ESCAPE TO MARGARITAVILLE

Give 5 Productions (at Parker Arts Center)

June 23 – July 16

 

L-R: Sonshare Tull, the "outlaw shaker of salt," and Rick Long

 

Escape to Margaritaville, a production at Parker Arts Center by Give Five Productions, is a thoroughly enjoyable evening of ‘escape’ from the five o’clock news.

     If you’re as much a fan of Jimmy Buffett’s music as this reviewer, you’re going to love ESCAPE TO MARGARITAVILLE!  My favorite music to listen to at Red Rocks in the 80s, this artist opened for The Eagles a few seasons ago at Coors Field. (Had it not been for completely inept crowd control, we all might have seen and heard his complete set. Nevertheless…what we got to hear was none too shabby!!!)

     Escape to Margaritaville is a 2017 jukebox musical that makes use of lots of your favorite Jimmy Buffet tunes.

     The plot concerns Tully, a part-time bartender and singer and his relationship with Rachel, a business-minded young woman experiencing the island for the first time.

     Jake Bell’s strumming and singing as Tully Mars keeps the proceedings right on key! His love interest, Rachel is well-sung by Jamie Molina.

     The sub-plot involves Chadd, a macho pig of a fiancée attempting to get his beautifully full-figured love Tammy, to diet herself into something that she’s not. Damon Guerrasio, (Marlowe Award for Best Actor in a Musical for Bullets Over Broadway) gets short shrift in this script. As always, however, his performance is top notch.

     Chadd’s fiancée Tammy is played with sparkling wit and lovely vocals, by Brekken Baker. Tammy’s triumphant success in finally giving herself her due as she sings “Cheeseburger in Paradise,” is magnificent!

     Tammy’s acquaintance with Nick Rigg Johnson’s Brick generates genuine sparks. Mr. Johnson is as animated and hilarious in his performance as his vocals are well-sung! One hopes to see both Ms. Baker and Mr. Johnson onstage again soon.

     Andrew Fisher (Jamal) brings us fully into Act Two with a rousing version of Volcano.

     Rick Long (Marlowe Award winner for his performance as Big Daddy in Cat on a Hot Tin Roof) is his usual talented and amiable self as J.D., a one-eyed beach bum, who hangs out and flirts with the ladies at the bar. Long’s singing of "Why Don’t We Get Drunk and Screw,” is one of the evening’s highlights!!!

     Sonsharae Tull’s performance in the role of Marley sparkles! Ms. Tull is one of Denver’s premier actors.

 It was so nice to see the beautiful and talented Jessie Page, who creates the excellent costumes, wigs and make-up for this show, in the lobby afterwards. Likewise, seeing Lara Maerz, stage manager extraordinaire, in the lobby after the show was a treat as well. 

    “ If you’re not sure if you’re gonna go,” let me just say “GO! GO! GO! ENJOY THIS SHOW!”

 

 

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

 ROMEO AND JULIET 

CENTRAL CITY OPERA: JUNE 24 – AUGUST 5

            L-R: Ricardo Garcia and Madison Leonard

Central City Opera’s production of Romeo and Juliet is a banquet for the ear and the eye. 

 

 

     "Romeo et Juliette" is an opera by Charles Gounod, with French libretto by Jules Barbier and Michel Carre. Following the success of his “Faust,” the composer’s “Romeo et Juliette” was the most popular opera in the second half of the nineteenth century.

     Madison Leonard is a ravishing Juliet. Her acting stuns and her soaring soprano intoxicates!

     Juliet’s Waltz is sung and played with such joie de vivre it will make you rise out of your seat. 

          Ricardo Garcia is a dashing, well-sung Romeo. His duets with Ms. Leonard blend to ear-pleasing perfection. One is happy to report that there is undeniable chemistry between Mr. Garcia’s Romeo and Ms. Leonard’s Juliet. 

     Wei Wu is stellar in the acting and singing of Frere Laurent. 

     Shea Owens delivers a well-sung and credible Mercutio.

     Erroll-Wesley Shaw’s performance in the role of Le Duc is masterful. This artist’s basso cries out to be heard in larger roles.

     Adam Cioffari is most memorable in the singing of Juliet’s father, Comte Capulet.

     Although Sarah Neal’s Gertrude is delightful in the acting and the singing, one might wish the director had cast a more seasoned actress for the Nurse.

