Central City Opera:This weekend only at Trinity United Methodist Church!

 Gian Carlo Menotti's "Amahl and the Night Visitors" is the first opera ever to be commissioned specifically for television. It debuted on NBC on Christmas Eve of 1951. 

      This tale of a poor crippled shepherd boy and his mother who are visited by the Magi on their way to Bethlehem, is perhaps Menotti’s most popular work. Nevertheless, it brings up memories of the critically acclaimed production Central City Opera delivered several seasons back of Menotti’s “The Saint of Bleecker Street.”

     Jennifer DeDominici is luminous in the role of Mother. This Diva's singing is powerful and exhilarating! You will remember her from her fiery portrayal of Franca in CCO’s exquisite production of “The Light in the Piazza” this past summer.

     Brian Erickson’s performance as Amahl is enthusiastic and endearing!

     Paul Griggsby’s bass in the role of King Balthazar and Armondo Contreras’ baritone cover for King Melchior are both remarkable. Javier Abreu’s superb tenor as King Kaspar was enhanced by some brilliantly funny acting!

     Under the baton of conductor John Baril, the scrumptious Central City Opera orchestra delivers Gian Carlo Menotti’s gorgeous score with consummate artistry.

     The choral work for the shepherds, elicited by chorus master Steven Aguilo-Arbues, is thrilling!

      Stage Director Iliana Lucero Barron, cast the show impeccably, and paced it to perfection.

     The kings’ eye-popping costumes have been furnished by Malabar Ltd. and Sarasota Opera.

       Architect Robert Roeschlaub, who built the Central City Opera House in 1878, also built the Trinity United Methodist Church in Denver, where "Amahl and the Night Visitors" is being presented.

     Both buildings have magnificent acoustics.

     The fifth oldest opera company in the country, Central City Opera has been in operation since 1932.

     Sunday’s matinee is nearly sold out already. Your best shot now is Saturday evening.

     The Holiday Season will be a lot brighter if you follow the Christmas star to Trinity United Methodist Church for this spectacular evening of opera.

     You owe it to yourself to see … and most of all, hear it!!! Heaven on Earth!

 

 For tickets go online at centralcityopera.org

 

                                                       DOT

VINTAGE THEATRE PRODUCTIONS: Nov 11 – Dec 18

L-R: Latifah Johnson and Tim Inthavong 

                             (Photo credit: RDG Photography)

 

In Colman Domingo’s play, “Dot”, it’s Christmas in Philadelphia, Pennsylvania, and an African American family has come home for the holidays. This year however, besides gathering for celebration, the family is struggling to come to grips with a matriarch’s dementia.

     Dotty is that matriarch. 

     As played by Latifah Johnson, Dotty is by turns, elated, angry, confused, and afraid. Johnson’s performance is nuanced, multi-faceted and as heart-warming as it is heart-breaking. It’s a performance that makes us wish to see this actor again soon upon the Denver stage.

     The layered direction is superb! 

     In real life, people are always talking over each other and interrupting one another in conversation. This is certainly true when we’re arguing!  Some directors prompt their actors to speak their lines in what one might describe as a polite manner, one after the other. Director Mykai Eastman knows that life is “messy,” and delivers his audience overlapping dialogue that is much more ‘natural.’ 

     Director Eastman has also assembled a fine cast!

     Shashauna Staton gives a strong, affectionately drawn portrayal of Dot’s daughter, Shelly. Full of compassion and great good humor, Shelly’s constant dealing with the mental and emotional swings of her mother has left her with raw nerves soothed primarily by early morning drinking.

     Jedonn Bell’s portrayal of Dot’s anxiety-ridden son, Donnie, is white-hot and intentionally over-the-top. His explosive outbursts lead to a meltdown on Christmas Eve.

     Phil Luna has done what a truly great actor does. He has disappeared completely into the role. Having seen Luna in lots of shows over the years, it took this reviewer a couple of scenes to recognize him in the role of Adam, Donnie’s mild-mannered husband. Bravo!

     Kenya Fashaw portrays Dot’s daughter Averie, with true panache! This actor really knows how to make an entrance! Averie, who has had some financial struggles that have led her to return to live in her mother’s basement, is delivered with warmth, wit and great heart.

