Category Archives: Boulder

“Joseph and the Amazing Technicolor Dreamcoat” is highly charged delight on stage in Boulder

BDT Stage

Joseph, Jack Barton, shows off his many-colored finery while his eleven brothers plot to get even.

Reviewed by Tom Jones
June 7, 2017

Jack Barton is in great form as Joseph when he flaunts the notion that he is the “favorite” son. He has a delightfully naïve superiority when he shows off the coat his dad (Jacob) has given him. He just can’t help himself when he struts around the stage noting, “I look handsome. I look smart. I am a walking work of art – in my coat of many colors.” The audience is joyfully ecstatic. His brothers on stage want to kill him. This is Joseph from the Bible’s book of Genesis. He and his brothers are terrific this spring in the Boulder Dinner Theatre Stage production of “Joseph and the Amazing Technicolor Dreamcoat.”

Photo Courtesy of Glenn Ross

This has long been one of my favorite musicals. Upon arriving at the theatre in Boulder this week, however, I was dismayed to see the artwork for the show – not a bright colored coat from biblical times, but a poster of a Michael Jackson wannabe, complete with a white hat and glove. The basic story wonderful, and I was worried that this “fresh look” wouldn’t wear well with me. Once the show began, however, I tossed my concerns aside, and enjoyed one of the most delightful evenings this year. The “new look” at Joseph is great fun. It is a high energy show, highlighted with amazing choreography, generally not so prominent in other productions.

Andrew Lloyd Webber and Tim Rice brought this tale to the stage in 1968 as a 25-minute pop cantata in a London school. The show expanded to become a concert album in 1969, and opened in London’s West End in 1973. It was modified and performed in a variety of locations before arriving on Broadway in 1982. A version starring Donny Osmond was filmed in 1999, with the DVD becoming very popular.

Joseph and his famous coat have become one of the greatest hits of the Andrew Lloyd Webber and Tim Rice collaborations. They went on to create “Jesus Christ Superstar” and Evita.” Webber continued providing music, working with different lyricists, to give audiences a continual string of mega-successes: “Phantom of the Opera,” “Cats,” “Starlight Express,” “Sunset Boulevard,” “Aspects of Love” and on and on and on.

Photo Courtesy of Glenn Ross

“Joseph” in Boulder is wondrously portrayed by Jack Barton. He is a handsome young man with a remarkable voice, and with an awe-shucks appeal to the audience, while his brothers rage against him. They dislike him so intensely that they toss him into a pit, and finally sell him to a caravan of Ishmaelites heading for Egypt. Tracy Warren is equally excellent as the show’s narrator. She was a memorable “Mary Poppins” a few shows ago, and has great charm and a powerful voice.

The music provides a variety of styles. There is a crazed “One More Angel in Heaven” country western provided by Brian Burron as one of the brothers, dishonestly claiming how much sorrow the brothers feel when Joseph disappears. There is the French ballad “Those Canaan Days” later in the show when the starving brothers think of past wealth, and are amazed at how well life seems to be in prosperous Egypt. There is the Elvis Presley take with black-wigged, hip-grinding Scott Severtson as the Pharaoh singing “Song of the King.” “Go, Go, Go, Joseph” looks like at a disco hit of the 50s – a roaring finale to First Act. Near the show’s end there is “Benjamin’s Calypso” when the brothers are in Egypt, humbled and pleading for help.

The rest of the music is disarmingly memorable, including “Any Dream Will Do.” (While I continue to be enchanted by this song, I have no idea what it means.)

Photo Courtesy of Glenn Ross

The fresh look at the story is credited to director Matthew D. Peters and choreographer Alicia K. Meyers. They pay homage to Michael Jackson throughout. No mention is made of him, but the choreography is straight from Jackson “moonwalking” days, and the costuming is complete with the signature Jackson white hat and glove.

The supporting cast is flawless. Wayne Kennedy is a hoot as Potiphar, putting up with the antics of Mrs. Potiphar, played by Alicia K. Meyers. Scott Severtson is black-wigged to come across as the Elvis Presley Pharaoh. The eleven other brothers are unanimously super dancers and singers. The total music presentation, choreography and vocals, is brilliant. The cast includes many young persons who appear as “audience” initially to the narrator, then come back frequently, adding to the vocal delight of the production

The finale is complete with the high energy review of the major songs – an ending that has become standard with most productions of the show

Costuming, sets, and orchestra are extremely good. What is missing? Not much. Some of the show’s basic humanity has been lost by the sheer energy portrayed. Some of the lyrics are not as clearly understood as desired. The total effect, however, is dazzling. Yes, Joseph is handsome. He does look smart. He is a walking work of art — wearing his amazing coat of many colors. “It was red and yellow and green and brown and scarlet and black and ochre and peach and …… “

“Joseph and the Amazing Technicolor Dreamcoat”
Where: Boulder Dinner Theatre Stage,
5501 Arapahoe Avenue, Boulder, CO 80303-1391
When: To August 19, 2017
Information: Box Office: 303/449-6000,
Online: www.bdtstage.com

