AMAHL AND THE NIGHT VISITORS

CENTRAL CITY OPERA

Performed at Central Presbyterian Church, Denver

DECEMBER 20,21 and 22

 

              Jennifer DeDominici

             NOT TO BE MISSED!!!

 

     Gian Carlo Menotti’s one-act opera “Amahl and the Night Visitors” was commissioned by NBC, and was produced for television as the first production of Hallmark Hall of Fame on Christmas Eve, 1954.

     Menotti took his inspiration for the opera from Hieronymus Bosch’s “The Adoration of the Magi,” which he had seen exhibited at the Metropolitan Museum of Art. Menotti’s partner Sammuel Barber completed the score’s orchestrations just before the show was to air.

     Toscanini told Menotti that it was “the best he’d ever done.”

     The cast includes last year’s Marlowe Award winner, Jennifer De Dominici, reprising her role as Mother. 

     Sam Kraus and Brook Larson alternate as Amahl. 

     The three kings are: Javier Abreu (Kaspar) Jonathan Hays (Melchior) and Errol-Wesley Shaw (Balthazar.) Jerome Sibulo portrays the Page.

     Under the baton of Brandon Eldredge, the Central City Opera orchestra delivered Menotti's score in a manner delicious to the ear.

     Menotti said that he intended this to be an opera for children since he was attempting to recapture his own childhood.  In Italy there is no Santa Claus. The toys come from the three kings!

   Other than "Amahl and the Night Visitors," this reviewer has so far only been blessed by seeing and hearing one other Menotti opera. It was "The Saint of Bleecker Street," which tells us of a woman with the stigmata, who sees visions and hears angelic voices. Her brother believes she should be institutionalized, but the people of the neighborhood in Little Italy believe her to be a saint. The heart-opening production was done by Central City Opera under the supervision of Maestro John Moriarty. Unforgettably moving!

     Due to scheduling problems, I saw this production of "Amahl and the Night Visitors" later than I would have liked.

      I hope this reaches you in time for you to experience the heart-swelling beauty of Central City Opera’s production of Menotti’s exquisite opera. 

Only one matinee remains on Sunday at 2pm.

     

                 RUN TO GET TICKETS!

    

For tickets call 303-292-6700 or go online at centralcityopera.org/amahl

 

                        MARY LOUISE LEE 

 

BLACK NATIVITY

VINTAGE THEATRE: DEC 6 – 29

 

Of the four holiday productions that this reviewer has seen in the Aurora Theatre District this December, “Black Nativity” is the only one to approach the season with a sense of reverence. “Black Nativity” is an all-black, Gospel-Inspired Holiday Celebration by Langston Hughes.

     The show is directed by Jo Bunton Keel. 

     It’s been nearly three decades since I have seen a play directed by the esteemed Ms. Keel.     Her work on “The Gospel at Colonus” for Eulipions Theatre still resonates. One hopes to see her name in the theatre programs more often now.

     The play, written by Langston Hughes, is an adaptation of the Biblical events surrounding the birth of Jesus.

     Director Keel opens the play with Hugo Jon Hughes (The Breath of God) walking in through the audience and describing the creation of the world through an African filter as actors onstage dance the text. Hughes’ commanding delivery along with the flashes of light and sound mesmerize. 

    Dressed in royal African garb, Mary Louise Lee portrays Mother Africa, overseeing this reading of the nativity with grace and power. This artist’s singing of “Sweet Little Jesus Boy,” is heartfelt indeed.

   Standing out in the ensemble is Krisangela Washington in the role(s) of Mary/Dancer.

Besides being a sensationally talented vocalist (“Memphis” at THAC and “Buddy, the Buddy Holly Story” at BDT Stage) Washington here proves herself to be a skilled dancer as well.

    The mostly percussive accompaniment including drums, keyboard and guitar is beautifully played and enhances, rather than overwhelming the vocals.

  The music director is Minister Daryl Walker. His conducting of the just offstage band as well as that of the a Capella choral numbers is magnificent.

     One must make mention of other works of art that describe biblical events at this juncture.

    You can’t help thinking of John Huston’s 1966 film, “The Bible…in the Beginning,” in which two Scandinavian models were formed from the dust of the earth…as Adam and Eve … or the all-white cast performing the roles of Mary and Joseph in “Ben Hur, A Tale of the Christ.”

     It is much more realistic, and satisfying to the viewer, seeing black individuals portray African characters that were born between the Nile and the Euphrates all those years ago.

    Just sayin.’

    

I hope you get to see “BLACK NATIVITY.”