     Sarah Duttlinger plays Jackie, a friend of the family.

     Tim Inthavong is Fidel, Dot’s caretaker.

     In keeping with the core concept of the play, the self-effacing scenic design is adorned with family photos with blurry faces and a clock without hands.  

     Rick Reid’s Sound design delivers the goods with a brutal accuracy.

     Colman Domingo’s script is compassionate in that it makes us aware of the signs and the symptoms of dementia. One wishes that it would also have given tips regarding the dos and don’ts of interacting with a person suffering from memory loss.

    I hope you can get a ticket. I understand that it’s nearly completely sold out.

 

Vintage Theatre presents 

“DOT”  

A Regional Premiere 

Nov. 11 – Dec. 18 

Fri/Sat at 7:30 p.m.; Sun. at 2:30 p.m.; Mon. Nov. 21 at 7:30 p.m. 

$20 - $34 

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

Vintage Theatre, 1468 Dayton St., Aurora 80010 

 * Adult situations and explicit language. Recommended for ages 16+. 

Run time is 2 hours 15 minutes with one 15 minute intermission. 

 

 

 

 

 

 

 

 THE 2022 MARLOWE AWARDS

 

Andy Sievers and the cast of Nice Work if You Can Get it !

Best Touring Company

 My Fair Lady, DCPA BROADWAY

 

Best Production of a Ballet

Romeo and Juliet, Colorado Ballet

 

Best Production of an Opera 

Die Fledermaus, Central City Opera

Brigadoon, Loveland Opera Theatre

 

Best New Play

RICHARD, Buntport Theater

 

Best Production of a Play 

The One Act Play That Goes Wrong, Vintage Theatre Productions

Much Ado About Nothing, Denver Center Theatre Company

 

Best Director of a play  

Steve Wilson, The One Act Play That Goes Wrong, Vintage Theatre Productions

Chris Coleman, Much Ado About Nothing, Denver Center Theatre Company

 

Best Actor in a Play 

Geoffrey Kent, Much Ado About Nothing, Denver Center Theatre Company

Cajardo Lyndsay, Fireflies, Curious Theatre Company

 

Best Actress in a Play

Dana Green, Much Ado About Nothing, Denver Center Theatre Company

Jada Suzanne-Dixon, Fireflies, Curious Theatre Company

Best Supporting Actor in a Play  

Rick Long, Cat on a Hot Tin Roof, Vintage Theatre Productions

Rob Nagle, Much Ado About Nothing, Denver Center Theatre Company

 

Best Supporting Actress in a Play

Kelly Uhlenhopp, Cat on a Hot Tin Roof, Vintage Theatre Productions

Leslie O’Carroll, The One Act Play That Goes Wrong, Vintage Theatre Productions

 

Best Director of a Musical

Kelly Van Oosbree, 1776, Performance Now Theatre Company

 Bernie Cardell, Nice Work if You Can Get It

Performance Now Theatre Company

Best Production of a Musical

1776, Performance Now Theatre Company

Nice Work if You Can Get It, Performance Now Theatre Company

 

Best Actor in a Musical, 

Andy Sievers, Nice Work if You Can Get It, Performance Now Theatre Company

Brett Ambler, Buddy: The Buddy Holly Story, BDT Stage

 

Best Actress in a Musical  

Mary Louise Lee, Gypsy, Vintage Theatre Productions

Dallas Slankard, Nice Work if You Can Get It, Performance Now Theatre Company

 

Best Supporting Actor Musical

Cordell Cole, Into the Woods, Arvada Center

Matt LaFontaine,  Spamalot, Vintage Theatre Productions

 

Best Supporting Actress in a Musical

Annie Dwyer, Xanadu, Town Hall Arts Center 

Anna Maria High, Buddy: The Buddy Holly Story, BDT Stage

 

Best Costume Design

Kevin Copenhaver, Much Ado About Nothing, Denver Center Theatre Company

Cheryl Faulkner, Spamalot, Vintage Theatre Productions

 

