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

Eleanor

Vintage Theatre: March 4-27

                                                Deborah Persoff 

                                     (photo credit Margaret Norwood)

Deborah Persoff’s performance in the role of first lady Eleanor Roosevelt, is superbly nuanced and revelatory.

     This one-woman play penned by Mark St. Germain is as compelling as it is informative. Delving into her childhood as well as her marriage to Franklin Delano Roosevelt, the playwright illuminates the First Lady’s private torments and triumphs.

     Eleanor worked diligently for women’s rights. Her championing of racial equality was even met with certain members of the KKK putting a price on her head.

      Her marriage to Franklin Delano Roosevelt provided her a platform on which she was able to present new ideas upon the public stage. 

     In her portrayal of Eleanor, Ms. Persoff makes us aware that as the power behind the throne, she (Eleanor) was able to sway presidential opinion as this country recovered from the Great Depression and generated The New Deal.

      At certain moments Ms. Persoff is able to slip seamlessly into such personas as a hilariously puffed-up and self-absorbed Winston Churchill as well as her husband’s difficult mother.   

     The play is directed with great sensitivity by Christine Kahane (Marlowe Award for Best Supporting Actress in “Young Frankenstein”), who directed Vintage’s critically acclaimed production of “Shakespeare in Love” a couple of seasons ago. 

     Luke Rahmsdorff-Terry’s sound design is his usual professional work. His projection design, which delivers historical photos of Eleanor, enhances the proceedings by planting us firmly in the required historical moment.

     Cheryl Faulkner’s costume design is spot on.

    Run to get tickets.

 

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

 

 

 

 

 125 "NO"s

BUNTPORT THEATER: MARCH 1-24

                                                         Erin Rollman and Erik Edborg

Lightly skimming over an armature of Sartre’s “NO EXIT,” Buntport Theater’s production of ‘125 “No”s’ is, in this reviewer’s interesting point of view, their best in years.  It’s FUNNY and PROVOCATIVE! All four of Buntport’s intrepid actors get lots of superb lines and a plethora of plum moments! A make-up artist (Hannah Duggan), a special effects man (Erik Edborg), an extra who worries if he will be natural enough onscreen in the role that he performs naturally in everyday life (Brian Colonna), and a script consultant insistent on keeping good morals always onscreen (Erin Rollin) are living a just offstage purgatory! All four of these brilliant comics co-write, co-direct and co-design their original work. 

     Inspired by a quote on a poster in the lobby of a movie theatre  that announced that Greer Garson had to do 125 takes of her saying the word “No”in the 1947 film, “Desire Me,” this original production shines!!! 

     Besides the stunning performances of the onstage actors you can also expect to be dazzled by the offstage voices of such Denver favorites as Jim Hunt( Director), Josh Hartwell (assistant) and Diana Dresser (Greer Garson).

   This existential comedy is absurdist theatre at its best!

     Run to get tickets!

 THE LEGEND OF GEORGIA MCBRIDE

VINTAGE THEATRE: FEB 16- MARCH 24

 

                                                            Stuart Sanks

                            (photo credit RDG PHOTOGRAPHY)

 

     With his direction of The Legend of Georgia McBride, Troy Lakey delivers a glitzy, glitter-filled evening of music and dance that exhilarates. It’s a fast-paced evening that’s cast impeccably.

     Aside from Denver favorite Stuart Sanks, the other cast members were new to this reviewer.

     Sanks, who plays Miss Tracy Mills, is an expansive and dazzling presence onstage. (One still recalls his brilliant performance as Joe in Hunger Artists’ soul-shattering production of Angels in America twenty- seven years ago.) Whether delivering the playwright’s words onstage or ‘workin’ the crowd,” Sanks’ performance sparkles.

   Matthew Combs turns in a smashing performance as Casey, the young husband who, fired from his act impersonating Elvis, shifts from blue suede shoes to high heels in order to keep food on the table for his family. Bringing up memories of Robin Williams in Mrs. Doubtfire and Dustin Hoffman in Tootsie, Combs as Casey shows definitively that embracing one’s feminine side doesn’t mean leaving his masculinity behind. 

     Clark Jones is superb in two roles: the drag queen, Rexy, and Casey’s landlord, Jason.  Jones’s soliloquy about his (Rexy’s) having been bullied and beat up as a kid, is heart-breaking. 

     Matt Hindmarch gets in some good comic licks as the manager/owner of the club.                       

      Atlas Drake is fine as Casey’s wife, Jo. 

      Cole Emarine’s costume design is eye-boggling to say the least. Mr. Emarine must have been up to his armpits in sequins and feathers for weeks to have designed this fantasia of gorgeous gowns.

      Jonathan Underwood’s choreography delights.

      Ryan Walkoviak’s scenic design provides smooth transition between Casey’s and Jo’s apartment and backstage at the club.