 

For tickets call the box office at 303-856-7830 or go online at vintagetheatre.org

 

 

 SANTA’S BIG RED SACK

RATTLEBRAIN THEATER PRODUCTIONS

at THE PEOPLE’S BUILDING,

 9995 E. Colfax Ave, Aurora, CO

NOW THROUGH DEC 23

 

     Don’t miss Rattlebrain’s 23^rd production of this hilarious evening of sketch comedy!

     It’s wall to wall upbeat holiday cheer that’s all night, non-stop sendups of the tired and traditional.

     Dave and Jane Shirley have been serving up this fast-paced comic holiday feast since 2002 and It’s the perfect antidote for the onslaught of traditional holiday turkeys.

     Together with Eric Mather and Chris Woolf, the Shirleys continue to dazzle us with a tongue in cheek cavalcade of topsy turvy satire aimed at everything from Santa and his elves to Dickens.

     Besides the onstage antics there are also lots of excellent video segments!

      I’ve said it before, and I’ll say it again: “Every sketch is a laugh-out-loud gut-buster.” 

     

P.S. you can take your favorite adult beverage into the theatre with you.

 

RUN TO GET TICKETS!!! 

 

For tickets go online at thepeoplesbuilding.com/santas-big-red-sack

 EBENEZER SCROOGE’S BIG AURORA FOX CHRISTMAS SHOW!

AURORA FOX ARTS CENTER: NOV. 30 – DEC. 22

 

 

Written by Gordon Greenberg and Steve Rosen, this holiday treat is based upon Charles Dickens’ “A Christmas Carol.”

     It’s an all-woman cast led by Denver favorite Karen Slack in the role of the miserly curmudgeon, Ebenezer Scrooge. Slack’s gravel-voiced old coot anchors the show.

     The production is blessed with the comic talents of such Denver favorites as LuAnn Buckstein, Sonsharae Tull, Min Kyung (Cecelia) Kim (Cratchit) and Janae Burris (Christmas Yet to Come). 

     Buckstein is hysterical as The Ghost of Christmas Past! Her comic genius comes through in moments such as one of her character’s klutzily attempting to maneuver a straw into her mouth while drinking an adult beverage at a holiday party. Tull delights as the exuberant Ghost of Christmas Present.

     There is fine work in the technical aspects of this show as well. A great rustic scenic design is provided by Denver favorite Brandon Philip Case. Lighting and sound designs work well in tandem by Brett Maughan and Casey Burnham respectively. The costumes by Linda Morken, are of this artist’s usual eye-popping artistry.

 

For tickets call the box office at: 303-739-1970 or go online at AuroraFoxArtsCenter.org

 

 

        WHO'S HOLIDAY

    VINTAGE THEATRE PRODUCTIONS: DEC 2-31

                                                Jenny Weiss as Cindy Lou Who

 

JENNY WEISS IS AN UNMISSABLY SCRUMPTIOUS HOLIDAY TREAT AS CINDY LOU WHO!!!

 

This is the third year that Vintage Theatre has blessed us with their gloriously festive production of Matthew Lombardo's "WHO'S HOLIDAY!"

       It's wall to wall rhyming in the style of Dr. Seuss that's served up with joyous flirtatiousness by local favorite Jenny Weiss.

      Ms. Weiss is deliciously naughty - and nice! - in this one-woman- performance in the role of Cindy Lou Who.

     Some years after her initial meeting with the Grinch, Cindy Lou is getting ready to welcome guests for a warm holiday get-together! She’s prepared hors d’oeuvres and holiday songs that will get your bells jingling and your “chestnuts roasting.” 

     “Who’s Holiday” is a thoroughly satisfying departure from all of the traditional holiday fare. So, bring your current squeeze and sit back with one of the delicious adult beverages being offered for the run of this show. 

"Who's Holiday" is a fun- filled confection laced with tongue-in-cheek adult humor that delights.  

The show is for ADULTS ONLY so for one evening you can relax and leave the kids home.

For tickets call the Box Office at 303-856-7830 or go online at info@vintagetheatre.org

 

 

 ONCE UPON A MATTRESS

ARVADA CENTER FOR THE ARTS AND HUMANITIES: NOV 22 -DEC 29

Main Stage Theatre

 

With music by Mary Rogers, lyrics by Marshall Barer and book by Jay Thompson, Dean Fuller and Marshall Barer, “Once Upon A Mattress” was nominated for two Tonys in 1960: Best Musical and Best Leading Actress for Carol Burnett.

      The show is a comic adaptation of the fairy tale “The Princess and the Pea.”

     This production is remarkable for several reasons.  The cast includes musical theatre actors who have become famous over the last few decades not only for their work at Arvada Center, but also for becoming favorites working in many other local venues such as the recently shuttered BDT Stage. Joanie Brosseau-Rubald is one of Colorado’s premier actors who has stunned audiences for decades at BDT Stage.  

