DIE FLEDERMAUS

CENTRAL CITY OPERA

Composer: Johann Strauss, Jr.

Librettists: Karl Haffner and Richard Genee

(Playing in repertoire with THE LIGHT IN THE PIAZZA and TWO REMAIN through July 31)

 

                                                   

                                 Alisa Jordheim as Adele 
                               (Photo credit: Amanda Tipton Photography)

Strike whatever’s on your calendar for Saturday night! Central City Opera’s production of “Die Fledermaus” is auditory champagne!!! 

 

     The quintessential Viennese operetta, “Die Fledermaus” has been called the greatest of all musical comedies in the repertoire. This comic operetta composed by ‘the Waltz King,’ involving mistaken identities and practical jokes, was traditionally produced in Vienna on New Year’s Eve.

     Dr. Falke is going to take revenge on his buddy, Eisenstein for playing a practical joke on him, which earned Falke the name Dr. Bat.  Eisenstein’s wife, Rosalinde, is still being serenaded by an old flame named Alfred, and her chambermaid, Adele, is using the opportunity to ask for the night off to go partying. Eisenstein accepts Falke’s invitation to a party hosted by Prince Orlofsky (Kira Dills-Desurra), at which his masked wife and her chambermaid turn up as well. 

     In the end all the hilarious mayhem gets sorted out, practical jokes are avenged and all of it gets blamed on the champagne.

     Director Joachim Schamberger has done a superb job in the staging. His casting is impeccable.  Schamberger elicits strong characterizations from his actor/singers all the while emphasizing the festive frivolity inherent in the script.

     Gabriel Von Eisenstein (Dr. Bat) is played by William Ferguson. Disguised as le Marquis Renard at Orlofsky’s party, Ferguson is hilarious. Enoch Snow in last season’s production of “Carousel,’ this artist recently played Louis Ironson in “Angels in America” for Salzburger Landestheater. 

     Dr. Falke is played by Troy Cook. Cook’s rendition of “Bruderlein und Schwesterlein” (‘Little Brother and Little Sister.”) charms. This artist played Captain Von Trapp in the 2014 production of CCO’s “The Sound of Music,” and Germont in its 2015 “La Traviata.”                      

   Rosalinde is portrayed by Hailey Clark. This artist played Fiordiligi in CCO’s 2017 ‘Cosi fan tutte,” and more recently Alma Beers in “Brokeback Mountain” at Stadttheatre, GieBen. Clarke’s singing of “Klange der Heimat” (“Sounds of my Homeland”), while masquerading as a Hungarian countess, is magnificent!

     Prince Orlofsky, a wealthy Russian, is portrayed by Kira Dills-DeSurra. This artist’s singing and acting of “Chacun a Son Gout” is just one example of her vocal and acting excellence. Her performance in this role is consistently hysterical, and more than a little bit bombastic. Her accent and comic timing magnificent!

     (It is to be noted that peppered throughout the proceedings there are, from time to time, references to our contemporary “fake news” and “oligarchs” that are not only funny but spot on!)

     Adele, Rosalinde’s chambermaid, is played by Alisa Jordheim. Gilda in last season’s “Rigoletto,” she also played Fredrika in “A Little Night Music” (2009) and Flora in “The Turn of the Screw” (2012.) In this production Jordheim’s singing of the aria known as ‘the laughing song,’ “Mein Herr Marquis,” is utterly sublime! 

     Rosalinde’s old flame, Alfred (Matthew Plenk) sings The Drinking Song; “Trinke Leibchen, Trinke schnell,”(“Drink for drinking makes life merrier.”) Plenk’s singing intoxicates at least as much as the bubbly he’s promoting.

     The boozy jail keeper Frosch is played with broad strokes of comic brilliance by Curt Olds! This actor is currently cast as Monsieur Andre in the World Tour of “The Phantom of the Opera,” as well as recently having played the emcee in “Cabaret” at Atlanta Opera and Dr. Pangloss in Bernstein’s “Candide” for Opera Arizona.

     Conductor John Baril coaxes all the high-spirited joie de vivre - and there’s plenty of it! - out of Johann Strauss Jr.’s gorgeous score.  Under his baton, the luscious Central City Opera orchestra delivers Strauss’s rapture-inducing melodies gloriously!

