“All My Sons” Packs Emotional Wallop

Reviewed by Tom Jones
March 11, 2018

At the Arvada Center for the Arts and Humanities performance’s conclusion, there were a few seconds of stunned silence before the audience jumped up to provide thunderous applause. The audience was in complete awe and could not immediately respond to the magnificence of the performance.

Arthur Miller was still a struggling playwright when he completed his first success, “All My Sons.” He had decided to abandon writing if that work did not succeed. His worry was unnecessary. Subsequent to the January 1947 opening of “All My Sons,” Miller went on to complete a string of successes including “The Crucible,” “A View from the Bridge,” “Death of a Salesman,” “An Enemy of the People,” “After the Fall,” “Incident at Vichy,” “The Archbishop’s Ceiling,” and “The Price.” He is considered to be among the greatest American playwrights of the 20th Century.

The characters he created for “Sons,” are on brilliant display this season at the Arvada Center for the Arts and Humanities. Front and center are Sam Gregory and Emma Messenger as Joe and Kate Keller, a couple in their early 60s. Joe’s business has survived the transition from World War II wartime to peacetime. He is an arrogant, confident, and wealthy man. His wife, Kate, has remained in wartime distress of never accepting the possibility that her son, missing in action, may never return.

The ravages of war have become the ravages of peace where the family appears to be unable to accept the post-war American Dream. Neighbors believe that Joe and his partner overtly provided malfunctioning supplies to the military effort, supplies that ultimately resulted in the deaths of at least 21 pilots. Joe’s partner, and former next-door-neighbor, Mr. Deever, is currently in prison for the crime, whereas Joe claimed innocence and has remained a free man.

He is the father of two sons, Larry, who has never returned from the war, and Chris, who has returned and is working at his father’s business. He is still single and living at home two years after the war ended.

Chris has carried on communication with Ann Deever, daughter of the former neighbor who is now in prison. She was Larry’s girlfriend before the war, and Chris is in love with her. He invites her to visit the Keller home with the plan to propose to her. Regina Fernandez and Lance Rasmussen are in excellent form as Chris and Ann, apparently smitten with each other, with neither wanting to confront the past. When Ann’s attorney brother, George, arrives from New York, there is incredible malice in the air – anger on George’s part for the role he believes Joe Keller played, resulting in his own father becoming imprisoned. George is horrified with the idea that his sister may want to marry the son of the man whose actions put their father in jail.

It would be difficult to imagine a cast as talented as those on stage this season at the Arvada Center. The cast is part of the theatre’s current repertory company. They are stunning audiences not only with “All My Sons,” but also in “The Electric Baby” and “Sense and Sensibility.” To add to the amazement is the realization that Lynne Collins directed both “All My Sons” and “Sense and Sensibility” — two plays this season of entirely different focus and genre.

The set is a thought-provoking image of what might be in store for the audience. A home is completely topsy-turvy behind a well-maintained outdoor patio. It is clear that the Keller household may be in complete disarray, while trying to maintain a sunny appearance of normality.

This is a stunning display of incredible talent. It is rare that I am not ready to leave a theatre after two and one half hours. I was in no rush this time, however, as “All My Sons” kept me spellbound. The show is more than about just a family in distress. It touches on themes of guilt and innocence, right and wrong, greed, morality, and actions of those who served in the war and those who chose not to. It comes back to being able to move on, taking responsibility for our own actions.

“All My Sons”
Where: Black Box Theatre, Arvada Center for the Arts and Humanities
6901 Wadsworth Boulevard, Arvada, CO 80003-9985
When: Through May 3, 2018
Tickets: 720/898-7200
Online at Arvadacenter.org

By Tom Jones
May 13, 2015

When entering the auditorium of the Arvada Center to see “A Man of No Importance,” I was immediately transported into a bar in the working class area of Dublin in 1964 – complete with its dart throwing, semi-drunken patrons, and a feeling of persons losing themselves for a few moments of safety from the outside world. Colorado’s legendary Irish-folk band, Colcannon, was there to provide super music. What more could one ask for? For this production Director Rod A. Lansberry has surrounded himself with some of Colorado’s finest talents – actors, musicians, set designers, costumers, etc. – most with extensive experience working with the Arvada Center. They appear to be armed with a conviction that they are going to give Colorado a brief taste of Ireland. It works!