      Megan Van De Hey performed what many have called the best dramatic performance ever in this town, as Maria Callas in Town Hall Arts Center’s production of MASTER CLASS. Van De Hey’s singing of Mother in Arvada Center’s unforgettable production of RAGTIME was stunning and unforgettable! 

     Colin Alexander has won accolades for many performances at Arvada Center and elsewhere.

     I was fortunate to see Mathenee Treco when he appeared in Arvada Center’s production of MEMPHIS. It was clear from that debut that this actor was to become a great star. Shortly thereafter he appeared in the first touring company of HAMILTON.

     “Once Upon a Mattress” is superbly directed by Colorado favorite Kenny Moten.  His casting and pacing make the evening fly by. 

     The show is choreographed with a tongue-in-cheek eye to the silliness inherent in the show, by the esteemed Christopher Page-Sanders.

     The very fine music direction is thanks to Jordan Ortman.

   

  Alena Watters is splendid as Princess Winnifred, girl of the swamps. This actor is at her vocal best with her soaring “Happily Ever After.” Her comic numbers, “Shy,” and “The Swamps of Home” are hilarious.

       Joanie Brosseau-Rubald is magnificent as Queen Aggravain. Her studied performance is, as always, a joy to see and hear. It is a gift to have her performing onstage in this wonderful holiday production. Her performance of “Sensitivity” is hilarious!

     EJ Dohring is appropriately goofy and klutzy as Prince Dauntless.

     Colin Alexander mimes his way through the journey of the timid King Sextimus with superb acting skill.

      Mathenee Treco is a superbly sung Sir Harry.

      Elizabeth Harlen is an enchanting Lady Larkin.

       David Otto opens the show with a strong version of “Many Moons Ago.”

     Megan Van De Hey is pure mischievous magic as the Wizard.

     Brian Watson’s Jester is smashing in his rendition of “Very Soft Shoes.”

     Brian Mallgrave's scenic design for this fairy tale castle is, as always, a wonder to behold.

     Madison Booth’s costumes are spot on.

     The ensemble includes such Denver favorites as Alejandro Roldan, Bob Hoppe, Randy Chalmers and Adriane Leigh Robinson.

 

This is a production that the whole family will love!!!

Run to get tickets!

 

For tickets call the box office at 303-431-3939 or go online at arvadacenter.org

OUpon

 

                   NUNSENSE

(PRESENTED BY VERITAS PRODUCTIONS AND PARKER ARTS)

At THE SCHOOLHOUSE THEATRE in Parker,CO.

 October 25 – November 17

 L-R: Ali Chung, Jamie Molina and Kayleigh Bernier (Photo credit: Noah Begley of Paper and Light Photography)

                     HALLELUJAH!!! 

NUNSENSE IS THE PERFECT JOYFUL TONIC FOR THE HIGH ANXIETY OF ALL THIS POLITICAL TURMOIL!

         

With music, lyrics and book by Dan Goggin, “Nunsense” is a musical comedy that opened in 1985 off Broadway. Subsequently it has become the second longest-running Off-Broadway show!

     When the Little Sisters of Hoboken discover that their cook, Sister Julia, Child of God, has accidentally poisoned fifty some nuns, they are suddenly needing the financial wherewithal to bury them. They decide to put on a variety show to raise the funds. There in a nutshell, lieth the plot.

     This small group of stalwart nuns includes Sister Mary Regina (the Reverend Mother), Sister Mary Hubert, the mistress of novices, Sister Mary Leo, who has dreamed of being a ballerina, a streetwise nun from Brooklyn named Sister Robert Anne, and a zany forgetful nun named Sister Amnesia.

     As Sister Mary Hubert, Arabella Beaubrun blows the roof off with her outstanding rendition of ‘Holier than Thou.”

    Ali Chung’s “Playing Second Fiddle,” Jennifer Burnett’s “Turn Up the Spotlight,” and Jamie Molina’s “I Could Have Gone to Nashville,” are all show-stopping numbers indeed! Dance Captain Kayleigh Bernier keeps the entire ensemble on their toes.

     Nancy Evans Begley, Marlowe Award-winner for her performance as Drowsy in “The Drowsy Chaperone”, has nearly single-handedly brought this production to life! Besides her work as the director, this artist also designed costumes, props, was co-audio designer, production manager and choreographer. 

      Her superb choreography includes hilarious nods to “The Will Rogers Follies” as well as sending up the 'white glove' choreo of Bob Fosse.

     Whether you’ve seen a production of this show previously or not, you need to see it with this cast!

     These women transcend the material with their superb vocals, acting prowess and comedic excellence.