Best Lighting Design,

Brett Maughan, Buddy: The Buddy Holly Story, BDT Stage

 Shannon McKinney, Fireflies, Curious Theatre Company

Best Choreography, 

Christopher Page-Sanders, Nice Work if You Can Get it, Performance Now Theatre Company

Alissa Spooner, Buddy: The Buddy Holly Story, BDT Stage

 

Best Ensemble 

HAIR, Miners Alley Playhouse

Peter and the Star Catcher, Cherry Creek Theatre

 

Best Music Direction

Neal Dunfee, Buddy, the Buddy Holly Story, BDT Stage

Tanner Kelly, Mamma Mia, Stage Door Theatre

 

Best Scenic Design

M. Curtis Grittner, The SpongeBob Musical, BDT Stage

Justin Johnson, Mamma Mia, Stage Door Theatre

 

Best Audio Design

Kurt Behm, Once on This Island, Town Hall Arts Center

Wayne Kennedy, Buddy:The Buddy Holly Story, BDT Stage

 

Best Props Design

Becky Toma, Xanadu, Town Hall Arts Center

 

 

 

 

 

 

  Disney’s NEWSIES

Town Hall Arts Center: 11/11 -12/30

Elton J. Tanega and the cast of Disney's Newsies

 

EXTRA! EXTRA! READ ALL ABOUT IT!

 

 

“Newsies, The Musical” is based upon a 1992 film that was inspired by the 1899 Newsboys Strike In New York City. The show has music by Alan Menken, lyrics by Jack Feldman and book by Harvey Fierstein. Nominated for eight Tony Awards it won two: Best Choreography and Best Original Score.

     For this production director Steve Wilson has cast a stellium of youthful talent, led by Elton J. Tanega, one of Denver’s fastest rising stars!  After seeing his work in “Tuck Everlasting” as well as his Prince Topher in Rodgers and Hammerstein’s “Cinderella,” it’s no surprise that his take on Jack Kelly, the dreamer turned Union organizer, is superb.

     As Katherine Plumber, Jack’s love interest, lovely Kelly Maur is at her best singing “Watch What Happens.”

     As Jack’s crippled side-kick Crutchie, Kong Vang delivers the pathos ("Song from the Refuge") of the evening with panache.

     Camden Deal’s Davey is excellent as well. His singing in "Seize the Day" and "Kings of New York" is most memorable. 

    The chart-topping jazz vocalist Rajdulari enchants us with her singing and acting in the role of Medda Larkin, the Vaudeville Chanteuse! Her singing of “That’s Rich,” dazzles us!

     Eric Fry does a superb job in the acting and singing of Joseph Pulitzer, the greedy newspaper magnate. Visually Fry brings up memories of Orson Welles in Citizen Kane. Of course, Kane was a thinly veiled version of another ruthless newspaper magnate, William Randolph Hearst.

      Kevin Walton gives a strong performance as one of Pulitzer’s hard-edged cronies, Weisel.

     Choreographers Ronni and Debbie Stark have created exhilarating dance routines that these young actors bring to life with enthusiasm.

     Director Steve Wilson is something of a theatrical magician. His talents were on view earlier this year with Vintage Theatre’s hilarious “The One Act Play That Goes Wrong.” Here he brings us a stage full of exciting new talent peppered with a few excellent stage veterans creating an evening of magical stage memories.

     Donna Debreceni’s work as Music Director is responsible for the superb sound of Alan Menken’s score. The choral work on "The World Will Know" is Powerful!

     Illuminated by Vance McKenzie’s lighting design, M. Curtis Grittner’s excellent scenic design regales us with the illusion of far more depth than most.

     One must make mention of Robert Michael Sanders, Chief Operating Officer at Town Hall Arts Center. Together with LuAnn Buckstein, Sanders is leading Town Hall in educating our teens to great success upon the stage. Town Hall even has an outreach program with shows that tour the schools.

   Go enjoy this family friendly holiday treat and support Town Hall Arts Center!

For tickets go online at TownHallArtsCenter.org

 or call: 303-794-2787

 

CURIOUS THEATRE: Nov 10 – Dec 10

 

Last season at this time, I was announcing all the top Marlowe Awards as going to Curious Theatre for its Powerful production of AMERICAN SON.

