Category Archives: Musical

2024, Candelight, Johnstown, Musical

Patsy Cline Roams The Halls At Candlelight Dinner Playhouse

September 21, 2024 Todd Jones

Charlotte Campbell Brings Down The House Singing, “I Fall to Pieces”

Reviewed by Tom Jones
September 20, 2024

Patsy Cline was at the height of her fame at 30 when she died in an airplane crash. Her death put the American Country Music World into mourning. Cline had already immortalized such songs as “Walkin’ After Midnight,” “I Fall to Pieces,” “Your Cheatin’ Heart” and “If I Could See the World Thru The Eyes of a Child” — moving her to the top of music charts.

Her worldwide fans felt as if they had lost someone very special. One of those who felt the great loss was a Houston housewife, Louise Seger, who had become a Cline fan and dear friend just a few years earlier.

Cline and Seger are united this season as Charlotte Campbell and Jalyn Courtenay Webb portray the two in “Always, Patsy Cline” on the Johnstown stage. Louise Seger was a somewhat hassled wife and mother whose life was made pleasant listening to music on the radio and television. She was especially interested in a young woman who was a favorite on Arthur Godfrey’s TV show, and who was just beginning to release records. Seger began to hassle the local radio DJ, virtually demanding that he play Patsy Cline music over and over and over.

She dragged her boss and friends from work to a concert in Houston where Cline was to appear in person. Seger demanded they arrive “way early” to be certain to get a good place to park, etc. They arrived “way” early — so much so that they were virtually the only car in the lot.

Before the show started, she spotted Cline in the theater and immediately sided up to her just to say, “Hello.” The “hello” turned into Seger inviting Cline to her home after the concert, taking her to meet the local DJ the next morning, and began a friendship that became a series of exchanged letters and telephone calls.

This friendship comes to life in ”Always, Patsy Cline” as Charlotte Campbell beguiles the audience with her charm and vocal skills, while Jalyn Courtenay Webb busies herself encouraging everyone to adore the Cline persona. She takes back seat to ensure that the Cline impersonation remains the show’s spotlight. Unfortunately, we do not hear the wonderful Webb voice nearly enough – just a snippet here and there. One of the men at our table noted at intermission, “ “I had no idea that Jalyn Webb has such great acting skills!” She is truly a wonder – evoking a crazy humor one minute, deep-felt sorrow the next.

In 2018, Webb was honored by the Colorado Theater Guild who gave her the Guild’s Henry Award as Best Performance by an Actress in a Musical that year for her portrayal of the Houston housewife. While Campbell looks regal and majestic, Courtenay amazes the audience with hair piled high (upon hair piled high), her disheveled costuming and her busy-body/take charge attitude.

The production was written by Ted Swindley and has found enthusiastic audiences throughout the United States. Much of the excitement of the Candlelight production is provided by the excellent orchestra. Conducted by Paul Falk, the group includes Nel Dunfee, Alex Ward, Ryan Millard, Cody Stadelmaier, Thom Wade, and Christina Smith. Lighting and set are also excellent.

Much of the audience at opening night were already Patsy Cline fans, giving the show a standing ovation, complete with couples from the audience dancing in the area near the stage.

This is a highly interesting show – one showing great warmth and compassion, while providing the audience with first-rate performances. First rate performances are commonplace now on the Candlelight stage.

“Always, Patsy Cline”
Through November 10, 2024
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970/744-3747
Online: coloradocandlelight.com

2024, Candelight, Johnstown, Musical, Review

Candlelight Wows Audience With “Disney’s High School Musical”

July 2, 2024 Tom

“Those High School Days” Are Alive And Well In Johnstown.

Reviewed by Tom Jones
June 30, 2024

Christmas vacation is over and the students at East High School have returned to take their places in the hierarchy of teenage America. All of our high school friends (and enemies) are there. The jocks, the pompous pom pom girls, the brainiacs, the over-protective faculty advisors, and so many of us who were a bit lost in the jungle that was high school.

This has every potential of being a scary, unhappy look at the past. But Candlelight has pulled out all the stops to provide an exuberant and joyous trip down a memory lane that should not be missed. “Disney’s High School Musical” appeared on film in 2006 and has gone on to become a stage hit in local high schools nationwide

Thomas Beeker as Troy Bolton and Andrea Camacho as Gabrielle Montez are delightful as the school’s most famous jock, and the newcomer who transfers into the school just after the holidays knowing no one. They are both already skilled performers and are just terrific, as is just about everyone in this ensemble of many new faces with great talent!

It becomes fun to hate the over-the-top school diva, Sharpay Evans, played by Delaney Marie, and her hapless brother, Ryan, played by Curtis Lemieux who exudes talent with a combination of skill, wonder and goofiness.

All four of the leads are new to Candlelight, and will hopefully be seen in many future shows. Also new to Candlelight’s stage is Olivia Wilson, who plays Kelsi Nielsen the shy wallflower who has just written the school’s upcoming musical production based on “Romeo and Juliet,” and Chris Akele as Chad Danforth, Troy Bolton’s best friend. Giving excellent support are familiar faces such as Damon Guerrasio as Coach Bolton, Owen Whitman as Zeke Baylor, and Smantha Jo Staggs as Ms. Darbus.

Carrie Colton, director and choreographer, is known to Candlelight from her great work with “The Sound of Music” and “The Scarlet Pimpernel.” Chas Lederer is Associate Director and is familiar to Candlelight audiences from his work on stage in several shows including, “The Secret Garden,” “Joseph and the Amazing Technicolor Dreamcoat,” and “The Little Mermaid.” Associate Music Director is Mason Siders, who assisted with “Secret Garden, “Joseph,” and “The Scarlet Pimpernel.” Jalyn Courtenay Webb is Music Director whose magic and incredible skills have been appreciated in virtually every production known to man. Her on-stage skills include being recipient of the Colorado Theater Guild Award for best actress in “Always, Patsy Cline” a few seasons ago.

The collaboration of new faces with experienced artists combine to create a super evening of entertainment. Choreography is especially fun with an amazing game of basketball choreographed to perfection. Early in the show, the theater students are encouraged to “become what you want to be,” with Jazz Mueller inching across the stage in a glorious inch-worm routine that needs be seen to be believed. The set, lighting, and sound, are all terrific. The musical accompaniment is taped. Songs, while not familiar to me, were obviously well known to opening night viewers who all but sang along with great enthusiasm.

Premise is an overview of life at East High, with the athletes, brainiacs, thespians, musicians and would-be scientists vying for popularity, acceptance and yes, the excitement of basic friendship. The high school basketball team is in line for a possible state championship, the theater department is hosting auditions for the school musical, written this time around by a shy student. Faculty advisors spar for acknowledgement of their various departments.

And the audience is treated to a summer treasure, remembering where they fit into their own high school story! While picking up tickets for opening night performance, a couple in front of me was trying to purchase tickets to the sold-out show. They were offered some seats in the balcony/mezzanine. While pausing before such a purchase, they queried, “What is playing here tonight?”

They bought tickets, and I didn’t see them after the performance, but I am wondering what planet they arrived from wondering “What’s Playing tonight?” in one of Colorado’s best playhouses!

“Disney High School Musical on Stage!”
Where: The Candlelight
4747 Marketplace Drive, Johnstown, CO
When: Now through September 8, 2024
Information or tickets: Box Office: 970/744-3747
www.coloradocandlelight.com

2024, Candelight, Musical, Review

“Secret Garden” Is A Heartfelt Charmer

April 24, 2024 Tom

The Yorkshire Moors Turn Up On Candlelight Stage In Elegant Production

Reviewed by Tom Jones
April 19, 2024

Mary Lennox is a spunky 11-year-old whose life turns upside down in just a few hours. She is living with her adoring parents on assignment to India, and wakes up one morning to learn that both her parents died the previous night in the cholera epidemic. She is sent to dreary Yorkshire, England to live with an uncle Archibald she has never met, and Archibald’s brother, Dr. Craven. The uncle Archibald is not a delightful, cheery chap, but rather a cold unhappy man whose young son, Colin, appears to be hidden away in the manor house and slowly dying. Colin’s mother, Lily, died giving birth to him several years ago. Archibald, a hunchback, wants to be outwardly cordial to the orphaned Mary, but is so consumed by the death of his wife that he is of no help to anyone. There appears to be unhappiness everywhere in the home, with the lurking ghosts of the past affecting everyone except for Archibald’s brother, Dr. Craven, who apparently wants everyone else out of the house so that he can have it to himself.,

This doesn’t sound like a good premise to base an evening of musical theater. But amazingly, it is a joyous portrayal of how kindness, perseverance and incredible music can overcome nearly everything.

The resourceful Mary Lennox realizes dreadful unhappiness is consuming the manor house and decides to do something about it. She develops a friendship with the crippled son, Colin, who tells her of a secret garden surrounded by a wall near the manor house. This wall is reportedly hiding the garden which was the delight of Lily before she died. The garden is off limits until Mary convinces a bird to help her find the key and the entrance to the garden. She rallies the estate gardener, Ben, the estate handyman, Dickon and his sister, Martha, to hopefully bring the dormant and nearly dead garden back to life. She rallies the crippled Colin to get out of bed, on his feet, and help others, instead of continually being in need himself.

The role of Mary Lennox is shared on alternating performances. Elinor Rodgers and Alianna Glorioso take turns portraying the orphan Mary. Oliver Harrelson and Gus Gaza alternate as Archibald’s ill son, Colin. I saw Elinor Rodgers as Mary and Oliver Harrelson as Colin. Both are excellent. They are both young and have stage presence of experienced performers, and super voices to match.

Patric Case and Scott Severtson portray the Craven brothers, Archibald and Dr. Neville. They are a duo to see and hear. Archibald is haunted with memories of his wife. His unhappy brother, Dr. Neville Craven, continues to rue the day Archibald married the beautiful Lily, who he also loved. The embittered brothers share one of the most glorious duets in my musical memory, “Lily’s Eyes.” They recount how the newly-arrived young Mary Lennox appears to have the same glorious hazel eyes as the beautiful, now deceased, Lily, who both brothers loved, and was married to just one – the hunchback Archibald.

Sounds a tad complicated. I first saw the show when it was in previews on Broadway many years ago. We did not have good seats and were somewhere in the high nosebleed section of the theater. On leaving the theater, one of the people with us commented, “Well that show sure isn’t going anywhere.” I felt otherwise. Even though we had dreadful seats and were confused by portrayals of the living, mixed with spirits of the dead, I was enchanted by the beautiful music.

This time around, Director Shelly Gaza has wisely divided the scenes of the living, with scenes of the spirits carefully placed in the huge frame at the back of the stage. This does wonders for telling the story.

Maryann Laurie is mesmerizing as the spirit of Lily. It is Lily’s garden that Mary Lennox and her newly-found friends are trying to bring back to life. It is Laurie as Lily who warmly invites everyone to ”Come to My Garden.” Jazz Mueller is terrific as Martha’s brother Dickon who is an estate handyman and local mystic. Chas Lederer puts common sense to work as Ben, the estate’s groundskeeper. Many in the excellent cast play more than one role. The orchestra, under direction of Katie Hughes has never sounded better. The set design, lighting, sound, choreography and costume design are all flawless.

The story is based on the novel by Frances Hodgson Burnett which was a must-read read for young readers. Book and lyrics for the musical are by Marsha Norman, with music by Lucy Simon. It opened on Broadway in April, 1991, and ran for 709 performances. It received numerous awards and has been produced worldwide.

Music is not well known, but enthralling. In addition to the over-the-top “Lily’s Eyes,” other great moments are created with “A Girl in the Valley,” “A Bit of Earth,” and “Race You to the Top of the Morning.” This is just about as romantic as a story can be. It is breathtaking to see and to hear. Near show’s end the Archibald and the ghost of his beautiful wife, Lily meet in a fog of brilliance and sing of their continuing love, “How Could I Ever Know” – just about as dramatic and enchanting as anything the stage can provide. “The Secret Garden” is a story of healing, helping and love.