     The lush musical joie de vivre of Capulet’s party will sound in your ears for days. It’s almost as strong an earworm as ‘the dance of the knights’ in Prokofiev’s ballet about these same ‘star-crossed lovers.’ 

     Under the baton of Maestro John Baril, the scrumptious Central City Opera orchestra delivers Gounod’s melodious score to perfection. Baril’s music direction keeps the musicians in the pit and the singers onstage always in sync.

     Matthew S. Crane’s gray crypt of a set design, which plays host to both love and death, proves to be more than efficient in its construction.  

      Matt Herndon’s fight choreography is expertly on point. 

     The costume design by Robert Perdziola is eye-popping indeed.

"Romeo and Juliet" is sung in French with English surtitles.

(Gounod’s "Romeo and Juliet" is playing in repertoire with "Kiss Me Kate" - Tony for Best Musical of 1949 - and Rossini’s "Othello.")

 

For tickets call the box office at 

303-292-6700 or go online at centralcityopera.org

 

 

 

 

 STONEWALL

BENCHMARK THEATRE: June 9 – July 1

 

 “Stonewall,” is a “devised” work, written by Neil Truglio. 

      Mr. Truglio, who with Abner Genece and Candace Joice two seasons ago helmed the creation of another “devised work” titled ELEPHANT (Marlowe Award for Best New Play), is a force to be reckoned with.

     Truglio also directs and designs this production, delivering a powerful memory play honoring the individuals who took a stand against police, politicians and the mob in the Christopher Street riots. Their demand for freedom, dignity and PRIDE, began our nation’s journey to where the LGBTQ community is today with regard to equal rights. 

      Stonewall is a powerful play with a cast larger than any to have ever graced the stage of this intimate venue.

   Anchoring the piece are performances by two veteran actors portraying gay and lesbian characters who experienced the tumult leading up to the riots at the Stonewall Inn in Greenwich Village in 1969, as well as one character who was involved with the police and politicians.

      Dan O’Neill (Martin Boyce), Barbara Porreca (Martha Shelley) and Verl Hite (Seymour Pine) break the fourth wall, speaking directly to us as audience as the historical drama unfolds behind them. 

   The police raid on the Stonewall Inn involving abusive treatment of customers and bartenders alike led to six days of violence and protests in the Village.

     The huge cast is comprised of many new faces that one hopes will appear soon again on stages across Denver.    

     Due to the time constraints of such a work, we are given only fleeting glimpses of all these courageous men and women. It would take an epic work to explore them in such a way as to truly give them their due.

     It is to be noted that due to content and language, no children under the age of 12 are admitted.

     The producers also caution parents in this regard that police brutality and harassment, as well as homophobic and transphobic slurs, hate crimes and murders are referenced as well.

     This is a true story that started the nationwide struggle for LGBTQ rights. It is perfect timing for Benchmark to produce this show during Pride Month.

    If you are a lover of serious docudrama, go see this powerful production!

 

For tickets go online at benchmarktheatre.com

 

 DIRTY ROTTEN SCOUNDRELS

PERFORMANCE NOW THEATRE COMPANY: JUNE 9-JUNE 24

          

L-R: Chris Boeckx and Tim Howard (Photo credit: RDG Photography)

Based upon the 1998 movie, “Dirty Rotten Scoundrels,”this musical has music and lyrics by David Yazbek and book by Jeffrey Lane.

     The show was nominated for ten Tony Awards in 2005, and Norbert Leo Butz won the prize for Best Leading Actor in a Musical.

     Set on the French Riviera, two “fraudsters” trying to upstage one another in the art of flimflam, are outdone by an heiress they try to scam.

    Director Bernie Cardell has cast this production to perfection and paced it at a breathtaking clip.

     Chris Boeckx (Lawrence Jameson) and Tim Howard(Freddie Benson) play the two scam artists. 

      Boeckx’ vocals are excellent! His version of “Give Them What They Want” is suave and debonair perfection.  His impersonation of Dr. Shuffhausen is a hoot!

    Tim Howard is hysterically bombastic in his singing of “Great Big Stuff!”  His side-splitting scene with Boeckx, “All About Ruprecht,” is priceless.

 

     Amy Geiger is the Find of the evening! Her portrayal of Christine Colgate, in which she sings “Here I Am” and “Nothing is Too Wonderful to be True” with Mr. Howard, is Amazing! 

 

      As Muriel, Melissa Fike delivers an ear-pleasing version of “What Was a Woman to Do?”