 

They were: 

OUTSTANDING PRODUCTION OF A PLAY, BEST ACTRESS, JADA SUZANNE DIXON, BEST DIRECTOR, JADA SUZANNE DIXON, BEST ACTOR, JOSH ROBINSON, BEST SUPPORTING ACTOR, ABNER GENECE. 

 

This year it’s different.

Franklinland disappoints on almost every level.

The script, which sounds fun at first, is a ‘fowl’ play.

The direction and acting, tragic.

 

Nevertheless, there is a beautiful scenic design by Markas Henry.

 

     Probably Covid had much to do with this. At least one wishes to be able to give the old guard of Curious the benefit of the doubt. Still “guiding” the new administration, Curious Theatre’s old guard is gasping its last this year.

 

     One cannot wait for the new administration at Curious to come fully into bloom next season!!! It’s thrilling to know that Jada Suzanne Dixon will be the new Artistic Director.

 

     As for now … your turkey is ready.

 

 

    The Buell Theatre:

      THROUGH NOVEMBER 27

 

With book and lyrics by Alan Jay Lerner and music by Frederick Loewe, My Fair Lady is based upon George Bernard Shaw’s play, Pygmalion. The 1956 Broadway production won six Tony Awards including Best Musical. The 1964 film got the Academy Award for Best Picture.

     Bartlett Sher’s direction of this classic musical brings all those things you’ve loved and cherished about My Fair Lady for so long to this production … as well as a bit of a twist.

     Sher’s production, which was nominated for 10 Tony awards, leans much more heavily upon Shaw’s original intentions than most. Known for his feminist views, Shaw mirrored much of what was going on in Ibsen’s plays, such as “A Doll’s House.” 

      That said, Sher’s slant on the work is more realistic, and less romantic than most.

      As linguistics professor Henry Higgins, Jonathan Grunert sings the part, rather than relying on the recitative performance we remember so well from that of Rex Harrison. His rendition of “I’ve Grown Accustomed to Her Face,” is poignant indeed!

     Madeline Powell puts her own personal stamp on this portrayal of Eliza Doolittle, the cockney flower girl Higgins tries to transform into his version of a proper English lady.  Blonde and beautiful, Powell slowly unveils her gorgeous soprano in much the same way that she unveils her character’s evolving linguistic facility with the English language. When she unleashes that golden soprano in “The Rain in Spain” and “I Could Have Danced All Night” it’s ear-pleasing to say the least.

     As Freddy Eynsford-Hill, Cameron Loyal gives “On the Street Where You Live,” its due as well as doing some very fine vocal sparring with Powell’s Eliza in their duet, “Show Me.”

     Becky Saunders’ portrayal of Mrs. Higgins is magnificent.

     Michael Hegarty is a total delight as Eliza’s father, Alfred P. Dolittle. His singing and acting of “With a Little Bit of Luck” and “Get Me to the Church on Time” are both glorious!!!

     Catherine Zuber’s design for the gown Eliza wears to the Embassy Ball is exquisite!!!

     The Ascot Gavotte is beautifully staged. The costume design by Catherine Zuber is eye-popping and the sound design by Marc Salzberg and Beth Lake superb.

     As Zoltan Karpathy, Daniel James Canaday brings great comic sparkle to the scene at the Embassy Ball. His performance, if slightly more amicable, is just north of that of Kenneth Mars as Hugh Simon in the film, “What’s Up, Doc?” 

   David Andrew Rogers music direction and conducting of the My Fair Lady Orchestra in the pit is outstanding!!!

     Lovers of musical theatre should make plans to see this compelling production soon. It’s only here a few more days.

 

For tickets call 303-893-4000 or go online at denvercenter.org

 SPAMALOT

VINTAGE THEATRE: NOV.4 – DEC 11

         The cast of SPAMALOT

With music by John Du Prez and Eric Idle and book and lyrics by Eric Idle, “Spamalot” is a musical comedy that’s adapted from the 1975 movie, “Monty Python and the Holy Grail.”