“The Secret Garden”
Through June 16, 2024
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970/744-3747
Online: www.coloradocandlelight.com

2024, Arvada Center, Drama, Musical

“War and Peace” ….about 70 pages of it….”Natasha, Pierre and the Great Comet of 1812”

February 20, 2024 Tom

Arvada Center Brings Tolstoy Epic To The Stage

Reviewed by Tom Jones
February 19, 2024

The cast opens the show singing, “There’s a war going on out there somewhere. There’s a war going on out there.” These are Moscow aristocrats in 1812 whose main concerns about the war appear to be that they aren’t happy at home. And one of their group, Andrey is “out there somewhere, and Andrey isn’t here!” No one knows when he’s coming home.

Andrey will hopefully return soon. He has left a grumpy father who is losing control of his faculties, and a sister who is devoting her entire dreary life to the care and keeping of her uncaring and unkempt father.

Andrey has a friend, Pierre, who is not involved in the war. He has remained in Moscow, living with a wife, Helene, who he basically detests, drinking himself to oblivion, and wallowing in self-pity. Helene, has lovers of her own and has no inclination to enjoy her husband. She has a brother, Anatole, living in Moscow, who is an absolute rake, always looking for women to enjoy. He, too, is unhappily married, anxious to find romance wherever he can.

Image by Amanda Tipton Photography | FB- Amanda Tipton-Photographer | IG – @amandatiptonphotography

Into this dismal group come Natasha and her cousin, Sonya. They are best friends, outwardly sunny and happy. Natasha is engaged to Andrey, and has come to town to officially meet Andrey’s father and sister. This is not family match made in heaven. The father decides at first glance that he does not like Natasha. Mary, Anatole’s sister, decides at first glance that she doesn’t like Natasha. Oh well, for the time being, “There’s a war going on and Andrey’s is not in town.” Maybe when he returns everything can be just hunky dory.

Such is the premise of this unusually interesting sung-through musical adventure, now on stage at the Arvada Center, “”Natasha, Pierre and the Great Comet of 1812.” This not an ordinary “Let’s put on a show” type of production. The setting at first glance is like entering into a lavish Russian home, only to find that the stage is completely surrounded by audience. The cast and musicians wandered on and off the stage, out into the audience, winking as some, singing and playing instruments as if they were enjoying an evening at a Russian cabaret. Then I realized that I was more than just a spectator, I was part of the show. Unlike the missing Andrey, I was “ there!” Why in the world had I gone to Moscow in 1812? And who were these people sitting by me? Did they already know Natasha and Pierre, or were they meeting them for the first time? This is quite an effect!

The “story” is taken from 70 pages, near the middle of Leo Tolstoy’s 2000-plus pages historic novel, “War and Peace.” The entire production is sung. The music has the feeling of what just might be Russian folk music, with a touch of present-day pop/rock. Although there are no hummable melodies, the total experience is enormously entertaining. The set is glorious, the costumes are terrific, and the show is a sight to behold. The continually moving band/orchestra performers are flawless. This is more like going on a two- and one-half-hour amusement park ride than going to an actual musical. And unlike the missing Andrey, “I was there!”

Tolstoy published “War and Peace” in 1869, about 50 years after the time reflected in the production. This segment of the novel touches on the romance of Natasha and Anatole, while Pierre searches for meaning in his life, and everyone else just tries to cope.

While Natasha is in town to meet Andrey’s parents, she meets Anatole, unaware that he is already married. Romantic sparks fly and Natasha decides she will throw her love for Andrey to the wind and run off with her new-found jerk, Anatole, much to the dismay of everyone in the show, and my now-friends in the audience.

The cast is universally talented. Brett Ambler as Pierre and Bella Anaya Hawthorne as Natasha are great performers, as are Jack Wardell as Anatole, Aynsley Upton as Sonja, Neyla Pekarek as Mary, Nicole deBree as Helen e, Bryce Baxter as Dolokhov, Anna Maria High as Marya D, Brian Watson as Old Prince Bolkonsky and as Balaga, and David Otto as Andrey. The supporting cast is equally flawless – Elleon Dobias, Penina Eisenberg, Drew Horwitz and Ronald MacQueen.

The incredible goings-on are directed by Lynne Collins, with David Nehls as music director and Grady Soapes as choreographer

Versions of the musical had limited performances, before premiering on Broadway in November of 2016. The production received excellent reviews and was nominated for 12 awards – the highest number of nominations in the 2017 season. Josh Groban performed as Pierre in the Broadway show.

This is not a traditional theatrical production – but an unusually interesting one, extremely well done by a wonderfully talented cast. Near the end the “Comet of 1812” appears in the sky. Some see it as a portent of good things to come. Others are fearful, but we are left unknowing. As the performance ended, I felt amazed at the talent of the performers, but I really didn’t like the characters they were portraying. By the time I reached home, however, I realized that the show was so effective that I ended up really “caring.” The first thing I did upon returning home was to head to my computer. I Googled to learn how Tolstoy continued his story of Pierre and Natasha, and Sonja, and Anatole and Andrey, and Helena, and my other friends from the evening. This is wonderful entertainment. Or maybe I was just enlightened by the comet!

“Natasha, Pierre and the Great Comet of 1812”
Through March 31, 2024
Arvada Center for the Arts and Humanities
6901 Wadsworth Boulevard
Arvada, CO 80003
720/898-7200
www.arvadacenter.org

2024, Candelight, Johnstown, Musical

“Crazy for You” Is Enormous Fun!

February 9, 2024 Tom

Award Winning Musical Is Ablaze With Crazy Corniness And Terrific Choreography

Reviewed by Tom Jones
February 9, 2024

Bobby Child is the son of a rich banking family in New York. He is a talented showbiz wannabee whose dreams of stage stardom are thwarted with a bad mistake in an early audition. His mother (fierce guardian of the family fortune) wants to exile her stagestruck son, sending him to Deadrock, Nevada, to foreclose on a rundown theater bank loan.

Looks like Bobby Child of New York might be following in the footsteps of Joseph of biblical Canaan whose brothers sent him to Egypt to get him out of the way in Candlelight’s recent “Dreamcoat” hit. Like the biblical Joseph, Bobby lands isolated in a place extremely foreign to him – going from the excitement of Manhattan to the forlorn wilderness of nowhere Nevada.

Bobby’s misfortune, however, is to the benefit of current theatergoers, as this delightful tale provides an evening of showstopping delight. Yes, it is basically a show-biz fable with the appropriate cliches of the theatrical world. But it is a wow. After the first act I realized I was experiencing the charm of naïve silliness.

Matthew Dailey and Sara Kowalski are terrific as New Yorker Bobby Child and Nevadan Polly Baker. They are both great singers and dancers. Together they dazzle. They have great opportunity to bring life to such George and Ira Gershwin songs as ”Someone to Watch Over Me,” “Embraceable You,” “You Can’t Take That Away From Me,” and join the talented ensemble to announce “I Got Rhythm.”

Candlelight continues to assemble remarkable talent. In addition to Dailey and Kowalski, Patric Case and Hugh Butterfield also shine. Case as the Broadway entrepreneur Bela Zangler and Hugh Butterfield as Lank Hawkins, a Nevada saloon owner.

Mid-way through the second act Dailey and Case are on stage together, each portraying Bela Zangler, much to the amazement of the audience trying to figure out who is who. The timing is flawless. I began to wonder if they even wondered who was who. This result is one of the most clever sequences in recent memory.

Steve Wilson has directed this stunner, with choreography by Shawna Walker, set design by Brian Watson, and Chas Lederer as assistant director. Music director and conductor is Richard Shore. The orchestra under his direction is as terrific as the performers it accompanies.

The Broadway production opened at the Shubert Threatre on February 1, 1992, and was met with excellent reviews. It went on to win the Tony Award for Best Musical that year, followed by accolades wherever it went. Curiously, “Crazy” has not continued to be an often-seen show. It was based on the Broadway review “Girl Crazy” of the 1930s, incorporating music and lyrics by George and Ira Gershwin from that show, as well as from other songs from other Gershwin shows.

Before the final curtain I began to weary. The show is nearly too good to be true and is a bit long. But in the interim the audience is treated to a wonder of excellent dancing, singing, stage set, costumes, lighting and sound. Just about everything dazzles in this evening of charming music and comedic lunacy. It has now been several hours since I left the theater, delightfully musing on what I saw!

“Crazy for You”
Through April , 2024
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown, CO 80534
Box Office 970/744-3747
Online: www.coloradocandlelight.com

2023, Candelight, Johnstown, Musical, Review

Joseph Has A Dreamcoat. Yes, It Is Amazing!

November 28, 2023 Tom

Candlelight Dinner Playhouse Hits Yet-Another Home Run with Joseph And The Amazing Technicolor Dreamcoat

Reviewed by Tom Jones
November 26, 2023

The narrators singingly open the story with “Jacob lived in the land of Canan many centuries ago, not long after the Bible began …a fine example of a family man.” He has twelve sons, with the latest one, Joseph, being his favorite. Jacob provides Joseph with a fancy new coat, and when Joseph puts it on, he flaunts his place in the family singing, “I look handsome, I look smart. I am a walking work of art.” This doesn’t rest well with his 11 peers. Sound familiar? Yes, the story is familiar, but this telling-in-song on stage in Johnstown this season is an “amazing” evening of enormous talent, great fun, and glorious entertainment.

This production of “Joseph and the Amazing Technicolor Dreamcoat” is a continual delight from the moment the narrator begins to sing the story until the lights go out after a dancing/singing mix of the entire show. The stage is ablaze with color, the air is enlightened with clever music The audience is in continual awe as choreography has to be seen to be believed.

Part of the show’s enchantment is the inclusion of a variety of musical styles – country/western, Parisian cabaret, swinging calypso, and rock and roll disco. The sound system provides clarity to everything sung, and the orchestra is a sensation of its own.

Jalyn Courtenay Webb and Sarah Forman share the Narrator role on alternating performances. I have seen both of them in action. They are both sensational as they appear to love the story they are telling – that of an “awe-shucks” young man who looks at his life as a dream. Both have experience at the Candlelight, both with great voices. They openly seem to nourish Joseph as he goes from being the favorite son in Canaan to being a prisoner in Egypt and finally being the Pharaoh’s right- hand man later in life.

Although he has every right to become ostentatious and an ego-maniac, Caleb Wenger portrays Joseph as a somewhat low key young man who subsequently realizes his potential and becomes successful. Wenger’s voice is very good as the dreamer whose dreams come true.

While Joseph and the Narrator are the show’s leads, the supporting cast is brilliant on their own. Many are familiar to Candlelight audiences, including Ryne Haldeman who delights the audience in three different roles—Jacob, Potiphar, and the Baker. He is in fine voice and clever in every role and in every costume.

Chas Lederer is a winner as one of the sons, Levi, who delightfully tells Jacob “There is One More Angel in Heaven” in a raucous Country/Western hoe-down. Elton Tanega has all the right moves as Judah, taking the audience on a pulsating Calypso journey. Hugh Butterfield has a history of believability in a variety of roles over the years. This year he is the brother Issachar, and stepped in at the last moment to take the role of Pharaoh a few days before the show opened. He brought the house down with his Pharoah/Elvis impression.

Choreography is outstanding. The brothers’ dancing is extremely skillful. Cory Michael Klements and Jessie May Hobson are spellbinding, taking the audience to see them as French cabaret dancers.
Hobson is also an inventive Potiphar’s wife trying to seduce Joseph. Klements also portrays one of the brothers (Zebulon) and is the show’s dance captain.

Everything is in great shape for this show. Bryan Bell is the Director and shares choreography responsibilities with Matthew Dailey as Associate Choreographer. Bell is returning to Candlelight after 13 years of amazing audiences in a variety of theaters. Janice Vlachos is Music Director and conducts the excellent orchestra. Dailey wowed Candlelight audiences in “Singin’ in the Rain” and recently directed the theater’s “The Little Mermaid.” Vlachos recently retired from teaching at Boulder’s Fairview High School and has conducted music for more than 30 musicals, including “Joseph.”