          In the role of Andre Thibault, Jim Hitzke is at his best singing “Chimp in a Suit,” while trying to upgrade Freddy from crass to class. “Like Zis, Like Zat,” his duet with Ms. Fike, charms.

     Jenny Weiss’s take on Jolene, the husband-hunting cowgirl from “Oklahoma,” is high octane fun indeed! Ms. Weiss is a whirlwind of comic musical theatre energy!!!

     Spicing up the high-kicking ensemble, Dallas Slankard and Andy Sievers, both Marlowe Award winners for past performances at this venue, make Will Treat’s choreography sparkle! 

        Andrew Bates dazzles us with his scenic design once again!

     Heather Iris Holt’s music direction is superb!

     This production will make you forget the trauma of the evening news and leave you soaring out into the June evening humming the joyous ear-worms of David Yazbek’s tuneful score.

   How does it get any better than that?

     Run to get tickets!

 

For tickets call 303-987-7845 or go online at performancenow.org

 

 

 

 

 DRIVING MISS DAISY

VINTAGE THEATRE: June 2 – July 9

 

   Deborah Persoff and Cris Davenport

              (photo credit: RDG PHOTOGRAPHY)

Deborah Persoff is a National Treasure!

 

The first play in Alfred Uhry’s ‘Atlanta Trilogy,’ “Driving Miss Daisy,” won the 1988 Pulitzer Prize for Drama. It’s about Daisy Werthan, an elderly Jewish lady and her relationship with Hoke Coleburn, a black chauffeur, who drove for her in Atlanta  from 1948 to 1973.

     The show has been done both on and off Broadway as well as on London’s West End. Adapting the play for the 1989 film, Uhry won the Oscar for Best Screenplay. The film also received an Oscar for Best Picture as well as Best Actress for Jessica Tandy.

     By turns cantankerous and tender, Deborah Persoff’s exquisitely luminous performance will stay in your heart for a very long time.  Ms. Persoff is theatre royalty, and the Denver audience is fortunate to be able to experience her magnificent work.

     Ever since I first saw Cris Davenport in “Intimate Apparel” (Marlowe Award for Best Supporting Actor), I have searched for his name in every program. His work in “District Merchants” (Marlowe Award for Best Actor) was superb. 

     In the role of Hoke Colburn, Daisy Werthan’s chauffeur, Mr. Davenport’s humor and heartfelt emotion make this performance unforgettable.

     William B. Kahn is brilliant in the role of Boolie, Daisy’s son and Hoke’s employer. Mr. Kahn’s performance is the most amiable and multi-dimensional version of this character in memory.   

     Lorraine Scott’s direction of this play is top drawer. Her casting and pacing of the proceedings are supremely well done.

     Rick Reid’s sound design bridges the scenes with excellent musical choices.       

     Kevin Taylor’s lighting design enhances the mood with his usual professional skill.

     The scenic design by Urja Hurkute includes Daisy’s living room, Boolie’s office and a thoroughly well-executed version of Daisy’s car.

    The costumes by Susan Rahmsdorff-Terry are spot on.

    Megan O’Connor’s wig for Ms. Persoff is flawless.

     The characters in this play navigate the social changes going on in the South between 1948 and 1973.  Among them are the bombing of Atlanta’s Temple in 1958 and the 1965 salute to Martin Luther King Jr.

   Uhry is the first playwright to win the Tony, the Pulitzer Prize, and the Oscar.

     You simply must see this heart-opening humanistic production. 

      Run to get tickets!

 

Vintage Theatre Productions

"Driving Miss Daisy"

The heart-warming story of the unlikely friendship. 

June 2 – July 9

Fri/Sat @ 7:30 p.m.; Mon., June 12 @ 7:30 p.m.; Sun @ 2:30 p.m.

$20 - $34

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

Vintage Theatre, 1468 Dayton St., Aurora 80010

 

 

 

 

 

 

 Memphis is a knock-out!

 

Wunderkind Mykai Eastman and veteran director Billie McBride co-direct this production of Memphis at Town Hall Arts Center in Littleton. Their stage direction of the piece together with their impeccable casting and steady pace make the show unmissable. Mr. Eastman, who assistant directed “The Color Purple” for the Denver Center Theatre Company, also designed the thrilling choreography for this show.

     Award-winning musical theatre actor Carter Edward Smith turns in a spectacular performance in the role of Huey Calhoun, the rebellious disc jockey who popularized songs by black artists in the racially divided Memphis of the 1950s.