     Set Designer Erhard Rom provides us with a beautifully appointed scenic design for Gabriel Von Eisenstein’s house, an opulent Century Ballroom and the local jail respectively.

     The excellent lighting design is by renowned resident lighting designer David Martin Jacques.

     Susan Memmott Allred’s costume design is eye-popping!

    This is a decadently scrumptious confection that’s so exhilarating, you can’t afford to miss it.  Run to get tickets!

 

This production is sung in German with dialogue in English.

 

For tickets call the box office at 303-292-6500  or go online at centralcityopera.org

 GYPSY

VINTAGE THEATRE PRODUCTIONS: JULY 1 – JULY 31

(In the Nickelson Auditorium)

 

MARY LOUISE LEE ELECTRIFIES AS MAMA ROSE!!! This outstanding musical theatre actor blows the roof right off the theatre with her emotionally charged rendition of "Rose's Turn."

 

     With music by Jule Styne, Lyrics by Stephen Sondheim, and Book by Arthur Laurents, Gypsy is what more than one director have described as the Best Musical ever.    

      Add to that the fact that the show is directed by Bernie Cardell, and you have a recipe for success non pareil.

     The tale of an ambitious Stage mother who is fighting for her daughter’s success, Gypsy opened in 1959. It’s set in the 1920’s as vaudeville is dying and burlesque is being born.

     Some of the great numbers you will recognize are: “May We Entertain You?”  “Everything’s Coming Up Roses”, “Together, Wherever We Go,”and of course, “Rose’s Turn.”

     Director Cardell has cast the show impeccably. He’s assigned the plum role of Mama Rose to the incomparable Mary Louise Lee, and that of Louise (the young Gypsy Rose Lee) to Camryn Nailah Torres. (Nailah Torres received the Marlowe Award for Outstanding Actress in a Musical for her work in Vintage Theatre’s production of Rodgers and Hammerstein’s “CINDERELLA” last season.) 

     The scene(s) involving Louise's evolution into Gypsy Rose Lee near final curtain are superbly acted. Ms. Nailah Torres will take your breath away.    

     Michaela Murray is a brilliant June. Joe Barnard performs the role of Tulsa with real panache. Barnard’s big number, “All I Need Now is the Girl,” is sung and danced beautifully.

     Denver favorite Michael O’Shea is eminently touching as Herbie. 

     Faith Siobahn Ford (Mazeppa), Jenny Mather (Tessie Turah) and ShaShauna 

Staton(Electra) make up the hilarious trio of strippers the troupe encounters entering the world of burlesque. It’s heartwarming to see ShaShauna Staton playing Electra in the auditorium named for her father, Jeffrey Nickelson.

     Joey Wishnia is superb as Pop!

     Cheryl Faulkner’s costume design is spot on!

     Trent Hines’ music direction is his usual professional work. Bravo!

 

July 1 – 31**

$20 - $38

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

Vintage Theatre, 1468 Dayton St., Aurora 80010

 

 THE LIGHT IN THE PIAZZA

CENTRAL CITY OPERA

(CALL OR GO ONLINE FOR PERFORMANCE DATES.)

 

                                       Rebecca Caine and Diana Newman

Based upon the 1960 novella by Elizabeth Spencer and the 1960 film that starred Olivia de Havilland, “The Light in the Piazza, the Musical,” has music and lyrics by Adam Guettel and book by Craig Lucas.  In 2005 Adam Guettel’s score for “The Light in the Piazza” won the Tony for Best Score. Craig Lucas’s book was nominated for a Tony as well.        

     Under the baton of conductor Adam Turner, the exquisite delicacy of Mr. Goettel’s score is delivered with consummate artistry. The scrumptious Central City Opera orchestra has never sounded better. One must make special mention of the musicianship of harpist, Janet Harriman and guitarist, Patrick Sutton. The composer’s score for this show makes us aware that he is also a jazz artist.

     Rebecca Caine, who originated the role of Cosette in “Les Miserables” in London’s West End, as well as having played “The Phantom of the Opera’s” Christine Daee in the West End and Toronto, plays Clara’s mother, Margaret Johnson.  Caine’s vocals are gorgeous and powerful. With her breaking of the fourth wall, and speaking directly to the audience, we become aware of her daughter Clara’s traumatic past. Margaret’s trip to Florence with Clara, brims with awarenesses about her daughter’s future … as well as her own.