Joseph’s tale has been around for centuries. Basic story comes from the Book of Genesis in the Bible’s Old Testament, verses 37-50. This musical version began as a 15-minute boy’s school cantata in England in 1968. It was the work of musician Andew Lloyd Webber and his schoolmate, lyricist Tim Rice. It took a back seat in their priorities as they gained great acclaim with the release of the concert album recording of ”Jesus Christ Superstar” in 1971. They then returned to their “Joseph” cantata, opening it in expanded version London’s West End in 1973, and the next year at the Haymarket Theatre as a full musical. It opened on Broadway in 1982 and has been a worldwide favorite for more than 40 years.

Andrew Lloyd Webber went on to further acclaim as musical composer of “The Phantom of the Opera,” “Sunset Boulevard,” “Starlight Express,” “Aspects of Love,” “Evita,” “Love Never Dies,“ “Tell Me on a Sunday,” ”Whistle Down the Wind,” “The Beautiful Game ”and more!

There is even a talking camel! Joseph will be wearing his technicolor dreamcoat through January 28, 2024. Tickets will be difficult to obtain for this heartwarming spectacle.

“Joseph and the Amazing Technicolor Dreamcoat
To January 26, 2024
Candlelight Dinner Playhouse
Johnstown, CO 80534
Box Office 970/744-3747
Online: www.coloradocandlelight.com

2023, Candelight, Johnstown, Musical, Review

The Candlelight Rocks with Great Memories of Early Jukebox Music

September 24, 2023 Tom

Elvis Presley, Johnny Cash, Jerry Lee Lewis & Carl Perkins Are All Back In Town

Reviewed by Tom Jones
September 22, 2023

It is December 4, 1956. Sam Phillips, founder and owner of Sun Record in Memphis, Tennessee, has lined up a couple of his back-up performers and three of the stars that he helped become famous to hopefully spend a few hours reminiscing and perhaps creating more musical memories. Jerry Lee Lewis is a newcomer to the group and his arrival was not anticipated, as he just wants an audition. The premise of the get-together is already in jeopardy. Phillips has become known as the Father of the Rock and Roll Genre, but the jukebox industry has its challenges.

Photo Credit: Creative Agency Elvis Presly gained instant stardom when he signed with Sam Phillips at Sun Records, but has said goodbye to Sun and signed with RCA. Sun Records is floundering. Unbeknownst to Phillips, Johnny Cash has signed with Columbia Records when his contract with Sun is up. There is still friction between Presley and Perkins. Presley soared to fame with a song written by Perkins – “Blue Suede Shoes” and Perkins is still ticked that Presley got the fame that Perkins sought. All is not sunny and bright, but there is an obvious comradery among the group whose music was taking the world by storm.

Photo Credit: Creative Agency That December get-together is the interesting basis of reviving great music of the ‘50s and sharing some of that era’s musical history with today’s audiences. The show is a wow! The music was famous more than 60 years ago, and much of it remains amazingly familiar.

The Candlelight cast is a group with enormous talent. Although they are not yet familiar to Candlelight audiences and do not have the physical appearance of the icons they portray, each has an obvious background of the music they produce. Wyatt Andrew Brownell is an over-the top Jerry Lee Lewis. His keyboard ability is phenomenal whether he is sitting on the piano bench, or upside down on the piano itself. Jesse Plourde’s voice is so close to that of Elvis Presley that it is kind of spooky. Steven Lasiter’s Bass is as if Johnny Cash were standing on stage. Tarif Pappu has a more difficult role. He portrays Carl Perkins who is less known to local audiences than the first three performers, but Pappu is such a talent that he lights up the stage of the Candlelight. Charlotte Campbell Parrott portrays Dyanne, a girlfriend Presley brings to the recording studio. She is given her chance to wow the audiences, even though she is not part of that era’s history. Kyle Wells Lahr and Robert Brandon are the excellent back-up musicians portraying Brother Jay and Fluke.

Photo Credit: Creative Agency Chas Lederer is Sam Phillips, the Sun Record owner/founder. He doesn’t sing or dance, but is effective in moving the story along and keeping the audience well-informed between the terrific musical memories. The set is an interesting look at Phillip’s recording studio, an very impressive look at the1950s, abounding memorabilia and a touch of tackiness.

Christopher Wren directed this production, and is new to Candlelight audiences. This is twelfth time he has directed “Million Dollar Quartet” in various locations in the past eight years. His familiarity with the show is obvious, as his direction results in a sparkling production of great talent, and an historic resume off the Rock and Roll era in general!

Photo Credit: Creative Agency “Quartet” was written by Coln Escott and Floyd Mutrux and opened on Broadway in 2010 after several tryouts and regional productions. It has subsequently been produced in several venues in the United States, England and Canada.

“Quartet” provides a great evening of musical memories with outstanding talent! As the evening drew drawing to an end, much of the audience was on its feet singing and dancing. They didn’t want the show to end – until the announcer proclaimed, “Elvis has left the building!”

“Million Dollar Quartet”
Through November 12, 2023
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970/744-3747
Tickets: www.coloradocandlelight.com

2023, Candelight, Johnstown, Musical

“The Little Mermaid “ Is A Beauty!

July 11, 2023 Tom

Greatness On Stage At The Candlelight

Reviewed by Tom Jones
July 10, 2023

An overabundance of rain put a damper on many people this late spring and early summer. Any such unhappiness was swept away in just one evening, however, when “The Little Mermaid” reminded us how delightful life can be under the sea. And above it!

Magicians appear to be in great supply in Northern Colorado this year as the entire “Mermaid” production is a magical delight. Director, cast, orchestra, technicians all spell “Talent” these days at Candlelight. Matthew Dailey wowed audiences a few months ago singing and dancing as Don Lockwood in “Singin’ in the Rain.” This time he is not seen, but his brilliant skills are obvious, as director of “The Little Mermaid.”

Amazingly, Dailey’s talent is not the only brilliance involved with his show. It is rare to have an entire group of leading and supporting performers that are so strong. From the time the audience arrives in the foyer of the theater to be greeted by colorful reminders of life “Under the Sea” to the final standing ovation they are beguiled by magic in a variety of forms!

Photo Credit: RDG Photography Susanna Cathryn Ballenski and Jack Wardell head the cast. Ballenksi is the beautiful mermaid, living under the sea, but interested by the “humans” she has seen on her visits to the shore. Wardell is the handsome, human, Prince Eric. He is onboard a ship when cast into the sea in a violent storm. Under the water Ariel finds him and takes him to the surface to survive. Ballenksi and Wardell are flawless. They are beautiful, handsome, excellent performers.

Equally excellent, however, are the performers in supporting roles. Stars on their own. Scott Hurst Jr. portrays King Triton, ruler of Atlantica. He is Ariel’s loving, but overly-strict father. He has an enormous dislike for humans, due to the accidental death of his wife several years prior. Hurst brings enchantment to any role. I am looking forward to the day when he makes an album which includes his “There But For You Go I” from Candlelight’s “Brigadoon” production.

Ethan Knowles provides super comic relief as Ariel’s seagull friend, Scuttle. Jack Olson, a newcomer to Candlelight, is impressive as Flounder, Ariel’s best underwater friend. Ghandia Johnson is a wow as Sebastian, Ariel’s practical guardian. She nearly steals the show with her great enthusiasm and talent. Kelly Maur is the wicked Ursula, sister of King Triton, and evidently Ariel’s Aunt. Maur’s Ursula is a squid with tentacles in abundance. And she is a meany – claiming if Ariel gives her voice to her, she will make Ariel human. Nathan Petit and Chas Lederer are Flotsam and Jetsam, two of Ursula’s slippery henchmen.

Stephen Charles Turner is in great form as Chef Louis who provides Ariel with her first out-of-the-water meal, unfortunately choosing a menu of fish! Brian Adams is believable as Grimsby, faithful servant to Prince Eric.

Put them all on stage together – they amaze!

The Candlelight production is a stage musical based on the animated 1989 Disney film. This Hans Christian Andersen’s story is about a mermaid who has such love of creatures above the water that she is willing to give up her beautiful voice to become “human.” The show’s pre-Broadway tryout was in Denver in 2007 with six weeks of sold-out performances. Nearly 100,000 theatergoers saw that production. I was among them. I liked the show, but was not as impressed as I am with the current local wonder. The Denver tryout-show moved to Broadway officially open in 2008 where it ran for 685 performances. It has enjoyed several productions worldwide.

The current Mermaid, under direction of Matthew Dailey, provides great beauty. The gorgeous choreography is by Kate Vallee who also serves as Artistic Director. The excellent orchestra is under direction of Jerimiah Otto. Brian Watson’s under-water set transitions smoothly to the above-sea scenes. Debra Faber and Peter West provide the enchanting consumes.

Music is by Alan Menken with lyrics by Howard Ashman and Glenn Slater. A few of the songs are delightfully familiar – “Part of Your World,” “Kiss the Girl,’ and “Under the Sea.” Not so well known is “If Only” a heartwarming charmer featuring Ariel, Eric, Sebastian, and Triton late in Act Two.

Will Ariel get her voice back? Will Prince Eric ever kiss the girl? What does life “under the sea” look like? Don’t hesitate to be amazed. Head to Candlelight for tickets before they are gone.

“The Little Mermaid”
Through September 10, 2023
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970/744-3747
Online: www.coloradocandlelight.com

2023, Candelight, Musical

“Cats” Is A Brilliant Display Of Incredible Talents!

April 15, 2023 Tom

Candlelight Dinner Playhouse Triumphs Yet Again!

Reviewed by Tom Jones
April 14, 2023

Several months ago when I learned that the Candlelight was bringing “Cats” to its Johnstown stage I was non-plussed. I saw the show in London when it first opened in 1981 and was not impressed. My memory is of a somewhat drab show that made no sense. As a Candlelight Season Ticket patron, I decided to go ahead and see the show again this month to see if my memories of 42 years ago were correct. What a difference those intervening years have made!

Entering the Candlelight Theater at the same time we did on opening night an elderly couple mentioned they had already seen the show twice, in other venues, and were looking forward to seeing it again. The woman noted, “I love this show.” As we sat down to order dinner, we asked the waiter if he had seen the preview the previous night. He said, “Yes. I still don’t know what it was all about, but it is sensational.” I realized that maybe I had been missing something that first time around so many years ago and decided to give it my best attention.

No “best attention” was necessary. This production of “Cats” dazzles from the opening music to the final standing ovation! The costumes, set, makeup, lighting, orchestra, and entire cast are a wonder to see and hear. And the choreography! At one point I felt like I had paid to see a first rate, two-act classical ballet, set to delightfully fun music! The cast is large and all performers move together as one great wave of talent. What a show!

British musical genius Andrew Lloyd Webber became acquainted with the poems of T. S. Elliot when he was very young, being especially enamored with his “Old Possum’s Book of Practical Cats.” Webber’s musical theatre success began in 1968 with “Joseph and the Amazing Technicolor Dreamcoat,” followed by “Jesus Christ Superstar” in 1970, and” Evita” in 1976. Shortly thereafter he began setting Elliot’s feline poetry to music. This became a difficult process, involving other lyricists and writers to possibly make a coherent musical out of the Elliot poems. Everything began to fall into place and he went full speed ahead to produce the musical – only to find backers not as interested as he was. Despite his early successes, he mortgaged his own home to finally come up with funds needed for “Cats.” It opened in London in 1981 to mixed reviews, but audiences were enchanted and began to tell their friends, who evidently liked it better than I did.

“Cats” subsequently began garnering every award possible, including “Best Musical” in London and America’s “Tony Award for Best Musical” in New York City. As of last year, “Cats” has turned out to be an incredible financial success – worldwide gross of 4.5 billion dollars. Webber didn’t stop writing, but went on to provide the world with such amazements as “Phantom of the Opera” in 1986 and “Sunset Boulevard” in 1993. He currently has a new version of “Cinderella” playing in London.