     Irreverent and hilarious, it parodies the legends of King Arthur and his knights, peppered with some peasants spouting Marxist quotes.

     Directed by Mike Nichols on Broadway, the show was nominated for fourteen Tony Awards, and won three, including Best Musical.

     Vintage Theatre’s production of MONTY PYTHON’S SPAMALOT is a rollicking romp that’s a joyously unbridled and utterly anarchic (not Antarctic!) comedy!

     Co-directors Bernie Cardell and Heather Frost's  stage direction of Vintage Theatre’s production pulls out all the stops in this comic romp. 

      The cast is brilliant to a man/woman!

      Colorado favorite, Markus Warren is regally self-absorbed and eminently bewildered as Arthur, King of the Britons.

     As Patsy, Cole Henson is equally uncertain of his part in the quest! As Arthur’s ever attentive side-kick, he even provides the clip-clop of invisible horses with two halves of a coconut.

    Matt LaFontaine is extremely well-suited to Monty Python’s iconic brand of comic anarchy. His portrayals of Not Dead Fred and Herbert sparkle with broad strokes of physical humor on the one hand, and the “woe is me” fawning of a spoiled brat on the other.

     Faith Siobahn Ford’s portrayal of the Lady of the Lake is glorious! Her singing of “The Song that Goes Like This” with Eric Crawford’s preening Sir Galahad, which sends up the chandelier-shattering Andrew Lloyd Webber compositions such as those in “The Phantom of the Opera,” is utterly amazing!

     Andrew Uhlenhopp, who opens the show as narrator/ history professor is true comic genius. 

     Cheryl Faulkner’s costume design for the show’s eye-popping Laker girls, gives us a riot of colorful French can-can skirts and splashy Vegas attire!

     The shimmering wardrobe created by Faulkner for Ms. Ford is as stunning, as the tunics and chain mail for Arthur and his men are spot on.

     And if you’re as much a fan of the original cast recording as this reviewer is, let me just say that the music direction by Heather Iris Holt delivers the goods to perfection.

     Robert Janacek’s set design is comprised of two castle turrets from which at one point, a French guard taunts King Arthur with such vulgar epithets, you will think he has Tourettes Syndrome. 

     Is it just me, or do stories of the Holy Hand Grenade of Antioch, carnivorous rabbits and a quest for a shrubbery required by some people who say “NEE,” seem ‘par for the course’ as far as news stories go these last several years?

     Nevertheless, this show is the perfect theatrical antidote for the insanity bred as reality daily on the evening news.

      GO! GO! GO! AND LAUGH!!!

 

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

Vintage Theatre, 1468 Dayton St., Aurora 80010

90 Minutes no intermission.

 

 PETER AND THE STAR CATCHER

CHERRY CREEK THEATRE:  October 28 – November 20

 

 

 

Written by Rick Elise, “Peter and the Star Catcher” is based upon Dave Barry and Ridley Pearson’s novel, “Peter and the Star Catchers,” a prequel to J.M. Barrie’s book, “Peter, and Wendy.”

     Nominated for nine Tony Awards, it won five.

     The play is replete with amazing wordsmithing and imaginative, silly playfulness! 

     Director Kelly Van Oosbree has cast the show with superb talent from among the local veterans along with some relative newbies – to this reviewer at least - who show lots of promise as well.

     Unfortunately, the pacing for the show is that of a turbo-charged panic attack on steroids.

     As a result, most of the excellent work of these actors goes unapplauded, since the show has stampeded on to the next scene before we as audience have a chance to show our appreciation for the present one.

      Jeffrey Parker has honed his character, Black Stache, to a fare thee well. Parker’s performance deserves high praise. It’s full of broad physical humor. Never the land…oops…nevertheless, one cannot omit saying that he has also embellished the role with wry tongue-in-cheek musings and brilliant muggings and prancings. From start to finish he’s the ideal actor for the predecessor of Captain Hook.

     Rita Maria Aires is also the perfect right choice for the Boy who will become Peter. Their work makes one wish to see them soon again onstage in other types of roles.

     In much the same way, Evelyn Kunch, so well-cast as Molly, makes one wish to see her in a role that does not demand so much intense hysteria due to constantly being put in dire straits by the playwright.