     Diana Newman, who plays Clara, played Papagena in a recent production of “Die Zauberflote” at the Met. Ms. Newman delivers celestial solos with a soaring soprano.

     Clara’s love interest, Fabrizio Naccarelli, is sung by Ricardo Garcia. This actor’s robust vocals are soul-stirring. He was most recently seen as Romeo in “Romeo et Juliette” at Houston Grand Opera.

     Jennifer De Dominici delivers a fiery performance as Franca, Fabrizio’s brother’s wife, that is, by turns, sultry, jealous and angry. DeDominici’s mezzo is powerful and ear-pleasing indeed!

     Judeth Shay Comstock portrays Signora Naccarelli, Fabrizio’s mother. Breaking out of her native Italian to address the audience in English about the emotional mayhem in the house in a chaotic family gathering near the top of Act Two, this actor is hilarious.

       Margaret Johnson’s husband, Roy Johnson, is played by Curt Olds.

     For the last two decades Ken Cazan’s stage direction of Broadway musicals at Central City Opera - from Oklahoma to West Side Story - has been top drawer. His indelible work on Britten’s Billy Budd three seasons ago, surpassed all expectations. 

     Arnulfo Maldonado creates a scenic design that features gigantic Italian post cards from the 1940s and 50s. Maldonado was nominated this year for a Tony for his work on “A Strange Loop.”

     Renowned resident lighting designer, David Martin Jacques, once again creates magic with the lights.  At one pivotal point in the story, Mr. Jacques’ lighting creates the illusion of Clara’s psychological terror by employing a mesmerizing danse macabre of light and shadows.

     Edina Hiser, who created the costumes for “Carousel “and “Rigoletto,” last season, delights with eye-popping fashions for the female leads.

      One is Grateful indeed to see and hear such intensely beautiful work inside the gorgeous opera house once again. Do yourself a favor and get tickets.

    

For tickets call the box office at 303-292-6700 or go online at boxoffice@centralcityopera.org

 

 

 FOOTLOOSE

PACE CENTER: JUNE 24 – JULY 17

Miracle Myles and the cast of FOOTLOOSE (Photo credit: Underexposed Photography)

 

Pace Center’s production of FOOTLOOSE: The musical, starring Miracle Myles, is Not to be Missed!

     

      Based upon the 1984 film of the same name, “Footloose, The Musical”

was nominated for three Tony Awards in 1999. The music is by Tom Snow, Sammy Hagar, Eric Carmen, Kenny Loggins and Jim Steinman. The lyrics are by Dean Pitchford, and the book is by Pitchford and Walter Bobbie.  

 

     When Ren and his mom move from the big city to a small rural town, the young man is not prepared to see how limiting the town’s “rules” are. The big issue is that dancing is forbidden.

     When the minister’s daughter, Ariel, sets her cap for Ren, her abusive boyfriend, played with gusto by Nik Vlachos, decides to ruin Ren’s reputation. 

     Miracle Myles sings and dances up a turbo-charged storm as Ren, the role made famous by Kevin Bacon in the 1984 film. It’s an exhilarating performance, you will not want to miss!

     As Ariel, Emery Hines enchants with a talent for singing and dancing that rocks!

     Carter Edward Smith is hilarious as Ren’s buddy, Willard Hewitt. Smith does an exceptional job transforming this character from a cowboy with two left feet to a dancing dynamo. Smith’s rendition of “Mama Says” is hysterical.

     Jeremy Rill stuns in the role of  Ariel’s father,Reverend Shaw. His singing of “Heaven Help Me,” and “Can You Find it in Your Heart,” are powerful! This actor really makes us feel the inconsolable grief of losing a son. 

     Nancy Evans Begley is luminous as Ethel McCormack, Ren’s mother. Katie Reid is brilliant as Ariel’s mother, Vi. "Learning to Be Silent,” the duet sung by the two mothers, is wondrous. Ms. Reid’s singing of “Can You Find it in Your Heart,” is truly heart-opening.

     Some of the hit songs you’ll get to hear are: “Let’s Hear it For the Boy,” “Holding Out for a Hero,” “Almost Paradise,” “Somebody’s Eyes,” and of course, the title song, “Footloose.”