Why is “Cats” such a phenomenon? Basically it is about 15 of T. S. Elliot poems set to music. There is no dialogue, as everything is either “sung” or “spoken” as choral readings. The story takes place in a junkyard inhabited by a host of cats who have become longtime friends, several into more than one of their estimated “nine lives.” Each year they have a Jellical Ball the night of a full moon when the longtime leader, “Old Deuteronomy,” will make an appearance and declare which cat will receive the honor that year to be reborn into a new life on the “Heaviside Layer.”

During the space of about two hours the cats sing and dance about themselves, several indicating why they should be chosen for the “reborn honor” that year. There are cats with all manner of different occupations, personalities, and traits. Probably the oldest and least-liked is Grizabella who is somewhat ignored by others when she comes into the yard. She is probably the most mis-understood, and it takes some support from Old Deuteronomy to result in the other cats better appreciating their “old” friend.

As cats sing about themselves, they provide some of the most delightful cat-like choreography imaginable. The costumes and makeup are wonderful. The overall effect is amazing! The staging is brilliant, moving the many performers smoothly on stage with great care and grace.

Everyone on stage is extremely talented. Some of the “names” I remember from past Candlelight shows include Chris Bain, Alisha Winter-Hayes, Cory Michael Klements, Ryne Haldeman, Sara Kowalski, Chas Lederer, and Patric Case. Scott Hurst, Jr. is among the best-known performers, taking on the role of Old Deuteronomy. Rachel Miller makes her first Candlelight appearance with great wonder as Victoria.

The remarkable production team is headed by Kurt Stamm, Director/Choreographer; Shawna Walker, Associate choreographer; Richard Shore, Music Director; and Jalyn Courtenay Webb as Vocal Director. Longtime Candlelight favorite, Webb, portrays “Grizabella’ and provides the musical’s most familiar song, “Memory.” Her rendition just might be the definitive offering and the audience was virtually stunned with what they heard. Interestingly, “Memory” didn’t become part of the original show until it was well into previews.

And no, I did not understand everything that was sung and choral-reading spoken. The sound system is very good, but the lyrics weren’t always clear. That is a problem. But once I figured I knew enough about what was happening, I could just sit back, relax and enjoy the marvel of the show itself! What a treat!

“Cats”
Through June 25, 2023
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970/744-3747
Online: www.coloradocandlelight.com

2023, Candelight, Johnstown, Musical

“Brigadoon” is Pure Magic at Candlelight

February 12, 2023 Tom

Mystical Village in Scottish Highlands comes to life. It is a beauty!

Reviewed by Tom Jones
February 11, 2023

By 1947 World War Two had been over for two years. Harry S. Truman was President of the United States. In New York, two virtually unknown writers finished work on their latest Broadway endeavor. Even though America was recovering from the effects of the war, money to produce Broadway musicals was not plentiful. Lyricist and librettist Alan Jay Lerner and composer Frederick Loewe had written two shows that were not hits. They auditioned their new show 50 times before successfully finding investors to provide funds for their new offering. This was a fantasy about a mystical village in the Highlands of Scotland. They named it “Brigadoon.” It opened at the Ziegfeld Theatre in New York City and went on to receive the Drama Critics Award for Best Musical that year. It opened in London two years later, and has subsequently experienced several successful revivals as well as the l954 movie starring Gene Kelly and Cyd Charisse.

Could the original show have been as exciting as the production now on stage at the Candlelight Dinner Playhouse in Johnstown? This year “Brigadoon” is a marvel in the hands of local performers, choral director, choreography, set designer, music directors – everyone associated in bringing this joyous show to the local stage.

Scott Hurst, Jr., and Sara Kowalski are in peak form in the leads as the American tourist, Tommy, and a kindly Scottish woman, Fiona, They can act. They can dance. They can sing. Their renditions of “Heather on the Hill,” “Almost Like Being in Love,” and “From this Day On” are breathtaking. Hurst’s “There But for You Go I” is one of the most beautiful solos in recent memory.

Tommy and his friend, Jeff, are American tourists hiking through the Highlands of Scotland, stumbling onto a mysterious village, “Brigadoon” which reportedly comes to life for just one day every 100 years. The villagers are not eager to explain the mystery of this enchanted village. But by the time the town’s history is revealed, Tommy has lost his heart to a local woman, and Jeff has lost any sense of soberness wanting only to return to his favorite bar in New York City.

This is remarkable stuff. Everything about this show works to perfection. The set, lighting, and sound provide an undeniably pleasant mood rarely seen on stage. The audience sees the village of Brigadoon for a couple of hours – but long enough to experience the joy of a marriage, the sadness of a funeral, the happiness of spending time gathering heather on the hill. It has appreciation for good people doing their best to lead good lives, but with the understanding that everyone is not going to be happy all of the time. There will be jealousies, temptations, as well as joy and romance.

The set by Mike Grittner and Heath Howes is brilliant, bringing life to the Scottish Highlands and providing a welcoming and heartwarming look at village life. The direction (Steve Wargo), orchestra and music direction (Jerimiah Otto), choreography (Shawna Walker), costumes (Debra Faber), sound (Mark Derryberry) and lighting (Vance Mackenzie) are all wondrous.

The cast includes Charlotte Lafonte as the delightful over-the top, man-hungry Meg. Chas Lederer is the affable, but continually-drunk Jeff. The entire ensemble is brilliant. Is it rare to see so many talented dancers and singers sharing the stage. The weather outside was the only chill for the entire evening.

It would have been interesting to be in the initial meetings of the persons involved with staging this current show. Candlelight Theatre productions have become a home base of an increasingly large number of genuinely talented persons – performers and technicians. A great new addition to the Candlelight for this show is a new sound system which clarifies virtually everything said or sung. As was the case in Broadway shows of that era, there is sometimes more dialogue than desired. But the enchanting music and choreography make up for such detraction.

I’m eager to learn how the cast and crew feels at the conclusion of each performance, as fog rolls in to hide the mystical village from the rest of the world They do have the great fortune, however, of visiting there for a couple of hours for several more days of performances (through April 2)!

The original financial backers found that their faith in Lerner and Loewe was not misplaced. Some went on to toast success to the writing team in their future megahits: “Paint Your Wagon,” “My Fair Lady,” “Gigi” and “Camelot.” Quite a list. Candlelight staff and crew are making history with “quite a list” of their own with one continuous delight after the next. I’m already planning my schedule to see one of my all-time favorites, “Then Secret Garden” on tap for later this season.

In the meantime, “Brigadoon” at the Candlelight is brilliance not to be missed!

Through April 2, 2023
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown, CO 80534
Box Office 970/744-3747
Online: www.coloradocandlelight.com

2022, Candelight, Holiday, Johnstown, Musical

“White Christmas” Bodes Well For A Great Holiday Season

November 20, 2022 Tom

Candlelight Dinner Playhouse Continues Its Triumphant Runs Of Excellence In Johnstown

Reviewed by Tom Jones
November 18, 2022

Opening night of “White Christmas” was amazing. As light snow was falling outside, but didn’t make it into the theater until the last few moments of this theatrical delight. For starters, the plotline is pleasant without surprises. I had seen a production of the show several years ago at Midtown Theatre in Fort Collins and was nonplussed. I easily could have opted to stay home and let opening night take place without me.

So very glad that I headed to the theater. From the moment Scott Hurst sang “White Christmas” early in the show, I was hooked! The entire production is not to be missed. Hurst, as Bob, shares the stage with a remarkable cast. It appears that Candlelight has rounded up every super talent in Colorado to perform for its audiences. Nathan Petit is excellent as Bob’s friend who joins Hurst for some delightful showstoppers throughout the event. They have terrific voices and are seasoned dancers. What a duo. Their love interests are Maryann Dutcher as Betty Haynes, and Sara Kowalski as her sister, Judy Haynes. Kent Sugg is excellent as General Waverly, as are Samantha Jo Staggs as Martha Watson and Kate Trainor as Susan Waverly. The role of Susan Waverly is shared with alternating performances by Alianna Glorioso and Adleleia Odekirk as well as Kate Trainor. Kate was a real “find” as the General’s granddaughter!

While the plot is trite, the performances are not! Kate Vallee as director and co-choreographer and Matthew Dailey as associate director and co-choreographer have pulled out all the tops to provide some of the most entertaining tap dancing imaginable, with “Blue Skies” in act one, and “I Love a Piano” opening act two. The choreography defies belief, completely wowing the audience with displays of talent hard to top.

The song “White Christmas” by Irving Berlin first appeared in the movie “Holiday Inn.” The song became an instant classic and became even more popular with the release of the 1954 movie musical “White Christmas.” The move starred Bing Crosby, Danny Kaye, Rosemary Clooney and Ver-Ellen, and became a classic on its own.

The story didn’t turn up as a Broadway musical until 2008. It was not an immediate stage sensation, but has enjoyed increasing success in England, Australia, and on various USA tours. I would be hard pressed to find a cast as brilliant anywhere as currently on stage in Johnstown. The show looks great. Orchestra is great. Costume and design are great. And the direction and choreography = A+

“White Christmas”
Through January 8, 20923
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970/744-3747
Online: www.coloradocandlelight.com

2022, Candelight, Johnstown, Musical

“The Scarlet Pimpernel” Is A Swash-Buckling Beauty Of French Revolution Intrigue

September 19, 2022 Tom

Candlelight Dinner Playhouse begins 15th Anniversary With Great Swordplay, Music, Romance & Deceit

Reviewed by Tom Jones
September 17, 2022

It is 1792 and current French leaders have found a new way to get rid of persons they don’t like, and the English are finding ways to stop the slaughter. Sounds grim? It could have been, but Candlelight’s latest triumph is a remarkable look at England and France during the Reign of Terror of the French Revolution.

Acclaimed French actress, Marguerite St. Just, is performing in her final show in Paris at La Comedie Francaise. Her announcement to her audience that she is planning to marry a wealthy English aristocrat is disrupted by French government authority Chauvelin who announces the immediate closure of the entire theatre. The wickedness of Chauvelin is obvious as he then oversees the execution by guillotine of two of Marguerite’s friends.

Marguerite and her fiancé, British aristocrat Sir Percy Blakeney, leave immediately for England, horrified by the guillotine deaths. In England Percy perceives a plan to make amends for the deaths by saving other innocents from the guillotine. He doesn’t tell Marguerite what he is up to, as he puts together a group of friends to return to France for vengeance. The group of friends are well-trained English military men. Percy needs to provide a disguise for them, and they become elegant British ninnies – off to battle in Paris their finest over-the-top clothing! Percy sets himself up as a mysterious “Scarlet Pimpernel,” with only his band of “warriors” aware of who he is and what he is up to.

Sarah Forman portrays Marguerite St. Just, with Patric Case as Percy Blakeney, and Scott Hurst Jr. as Chauvelin. It would be difficult to come up with three more talented performers than Forman, Case, and Hurst. They have incredible voices, terrific acting skills and are just plain “excellence in action.”

Based on 1905 novel by British author Baroness Orczy, the musical began as a concert album in 1992, and some of the music became fairly well known, including “Into the Fire,” and “When I Look at You.” It didn’t turn up as a Broadway musical until 1997 and played in various Broadway theaters for nearly three years. It subsequently had National Tours, and has been seen in dozens of cities worldwide. The music is by Frank Wildhorn with lyrics and book by Nan Knighton. Wildhorn music is highly respected, especially his wondrous score for “Dr. Jekyll and Mr. Hyde.” He made history in 1998 as one of only a handful of composers to have three shows running on Broadway at the same time: “Pimpernel,” “Jekyll,” and “Civil War.”