     It is to be noted that Andrew Fischer’s musical accompaniment and conducting enhances the proceedings, making the performances really pop!

     I hope every lover of musical theatre gets to see this show!

 

                        NOT TO BE MISSED!

 

For tickets call: 303-805-6800 or go online at parkerarts.org

 L-R in foreground: Molly Turner and Deborah Persoff. L-R in background:Bobbie Renee,Evan Marquez,Stephanie Saltis and Todd Black. 

MURDER ON THE ORIENT EXPRESS

VINTAGE THEATRE: 9/20 – 10/20

ALLISTAIR BASSE

 

A thrilling evening of mayhem, mystery and murder awaits you at The Vintage Theatre in Aurora! 

     Josh Levy is riveting as the intrepid Belgian detective, Hercule Poirot.

     Directed by Denver Favorite Bernie Cardell, you simply can’t go wrong buying tickets for the family. 

     Cardell, who is one of Denver’s premier directors and actors, has cast some of Denver’s brightest and best in this Agatha Christie classic. Among them are Deborah Persoff, Molly Turner, Todd Black and Haley Johnson.      

     Deborah Persoff is eminently watchable as the disdainful aristrocrat, Princess Dragamiroff. Her every condescending glance wilts whichever peasant she is addressing.  This premier Denver actress is also currently performing her one-woman show, “Eleanor,” which is back by popular demand, mid-week at Vintage.

     Molly Turner turns in a very fine performance as Greta Ohlsson, the forlorn African missionary who is constantly weeping. This is the role for which Ingrid Bergman received the Oscar in 1974.

     Luke Fish is delightful as Hector MacQueen, the anxiously eager and willing secretary of the abrasive Mr. Ratchett(Terence Keane). 

      Todd Black, who recently turned in an exceptional performance as Walter Pool in Vintage Theatre’s monumental production of “The Inheritance, “is most memorable in the role of Pierre Michel.

      Returning to the stage after a five- year absence, Haley Johnson turns in a fine performance in the role of the former actress, Mrs. Helen Hubbard.  Johnson has stunned audiences in such plays as ‘Night Mother and A Streetcar Named Desire. 

     Alistair Basse is brilliant as Monsieur Bouc, the owner of the railway train. 

      Of all the many works of Ms. Christie, the author’s “Murder on the Orient Express” is this reviewer’s personal favorite. Ken Ludwig’s adaptation of this book for the stage is thoroughly engrossing.

          Luke Rahmsdorff Terry’s fine sound design bridges the scenes with a somber viola. Susan Rahmsdorff Terry does her usual excellent work with the costume design.

    You owe it to yourself to see this show!

     Run to get tickets!

 

 

For tickets call 303-856-7830 or go online at www.vintagetheatre.org

 

 

     

 Othello 2024

The John Hand Theater: June 29 - July 28

Shakespeare’s Othello is adapted by Greg Sherman and Gregory Wolfe

 

     Othello was the first Shakespearean play I got to see. 

      It was 1965, and I was a sophomore in high school. If the nuns said it was important, our parents would send us as a class to see a movie for the group fee of just one dollar each. This version gave us Laurence Olivier in blackface as the Moor of Venice. Maggie Smith was Desdemona, and Frank Finlay was Iago. I was clueless about all that Elizabethan speech and was glad as hell to be at the World Theatre in Billings, instead of sweating out problems in Mr. Roberts’ algebra class.

       Subsequently I’ve seen Shakespeare’s tragedy many times.

     Timeless in its message, this adaptation is “timelier” than most in that “OTHELLO 2024” focuses not only on the deceitfulness of Shakespeare’s most heinously two-faced villain, but also upon the deception that is inflicted upon us as citizens by the media with all of its slanted political mudslinging and lying broadcasters. 

     This production is also updated in the sense that communication is done, not only by the spoken word, but also by texting, emails and even zooms.

      It may take you a minute to get into the flow of this production, but the director makes quick work of that by adding projections and ‘news videos’ that clarify.

      Insidious and ubiquitous, the villainous, Iago, is played with gleeful malevolence by Denver favorite, Kelly Uhlenhopp. Marlowe Award Winner for her performance as Maggie, the cat, in Vintage Theatre’s magnificent production of Tennessee Williams’ “Cat on a Hot Tin Roof,” it’s hard not to have the words, “Mendacity, mendacity, mendacity,” ringing in his ears as she works her venomous plans.

     Director Andrew Uhlenhopp has cast the show well and paced it in such a way that the energy of his very fine cast never flags. (Fresh off his brilliant performance as Mark Rothko in Town Hall Arts’ excellent production of “RED,” one hopes to see Uhlenhopp onstage again soon as well as in the director’s chair again soon.)