     Kelly Van Oosbree directs and choreographs the show with consummate skill and artistry!

     Alex Hanna’s lighting design dazzles! 

     Curt Behm’s audio design amazes.

 

For tickets call the box office at 303-805-6800 or go online at:

PACEtickets@parkeronline.org

 NICE WORK IF YOU CAN GET IT

PERFORMANCE NOW THEATRE COMPANY:

JUNE 10-JUNE 26

                                              Andy Sievers and Ensemble

With songs by George and Ira Gershwin, and book by Joe DiPietro, this musical was nominated for ten Tonys in 2012.

     Imbued with the directorial genius of Bernie Cardell, and set afire by Christopher Page Sanders’ excellent choreography, Performance Now Theatre Company’s thrilling production is filled to the brim with your favorite Gershwin tunes!

       Andy Sievers, who received the Marlowe Award for Best Supporting Actor in a Musical for his performance last season in Performance Now’s “The Drowsy Chaperone,” performs the central role of Jimmy Winter in this screwball comedy.  His performance ala ukulele with the instruments in the pit for “Do, Do, Do” will have you in stitches. Brava music director Heather Holt Hall for the insanely funny instrumental accompaniment.

     Dallas Slankard is Billie Bendix, the beautiful bootlegger with the gorgeous voice.  Her renditions of "Someone to Watch Over Me" and  "Hangin’ Around with You" will make you search out her name in every program from now on!

            Aynsley Upton is Eileen Evergreen. This actor's bathtub singing of "Deelishious," bubbles over with hilarity, proving that cleanliness is next to goofiness. (You’ll see what I mean. No spoilers!) This actor has a gorgeous voice and a hilarious stage presence that brings Madeline Kahn to mind.

     Liz Brooks is a perfectly cast Estonia Dulworth. Singing “Demon Rum,” this tea totaling battleship gets to show off a spectacular set of pipes. Later on in the show she gets to do some memorable chandelier shenanigans and a duet of “Looking for a Boy,” with the ubiquitous and always enjoyable character actor, Brian Trampler (Cookie McGee.)

      Tim Campbell is a hoot as Duke, singing  ("Blah Blah Blah!")

     Sophia Montoya-Suson (Jeannie Muldoon) is stalking Duke, thinking he’s an English Duke, and not a bootlegger. This actor can really command the stage. With an outrageously talented voice, she’s a comic force! Her singing of "Do It Again" is a riot. Her other great moment is an unforgettable version of  “‘S Wonderful!”

     Linda Suttle (Millicent Winter), costumed in a dazzling pink gown, and Verl Hite as Max Evergreen, add their acting prowess to the show as well. 

     The actors who perform the roles of vice squad as well as the chorus girls and boys from the speakeasy do a splendid job. You won’t be able to keep your eyes off the dancing of dance captain, Andrew DiGerolamo. Breathtaking!

     Alie Holden dazzles with her Costume Design, as does Emily A. Maddox with the Lighting!

    Andrew S. Bates, Marlowe Award for Set Designer for last season’s "The Drowsy Chaperone," is onboard once again with a well thought out scenic design.

     Heather Holt Hall’s music direction is superlative!!!

     It really doesn’t get any better than an evening of Gershwin music!

Run to get tickets for this sensationally well produced show! 

For tickets call 303-918-1500 or go online at performancenow.org

 

 

                   Marie-Antoinette Banks as Br'er Rabbit   (photo credit: McLeod9 Creative)

  an octoroon

Benchmark Theatre:  June 10 – July 11

 

 

an octoroon is a play

by Branden Jacobs-Jenkins that is an adaptation of Dion Boucicault’s The Octoroon, which premiered in 1859.  Jacobs-Jenkins re-imagines the original, retaining its bare bones of dialogue and action, and uses Brechtian devices to critique the original play’s portrayal of race.

     Personally, I had never heard of an octoroon. Apparently, it means a person who has one African great grandparent and seven European great grandparents. (According to the play when one was discovered to be an octoroon, she/he would be sold along with all the other slaves when the plantation was sold.)