Facebooktwittergoogle_plusredditpinterestlinkedinmailby feather

Millie Goes Thoroughly Modern in New York City

thoroughly-modern-millie-mainstage-page-newSeles VanHuss shines in 1920s musical at Boulder Dinner Theatre Stage

Reviewed by Tom Jones
November 27, 2016

Millie Dillmount, delightfully played by Seles VanHuss, is the traditional mid-western young woman who arrives in New York City without fear, and with aspirations of a great change in her life. Some girls travel to the Big Apple to make it big in show business. Millie’s plans are much more defined. She wants to marry a rich man.
Continue reading Millie Goes Thoroughly Modern in New York City

Facebooktwittergoogle_plusredditpinterestlinkedinmailby feather

Boulder Dinner Theatre Stage Introduces Young Orphan in the Highly-Imaginative “Peter and the Starcatcher”

PeterAudience Meets Unhappy Young Boy Before He Became High-Flying “Peter Pan”

Reviewed by Tom Jones
March 18, 2016

A generation before Peter Pan flew into Wendy’s London bedroom window, he was a very sad young orphan, abused by the British system, with only a couple of orphan friends. Life was hard and un-relenting until he met the sassy and spirited Molly who was enroute on the Neverland ship to meet up with her father in Rundoon. After Molly and Peter meet on the ship, their two lives would never be the same.
Continue reading Boulder Dinner Theatre Stage Introduces Young Orphan in the Highly-Imaginative “Peter and the Starcatcher”

Facebooktwittergoogle_plusredditpinterestlinkedinmailby feather

“The Addams Family” Comes to Haunt the Stage in Boulder

AddamsFamilyBoulder Dinner Theatre Stage Offers Good Food and Ghosts with “The Addams Family”

Reviewed by Tom Jones

December 3, 2015

A very strange “family” has moved into Boulder.  There is the father, Gomez, his luscious bride, Morticia, their two children – the very strange Pugsley and his sister, Wednesday, who has potential of being somewhat normal.  Then Grandma comes with the group, as does Gomez’s brother, Uncle Fester.  The family’s servant is an extremely tall chap, Lurch, who doesn’t say much but brings an air of frightening delight to the going’s on.

© 2015 Glenn Ross

We meet the family on stage in “The Addams Family,” a musical version of the death-defying antics of cartoon characters created by Charles Addams.  The cartoons resulted in a very successful TV run about the strange family.  The gang was assembled for a Broadway production in 1960.  The Broadway team had great credentials, but were not successful in giving life to the family.  Even the amazing talents of Nathan Lane and Bebe Neuwirth could not surmount the script and music difficulties, however.  The show was subsequently rewritten, and is finding a new life of it own in local productions, such as the current Boulder show.

The set is clever – the spooky mansion, the cemetery crypt, the ever-present trees!  This is a cartoonish set design that is very effective.

© 2015 Glenn Ross
© 2015 Glenn Ross

Wednesday realizes that her family is not normal, but confides in her father that she has fallen in love with a regular guy – Lucas Beineke.  She has an “uncharacteristic desire to marry a square kid from Ohio!”  She has invited Lucas and his parents to the family home, so that everyone can meet over dinner.  There hasn’t been such a stage dinner since “La Cage Aux Folles” when a gay couple invited the Mayor of Paris and his wife to meet their heterosexual son who was about to marry the Mayor’s daughter.  This time around there are not questions of gender, but problems of living and dead!  Uncle Fester enlists the help of the dead ancestors who emerge from the family crypt for guidance and support at the family dinner.

Wednesday has evidently worn black for 18 years, but turns up in a bright yellow outfit the the family party.  Her father is aghast, noting, “You look like a crime scene!”

© 2015 Glenn Ross
© 2015 Glenn Ross

Scott Beyette has directed the show and stars as Gomez.  Alicia King plays his wife, Morticia, with Sara Grover taking the role of their daughter, Wednesday.  Wayne Kennedy is a delight as Uncle Fester, as is Casey Andree playing the solemn servant, Lurch.  Barb Reeves plays the daffy grandma, and the role of Puglsey is double-cast, with Ethan Leland  and Owen Leidich sharing the part.  I saw Leland who is very good, especially when attached to his adored torture machine, giving him the opportunity to cream loudly in wonderful pain!

© 2015 Glenn Ross
© 2015 Glenn Ross

Brett Ambler is convincing as the naive young suitor, Lucas Beineke, who finds the zany Wednesday to be someone special.  Scott Severtson and Joanie Brosseau are effective as Lucas’ bewildered parents strangely horrified by the goings-on in the Gomez household.

Scenery is terrific, as are the lighting, and costumes.  The sound system did not permit me to understand some of the characters as easily as I had hoped.  Songs are pleasant, but not after-the-show hummable.  There is an especially fun scene when Fester declares that he is in love with the moon, singing, “the Moon and Me.”  Dancing is spotty – with some good numbers, but an overly-long Tango near the show’s end.