     Rick Long is genuinely hilarious as Mrs. Bumbrake, Molly’s nanny. Quite frankly upon seeing his performance in this role, one wishes to see him do a similar role in some Dickens play or a Civil War epic in which he could once again don a hoop skirt, like the one created for him by Marci Szymanski’s excellent costume design.

     Brian Merz-Hutchinson is distinguished, if a bit pompous-and rightly so-as Molly’s father, Lord Aster.

     Carter Edward Smith’s portrayal of Smee will put a smile on your face, as will Rob Payo’s Grempkin and Fighting Prawn.

 

     

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

BUDDY: THE BUDDY HOLLY STORY

BDT STAGE: OCT. 21 – JAN 28

L-R: Anna Maria High and Brett Ambler (photo credit: Glenn Ross Photography)

 

Buddy: The Buddy Holly Story, was written by Alan James. It played the Victoria Palace Theatre in London’s West End for twelve years from 1989 until 2004 and was nominated for an Olivier Award for Best Musical. 

     Paul McCartney, who owned the rights to Buddy Holly’s music, was a major supporter of this production.

     Charismatic BRETT AMBLER, wearing Buddy’s signature black eyeglasses, and wielding his Fender Stratocaster guitar, is a knock-out as the pioneering singer/songwriter.     Reprising his tour de force in 2015, Ambler stuns with his rock n roll singing and guitar playing. 

     The performances by Brian Murray as the Big Bopper and Alejandro Roldan as Ritchie Valens are so powerful, you’ll feel as though you’ve been transported to one of their mega-popular concerts of yesteryear. Jackson’s “Chantilly Lace” and Roldan’s “La Bamba” are both mind-blowing rock n roll ear-candy!!!

     The acting and singing of Anna Maria High will steal your heart!!! As the Apollo’s M.C. and soloist, this lady’s brassy belting style in “Hound Dog” and “True Love” will take your breath away. Her smooth, sexy delivery of “A Sunday Kind of Love,” enchants.

     As The Crickets, Eric Elson, Chris Warren, and Aaron Szindler provide the perfect right harmonies and instrumentation to back up Ambler’s Buddy.

     Karen Gonzales makes an impressive BDT Stage debut as Buddy’s wife, Elena. 

     The ensemble, which includes many veterans of previous shows, as well as newbies whose stars are just rising, is superb. Chock-full of your favorites from past BDT shows, you can expect to see such audience favorites as: Alicia K. Meyers, Tracy Warren, Scott Severtson, Bob Hoppe, and Brian Cronan.

     In her BDT Stage debut, Alissa Spooner did a terrific job with the choreography! Exhilarating to say the least, her work in the second Act is reminiscent of the dancing on Dick Clark's “American Bandstand,” but with a heightened sense of stylization and pulse-pounding excitement. If the dancing this choreographer elicits from this cast doesn’t make you want to get out of your seat and start to boogie, you may not have a pulse.

          Casting the show impeccably, Director Wayne Kennedy leads us as audience from Buddy’s rockabilly roots, through his struggles with the recording studios, to the zenith of his rock n roll career. 

     Kennedy also gets credit for the excellent sound design!

     Likewise, Music Director Neal Dunfee and the outstanding BDT Stage orchestra, on view and onstage in the final scenes of Act Two, are in top form! 

     What could be better as scenic design than having a juke box glowing with neon colors created by M. Curtis Grittner framing the proscenium for this juke box musical? 

     As usual, Brett Maughan’s lighting design dazzles! 

     At its best in the shimmering wardrobe created for Anna Marie High, the ever-amazing, award-winning Linda Morken’s costume design is spot on in its authenticity.  

     Tom Quinn’s nostalgic projections enhance the show immeasurably.

     Some of the great Buddy Holly tunes that you’ll hear are: “Oh, Boy,” “Peggy Sue,” “That’ll be the Day,” “Well, All Right” and “Not Fade Away.”

 

NOT TO BE MISSED!