Pre-show music by the on-stage group, Colcannon, welcomes the audience to the bar, but the action quickly moves to other areas of town. The terrific set gives everyone a feeling of “being there,” as action takes place in the basement theater of a local church, a kitchen of an Irish apartment, the bar, and the streets of Dublin. Best of all is a streetcar that magically appears on stage, making the audience feel they are seeing a moving vehicle, only to realize that it does not move at all, and has no signs of an actual bus. It is all done by the magic of excellent direction and choreography!

The “man of no importance” is Alfie Byrne, a streetcar ticket-taker by day, and director of an amateur theatrical group in his church by night. He lives with his sister in Dublin, and looks in the mirror to find “nothing of importance” there. Kevin Loreque is excellent as Alfie.   He appears to be a man with no comprehension of the joy he provides to others, reading to the travelers on the streetcar and encouraging them to do their best in his little theater group. He remains a very lonely person, but finds joy in the shows he directs. Alfie is a great fan of writer Oscar Wilde, and his world is shaken when church authorities balk at his producing an Oscar Wilde play, “Salome,” which just might provide some erotic movement – even dancing! Other than his sister, Lily, his only apparent friend is Robbie, the driver of the bus who he sees only at work. Heather Lacy and Peter Gosik are convincing as the sister and streetcar-driving friend.

To add conflict to his life, a new person begins riding his streetcar. Alfie cannot understand the effect this beautiful young woman seems to have on him. Emily Van Fleet is remarkable as this mysterious addition to the streetcar travelers, who ultimately accepts the invitation to join the theater company as “Salome.”

In the course of nearly three hours we meet and become very interested in many characters. The cast is large and includes the wonderful persons traveling on the streetcar, in the theatre group, leaders of the church, and staff and patrons of the sometimes raucous bar.

The story revolves around Alfie and his realization of sexual desires and their hazards. He is conflicted to the point of even dressing as Oscar Wilde for a night on the town, with disastrous results.

Suddenly many of his friends appear to turn on him, and he questions if he has been of worth to anyone.

“A Man of No Importance” was written by Terrence McNally, one of America’s most respected playwrights. His productions include “Love! Valour! Compassion!,” “Master Class,” “Kiss of the Spider Woman,” and “Ragtime.” Music and lyrics are by Stephen Flaherty and Lynn Ahrens. Their acclaimed productions include “Ragtime,” “Once on this Island,” “Seussical the Musical” and the animated movie, “Anastasia.” The music is awesome, but there are no melodies to provide after-show humming.

Kitty Skillman Hilsabeck is choreographer, Brian Mallgrave scenic designer, Shannon McKinney lighting designer, David Thomas sound designer, Sally Anne Burke, costumes. David Nehls is musical director. Substantial credit for the entire production must be given to Colcannon, the on-stage band featuring Mick Bolger, Jean Bolger, Cynthia Jaffe, Brian Mullins and Michal Fitzmaurice. Colcannon began as a house band in a Boulder pub in the 1980s and has subsequently created a tremendous following with their concert performances, television specials and numerous CDs.

The cast is universally excellent, headed by Kevin Loreque, Heather Lacy, Peter Gosik, Emily Van Fleet, and supported by a large cast of professionals. Nearly everyone has substantial credits in Arvada Center involvement. This is the first time local audiences have seen Kevin Lorecque, however. Hopefully he will be back as a man of “great” importance. He is terrific.

“ A Man of No Importance” is Rod. A. Lansberry’s 31^st production as director in 23 years with the Arvada Center! A personal concern was my inability to understand all of the Irish accent. I was wearing myself out trying to understand every word, but finally realized that I could grasp the enormity of the message even if I did not understand everything.

The entire production is a rewarding experience of theatre working at its peak in every aspect. The well written play concludes with themes of tolerance and respect for others.

It was a shock to leave the auditorium and re-enter the theater lobby, as I expected we’d be walking out of the show and onto the rainy streets of Dublin. This show has magic!

“A Man of No Importance”
Through May 17, 2015
Arvada Center for the Arts and Humanities
6901 Wadsworth Boulevard, Arvada, CO
For information go to www.arvadacenter.org or call 720-898-7200