The People’s Building located at 9995 E. Colfax

 

For tickets call: 720-333-3499

 

 

 GERTRUDE AND OPHELIA IN HELL

                            &

ONE LAST THING BEFORE I FORGET

 

AND TOTO TOO THEATRE COMPANY: APRIL 20-30

 

                 Susan Lyles and Kate Poling

 

     Fresh from The Edinburgh Fringe Festival, And Toto too Theatre Company’s production of “Gertrude and Ophelia in Hell” is currently on view at The Roaming Gnome Theatre in Aurora.   

     In Rebecca Gorman O’Neill’s play about the two women from Elsinore, Susan Lyles is luminous as the ghost of Hamlet’s mother, Queen Gertrude, as she attempts to connive her entitled way out of Purgatory while upstaging Hamlet’s old flame, Ophelia (a charming and pouty Kate Poling.) Ophelia blames the tree branch for her downfall, and Gertrude is claiming not guilty for multiple sins, including adultery. Award-winning Billie McBride directs.

    Accompanying this play, is another one-act by Rebecca Gorman O’Neill, entitled “One Last Thing Before I Forget.”  This is a fascinating look at two discarnate entities who have died and are clinging to their memories of life on earth. It seems that as long as you have one more story that people remember about you, you can still haunt the old homestead.

     Gorman’s writing is excellent, and Kate Poling and Cyndi Parr as Harriet and Violet respectively, perfectly cast by director Melissa McCarl.

     With set and sound design by Darren Smith, Lights by Alexis Bond and Music by Sparkle and the Burn, you can’t go wrong getting tickets for these two one-acts that are part of And Toto too’s 18^th season of plays written by women playwrights.

     Hurry to get tickets. This is the final weekend!

 Roaming Gnome Theatre is located at 2520 Galena Street in Aurora, 

For tickets call 720-583-3975

 

 La Cage Aux Folles

Town Hall Arts Center: April 7 – 30

 

L-R: George Zamarippa and John White

With music and lyrics by Jerry Herman and book by Harvey Fierstein, “La Cage Aux Folles” won six Tony Awards including Best Musical in 1984.

      It’s a gloriously tune-filled musical about Georges and Albin, a gay couple who own a drag night club in St. Tropez.      

     When their son comes home to tell 

them that he’s marrying a young woman, their world momentarily turns upside down.  Then when they come to terms with Jean Michel’s choice, they discover their future daughter in law’s father is a homophobic politician…and guess who’s coming to dinner?

     The current production is so much fun, I must admit it’s better than the one I saw on Broadway.

     John White is Outstanding in the role of Albin! George Zamarripa is the best Georges I’ve seen to date! Both men sparkle and shine. Their voices complement each other beautifully.

     The scenic design by Michael R. Duran is just about perfect. So are Sammy Gleason's glitzy, glamorous costumes for ZaZa and Les Cagelles!

     Tracy Nicole Taylor is a Jacqueline for the books!!! Awesome!

     Caleb Wenger is a genuine charmer as Jean Michel.

     The music direction by Phil Forman is amazing.

     Director/Choreographer Nathan Halvorson knocked it out of the park.

     This timeless musical about the importance of being who you are, has taken wings down at Town Hall Arts Center in Littleton.

 

Fly to get tickets!

 

 

 

For tickets call 303-794-2787 or go online at townhallartscenter.org 

 PART TWO OF 

THE INHERITANCE

VINTAGE THEATRE: APR 7 – MAY 14

 

 

                   L-R: Dakota Chase Hill and Andy Anderson

THIS PRODUCTION WILL HAUNT YOU LONG AFTER THE FINAL CURTAIN. 

RUN TO GET TICKETS.

 

 

Matthew Lopez’s “The Inheritance,” is a sprawling two-part opus that uses E.M. Forster’s “Howard’s End” as blueprint. Having won the Olivier for Best Play in London, “The Inheritance” also garnered a 2020 Tony for Best Play on Broadway. 

     Forster’s words, “just connect” lead us into a far more visceral interconnectivity activation in Part Two.         

     Having become familiar with the characters in Part One, we as audience are now given their back-stories. 

     Our perception of the words and actions of Toby Darling become somewhat softened once we learn about his early life.

   The introduction of Young Henry and Young Walter, played with animated exuberance by Joe Barnard and Reese Blanton respectively, shed light on their more mature selves.

     The argument about politics involving Henry Wilcox’s (Andy Anderson) wealthy elitism and right-wing views as opposed to the more liberal points of view of the ensemble, rivets.

     As Toby Darling, Bobby Bennett continues a performance one can only refer to as a tour de force.

     Likewise, Andy Anderson as Henry Wilcox and Dakota Chase Hill as Eric Glass deliver stunning performances. 

     As Margaret Avery, the caretaker of Walter’s home, Deborah Persoff is luminous and utterly natural in a heart-opening scene near final curtain. 

     Persoff’s heartfelt aria recounting her reconnection with her son, and subsequent assisting of others in need, is both poignant and bittersweet. 

    One would be remiss not to mention the work of director Bernie Cardell. 

     Cardell’s quick-paced, layered direction illuminates Lopez’s writing in what one can only refer to as sheer magic. His transitions are as seamless as those in a Beethoven symphony.

 

               Not to Be Missed!

 

    Part One and Part Two of the play may be seen one after the other on some days or else one at a time. Each runs about three hours, and like two-part plays such as “Angels in America” and “The Kentucky Cycle,” each play is ticketed separately.

 

 

 

 

(Leave the kids home.)

303-856-7830 or online at www.vintagetheatre.org

Vintage Theatre, 1468 Dayton St., Aurora 80010