      Krisangela Washington is a gorgeous triple threat knock-out as Felicia Farrell, the sexy black singer that Huey falls for at Delray’s black rock n’ roll bar on Beale Street. 

     This incredibly talented artist needs to be cast as a leading lady much more often! It was a delight to see - and hear - her onstage in this role.

     The excellent casting includes Denver favorites: John Ashton (Mr. Simmons), co-author of “Murder Most Fowl,” one of Denver’s longest running comedies, Rick Long (Marlowe Award for his portrayal of Big Daddy in Vintage Theatre’s “Cat on a Hot Tin Roof,”) and Abby Apple Boes, who has just completed an astonishing performance starring in David Nehls’ “The Great American Trailer Park Musical” at Miners Alley Playhouse. 

      As Huey’s mother, Gladys, Abby Apple Boes astonishes in the acting and the vocals. 

  New to this reviewer, the other stand-outs in the cast are Jozeph Michaels as Felicia’s brother, Delray,  Joseph Sanford IV as Bobby and Preston “P-Jay” Adams as Gator.

     It’s wonderful to see John Mackey back at Town Hall in numerous supporting roles as well.

     By turns heart-opening and heart-breaking, MEMPHIS won four Tony awards in 2010.

     The show includes incredible rock n roll, wailin’ blues, and exhilarating gospel. 

     The costume design by Nicole M. Harrison is eye-popping indeed!

     Trent Hines’ music direction of this Tony Award winning score is excellent! 

     El Armstrong’s projection design keeps us up to date regarding place and time, as well as providing visuals of relevant news clippings.

    With lighting design by Kate Bashore, set by M. Curtis Grittner and sound design by Curt Behm, the technical end of things is primo.

     The music for MEMPHIS was composed by David Bryan with lyrics by Bryan and Joe DiPietro. The book for the musical was written by DiPietro.

     This musical won four Tony awards in 2010 including Best Musical, Best Original Score, Best Book for a Musical and Best Orchestrations.

          Do Not Miss This Show!!!

 

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

 THE HEADLINERS

CHERRY CREEK THEATRE: 5/5 – 5/21

 

L-R: Norrell Moore and Jeremy Rill

     The World Premiere of Jeffrey Neuman’s “The Headliners” brings us the story of the struggle of two very real Vaudeville stars who are trying to be their true authentic selves in the hostile social milieu of 1908 NYC.

     Neuman’s play was a finalist in the 2021 National Playwrights Conference at the Eugene O’Neill Theater Center.

 

     Norrell Moore is a whirlwind of fiery energy as Eva Tanguay. Belting out the stunning musical numbers in her delicious naughty, bawdy fashion, this diva has the audience eating out of her hand! As Eva, she has the dominant personality of a survivor and a conniver and will even go as far as fisticuffs with a heckling patron.

    Her final song “I Don’t Care” will take your breath away.

   Jeremy Rill is outstanding in his portrayal of Julian Eltinge, the best female impersonator of his time.

The scene near final curtain in which he sings in a black evening gown with elbow-length black gloves and white plumed fan, courtesy of costume designer Linda Morken, is stunning! Julian talks about his fear of getting beat up just walking to the theatre. His relationship with Eva is a "match made in headlines."

      Paul Jaquith as Walter provides intermittent comic moments performing his job of stage manager.

     Blurring the lines between the world of the stage and the unaccepting offstage world of bigotry towards anyone who does not conform, these characters “beard an unheard-of act of defiance.” (No spoilers!)  The struggle of these pioneers to come to terms with the inequalities of the day was ground-breaking in terms of drag performances today.

     Having cast the play impeccably, Director Nick Sugar paces it in such a way that the evening flies by.

     Tina Anderson’s scenic design gives us a vaudeville stage complete with crimson curtains and art deco lighting sconces.

     The music direction by David Nehls is remarkable. All the songs are SO good, you’ll wish there were a CD to purchase in the lobby.

      Emily A. Maddox’s lighting design shifts and enhances the moods dramatically.

   From Ms. Moore’s first frock made of dollar bills to the shimmering gold and ivory gown with ermine stole near show’s end, Linda Morken’s costume design dazzles the eye. 

     Max Silverman’s sound design rocks!

 

A tip of the hat to Susie Snodgrass and the board of Cherry Creek Theatre for fostering such great Art. It’s a gift. In this case, both artistically and socially! 

Get in line for tickets now. Soon this show may be SRO for the run!

 

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