Dysfunctional Family as Remembered by an Only Child in Moving “Side Man”

Reviewed by Tom Jones
June 4, 2015

Clifford Glimmer is front and center in Bas Bleu’s moving “Side Man,” as he reviews growing up with dysfunctional parents in New York City. Will Ferrie is convincing as the Glimmer son, telling the audience of trying to be the family peacemaker, as his father thinks only of his music and his buddies, and his mother is becoming a hopeless alcoholic. Dan Tschirhart and Corinne Wieben are brilliant in their difficult roles. Tschirhart is emerging from his excellence in comedic roles to become the hapless father who virtually disintegrates before our eyes. Wieben becomes a foul-mouthed, chain smoking drunk.

A “side man” in music parlance is a musician for hire who can blend in with the band or star as a solo performer. Gene Glimmer is such a performer when the story begins in the fifties. He is a terrific musician (a jazz trumpeter), but can’t seem to be in the right place at the right time to truly be a success. His wife, Terry, becomes increasingly irritated with Gene’s inability to find a regular job, and finally goes to work as a waitress to help make ends meet.

Gene and Terry had no skills as parents, and are seen through the bewildered eyes of their son, Clifford, over the years covered by the play. The story begins at the unemployment office where Gene and his buddies meet each week or two to pick up their unemployment checks. Gene is strangely proud of his now-adult son, Clifford who is picking up his very first check at the Unemployment Office. It is as if Clifford is being honored for some sort of unearned graduation or achievement!

“Side Man” was written by Warren Leight and received Broadway’s Tony Award for Best Drama in 1998. Leight’s memory play, inspired by his father, was nominated for the Pulitzer Prize for Drama. Bas Bleu founder Wendy Ishii noted that the play has long been one of her favorites, as she lived in the New York depicted by the story, living across the street from jazz artist Miles Davis.

The stage set by Jared Grohs, constructed by Cathy Dietz is very effective, as the play’s action moves from the Glimmer’s apartment to the Melody Lounge, the unemployment office, and various other areas of New York City.

Director Laura Jones first directed “Side Man” in 2004 at CSU. That production received First Place honors at the Kennedy Center American College Theatre Region VII Festival in Ashland, Oregon. Jones notes the show is one of her top ten favorite plays.

Giving excellent support to the three lead players are Cara Buckley, Chaz Grundy, Karl Perry and James Burns. Ian Schmid performs selected trumpet solos through the production.

“Side Man” tells of a life foreign to most of us, and is a moving experience looking at the challenges faced, but not always overcome. Cast is an awesome ensemble of gifted actors moving through a particularly interesting time when Rock and Roll was beginning to take over big-band lives and jobs. Due to the strong language, the show is sometimes difficult to watch/listen to, but unquestionably well done!

“Side Man”
Through June 28, 2015
Bas Bleu Theatre
401 Pine Street
Fort Collins, CO 80524
For Information: Telephone: 970/498-8949
Or visit the Web:   WWW.BASBLEU.ORG

Enchantment Abounds in Boulder Dinner Theatre’s Delightful “Mary Poppins”

Reviewed by Tom Jones
May 29, 2015

When lyricists Richard and Robert Sherman collaborated on “Mary Poppins,” it is as if they had every reviewer in mind – creating lyrics that reviewers would use with great aplomb as they lavished praise on the show. I find myself using their great lyrics when writing my own review. I can’t refrain from saying that Mary Poppins is, just as she sings — “Practically Perfect in Every Way.” The entire production is nothing sort of Super! That is “Supercalifragilisticexpialidocious!”

From the moment the impressive set appears and the cast begins to assemble, there is magic in the air. Somewhere early in the show something is said about “enchanted,” or “enchantment.” I can’t recall precisely what was said, but the entire production is delightfully “enchanting!”

Scott Beyette oversees a terrifically talented group of performers, as the show’s director and male lead. There are several persons on the stage at the same time, as many play several roles – resulting in the cast appearing to be substantially larger than it is! They sing. They dance. They act. They move around the stage making the audience think we might be seeing a movie!

Heading the group is director Scott Beyette as Bert, the chimney-sweep. This is the role that Dick Van Dyke played in the movie. Scott is a remarkable talent. He is very much at ease as the enormously likable man who cleans chimneys, and seems to know everyone in town. My wife and I saw the original musical when it first opened in London several years ago and were thunderstruck when the Bert character tap-danced up one side of the stage, across, the top, and back down the other side. We were alerted beforehand that Bert in this show wouldn’t be doing that – but he does something nearly as challenging. He dances part way up the side of the stage, then flies out over the audience!

Mary Poppins also flies over the audience! She lands at the home of George and Winifred Banks, just as yet another nanny has given notice – saying the children are beyond hope. Tracy Warren is a miraculous “Mary Poppins.” Undaunted by anything, she can pull a large coat rack from her tiny handbag, can put a damaged kitchen back into shape with a snap of her fingers, and cheerfully reminds us that “A Spoonful of Sugar” truly makes the medicine go down!

Scenery is particularly effective – showing us the Banks home, Mr. Bank’s office, The Park near Cherry Tree Lane, the steps of St. Paul’s Cathedral, and the rooftops of London. Dancing needs to be seen to be believed, including when the amazing statues in the park come to life – after we have long-thought they were scenery made of stone! When Bert and his chimney-sweep friends pull out all stops with “Step in Time” in the second act, the audience is basically breathless with the athletic expertise of the dancers!

The movie began charming us in 1964, based on the P. L. Travers books. The stage version was developed in collaboration with Disney Theatrical and Cameron Mackintosh, opening in London in 2004 when I first saw it. It has subsequently become enormously successful on Broadway. Michael J. Duran is Producing Artistic Director for the Boulder production.

Among those responsible for various areas of delight are Neal Dunfee (as music conductor), Linda Morken (costume design), Amy Campion (scenic design), Brett Maughan (lighting design), choreography by Matthew D. Peters, and aerial choreography by Troy Trinkle. Space does not permit giving suitable praise for everyone in the exciting cast. Mention must be made, however, of Joanie Brosseau who plays multiple roles including the Bird Woman who sings the wonderful “Feed the Birds” on the steps of St. Paul’s Cathedral, McKayla Marso as Mrs. Corry, and Brian Burron who turns up in nearly every scene, playing a variety of characters, without the audience realizing it is the same person – just different hair! Amanda Earls is a hoot as the proposed replacement nanny. Wayne Kennedy and Shelly Cox-Robie are convincing as Mr. and Mrs. Banks, who try to keep the chaotic house in order! Their two children are played by Katie Phipps, Rylee Vogel, Kaden Hinkle, and Max Eugene Raabe, rotating the parts at various performances. The orchestra is yet another “plus.”

A cast member reported that the show is a “technical nightmare.” There are so many interesting challenges that could go wrong — from mini-magic tricks to changing the large sets, to see kites and people flying! The performance I saw was without problem, however, and left me feeling I had just seen something quite Supercalifragilisticexpialidocious!

“Mary Poppins”
Through September 5, 2015
BDT Stage – Boulder’s Dinner Theatre
5501 Arapahoe Avenue
Boulder, CO 80303
For Information: Telephone: 303/449-6000
Or visit the Webb: BDTStage.com