 

For tickets call 303-449-6000

       

 

 

 BRIGADOON

LOVELAND OPERA THEATRE     

Now at the Rialto Theatre in Loveland OCTOBER 14 – 23

 

     With book and lyrics by Alan J. Lerner and music by Frederick Lowe, Brigadoon opened on Broadway in 1947. It won the Drama Critics Award for Best Musical of the Year and became a film starring Gene Kelly and Cyd Charisse in 1954. (This musical was the first big hit by Lerner and Lowe, soon to be followed by “Paint Your Wagon,” “My Fair Lady” and “Camelot.”)

      The mysterious Scottish village of Brigadoon only appears for one day every hundred years. So, when Tommy Albright, a tourist from New York City, stumbles upon it and falls in love with one of the lassies named Fiona, how can things work out?  

     Nathan Snyder’s vocals in the role of Tommy Albright are Magnificent! His “Almost Like Being in Love,” is worth the price of admission all on its own!!! 

     As Fiona, Bella Mallow’s duets with Snyder astound!!! This Diva’s voice is a soaring soprano that makes “The Heather on the Hill,” “Almost Like Being in Love,” and “From this Day On,” unforgettable. 

     In the role of Charlie Dalrymple, Seth Riley’s singing of “Go Home with Bonnie Jean” is exhilarating! His rendition of “Come to Me, Bend to Me,” is poignant indeed!

     Emily Morris’ delicious singing in the role of Meg Brockle makes “The Love of My Life” and “My Mother’s Wedding Day” sparkle with an injection of superb comic timing and infectious joie de vivre.

     As Harry Beaton, Zach Waltz provides the dark tension needed for the conflict in this tale.

     Solomon Abell charms as Tommy’s cynical hunting buddy, Jeff.

     Robert Hoch’s a thoroughly amiable Mr. Lundie.

     Director Timothy Kennedy has cast the show impeccably. His ability to direct the onstage traffic of the 40-person cast in this intimate playing space is so incredibly efficient, it’s mind-blowing. 

     Brilliant use of a fragmentary set design and truly mystical lighting are courtesy of Peter F. Muller. 

     Davis Sibley’s costume design is spot on.

     Rachael Lessard’s choreography of the original dances created by Agnes DeMille is thrilling.  Both the Funeral Dance and the Sword Dance will take your breath away.

Under the baton of conductor Nicholas Gilmore, the Loveland Opera Theatre orchestra sounded divine!

       Christine Kahane’s work as Dialect Coach for these actor/singers, blesses our ears with the authentic sound of the Scottish brogue, adding immeasurably to our enjoyment of this classic.

     In the funeral scene, the requisite bagpipe played by Karl Brown, makes the chest heave and the eye well up.

   It’s well worth the drive up to Loveland. Go and indulge yourself.

 

For tickets go online at: Lovelandopera.org

 

 

 DRACULA

THE ELLIE CAULKINS OPERA HOUSE

 OCT 7 -OCT 16

Jonnathan Ramirez, Mario Labrador and Dana Benton (photo credit: Colorado Ballet)

THE COLORADO BALLET’S PRODUCTION OF MICHAEL PINK’S DRACULA IS EXPLODING ACROSS THE STAGE AT THE ELLIE CAULKINS OPERA HOUSE FOR ONLY ONE MORE WEEKEND!

 

     Pink, who started out by winning huge accolades for his choreography in London’s West End, is the longest serving artistic director of the Milwaukee Ballet in history. He previously worked as repetiteur for Rudolf Nureyev at the Paris Opera as well as La Scala in Milan. From his incredible foundation in the classics, Pink has evolved and expanded the repertoire in fantastic ways.

     Breathtaking in its celebration of the eerie world of the vampire, Michael Pink has spiced up the repertoire beyond measure with Dracula and other contemporary ballets.    

     Pink’s narrative ballets such as Peter Pan, The Hunchback of Notre Dame and The Picture of Dorian Grey as well as Beauty and the Beast have been given full length narrative compositions by British musical composer, Phillip Feeney. 

     This composer’s full-length orchestral score for DRACULA is sheer brilliance!  I raved about it so much after having seen this show multiple times a few years back, that a friend sent me the CD. 

