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