The current Candlelight production succeeds on every level. The entire cast is excellent. Forman, Case and Hurst are given great support by a uniformly remarkable cast, including Ethan Walker and Kelsey McKelfresh in supporting roles. The set is effective; the costumes outstanding, lighting., orchestra, and sound are flawless. Steve Wilson directs the show, with Carrie Colton overseeing choreography and fight direction. Swordplay on stage has never been more exciting. Vocal direction is by Jalyn Courtenay Webb.

The Candlelight is to be admired for providing a variety of theatrical productions and especially for bringing such little-known shows as “Scarlet Pimpernel “to the attention of local audiences. A member of the audience, sitting near to me, noted on leaving the theatre, “This is the best production I’ve seen at Candlelight in the eight or so years we have been seeing their shows.”

This is remarkable theatre – providing the audience with terrific sights and sounds, and even a bit of history tossed it. Did you realize that the guillotine, Robespierre, and Madame Tussaud’s wax figures had anything in common?

“The Scarlet Pimpernel”
Through November 6, 2022
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970-744-3747
Online: http://www.coloradocandlelight.com

2022, Candelight, Johnstown, Musical, Review

“Cinderella” Loses Her Shoe – But Not When You Expect!

July 12, 2022 Tom

Candlelight Dinner Playhouse Dazzles Yet Again

Reviewed by Tom Jones
July 10, 2022

Candlelight continues its roll of providing first-rate productions! A somewhat new version of the age-old fairy tale is visually wowing audiences this summer. Emery Hines and Ian Black star as the mentally abused Cinderella and her handsome prince charming. They are both very talented performers, and charm the audience, especially in Act One’s “Ten Minutes Ago I Met You” and in Act Two’s “Do I Love You Because You’re Beautiful.”

The starring roles are a tad weakly written, however, and the wondrous fairy god mother (played by Sarah Forman) and the crazed stepmother (played by Annie Dwyer) nearly steal the show.

Also dazzlingly delightful are Sara Kowalski and Kelly Maur as the evil stepsisters, Damon Guerrasio as Sebastian, Brian Wilcox as Lord Pinkleton, and Brian Adams as Jean-Michel. In a switch with tradition, one of the “evil” stepsisters turns out to be a courageous friend!

The supporting cast is particularly interesting in this production, as the choreography requires nearly everyone to amaze with great athletic skills. Choreography is credited to Susanna Cathryn Ballenski, with Phil Forman as the show’s director. They have Eli Emming and Lori Newsom nearly flying across the stage (as leaping fox and raccoon) and first rate technical staff keeping the audience alert with creative costume changes and special effects.

The set, lighting and costumes are excellent! The show is a beauty!

“Cinderella” fairy tale has been around forever. Richard Rodgers and Oscar Hammerstein turned it into a musical written for television in 1957 starring Julie Andrews. That production was viewed by more than 100 million people. It was subsequently remade for television twice with different stars (in 1965 and 1997). A 2013 adaptation for Broadway had a new book by Douglas Carter Beane production. It ran for 770 performances on Broadway and was nominated for nine Tony Wards. It is 2013 production that has been recreated on the Candlelight Stage this season.

Rodgers and Hammerstein are credited for writing many of Broadway’s most famous shows, including “Oklahoma,” “South Pacific,” “The Sound of Music” and “The King and I.” Music for “Cinderella” does not have the famous music as their other shows, but local audiences may remember hearing “Ten Minutes Ago, “ “In My Own Little Corner,” “The Prince is Giving a Ball,” “Do I Love You Because You’re Beautiful,” and “Impossible.”

“Impossible” is nearly a theme for the entire production, as it is a scenic wonder providing never-ending “impossible” delights. The new story line was written with social correctness in mind. Sometimes that doesn’t quite fit the fairy tale. Also a tad disturbing to the opening night audience was the end of the first act when the glass slipper did NOT fall from Cinderella’s foot as she leaves the ball.

Through the ages, a giddy delight in having the shoe finally “fit” has been a mainstay of the Cinderella fable. Not to worry, the shoe does eventually need to find its owner. And, triumphantly, does fit!

Enormous fun!

“Cinderella”
Through September 4, 2022
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970/744-3747
Online: www.coloradocandlelight.com

2022, Candelight, Johnstown, Musical

“Singing in the Rain” – Not To Be Missed!

May 1, 2022 Tom

Candlelight Dinner Playhouse Dazzles The Audience And Even Rains On Some!

Reviewed by Tom Jones
April 29, 2022

Standing ovations are rare in dinner theater shows, and applause during an actual dance routine is nearly unheard of. Audience response to “Singing in the Rain” opening night at Candlelight was remarkable as applause nearly stopped a dance routine and a standing ovation completed the final curtain call. But in fact, everything about this production is “remarkable.

Kate Vallee brings excitement to the stage as director and choreographer. Her talents are enormous, with a background that includes performing as part of the famous New York City Radio City Rockettes. Timing in outstanding in this jewel of a production. Dancing is about as impressive as anything previously provided on local stages.

Denver native Matthew Dailey stars as silent movie star Don Lockwood in 1927 Hollywood. Dailey is a newcomer to Candlelight, and hopefully he will return frequently. He is a polished performer with super skills as an actor, singer, and dancer. He is a treasure to see in motion, so light on his feet that even Gene Kelly could be in awe. Rachel Turner, a Candlelight favorite, is teamed with Dailey as Kathy Selden, a performing newcomer with potential. She continues to bring joy to the stage each time she appears. She and Dailey have great chemistry and believability.

Stephen Turner is Cosmo Brown, Lockwood’s longtime friend and burlesque partner with no bones in a body that can move in every direction – at the same time. The flashbacks of him and Don Lockwood’s burlesque days are enormous fun. Another longtime Candlelight wonder, Alisha Winter Hayes, sparkles as the over-the-top diva, Lina Lamont, who photographs well, but has few other skills. Hayes, who plays Lina, on the other hand, is enormously skillful with sly winks, an impossibly obnoxious voice and a commanding presence

This quartet of talents is backed by a glorious ensemble with some taking more than one part. Michele Jeffres keeps backstage crew busy as she changes wigs and costumes to appear in at least three roles—all delightful.

The movie version of “Singing in the Rain” was a 1952 American musical romantic comedy film. It starred Gene Kelly, Donald O’Conner, and Debbie Reynolds (who was only 19 at the time)! Choreography was by Gene Kelly and Stanley Donen. The movie was not a run-away hit when first released. It has subsequently become a classic, however, now on many lists as one of the best musical films ever made. A Broadway stage version opened in 1985 and enjoyed only a limited run.

Don Lockwood and Lina Lamont are stars of Hollywood’s silent move era. Lockwood is multi-talented, and has no desire to be Lamont’s boyfriend. Lamont is an unabated love-crazed movie partner to Lockwood. She has no talents except for being photogenic. Her “romance” with Lockwood is a fantasy created by the gossip columnists and motion picture back-offices to maintain the public’s interest in showbiz. Unassuming Kathy Selden comes into the mix, meeting Lockwood while getting away from the crowds following a Lockwood movie premiere. She is a warm hearted, honest individual who immediately clashes with the wild over-the-top Lina Lamont.

The plans to transfer an ill-fated silent film into a full length musical with sound are filled with terrific dancing and singing. The costumes are especially interesting, as is the set that has pieces moving on and off effortlessly, as if they are a moving picture. There is so much going on in this super production that it is impossible to lose interest. Among the technical wonders are the black and white film clips of the silent movies – starring the cast we see in real life on stage and prepared by the impressive team at The Creative Agency. Lighting, sound, costumes, dancing and singing combined to provide an unusually awesome evening. The orchestra is very good, under direction of Phil Forman.

“Singing in the Rain” provides exciting entertainment. Much of the music is well-known. The first few rows of the audience are provided with ponchos to keep dry while Matthew Dailey pulls out all the stops to sing and dance, and stomp in the rain-drenched stage at the conclusion of Act One.

Based on audience response on opening night, tickets might soon be gone to experience this delight.

“Singing in the Rain”
Through June 26th, 2022
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970/744-3747
Online: coloradocandlelight.com

Candelight, Comedy, Johnstown, Musical, Review, Year

“Curtains” is a showbiz tale of crazy backstage intrigue.

February 18, 2022 Tom

Candlelight spotlights the goings-on of a theater company in disarray with “Curtains”

Reviewed by Tom Jones
February 17, 2022

Jessica Cranshaw is a supremely untalented star of “’Robbin’ Hood of the Old West.” She drops dead at her opening night curtain call in Boston. Was she just worn out for being such a horrific performer, or did someone in the cast or crew do her in? The show’s cast is delighted that the star is gone, but what now will happen to them? Do they say, “The show must go on,” or do they take the next train out of Boston?

Boston detective Cioffi arrives on the scene, announces that Cranshaw has been murdered and demands that everyone in the cast remain in the theatre until the mystery is solved. Damon Guerrasio, a newcomer to Candlelight audiences, plays the theatre-struck detective. He is very good, and will hopefully turn up in future Candlelight productions. He has great stage presence, is an excellent dancer, and will hopefully find himself in center-stage in future shows.

“Curtains” is a clever mix of stage stereotypes. There is the over-the-top child-star mother, the evil producer, the hassled director, and the cast doing whatever they can to become “stars.” Detective Cioffi is in his element, surrounded by the people he adores -– “Show People.” He just might make his mark in finding the murderer and finding a way for the show to go on.

While the mics were sometimes problematic, the sets, costumes, lighting, orchestra and most of the cast were in fine form. The staging and direction are very good and the excellent choreography under direction of Kate Vallee, with orchestra directed by Phil Forman.

Candlelight has a large pool of excellent performers, many taking the stage for “Curtains.” Standouts include Scott Hurst, Jr., Sara Forman, Abigail Kochevar, and Hugh Butterfield. Musical highlight of the production is “I Miss the Music” as performed by Hurst, and again as “Thinking of Missing the Music” assisted by Kochevar. Butterfield continues to be a wonder. It appears he can do everything – dance, sing, play comedy or tragedy. He continually lights up the stage.

“Curtains” is a musical mystery comedy with a book by Rupert Holmes, lyrics by Fred Ebb, and music by John Kander, with additional lyrics by Kander and Holmes. It opened on Broadway in March of 2007, receiving mixed reviews. David Hyde Pierce received the Tony Award that year for his performance as Detective Cioffi.

A show-biz hymn, “A Tough Act to Follow” is the production’s pleasant finale. It is somewhat telling, as the “Curtains” production arrived on the Candlelight stage immediately following the enormous success of the wondrous “Sound of Music.” “Curtain’s” performers are a hard-working team, highlighted by excellent sets, lighting and costumes, and super choreography. Great fun!

“Curtains”
Where: Candlelight Dinner Playhouse
4747 Marketplace Drive, Johnstown, CO
When: To March 13, 2022
Information or tickets:
Box Office: 970/744-3747 or
ColoradoCandelight.com

2021, Candelight, Drama, Johnstown, Musical, Review

“Sound of Music” Is Pure Magic In Johnstown

December 4, 2021 Tom

Candlelight Dinner Playhouse Has Pulled Out All Stops To Provide An Incredible Entertainment

Reviewed by Tom Jones
December 3, 2021

“How do you solve a problem like Maria?” That’s what the nuns in an Austrian Abbey are asking, concerning the actions of a new postulant who claims she wants to become a nun, but doesn’t yet fit into the mold they have hoped for. The postulate, Maria, is late for dinner (yet again) as she has immersed herself in the scenery of her beautiful nearby mountains. The beauties of the mountains have been her lifelong happiness. She soon has the entire audience of “Sound of Music” equally in love with them, just as they become in love with Maria.

Emery Hines is brilliant as the singing nun. When the curtains open, a wondrous scene of the Alps unfolds, and the magic begins as Maria sings, “The hills are alive with the sound of music.” Suddenly, the stage, the audience, the cast, and all of Johnstown become “alive” with the sounds and sights of this wonderful show.

The pandemic has changed many of us, sometimes to the point of not particularly caring about returning to a theatre for a live show. What a tragic mistake. From the moment the curtain opened to show the mountains and Hines began to sing, I was “hooked.” This is truly one of the finest productions to be seen in recent memory!