© 2015 Glenn Ross | www.glennrossphoto.com
© 2015 Glenn Ross

An interesting part of the production’s effectiveness is the presence of many dead ancestors who meander through the show, silently and effectively “commenting” on what is happening among the live folk.  This is a blissfully ghoulish little show!

Affectionadoes of early incarnations of “The Addams Family” will have a field day noting some of the comedic touches which have been handed from from cartoon format, to TV series, to the stage.  The dark and brooking “look” of the family has been remarkably transferred in this goofy tale.  And the food is very good!

“The Addams Family”
Through February 27, 2016
BDT Stage –Boulder’s Dinner Theatre
4401 Arapahoe Avenue
Boulder, CO 80303
For information: Telephone 303/449-6000
Or online at www.BDTStage.com

Facebooktwittergoogle_plusredditpinterestlinkedinmailby feather

The Catamounts in Boulder present a Public Reading of an Unproduced Screenplay About the Death of Walt Disney

DISNEY_POSTERsml“Unproduced Screenplay About the Death of Walt Disney is an Interesting“ Look at the Creator of “Micky Mouse.”

Reviewed by Tom Jones
March 23, 2015

Just the mention of the name “Walt Disney” conjures up impressions of “The Magic Kingdom,” family entertainment, nature documentaries, “Disneyland,” “Mary Poppins,” and yes – “Mickey Mouse!.” Some of these warm and fuzzy ideas about the motion picture genius are about to be threatened by The Catamounts’ interesting take on Disney’s later years. The Boulder-based company staged “A Public Reading of An Unproduced Screenplay About the Death of Walt Disney,” as written by Lucas Hnath.

Paul Borrillo as Walt. Photo credit Michael Ensminger

This was my first opportunity to see The Catamounts. The evening was an adventure by itself – having difficulty finding the theater’s entrance, then being warmly welcomed into the theater, separated from the parking area by a curtain and a nondescript door. The night I saw the show, the production was arranged for theater-industry guests. It was as if I was attending a private party of long-time friends, delighted to see one another, and welcoming some new faces to their crowd – my wife and I attended the show with friends – none of us having any idea what we were about to see!

The reading’s title is nearly as long as the performance , that is actually about 70 minutes, with no intermission. The length was about right, as four persons seated on a table facing the audience as if they were reading a screenplay could become a tad tedious if it were longer. As currently constructed, however, the show is a fascinating look at author Hnath’s take on what may have developed if Disney had written the show as his final production.

Paul Borrillo is mightily impressive as the famous Disney. His portrayal doesn’t create new fans for the animation genius, as we learn he was an egomaniac, usually treating his family and close associates with great disdain. His daughter’s memories of being raised by him resulted in her reminding him he was such an awful father, that she didn’t want any of his children to be named after him. He used anyone to achieve his personal aims, treating his brother Roy, as if he barely existed, and actively disliking his daughter’s husband, Ron.

Paul Borrillo as Walt, Mark Collins as Roy. Photo credit Michael Ensminger
Paul Borrillo as Walt, Mark Collins as Roy. Photo credit Michael Ensminger

Mark Collins is very good as the brother, who appears to keep Walt appearing as somewhat normal, while taking the brunt of Disney’s idiosyncrasies and unpleasantness. Jason Maxwell portrays Ron, his daughter’s husband. He appears as a none-too-bright chap, eager to do anything to please his father in law, or at least have a job! Lindsey Pierce plays the daughter. She has the gumption to confront her father about his meanness, but the confrontation does nothing to change her father’s intents.

Some looks behind the Disney productions are delightfully revealing. Disney insisted on making a live-action documentary which included a sequence about Lemmings jumping to their deaths by suicide. The Lemmings tale was eventually shown to be completely false, and Disney required his brother to take responsibility for the “error.”

The “Unproduced Screenplay” reading concludes with Disney’s head being purportedly cryonically frozen the idea that he’d eventually return to life. This is the tale that author Hnath proposes Disney would have written, had he authored his own story! In reality, Disney died at age of lung cancer 65 and his remains were cremated.

Amanda Berg Wilson directed this fascinating piece of theatre. I was intrigued with what I saw, and the show did result in my wanting to “know more” – spending time with Google to decipher Disney fact from fiction! The “Public Reading” generated substantial discussion among those in attendance, trying to figure out what was fact and what was fantasy – and how we might wish to write our own story for future posterity!

“A Public Reading of An Unproduced Screenplay about the Death of Walt Disney”
March 13-28 2015, The Catamounts in the madelife building, 20001 21st Street, (East entrance), just off Pearl Street in Boulder.
For tickets: 702/468-0487
For information about The Catamounts: www.thecatamounts.org

Facebooktwittergoogle_plusredditpinterestlinkedinmailby feather