     TJ Jackson is well cast as the honorable and credulous Othello. Handsome and charismatic, this actor speaks Shakespeare’s words eloquently, and gives a damned good stab at the madness required for the final scenes. 

    Emily Ebertz is an enchanting Desdemona. Her reading of the part is excellent, and her acting in the final scenes of this tragedy enhances our catharsis.

     Kate Poling’s Emilia is also a stand-out!

      Greg Sherman’s and Gregory Wolfe’s adaptation is a cautionary tale regarding the importance of source-checking   what we hear on the news and see on the internet.

     Not every adaptation of the canon works. This one will grab you by the throat and leave you breathless.

     Run to get a ticket. 

 

Photo credit: RDG PHOTOGRAPHY

 

The Firehouse Theatre Company is currently presenting Othello 2024, a contemporizing of Shakespeare’s play about The Moor of Venice.

For tickets call 303-562-3232 or go online at firehousetheatercompany.com

 LA FANCIULLA DEL WEST

(THE GIRL OF THE GOLDEN WEST)

CENTRAL CITY OPERA: July 7,10,12,14,19,21,23,27,31; August 3.

(playing in repertoire with Gilbert and Sullivan’s “Pirates of Penzance” and Kurt Weill’s “Street Scene.)

 

CENTRAL CITY OPERA’S PRODUCTION OF PUCCINI’S “GIRL OF THE GOLDEN WEST” ENTHRALLS!

 

     Composed by Giacomo Puccini with libretto by Guelfo Civinini and Carlo Zangarini, this opera is based upon a 1905 play by David Belasco. Puccini had based “Madama Butterfly” on another of Belasco’s plays. 

     Influenced by the work of Claude Debussy and Richard Strauss, Puccini infused this opera with folk music and a cinematic pulse to give it the flavor of the American West.

     Admired for its melodic orchestral score, Puccini believed his “American opera” to be “the greatest composition of his career.”

     “La Fanciulla del West” was the first world premier staged at the Met. It was conducted by Arturo Toscanini. 

     Puccini’s only “American” opera, it was a departure from the composer’s usual fare in that it had no stand-alone arias, and (spoiler alert) has a happy ending. 

     Director Fenlon Lamb’s casting is superb. This artist’s pacing of Puccini’s opera keeps the audience enthralled throughout!

     Kara Shay Thomson plays Minnie, the owner of the Polka Saloon. This character is a strong woman, who is a conniver and survivor. Shay has a soaring soprano that expresses the power of a pistol-packing frontier woman, who knows what she wants and how to get it. Minnie’s fierce fortitude differs from the women in Verdi’s previous operas, who were mostly victims.    

     Minnie is pursued throughout by sheriff Jack Rance (Grant Youngblood) and later becomes enamored of newcomer Dick Johnson, who is sung with great passion by tenor Jonathan Burton. 

    Grant Youngblood has given flawless performances at Central City Opera as John Proctor in “The Crucible,” “Germont in “La Traviata, Sharpless in “Madama Butterfly” and Horace Tabor in “The Ballad of Baby Doe.” 

     Here his acting as Jack Rance is darkly menacing, and his baritone commanding!

     In Act Two we learn that Johnson is the bandit Ramerrez, in disguise. A posse shoots him, and Minnie hides him upstairs at the saloon. When Rance discovers where he’s at, Minnie challenges him (Rance) to a game of poker. If she wins, he must let Johnson go free. If she loses, she must marry Rance. Minnie wins by cheating. In Act three, Rance tries to hang Johnson with the help of a posse, and Minnie convinces the miners to let him go.   

      Under the baton of conductor Andrew Bisantz, the Central City Opera orchestra gives a rousing performance of Verdi’s score.

      Choral Director, Brandon Eldredge makes the sound of Verdi’s male chorus ring through the opera house with ear-pleasing gusto.

     The set design by Papermoon Opera Productions is mostly excellent…except for the two blossoms? of one knows not what on either side of the lip of the stage.

     Originally set in an 1849 California mining camp during a gold rush, this production is set in Central City during the gold rush in an opera theatre built during the gold rush.   

      Not to be missed! Rush to get tickets!

 

303-292-6700 or boxoffice@centralcityopera.org

 THE PIRATES OF PENZANCE

 or

 The Slave of Duty  

CENTRAL CITY OPERA: 6/29,7//3,7/5,7/7,7/13,7/16,7/20,

7/24,7/27,8/2,8/4 

(PLAYING IN REPERTOIRE WITH PUCCINI’S “GIRL OF THE GOLDEN WEST” and KURT WEILL’S “STREET SCENE”)

Jennifer DeDominici as Ruth in PIRATES OF PENZANCE

 

Central City Opera’s production of “The Pirates of Penzance” is a TRIUMPH!!! 