The Abbess tells Maria that while everyone truly loves her, she does not seem to fit into the convent’s routine. She has arranged for the young woman to become a governess for a family in a nearby village, to oversee the lives of seven children who have recently lost their mother, and whose father is choosing to be away frequently.

Maria accepts the challenge. She arrives at the luxurious Von Trapp family home to find seven delightfully mischievous young children marching to the orders of their strict military father and desperately in need of love and affection.

Based on a true story, the Von Trapps are facing many problems, the least of which is that their beloved Austria is soon to be annexed by the Nazi regime in Germany. Captain Von Trapp is a highly respected retired military officer the Nazi regime needs to help in their war effort. This is very somber stuff to end up as a joyous musical classic.

Maria’s arrival at the family home is met with interest from the children, resentment from their father whose means of fathering consists primarily of blowing a horn whenever he wants the family to assemble, and to make certain they march for health each day. Maria, on the other hand, loves to gather the children around the comfort of her bed, sing to them, tell them stories of her “favorite things,” resulting in their adulation of the new governess.

Music by Richard Rodgers and Lyrics by Oscar Hammerstein II were the final effort of the world-famous Rodgers and Hammerstein team. It opened on Broadway in 1959, and was an instant hit. Hammerstein died just nine months after the opening. It was filmed as a movie in 1965, again receiving great reviews including “Best Picture” starring Julie Andrews.

While Emery Hines as Maria is the show’s star, the entire cast is remarkable. Scott Hurst has an excellent voice as Captain Von Trapp. Near the show’s conclusion he solos “Edelweiss”as the family is in an Austrian music competition. He then asked the audience to sing along with him, and the result is a heart-warming realization that this man is singing about his beloved Austrian homeland, as he is about to try to hike his family to safety in Switzerland to get away from the Nazis. The Candlelight audience participation is heart-felt!

Steve Wilson has directed this show, with Carrie Colton as choreographer and Phil Forman as music director. The entire artistic team at Candlelight has combined efforts to provide a production that will be hard to equal. The scenic design is a marvel of beauty. Sound, light, and choreography are wondrous. The orchestra and entire cast are flawless.

The cast is comprised of seasoned Candlelight talents, combined with delightful young newcomers, some making their first stage appearances, serving as the Von Trapp children. Families who see the show must be warned that any young people they bring with them will immediately set their sights on performing arts careers.

Jalyn Courtenay Webb is spellbinding as the Mother Abbess who stops the show with her instructions to Maria, “Climb Every Mountain.” Hugh Butterfield is convincing as Max Detweiller, Von Trapp’s friend who is trying to help them flee from Austria. Heather McClain is very good as the highly successful Austrian business woman who would like to become the next Mrs. Von Trapp. Susanna Ballenski and Ethan Walker shine as the teenagers being introduced to romance. Ballenski is the 16year-old Von Trapp daughter. Walker is the “older by one year” messenger boy who wants to take Liesl under his protective wing.

Rodgers and Hammerstein provided the world with an amazing array of wonderful productions including “Oklahoma!” “South Pacific,” “The King and I,” “Carousel” “Flower Drum Song,” and concluding with the beautiful “Sound of Music” as on stage this autumn at the Candlelight. The Candlelight has a wonderful track record of providing great family entertainment. There is something unique to this particular show, however. It provides the audience with a rare emotional experience seldom found on stage. This is a production not to be missed!

“The Sound of Music”
Through January 30, 3022
Candlelight Dinner Playhouse
4747 Marketplace Drive
Johnstown,, CO 80534
Box Office 970/744-3747
Online: www.coloradocandlelight.com

2021, Candelight, Johnstown, Musical

Ethan Walker Amazes As A Transplanted Teenager Who Wants To Dance!

September 17, 2021 Tom

“Footloose” Comes Alive At The Candlelight!

By TOM JONES

Ethan Walker portrays Ren McCormack who is at loose ends – yep. He is footloose. He and his mom have moved from exciting Chicago to “Bomont” in the middle of nowhere USA when his father abandons the family. Ren and his mom, Ethel, are forced to move to Bomont, as his mom’s sister and her husband have offered them a place to live. Walker is wondrous as the out-of-place Ren. He can sing. He can dance. He can act. He creates excitement wherever he goes.

Unfortunately for Ren and his mom, Bomont is not excited to have them arrive in town. It appears that a few years ago there was a tragic automobile accident that killed four youths, including the son of Reverend Shaw Moore, the local preacher. The preacher continues his deep morning the loss of his son and has expanded his grief to exclude any type of normal teenage activity – including dancing. Thomas Castro is well known to Candlelight audiences, and he is especially good as the preacher who has not only excluded the town teenagers from happiness, but has alienated his wife, Vi, and their teenage daughter, Ariel.

Heather McClain is convincing as the wife, Vi, and Susanna Ballenski dazzles as Ariel, their daughter. Like Ethan Walker playing Ren, Ballenski is sensational as Ariel. She, too, can dance, act, sing, and light up the stage. Unfortunately she is dating the town trailer trash Chuck Cranston making her preacher father especially unhappy. Hugh Butterfield also well known to Candlelight audiences is very good as Cranston, and he brings a roughness to the boy from the wrong side of town.

“Footloose” at the Candlelight is a wonderful story- one of forgiveness and hope that doesn’t come along very often. It has a beautiful storyline, some comedy relief, and some phenomenal dancing. Music is pleasant, with a few songs that are hummable favorites from the past, including “Mama Says” and “Footloose.” Ren and Ariel make their own magic with “Almost Paradise;” and “Let’s Hear it for the Boy” in the second act is just about as rollicking a dance number as seen in recent memory.

Ren learned his dancing skills in Chicago and wants everyone in Bomont to enjoy such an opportunity. He even rallies the town around the idea of over-riding the Preacher’s anger, hoping to have an actual school dance. He faces obstacles.

Everyone associated with his production appears to be first class! The trio of leads is amazing, as are all of the supporting players. In addition to the persons listed above other standout performances are provided by Ethan Lee Knowles as Willard Hewitt, Allison Hatch as Ren’s mother, and Sarah Forman as “Rusty.” The extent of talent is remarkable.

Putting the production together must have been a Herculean task! The planned production was to be a version of “Peter Pan,” but that was pulled from the list only about two weeks prior to opening night. Cast and crew decided upon “Footloose” and put the entire production together in only about two weeks. A mini miracle on its own.

Much of the credit for the success is the work of Cole Emarine, (Director and Choreographer), Phil Forman Music Director), Heather McClain (Associate Choreographer), and Jalyn Courtenay Webb (Associate Music Director). The set, lighting, costumes, and sound are all excellent.

Footloose the Musical is based on the 1984 movie that sky-rocketed Kevin Bacon to stardom. Bacon portrayed Ren who has moved to Bomont with his mother and just plain doesn’t fit into the crowd. The musical stage version opened on Broadway in 1998 and versions of the show have toured worldwide.

I saw the final dress rehearsal prior to opening night at Candlelight and was blown away with the excellence of the entire production. Seeing it again a week later only heightened my appreciation for the efforts made to make “Footloose” such great entertainment.

As a bonus to “Footloose” is the current Candlelight meal! Dinner theaters are not highly regarded as great places to eat. That has changed as Rode Roberts is now Head Chef at the Candlelight. The meal with “Footloose” was a super addition to an already exceptional evening!

Candlelight Dinner Playhouse
4747 Market Place Drive
Johnstown, CO 80534
970/744-3747
www.ColoradoCandlelight.com

2021, Candelight, Comedy, Johnstown, Musical

The Magic of Make Believe Is Alive And Well At Candlelight

June 19, 2021 Tom

Shrek And His Pals Combine For An Enchanted Evening

By Tom Jones
June 18, 2021

An ogre, an isolated princess, a talking donkey, an egotistical duke, and an unhappy dragon join forces with an amazing ensemble to provide an evening of absolute wonder! Mystery, intrigue, mayhem and a host of fairytale characters merge to provide nearly three hours of craziness this season in Johnstown.

The hi-jinks are non-stop as 13 performers take on more than two dozen characters in this look at the misadventures of Shrek and his friends (and enemies). Many of our fairy tale friends are there, including the Three Little Pigs, the Three Bears, Peter Pan, Humpty Dumpty, the Gingerbread Man, the Pied Piper, The Mad Hatter, The White Rabbit, Three Blind Mice, Little Red Riding Hood’s wolf (wearing grandma’s nightgown), and Pinocchio whose nose grows when he announces that he is “A real boy.”

The characters have been living in the Kingdom of Duloc and have been forced into exile by Lord Farquaad — sent to live in a swampy land currently inhabited by a grumpy ogre, Shrek. Already isolated in a castle somewhere in the area is Princess Fiona who has great problems of her own, changing persona as the sun sets each day. And along for laughs and pronouncements of wisdom is the wise-cracking, talking, Donkey.

We learn that Shrek was sent away from home at age seven, to fend for himself in a hostile world. Princess Fiona was also “sent away” at age seven, to spend her years in an isolated castle, counting the days until her prince would come to save her.

Meanwhile in the kingdom of Duloc, Lord Farquaad can’t become king until he marries a princess to become his queen. Shrek convinces Farquaad that he can find the isolated princess to become queen if the fairy tale chums can return to their homes in Duloc to get them out of his swamp. Donkey turns up to provide support, guidance, and non-stop jabbering.

Scott Hurst Jr. brings his powerful voice to portray Shrek. He provides pathos (as well as some fear) in the role of the misunderstood ogre. Matching talents with Hurst is Kelly Maur as the fabulous and feisty Fiona. Maur is new to Colorado audiences and is a real “find.” She can sing, dance, and act. She is terrific.

Oscar Whitney, Jr. is Donkey. He appears to have no bones in his body, as he has every “move” known to mankind, with a voice to go along with his athletic skills. Rounding out the leads is Ethan Lee Knowles as the diminutive Lord Farquaad, barely three feet tall. Knowles spends the show bouncing around on his knees, giving no indication that he is really about six feet tall. Every moment he is on stage is great fun.

There are two other “lead” characters. One is the entire cast ensemble. They take on numerous roles, changing costumes in a flash, with remarkable dancing skills. The other “lead” is the sad dragon, wanting only to be loved. This is a combination of three persons manipulating the huge dragon designed by Cory Gilstrap. Sophia Ruiz provides the strong dragon voice.

The show itself is a visual charmer. The initial backdrop of the forest is beautiful, and the set changes effectively to turn the stage into Shrek’s swamp, a castle, the Kingdom of Duloc, and trails throughout the woods. Lighting, sound, and costumes are all excellent.

Piper Lindsay Arpan has directed and choreographed this musical treat. It would be interesting to look into her mind to see how she figures out how to make everything “happen” on stage, and put the performers into their paces as skilled dancers. Phil Forman is music director, and participates with Heather Holt Hall, Gabriela Meriwether, Christopher Norwood and John Meriwether as the orchestra.

“Shrek’s” tale turned up as an animated film in 2001 and immediately caught the fascination of kids of all ages. It was turned into a stage musical opening on Broadway in 2008, and has subsequently been seen throughout the world. Music is by Jeanine Tesori with book and lyrics by David Lindsay-Abaire.

Opening night at The Candlelight was exciting. The cast and crew were in great form, and obviously looking at a long run. My only concern was understanding all that was said and sung. The diction will undoubtedly improve as the cast becomes more experienced. Opening night, however, there were no grumbles heard from departing patrons. I only heard, “We’ve got to look at our schedules and see when we can return to bring the entire family.”

This production is great medicine to help cure the pandemic ails of the past many months. As the audience is reminded — “This is a ‘Big, Bright Beautiful World.”