     Playwright Matthew Lopez also penned the Tony Award-winning two part play, THE INHERITANCE (MARLOWE AWARD for BEST ENSEMBLE) last season.

     On opening night, there were some sound issues that caused the show to start a little later than scheduled. Once the glitch had been found and remedied, Jessica Jewell’s sound design stunned!

 

 

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

 

 

 

 

 PICASSO AT THE LAPIN AGILE

STAGEDOOR THEATRE: FEB 2 – 25

 

 

                          Clint Heyn as Gaston 

In my interesting point of view “PICASSO AT THE LAPIN AGILE” is the best play ever written by Steve Martin. I’ve heard great things about “Bright Star,” his musical,  and haven’t had the good fortune of seeing it yet.

    Jill Manser has put together an enjoyable production of “Picasso at the Lapin Agile” up at Stagedoor Theater in Conifer. The tech end of this production is superb, and there are many happy-making suprises! 

     It’s 1904 and this imaginary meeting of these two geniuses at The Lapin Agile in Paris is one year before they revolutionized Art and Science. 

One with his mind-blowing cubist painting of “Les Demoiselles d’Avignon” and the other with his publishing of “The Special Theory of Relativity.”

     The lighting and projection design by Tom Junker are outstanding! Kimberly Colisch(Germaine) and Anakay Hanold(Suzanne/Countess/Admirer) are ravishing decked out in the exquisite costumes created by Cheryl Faulkner and Jennifer Middleton.

     My guest for the evening thought the very well-executed set design by Biz Schaugaard and Dean Aniotes, reminiscent of a Van Gogh painting.

     It was great to see Denver favorite Clint Heyn ( a very funny Gaston) among the actors, most of whom were new to this reviewer.

     Director Manser has a good eye for casting, and visually Brian Dowling is perfect (the haircut is Awesome!) for Picasso.   As Einstein, Alex Hunter gets in some good comic licks, mussing up his hair, bugging out his eyes and sticking his tongue out. 

    There are lots of absorbing ideas about the comparison and contrast of Art and Science as well as how ideas emerge from the past…or was that the future? 

    If playwright Martin could always be this provocative intellectually, and as amusing as he is with this play and “The Underpants: a play,” one might be more encouraged to see his other works for the stage. Unfortunately, unfunny plays like “Meteor Shower” put a damper on that.

     You could have an evening of light-hearted fun taking a drive up the mountain for this amusing fantasy at The Stagedoor Theater in Conifer.

 

For tickets call 303-838-0809 or go online at Stagedoortheater.org

Veritas Productions

PACE CENTER, PARKER:Jan 9 – Feb 10

 

THIS SHOW IS REQUIRED VIEWING FOR CASTING DIRECTORS! (If you’re a casting director, drop what’s on your calendar for Saturday night, and go check out this show!)

 

Congratulations to Nancy Evans Begley(Executive Producer) and Amy Condon for their newly formed company, VERITAS.

Their first production now onstage at PACE CENTER in Parker, is bristling with bright, coltish energy that is palpable!

     There is so much youthful talent on that stage that I hope every casting director in town gets to see it.

These children all have talent and have been given such a shot of confidence by Director Katie Reid Milazzo, that they truly become rock stars in their enthusiastic embrace of their various roles.

    The just offstage band is stellar. The dynamite lighting of Alex Hanna brings back memories of his fine work two seasons ago for “FOOTLOOSE.” Matthew S. Crane’s stylish set design, which the cast moves around with enviable grace and ease, is just right for this stage. Alex Hanna’s lighting design rocks! Kurt Behm’s audio design is the outstanding work Colorado audiences have come to expect of him.  

     Madeline Shaffer’s choreography of this huge cast is amazing! Music Directors Michael and Amy Pickering do a grand job…especially in the choral numbers!

     Caleb Reed does a superb job as Dewey Finn, that guy dreaming of becoming a rock star legend, who finds life moving him into a position of inspiring others. 

     Rosalie Mullins is a lovely Sara Metz, the principal who falls for Dewey. Ms. Mullins’ vocals are Outstanding!  Erik Thurston (Ned Schneebly) and Miranda Byers (Patty di Marco) do a great job as the couple who have let Dewey live (freeload) in the basement of their home.

     Standouts in this incredible cast of children are: Christopher Gawlikowski (Zack), Owen Lester (Billy), Liam Dodge (Freddie), Sariah Smith (Tomika), and Gabrielle Gueck (Summer). If I missed anyone, please forgive me. You were all great! 

     Go and see and hear them work their magic. It’s only here for one more weekend.

 

This show is based upon the Paramount movie by Mike White. With book by Julian Fellowes and Lyrics by Glenn Slater, SCHOOL OF ROCK has new music by Andrew Lloyd Webber.

 

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