 

Exuberant, exhilarating, tuneful, and deliciously tongue in cheek, Central City Opera’s production of Gilbert and Sullivan’s “The Pirates of Penzance” is outrageously fun entertainment! 

     The combination of Arthur Sullivan’s glorious musical composition and W.S. Gilbert’s delightfully crafted lyrics are ingredients for a scrumptious operatic confection.

       Central City Opera’s production is OUTSTANDING!

    Set on the coast of Cornwall during the reign of Queen Victoria, this farcical comedy gives us a young man named Frederic (Chris Mosz) who has accidentally been apprenticed by his nurse, Ruth (Jennifer DeDominici), to “pirates” instead of “pilots.” 

     Shortly thereafter Frederic falls in love with a beautiful young woman named Mabel played by Jasmine Habersham.

     Surfing the waves of Sir William S. Gilbert’s whimsical book, the twists and turns our hero must navigate involve sentimental pirates, pompous naval officers, and that super-annoying  problem of being born in leap year.

       Perhaps the most famous of the musical numbers in this operetta is “I am the Very Model of a Modern Major General.” 

     Adelmo Guidarelli delivers Major General Stanley’s “patter song” with tongue-twisting dexterity, and deliriously funny -laugh out loud - comic acting. 

     Conducted by Brandon Eldredge, the scrumptious Central City Opera orchestra has never sounded better!

     Director Kyle Lang has cast the show impeccably and paced it at a gallop. Lang also did the ginormously entertaining choreography as well as the spot-on costume design.

     The choral work, overseen by Michael Poll, is breathtaking!

     The only thing missing from the beloved sound of the original D’Oyly Carte recordings is the static created by playing that old vinyl on the phonograph.

     Much better than the Broadway version I saw in 1981 starring Kevin Kline, Linda Ronstadt, Estelle Parsons and Rex Smith, the original Danny Zuko in “Grease,” I’m hoping to get a second seat for this very funny CCO production! 

     To find an operetta approaching this level of unbridled joy, one must go back in memory to Central City Opera’s 2010 production of Jacques Offenbach’s “Orpheus in the Underworld.”

     Alex DeSocio’s performance in the role of the Pirate King is splendid both in the singing and the acting.

     Jasmine Habersham is utterly delicious as Frederic’s love interest, Mabel. Habersham’s powerful and finely-tuned soprano made this reviewer hope to hear her again soon in such roles as Cunegonde in Bernstein’s “Candide.”Her rendition of “Poor Wandring One” is magnificent!

     Frederic’s nurse,Ruth is acted and sung with joyous abandon by Jennifer DeDominici (Mezzo-Soprano). This diva received the Marlowe Award for Best Opera Singer for her performance as Mother in “Amahl and the Night Visitors” last season.

     Chris Mosz delivers the role of Frederic with a splendid tenor.

     Andrew Harris’s performance as Edward, Sergeant of Police, enhances the proceedings with his superb baritone. 

     Also, it is to be noted that there are now screens on the walls flanking the stage on which the quick-moving lyrics are projected. 

         

                        RUN TO GET TICKETS!!!

 

 

    It was an honor to be present on the evening that the late beloved artistic director emeritus John Moriarty was inducted into the Colorado Musical Hall of Fame along with Central City Opera itself. Moriarty was a superb conductor, vocal coach and educator. He was also a good friend and is greatly missed.

    

 

For tickets call the Box Office at 303-292-6700 or go online at centralcityopera.org

 

 

 

 

 THE HEARTBEAT OF THE SUN

CHERRY CREEK THEATRE: MAY 3 -19

 

THE HEARTBEAT OF THE SUN DISAPPOINTS. 

 

Melissa McCarl’s new play about the lifelong friendship of two women of the theatre is one this reviewer had looked forward to for a long time. However...

     McCarl has been one of the most successful of local playwrights over the last two decades. Her play about Frida Kahlo, PAINTED BREAD, is a personal favorite. McCarl’s 2016 production of LOST CREATURES about a late in life meeting of critic Kenneth Tynan and silent screen star Louise Brooks, stunned!  McCarl’s play about Gertrude Stein, POIGNANT IRRITATIONS, succeeded brilliantly.

      In this play as Bea and Althea look back down memory lane from the home for the aged, one of them is exhibiting signs of oncoming dementia. The symptoms, presented as 'personified' inanimate objects, seemed an unusual choice.

   This play features Anne Oberbroeckling as Bea, Billie McBride as Althea and Maggy Stacy as Young Althea. All three women are award-winning Denver favorites. Daevon Robinson (Javier) is especially strong in a brief performance near final curtain. There is some nice work done in the lighting and sound designs by Emily B. Maddox and Michael Castro respectively.