     This adaptation begins with BJJ, the present-day playwright, recalling a session with his psychoanalyst in which he becomes excited about producing this adaptation. Then there is an argument between BJJ and the original playwright, after which they put on blackface and redface paint. Apparently “many of the white actors have quit.”

     Through a series of vignettes set upon the plantation Terrebonne in Louisiana, we meet numerous characters of black, white, and native American descent.

     They interact in highly stylized, melodramatic fashion, such that we as audience are kept from feeling the abuse, neglect and general disrespect and violence by the employment of a Brechtian device known as “the alienation or distancing effect. As a result, the audience is hindered from simply identifying itself with the characters of the play. Acceptance or rejection of their actions and utterances is meant to take place on a conscious plane, instead of, as hitherto, in the audience’s subconscious.”

 

It is, as you may well imagine, quite complex.

If one is unmoved in the watching, as this reviewer was, the essentials sneak into the heart and find their way to one’s tear ducts the following day.

     This is the opposite of entertainment. In fact, it’s sometimes annoying and disconcerting.

…And it is intentionally so, following the rules of a Brechtian director.

     donnie I betts is an astute director, and you can bet (sorry!) that he’s done exactly what is necessary to create this complex opus onstage. His casting is always on point as well as his choice of techies. betts has directed award-winning productions of Porgy and Bess, Ain’t Misbehavin’,The Color Purple and more.

     So please go and experience this whirlwind of images putting racism on trial in a Brechtian fashion.

 

     As complex as it is, this is a fascinating work. The commentary on (and condemnation of) “folk” tales such as the Uncle Remus stories told by Joel Chandler Harris, and represented by Brer Rabbit in the show, is unmistakable. 

     Tina Anderson’s set design, El Armstrong’s sound and projection design and Elizabeth Woods’ costume design are all superb. Brett Maughan’s light design is his usual professional work.

     The cast includes Marie Antoinette Banks, Mykai Eastman, Kenya Fashaw, Latifah Johnson, Josh Levy, Colleen Lee, Teej Morgan and Samantha Piel.

 

Go and support Benchmark Theatre as it continues its crusade against racism.

 

For tickets go online at benchmarktheatre.com

1560 Teller Street, Lakewood, CO

 

 Preview of the 2022 Central City Opera        

                  Summer Festival 

     It was an honor to get to interview Pamela Pantos, Central City Opera’s CEO.

      Ms. Pantos is a dynamic presence with a  mind - and a delivery - like a running deer. Truly the most exhilarating interview of my career, I hope to be able to allow you, dear reader, a modicum of this opera star’s electrifying vision.

     When asked about her ideas for the future of Central City Opera, Ms. Pantos said that Artistic Director Pat Pearce, Music Director John Baril and she, were already planning the Central City Opera Centennial celebration. Even though it’s ten years out, there is a decade long path they’re preparing, which, like stepping-stones, will include “The Ballad of Baby Doe,” six years in.

    Since next year’s season has not yet been announced, Pantos couldn’t speak about it yet, only saying that “it will once again be three mainstream productions which are highly interconnected thematically.” 

     She added that “the Colorado State Historical Society is providing a preliminary grant for a master plan for the Williams Stables, that are right across the street from the opera house, which would allow them to become a one hundred seat black box theatre which will be winterized so that shows can be done all year round. There will be the possibility that a composer and singer will be able to create and present shows from inception such as theatre companies do Off Off Broadway. In such a way the new piece would conceivably be able to have a world premiere after its workshops and previews on the main stage. It would be an incubator for further great works that could be conceived here at Central City Opera.” 

     Pantos sees herself as responsible for the health and well-being of Central City Opera as well as a conduit for the future of this magnificent opera company. 

    She spoke of fund raising as being so important, especially in these times where we’ve all been so financially strapped by the pandemic.  “Some people don’t know what an impact they can have. A donation of a thousand dollars would pay for two of the kings’ costumes in “Amahl and the Night Visitors.” Donating is making an investment in the future that will bring such joy to so many people. It’s a win-win for the donor, the company, and the audience.”

When asked who her favorite opera composers were, she mentioned Mozart and also Rossini. She spoke of the audience’s joy being palpable after Rossini operas. “It’s always such a high! As an artist you feel the audience’s joy like bubbles over the lights and the orchestra.” 