     Conductor Adam Flatt and the Colorado Ballet Orchesta deliver Feeney’s spine-tingling and sometimes nerve-jangling score, to sensational effect! BRAVO!

     On the evening this reviewer was in attendance the principal dancers were all in fine form. (One regrets not being able to see multiple showings as the principal parts are shared by the excellent members of this burgeoning company.) 

     Dana Benton (Mina) and Mario Labrador(Dracula) danced exquisitely in their macabre pas de deux in Act III. Mind-blowing artistry spiked with an erotic charge! 

     In the show in which this reviewer was in attendance Renfield was played by Bryce Lee and Lucy by Jennifer Grace. Gregory K. Gonzales played Van Helsing and Jonnathan Ramirez portrayed Harker. 

     Each and all danced superbly!

     David Grill’s lighting design for this show is of inestimable value. The mood is everything in this show, and Mr. Grill really makes you feel the power of the full moon. (Grill has won five Prime Time Emmy Awards.)

    The set and costumes- especially that for Dracula - designed by Lez Brotherston, will take your breath away.

     The direction by Lorita Travaglia and Maria Mosina is artistry of the highest and best.   

     The standing ovation required the troupe to repeat the curtain call multiple times.

 

     Run, fly or slither to see this superbly danced and staged production now. 

For tickets go online at coloradoballet.org

 

 

 

 

DENVER CENTER THEATRE COMPANY

(In the Dorota and Kevin Kilstrom Theatre) SEP 30 – NOV 6

 

William Shakespeare’s Much Ado About Nothing was set in Messina and believed to have been penned in the late 1590s. The Denver Center’s production of this tragicomedy is set in Messina in the 1930s.

     The title is thought to refer to much ado about ‘noting,’ since most of the play revolves around hearsay and gossip that causes joy and surprise for one couple as well as heartbreak and despair for the other. 

     Director Chris Coleman’s staging of the play has done a superb job of making us as audience aware of this. 

     His choice to have the scenes bridged by musicians playing live music, as well as presenting us with a glorious party at which jewel-toned Japanese lanterns descend, add immeasurably to our enjoyment of the show. 

     One must also commend the director for his success at putting the sound of Shakespeare’s words center stage with such clarity!

     The chemistry between Geoffrey Kent as Benedick and Dana Green as Beatrice is electric. One wishes to be able to say that of Jennifer Paredes’ Hero and Gerrard James’ Claudio, but unfortunately it wasn’t there yet on opening night. Hopefully it will be there by the time you get to the theatre.

     The very name of Geoffrey Kent will make any true theatre lover race to see him as Benedick. Let me just say, he is brilliant, and never disappoints.  From his early speeches in which he vows to be a bachelor forever, to his embrace of Beatrice near final curtain, Kent’s work delights.

     Dana Green was new to this reviewer. (Please be aware that I will search out her name in every program from now on.) 

     As Beatrice she commands the stage with excellence and luminosity.  Green builds with true artistry from her command to “kill Claudio,” to her “I would eat his heart in the marketplace.” 

    May we be blessed with her onstage presence in other shows again soon!!!

   Rob Nagle’s performance in the role of Dogberry is Outstanding! His comic timing, facial expressions, and body movement, combined with the hilarious malaprops that Shakespeare puts in his mouth, send ripples of laughter through the audience multiple times.

     Logan Ernstthal’s delivery of the friar’s speech following the scandal at the altar, is riveting.

     Gareth Saxe is brilliant as Hero’s father, Leonato.

     As Don John, Gavin Hoffman was a little one-note for this reviewer. 

     Jihad Milhem’s Borachio, Desiree Mee Jung’s Margaret and Rodney Lizcano’s Don Pedro are all memorable

       Kevin Copenhaver’s costume design is his usual professional work. The wedding gown this artist created for Hero is, to quote the Bard,“a most rare fashion, i’ faith.” It’s Gorgeous! This artist’s hand-painted vest for Dogberry is Amazing!

     Klara Zieglerova’s scenic design, festooned with glorious floral designs is eye-popping!

    

     It may not be perfect, but this production has so much that is Wondrous and Beautiful…

 

It’s Not to be missed!

 

For tickets go online at denvercenter.org