“Shrek – The Musical”
Candlelight Dinner Playhouse
June 17 – August 22, 2021
4747 Market Place Drive
Johnstown, CO 80534
970/744-3747
www.ColoradoCandlelight.com

2021, Candelight, Johnstown, Musical

“Little Women” Is A Heart-Warming Tale At Candlelight

April 19, 2021 Tom

A Mother And Four Daughters Are At Home In Concorde, MA — Far From The Warfront

By Tom Jones
April 18, 2021

Reverend March is away from home, serving as a chaplain for the Union during the Civil War. His wife, Marmee, has remained in Concorde to, MA, look after the couple’s four daughters – each on the brink of adulthood.

Jalyn Webb is excellent as the concerned Marmee, trying to keep her daughters in line while facing challenges of her own. The girls have their share of sibling rivalry as well as familial love!

The eldest is Jo, a bit of a tomboy who is always eager to show her rough and tumble side while not quite knowing how to accept neighborhood boy, Laurie, into the group. She is a writer who has already received numerous rejections from several publishers. “Little Women” is basically Jo’s tale, with memories of her childhood and family and fanciful stories interspersed throughout the show. Jo is portrayed by Emery Hines, a newcomer to the Candlelight stage. She is excellent.

Sara Kowalski portrays Amy, a romantic, with issues of her own – very unhappy to be in Jo’s shadow, claiming that she has nothing on her own. Meg is portrayed by Elaina Osburn, a more traditional woman eager to take on the role of a caring mother. Beth, played by Charlotte Movizzo, is the more timid of the family, willing to stay somewhere in the shadows of her more outgoing sisters. One of the show’s highlights, however, occurs when Beth sits at the piano with a cranky neighbor, Mr. Laurence, making delightful music together with “Off to Massachusetts.”

Almost a part of the family is the neighborhood boy, Laurie, very well portrayed by Eric Heine. Laurie lives with his grumpy grandfather, Mr. Laurence, who the March family feels is aloof and unpleasant until Beth’s music softens him. Todd Resseguie is convincing as the dour grandfather, touched by Beth’s music.

Michelle Jeffres is a wonderfully-annoying as a somewhat stereotyped Aunt March, eager to irritate everyone. She announces she will take Jo to Europe to give her culture and refinement. When Jo doesn’t meet her idea of perfection, however, she takes Amy instead. Chris Bain is Professor Bhaer who Jo meets in a boarding house when she is living in New York, and is interested in her potential as a writer. Ethan Lee Knowles is Mr. Brooke who meets Meg March at her first ball and immediately woos her.

The set is minimal, and is particularly effective. The lighting is also very good as are the costumes and choreography. Scenic design and lighting are by Shauna Johnson, costumes by Liz Hoover and Judith Ernst; scenic arts by Joel Adam Chavez; wardrobe by Judith Ernst; and sound by Kyle Harper.

Pat and Payne and Phil Forman have co-directed the production, with chorography by Susanne Houdesheldt, and music direction by Phil Forman. Orchestra consists of Mr. Forman, Heather Holt Hall, and Joshua Margheim.

“Little Women” was written by Louisa May Alcott of Concorde, and appeared in print as a semi-autobiographical two-volume novel in 1868-69. It went on to become a literary classic, appreciated throughout the world.

The stage musical version opened on Broadway in 2005, starring Sutton Foster as Jo. Foster received excellent reviews, and the production ran for 137 performances. The Candlelight production looks very good and the cast is universally eager to please. Music is by Jason Howland with lyrics by Mindi Dickstein. The audience does not leave the theatre humming the music, which sometimes gets in the way of the story. The story itself is well told and will provide those familiar with the story a great opportunity of seeing how the characters they well remember are currently portrayed.

Two songs are particularly good. Emery Hines as Jo sings a wonderful “Astonishing” at the end of an overly-long first acts and arrives too late to be fully appreciated. Jalyn Webb’s Marmee pulls out all the stops in “Days of Plenty,” mid-way in Act II.

The total production comes through with a tender tale of family love. This is a warmly effective look at the March family’s life in Concorde during the Civil War. It is set to be on stage at Candlelight to June 6.

“Little Women”
Candlelight Dinner Playhouse
April 8-June 6, 2021
4747 Market Place Drive
Johnstown, CO 80534
970/744-3747
www.ColoradoCandlelight.com

2021, Candelight, Johnstown, Musical, Review

“Little Women” — The March Family Sisters Move into Johnston

April 7, 2021 Tom

Alcott’s Little Women To Open Candlelight

By Tom Jones, April 6, 2021

Jo is there. So are Amy, Meg, and Beth – under the careful watch of their mother, Marmee March . A musical adaptation of Louisa May Alcott’s classic “Little Women” opens this week at the Candlelight Dinner Playhouse this week for a two-month run.

I dropped in to see much of the show in one of its final rehearsals this week, and was charmed by the excellence of the performance! Returning to the Playhouse, after more than a year of absence, was an eye-opener for me – reminding me of the wonder of seeing a live performance. The theatre industry has been among the hardest hit groups suffering from the pandemic. The Candlelight has been extremely careful in preparation for the few shows that have graced their stage in the past 14 months.

It now looks like the dinner theatre world might be back in full action, beginning now with minimum inconvenience to patrons while observing social distancing.

I’ll review the full show in a couple of weeks. My comments here are just a look at a virtually flawless run-through shortly before opening. Alcott’s semi-biographical novel was originally published in two volumes in 1868 and 1869 and went on to international fame. The musical version, now on the Candlelight stage is based on the Broadway production that opened on Broadway in 2005 with Sutton Foster as Jo and Maureen McGovern as Marmee.

This time around Emery Hines appears as Jo, with the always-excellent Jalyn Webb as the mother, Marmee. Hines is a newcomer to the Candlelight stage and is a marvel as the tomboyish Jo. She has great stage presence and a super voice. The remaining sisters are Sara Kowalski as Amy, Elaina Osburn as Meg, and Charlotte Movisso as Beth. Longtime Candlelight favorite Eric Heine is at his best as the family friend, Laurie. Each performance is very good. Pat Payne and Phil Forman co-direct the show, with music directed by Phil Forman and choreography by Susanna Houdesheldt.

The sparring siblings are often at odds, but eventually always willing to be “family.” Setting is Concord, MA. The four sisters are at home while their father is serving in the Civil War. Intercut with a look at the family, are vignettes where their lives are unfolded in the melodramatic short stories Jo has written. The most important of these interjections takes place at the beginning of the Second Act where the sisters appear in wild reincarnations of Jo’s fantasies. Whereas I was familiar with the basic story, I was not adequately prepared for the wild insert, but it IS entertaining.

“Little Women” has been a young-girls favorite since it first appeared, and holds up well in its heartwarming look at life in Concord during the Civil War. I’m looking forward to “officially” seeing it in the next few weeks, especially with the hope that I can make more sense of the interjections of Jo’s fantasies.

“Little Women”
Candlelight Dinner Playhouse
April 8 – June 6, 2021
4747 Market Place Drive
Johnstown, CO 80534
970/744-3747
www.ColoradoCandlelight.com

2020, Candelight, Drama, Johnstown, Musical

Robert Louis Stevenson Story Results In Triumphant Candlelight Musical

February 2, 2020 Tom

Robert Louis Stevenson Story Results In Triumphant Candlelight Musical

“This is the Moment” As Two Talents Take Turns In Leading Role

Reviewed by Tom Jones
February 2, 2020

There’s substantially more than the soft glow of “candlelight” in Johnstown this season, as the “Jekyll and Hyde” musical is sheer brilliance. The Candlelight Dinner Playhouse has raised the bar so high with this triumphant production that it may be nearly impossible to beat!
Continue reading Robert Louis Stevenson Story Results In Triumphant Candlelight Musical →

2019, Candelight, Holiday, Johnstown, Musical, Review

It’s A White Christmas At The “Holiday Inn”

December 16, 2019 Tom

The 1942 Movie That Gave Birth To “White Christmas” Has Arrived As A Stage Musical At Candlelight Dinner Playhouse.

Reviewed by Tom Jones
December 14, 2019

Jim Hardy, Ted Hanover and Lila Dixon are an entertainment trio. They sing. They dance. They entertain. They are very good performers. Their contract in a New York City nightclub is ending, and Jim believes he is ready to retire. He has found a farmhouse in rural Connecticut in foreclosure and snaps up the buying rights. Now he needs to convince his dancing partner, Lila, to accept his marriage proposal and move to the Connecticut countryside where they could become farmers.
Continue reading It’s A White Christmas At The “Holiday Inn” →

2019, Arvada, Arvada Center, Musical, Review

Arvada’s “Christmas Carol – The Musical” Is Pure Holiday Joy

November 26, 2019 Tom

Larry Cahn – Much More To This Scrooge Than The “Bah Humbug” Meany Of Productions Past.

Reviewed by Tom Jones
November 23, 2019

Arvada Center’s early-holiday gift to the community is a rare treasure.

Everyone knows the story. Everyone knows how it is going to end. But getting there this time around is ingenious entertainment. Director Gavin Mayer and Choreographer Kitty Skillman Hilsabeck and the entire artistic team have put together a “Carol” version of rare excitement. There is so much going on all the time that it was a delightful challenge to know where to look.

Continue reading Arvada’s “Christmas Carol – The Musical” Is Pure Holiday Joy →

2019, BDT Stage, Boulder, Musical, Review

“Mamma Mia” Is A Must-See-Production

October 15, 2019 Tom

“Thank You for the Music” – And The Entire Show!

Reviewed by Tom Jones
October 11, 2019

Early in Act 1, the cast of “Mamma Mia” provides a captivating rendition of “Thank You for the Music.” I have not enjoyed such a “feel good” moment in a musical for a long time. And that is just a part of the show! “Mamma Mia” on stage this season at Boulder’s Dinner Theatre Stage is an entire joy!
Continue reading “Mamma Mia” Is A Must-See-Production →

2019, Arvada, Arvada Center, Musical, Review

“Bright Star” Illuminates Arvada Stage

September 9, 2019 Tom

Award Winning Musical Is Set In The Blue Ridge Mountains of North Carolina

Reviewed by Tom Jones
September 7, 2019

Near the end of the show Merideth Kaye Clark takes central stage as Alice Murphy, providing the audience with one of the most thrilling and poignant moments in local stage history. Her character’s life has just taken a turn for the better and everyone is in awe. “Star” isn’t just “bright.” It is dazzling.

Continue reading “Bright Star” Illuminates Arvada Stage →

2019, Candelight, Drama, Johnstown, Musical, Review

“Hunchback of Notre Dame” Rings A Bell

September 6, 2019 Tom

Hugo’s Classic Story Is Set To Music At The Candlelight Dinner Playhouse

Reviewed by Tom Jones
September 6, 2019

That famed Parisian landmark was in the news recently, as Notre Dame suffered serious fire damage and is currently closed for repairs. The Victor Hugo’ famed cathedral story has remained intact, and is now glowing on the Candlelight Dinner Playhouse stage, with a very impressive fire scene of its own.

Dinner theatre has reached new heights with this masterwork production. The set is remarkable, the choral work outstanding, the performers in great shape. This is not the standard for-the-children Walt Disney musical. It is virtually a tragic opera with themes of goodness and evil, haves and have-nots, and accepting others “not like us!”

Continue reading “Hunchback of Notre Dame” Rings A Bell →

2019, Fort Collins, Midtown Arts Center, Musical

Midtown Arts Center Closes With “Take to the Highway”

June 24, 2019 Tom

Popular Theatre Venue Celebrates Music of James Taylor

Review by Tom Jones
June 20, 2019

Four remarkably talented singers combine with an equally professional band to provide a fond farewell to audiences of Midtown Art Center this month. Their renditions celebrating the music of the legendary James Taylor, Carole King, and Carly Simon were warmly received by audience members making their final visits to the theatre.

Continue reading Midtown Arts Center Closes With “Take to the Highway” →

2019, Candelight, Johnstown, Musical, Review

“Tarzan” Triumphantly Swings Into Town!