     She also spoke of “the joy of everyone in the company to be back in their home and performing on that stage. And so very sweet for our audience as well!”

      Ms. Pantos radiated a sincere passion and pride for the operas selected for this year’s Summer Opera Festival.

     Central City Opera’s 2022 Summer Festival is also the 90^th Anniversary season of this glorious venue! 

     To celebrate this 90^th Anniversary season, operagoers are being treated to three thrilling works.

     The first is “THE LIGHT IN THE PIAZZA” with its Tony-winning score by Adam Guettel and Tony-nominated book by Craig Lucas.   

     When Margaret Johnson, a well-to-do southern lady and Clara, her developmentally disabled daughter, spend a summer together in Italy, love calls unexpectedly. Both mother and daughter must reconsider their hopes for the future. The romantic classical music and operatic aspects of the score leave Broadway’s 21^st century popular melodies far behind. The composition of the tunes is enchanting in this heavily orchestrated score. Some of the lyrics are in English and some in broken English since some of the characters only speak Italian.

Adam Turner, who conducted “Madama Butterfly”(2019), Carmen(2017) and “Man of La Mancha”(2015), will conduct “The Light in the Piazza.” 

     Stage Direction will be by Ken Cazan, who directed last season’s production of Rodgers and Hammerstein’s “Carousel” as well as the outstanding production of Benjamin Britten’s “Billy Budd” in 2019.

     Arnulfo Maldonado, who did the scenic design for “Orpheus in the Underworld” in 2010, is creating the set for “The Light in the Piazza.”

     Rebecca Caine will sing the part of Margaret Johnson.

     Diana Newman will portray Margaret’s developmentally disabled daughter, Clara. Ricardo Garcia will play Fabrizio Naccarelli

     Jennifer DeDominici will portray Franca Nacarelli and Curt Olds will perform the role of Roy Johnson.

     Craig Lucas’ book for the musical is based upon the screenplay for the 1962 movie starring Olivia de Havilland, Rossano Brazzi and Yvette Mimieux, which was in turn based upon Elizabeth Spencer’s book.

 

DIE FLEDERMAUS

 

     Johann Stauss, Jr.’s beloved Die Fledermaus (The Bat) will allow us all to raise a glass to toast the sparkling music and lively escapades in this champagne-soaked operetta.

     Die Fledermaus will be sung in German with super titles and English dialogue.

      Arguably the most exhilarating of Johann Strauss Jr.’s comic operettas, it’s chock-full of the maestro’s intoxicating melodies.

       Will Ferguson will portray Gabriel Von Eisenstein, and Hailey Clark will sing the role of his wife, Rosalinde.

     Alisa Jordheim ( the outstanding Gilda from last summer’s RIGOLETTO!) will perform the role of Adele.

      Matthew Plenk will sing Alfred and Troy Cook performs the role of Dr. Falke.  Curt Olds will sing Frosch.

     With stage direction by Joachim Schamberger, John Baril will conduct.

 

TWO REMAIN by Jake Hegge

 

A short opera in two acts, composer Hegge’s new work tells a harrowing tale of two Holocaust survivors. 

     The show was commissioned by Music of Remembrance at Benaroya Hall in Seattle, and composed by Hegge with libretto by Gene Scheer. It’s based on documents and journals found in the U.S. Holocaust Memorial Museum. 

     The show will star Sean Stanton as Manfred Lewin and Curt Olds as Gad Beck. John Baril and Brandon Eldridge will conduct.  Dan Wallace Miller will direct.

     Due to the high demand, all performances of Jake Hegge’s TWO REMAIN are being moved from The Foundry to St. James United Methodist Church to increase capacity.

 

“Proud Voices” is a series of events curated by community organizations to celebrate traditionally underrepresented voices through music and storytelling. There will be a special educational panel and performance highlighting themes from TWO REMAIN.

 

CCO Applauds John Moriarty

A Musical Celebration of Life

 

On Saturday, July 23^rd there will be a special tribute concert event honoring Central City Opera’s former Artistic Director, John Moriarty and the impact he made on this company.

There is the usual parking available in the Opera Company’s parking lot as well as free parking in the garage at Century Casino. Dining will be available at the Teller House Restaurant, located next to the opera house.

 

Go online at centralcityopera.org to get tickets and for more information.