     Unfortunately, this production never catches fire.

 

    See it if you must.

For tickets call 303-316-6300 or go online at cherrycreektheatre.org

 

 

 RED

TOWN HALL ARTS CENTER: 4/25 - 5/5

        L-R: Andrew Uhlenhopp and Josue Miranda

     Nominated for seven Tony Awards in 2010, John Logan's "RED" won six, including Best Play and Best Supporting Actor in a Play (Eddy Redmayne.) Alfred Molina, who portrayed Mark Rothko was also nominated for Best Actor in a Play that year.

     Director Matthew Kepler has cast this production impeccably and paced it in such a way that the evening flies by.     

      Andrew Uhlenhopp's pulse-pounding portrayal of abstract artist Mark Rothko is brilliantly raw, intense and revelatory!  One of Denver's Premier actors, it's thrilling to see him being cast in roles of this stature. 

      Josue Miranda delivers a nuanced performance as Rothko's assistant,Ken. This actor's journey from the suit and tie, guy on the street at the top of the show, to his self confident persona at final curtain is remarkable. Miranda, who you will remember from the excellent production of "My Name is Asher Lev" at The Cherry Creek Theatre, has matured into an actor whose name should be sought out in every program. 

     The Tony Award-winning script is rich in its exploration of the ever-evolving nature of the artist and his relationship to his Art. 

     A tip of the hat to Robert Michael Sanders, who heads up the operations at Town Hall Arts Center, for punctuating the excellent season of musicals with such an exhilarating piece of serious drama. 

    It's only here for one more weekend. Run to get tickets.

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

 A Jukebox for the Algonquin

Miners Alley Playhouse: March 1 – April 7

 

Unpretentious and unassuming, Miners Alley Performance Arts Center’s production of Paul Strolli’s play charms.

     The playwright focuses on a longterm residence for the aged much like The Argyle in North Denver.

     The scenic design by Jonathan Scott McKean appoints the space with furnishings which are the exact replicas of what one finds in such places. They’re not antiques, but they’re old. 

     Vance McKenzie’s work as lighting designer pairs excellently once again with John Hauser’s sound design in telling the story of these aging individuals.

     The cast is made up of some of Colorado’s brightest and best!  

     Len Matheo’s direction is straight forward and allows each of the cast members to have their moment in the spotlight. 

     Having spent a lot of time with a friend living in such places over the last couple of years, I have come to be acquainted with the issues of people there as well as the falling, the loneliness, and the anguish.

      Although it’s got its moments, “A Jukebox for The Algonquin” is a prettified version of plays that look death in the eye, such as Arthur Miller’s “All Over.”

     The performances are balanced and very well delivered.

     Abby Apple Boes, Edith Weiss, Arlene Hicks, John Hauser and Paul Strolli provide us with amiable representations of residents and employees of such establishments.

     At the heart of the show is the relationship of Chris Kendall (Dennis) a wheelchair bound gay man and Dwayne Carrington (Johnny), a straight black man.

    Both men deliver stellar performances, leaving one with a tear in the eye and a heart full of memories.

   The show has some good comic moments and avoids getting too maudlin.

    If you have a free evening next weekend, take a drive up to Golden and check it out.

 

For tickets call 303-935-3044 or go online at minersalley.com

 

                          RAISIN

TOWN HALL ARTS CENTER: MARCH 22 – APRIL 14

                  MARY LOUISE LEE (photo credit RDG Photography)

MAGNIFICENT AND ELECTRIFYING!!! 

            RUN TO GET TICKETS!!!

 

With music by Judd Woldin, Lyrics by Robert Brittan and book by Robert Nemiroff and Charlotte Zaltzbert, “Raisin” is based on the play “A Raisin in the Sun” by Lorraine Hansberry.

      “Raisin in the Sun” received the Tony for Best Play in 1960. “Raisin,” the musical, got the Tony for Best Musical in 1974.

       “Raisin” describes the struggle of black Americans seeking a better life in 1951 Chicago.  Three generations of Walter Younger’s family are living in a single cramped apartment. After the death of a patriarch, an insurance payout allows for hope for buying a new home to arise. Familial conflict, errors in judgment and ultimate redemption and forgiveness ensue.

     Any musical directed and choreographed by trail-blazing Christopher Page-Sanders makes the viewer feel as though he is being transported to a dreamscape, in which the dream is one of flying. Transcendent and exhilarating beyond words!  Anyone who saw Page-Sanders’ production of “Sophisticated Ladies” last season at the Vintage Theatre knows what I mean.

     As director, Page-Sanders has cast the show with actors who are triple threats and brought in technical staff of the highest and best.

     The cast is led by Denver favorite Mary Louise Lee. One of our premier actors, Ms. Lee commands the stage as Lena “Mama” Younger. Her powerful acting and singing of “A Whole Lotta Sunlight” and “Measure of the Valleys” will make you feel like you’re at a show on Broadway.

     Micha J. Lawrence portrays Walter Lee Younger, the role that got Sidney Poitier nominated for a Tony.

     New to this reviewer, this actor’s performance singing “Sweet Time” and “You Done Right” will make you search out his name in every program.

     Asha Romeo plays Ruth, Walter Lee’s wife, with an endearing stage presence and a lovely soprano. Her solo, “Whose Little Angry Man,” is a delight.

     Blake Channing Taylor is a complete delight singing “Sidewalk Tree” as Travis Younger.

     Heidi Carann Snider is Walter Lee’s sister, Beneatha Younger. Her duet,"Alaiyo,” with Isaac Rosen as Nigerian boyfriend, Joseph Asagai, enchants.

     Bernie Cardell is Karl Lindner, the man you love to hate. He’s the one who’s trying to buy out the Lee family’s new lease in an all white neighborhood in the name of neighborhood gentrification and housing discrimination.

     Donna Debreceni created the wondrous, instrumentally diverse, and ear-pleasing musical tracks. 

     Music Director Trent Hines’ work on the choral numbers such as “He Come Down This Morning” and “Runnin’ to Meet the Man” is exceptional.

     Kurt Behm’s sound design is top-notch!

     The ever-shifting tapestry of lighting by Vance McKenzie is sensational!

     Mike Haas’ fragmentary set design for the Lees’ home works extremely well . 

     The costume design by Hannah Tripp is eye-popping indeed! 

     Aside from a refrigerator door that refused to stay shut, the show came off without a hitch!

 

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

 

 

 

 

 THE GLASS MENAGERIE

VINTAGE THEATRE: MAR 15 – APR 21

Directed by Bernie Cardell

Matthew Murry and Cameron Davis(photo credit: RDG Photography)

 

Emma Messenger is magnificent as Amanda Wingfield!

 

“The Glass Menagerie” is the ‘memory play’ that brought Tennessee Williams to fame.

In the play, the playwright remembers his mother, Amanda, and sister, Laura.

      Amanda is a faded southern belle who, abandoned by her husband, is raising her children in a tenement apartment in 1930s St. Louis. Her son, Tom, the alter ego of the playwright, is working in a shoe factory and dreaming of becoming a poet. Amanda’s daughter, Laura, is developmentally disabled as a result of a childhood disease.

     Whether scolding Laura for dropping out of business school or trying to get Tom to fix his cowlick and eat properly, Messenger gives us a woman whose mothering is almost too much for her children. Her maternal nature is out of control and becomes not only smothering, but suffocating.

     Encountering the gentleman caller in Act Two, Messenger’s Amanda slips into a reverie in which she is the debutante she believes she once was. It’s one of the most astonishing and spellbinding moments in this actor’s compelling performance. 

       As Tom’s sister, Laura, Clara Papula is charming, vulnerable and gossamer delicate all at once.  One hopes to see her again soon upon the Denver stage.

     As Jim, the gentleman caller, Cameron Davis commands the stage with his confident manner and ebullient personality. He builds to an emotional pitch that is crowned with a kiss. His extroverted, athletic approach to life contrasts starkly with that of Tom’s sister, Laura. 

     Recently having portrayed E.M. Forster in Vintage Theatre’s monumental production of “The Inheritance,” Matthew Murry returns as a brilliant Tom Wingfield, the playwright’s cynical alter ego.

      As Tom, Matthew Murry delivers the playwright’s opening speech with authenticity and eloquence. Both narrator and protagonist, Tom escapes the apartment where he lives with his mother and sister by staying out late and going to the movies. Murry’s delivery of the speech at final curtain carries an impact that is nearly unbearable. 

     Director Bernie Cardell has cast the show impeccably. He has also engaged tried and true theatre artists in all technical aspects of the production. Luke Rahmsdorff -Terry’s sound design and Kevin Taylor’s lighting conspire to create an atmosphere that alternates between that of stifling entrapment  and moody nostalgia. Susan Rahmsdorff-Terry has costumed the quartet beautifully.

     Don Fuller uses every inch of the space in the Bond-Trimble theatre for his magnificent scenic design. Behind, and flanking the confines of the Wingfields’ claustrophobic apartment, broods a huge representation of Picasso’s Guernica.

 

(This is Bernie Cardell’s 150^th production since his arrival in Colorado.)

 

                    Not to be missed!

 

 

For tickets call 303-856-7830 or go online at vintagetheatre.org