June 11, 2019 Tom

Candlelight Dinner Playhouse Greets The Jungle Man With Great Enthusiasm

Reviewed by Tom Jones
June 6, 2019

It’s a jungle in Johnstown this summer as Tarzan literally swings on a vine into town! And what a Tarzan he is. Tyler Fruhwirth is enormous fun as the young Tarzan, being raised by a pack of gorilla following the death of his parents. He is a young actor – delightful with great enthusiasm.

Tarzan – Barret Harper Photo Credit – RDG Photography

Continue reading “Tarzan” Triumphantly Swings Into Town! →

2019, BDT Stage, Boulder, Comedy, Drama, Musical

“Beauty And The Beast” Is Pure Delight In Boulder

May 21, 2019 Tom

Elaborate Sets And Great Costumes Add To The Magic

Reviewed by Tom Jones
May 14, 2019

What a treat. Belle is a beauty, the Beast is beastly, and Gaston is everyone’s over-the-top egomaniac. The only persons who like him better than he likes himself are the audience. Scott Severtson as Gaston is a crazed delight as he kisses his biceps and struts around the stage with every girl in the village (except Belle) falling at his feet. He is a remarkable sight.

Continue reading “Beauty And The Beast” Is Pure Delight In Boulder →

2019, Fort Collins, Midtown Arts Center, Musical, Review

“Lady” Continues To Be Fairest In The Land!

May 17, 2019 Tom

A Look Again At “My Fair Lady” At Midtown Arts Center

An Update To My Review!

by Tom Jones, May 9, 2019

A few weeks ago I was in the audience for opening night of the marvelous “My Fair Lady” at Midtown Arts Center. I was in awe of the entire production. Staff of the show noted that one of the supporting characters, Michael Lasris, was out of town for that opening night, and could I possibly return later in the run to see him perform as Eliza Doolittle’s father.

Michael Lasris, image by Dyann DIercks Photography

Continue reading “Lady” Continues To Be Fairest In The Land! →

2019, Comedy, Fort Collins, Midtown Arts Center, Musical

“Lady” Is More Than “Fair” – She’s Exceptional!

March 23, 2019 Tom

Cast Is Joyous In Broadway Classic

An Update To My Review!

by Tom Jones, May 9, 2019

Michael Lasris, image by Dyann DIercks Photography

Lasris has become a highlight of nearly every show he has been associated with, either as a performer, director, or choreographer. One of my earlier memories was his on-his-knees dancing as the diminutive Lord Farquaad several seasons ago in “Shrek.” Lasris is older now and probably won’t want to dance “on his knees” in future productions, but is as delightful as ever as Doolittle in this current “My Fair Lady.” It was bittersweet to see him perform, as Doolittle is his final role in Colorado before moving to New York in a few weeks.

For opening night I saw Robert Michael Sanders as the affable drunken father. He was very good, so it was somewhat with caution that I returned to see Lasris this week in the role. No need to worry. Lasris is nearly untouchable as the likeable do-nothing Doolittle who wants “everything” in return…

Also “delightful as ever” are the shows leads – Hannah Marie Harmon as Eliza, John Jankow as Henry Higgins, and H. Dan Harkins as Colonel Pickering. This entire show is every bit as excellent as it was when I first saw it a few weeks ago. Not to be missed.

—–

Reviewed by Tom Jones
March 22, 2019

“The rain in Spain stays mainly in the plain! She’s got it. By George, I believe she’s got it! Again – The rain in Spain lies mainly in the plain? And where does it rain? On the plain, on the plain. And where’s that soggy plain? In Spain. In Spain.”

Yes, she’s got it! After weeks of sometimes difficult turmoil, the poorly-educated flower market salesgirl has shown she CAN be educated, and CAN learn to speak like a well-born sophisticate. The “she” is Hannah Marie Hartman as Eliza Doolittle. And yes, she’s got it! In fact everyone in the cast has “got it” in this masterful Midtown Arts production of “My Fair Lady.”

More than sixty years have passed since the show triumphed on Broadway. Curiously, it has maintained its absolute charm and freshness in this MAC wonder.

The excellent skills of Hartman are joined by those of John Jankow as Henry Higgins, and H. Dan Harkins, as Colonel Pickering. The trio are on stage most of the time as Higgins places a bet with Colonel Pickering that he can turn the guttural persona displayed by the lowly Doolittle into a woman of charm and wisdom. They are a trio to behold. The two men educate, but sometimes ignore the object of their effort.

The Henry Higgins role was originated on Broadway by Rex Harrison who needed to “speak” most of his songs. In this production John Jankow is in excellent singing and speaking voice as the professor, as is Dan Harkins as Colonel Pickering. Harkins had the additional responsibility of welcoming everyone to the theatre with the pre-show announcements on opening night. He was particularly good in that role as well, keeping the audience amused and entertained, and reducing time of the sometimes- lengthy pre-show announcements.

Julie Andrews zoomed to stardom as Eliza in the original Broadway production in 1956. That show became the longest-running Broadway musical to that time, and went on to similar fame in London. For the Academy Award winning movie version in 1964 Julie Andrews was overlooked for starring role, with that part given to Audrey Hepburn. The movie’s producers felt that Hepburn would be better-known to the movie-going public. Andrews got her just rewards at the Academy Awards the next year, receiving the Best Performance by an Actress Award for her beguiling charm as “Mary Poppins.”

It would be difficult to find a better performer to play the role today than the excellent Hannah Marie Hartman. She is convincing as the rough Cockney girl with ambitions to “be somebody.”

While Higgins, Pickering, and Eliza Doolittle are center stage, Eliza’s hapless father “Doolittle” is a wonder on his own. For the opening night performance we saw Robert Michael Sanders as the affable drunken father, understudy to Michael Lasris who normally plays the role. Lasris will be hard-pressed to fill the boots of Sanders whose performance is beyond “memorable.” I may find my interest in seeing Lasris, however, as my excuse to return to MAC for another look as this delightful event.

In fact, what is not to like about this show? The set, the costumes, the lighting, the sound, the choreography, and the recorded orchestra accompaniment are exceptional. (There is no live orchestra.) Where in my bag of adjectives can I find words to adequately report my reaction to this production? The supporting cast members are as effective as the leads. Many in the ensemble take on several roles – always completely in step to the music and always in tune with their British accents.

Director Joseph Callahan has a long track record of excellent performances at Midtown Arts Center. This time around he is displaying his remarkable abilities, directing and choreographing this production of “My Fair Lady.”

While “The rain in Spain stays mainly on the plain,” ”the cast is vast and….” completely delightful!

“My Fair Lady”
Where:
Main Stage of Midtown Arts Center,
3750 South Mason Street,
Fort Collins, CO 80525
When:
To May 25, 2019
Information:
970/225-2555
www.midtownartscenter.com

2019, Loveland, Loveland Opera Theater, Musical

Mozart meets Manet and Mayhem (and others) in Loveland Opera Theatre’s Delight

February 22, 2019 Tom

“Cosi Fan Tutte” Is A Wonder Of Sight & Sound

Reviewed by Tom Jones
February 21, 2019

For starters, some persons were already on the stage prior to showtime looking at a large illuminated representation of impressionist painter Edouard Manet’s “A Bar at the Follies Bergere.” I was ready to join them on the stage to see the painting close-up, when I realized that this was just part of the show — a room in an Impressionist art gallery where viewers of the painting were actual cast of “Cosi Fan Tutte.”

Continue reading Mozart meets Manet and Mayhem (and others) in Loveland Opera Theatre’s Delight →

2019, Comedy, Fort Collins, Midtown Arts Center, Musical, Review

Michael Lasris Choreography Provides Great Fun In “Dames At Sea”

February 2, 2019 Tom

Off-Broadway Delight Is Two-Hour Treasure At Midtown Arts Center

Reviewed by Tom Jones, February 1, 2019

Ruby is the standard naïve talent traveling alone to New York to find fame and fortune on Broadway. Sound familiar? “Dames at Sea” currently on the Midtown Arts Stage in Fort Collins is the tried and tested Broadway fable that flashed onto movie screens in the ‘30s and ‘40s. This delightful little show plays homage to those stories, with every cliché possible. Michael Lasris provides excellent direction and choreography for this heartfelt look at the past. Seeing it this season just might be the remedy we need to face mid-winter blahs.

Paige Smith is a newcomer to MAC audiences, and she is terrific as Ruby, the Broadway star wannabe – with nothing going for her except raw talent. Alisa Metcalf is the ever-threatening diva, Mona, who will stop at nothing from preventing anyone taking stardom from her hands. Sarah Ledtke McCann is in great shape as the “friend to all” chorus girl.

Every Broadway fable includes guys with over-the-top talent, taking on roles of friend, talented performer, and all around good (or bad) guy. In this show Joe Callahan takes on the role of a sailor song-writer, “Dick.” Callahan is well known to MAC audiences. He sings. He dances. His comedic talents are very well-honed. And his timing is impeccable. Giving him a run for his money are Tyler Baxter and Tezz Yancey. Baxter plays another talented sailor, Lucky. Yancey switches caps to play two roles, the show-within-a-show director, and that of the ship captain.

All six are involved in staging a little review called “Dames At Sea” set to open that night, only to find the theatre bulldozed out from under them. They desperately try to find a place to stage the show.

The world holds its breath: Will Ruby replace Mona as the show’s star? Will the show find a place to open? Will Joe Callahan wow the stage with his every scene? Will Sarah Ledtke McCann radiate charm and talent? Will the audience leave the theatre with great smiles?

This is not a “big” show, but one with enormous empathy and fun. Book and lyrics are by George Haimsohn and Robin Miller. Music is by Jim Wise. It originally opened Off-Broadway in 1968 starring Bernadette Peters as Ruby, and has subsequently found nationwide audiences. Local theatre-goers enjoyed a very good production of it a few seasons ago at University of Northern Colorado.

The six performers are all very good. Michael Lasris’s excellence as director and choreographer is obvious throughout, and particularly with the “Raining in My Heart” antics in Act II. Musical accompaniment is also excellent. Musical director and pianist is Victor Walters, with Dean Vlachos on percussion, Phillip Kramer, on bass.

“Dames at Sea” is a joyful, midwinter pick-me-up!

“Dames at Sea”
Where: Main Stage of Midtown Arts Center
3750 South Mason Street,
Fort Collins, CO 80525
When: To March 17, 2019
Information: Box Office: 970/225-2555
Tickets: www.midtownartscenter.com

2019, Cherry Creek Theatre, Denver, Location, Musical, Review, The Pluss Theatre, Mizel Arts and Culture Center

Impeccable Direction And Impeccable Cast Combine For A Wondrous “A Little Night Music”

January 27, 2019 Tom

Stephen Sondheim Award Winner On Stage In Denver

Reviewed by Tom Jones

January 27 2019

Fredrik Egerman and Desiree Armfeldt have reached middle age. They are at the crossroads, neither completely content with their lives. They have no plans to change anything. A summer weekend in the Swedish countryside with a sun that won’t set is about to change all that.

Stephen Sondheim, America’s most respected living composer of musical theatre, provided audiences with “A Little Night Music” on Broadway in 1973. The show has gone on to worldwide acclaim. Some productions boast lavish sets and large casts. The show arrived this month in Denver with minimal set, but more than makes up for that by providing excellent costumes, excellent voices and excellent direction. Director Kelly Van Oosbree’s clever staging even includes a rotating stage – power-operated by the performers.

Brian Merz-Hutchinson and Susie Roelofsz are sensational as Egerman and Armfeldt. Fredrik Egerman is a Swedish attorney, a year into his second marriage – this time with an 18-year-old girl who prefers to remain a virgin. Desiree Armfeldt is a highly respected actress who spends her time touring the country, leaving her young daughter, Fredrika, in the countryside estate of her ageing mother. This all takes place in a Swedish summer around 1900 when the sun lingers so long in the sky that some claim “It just won’t set.”

Everyone in the cast is in top form as they take on the show’s roles. Egerman is a somewhat stuffy lawyer with great memories of a liaison many years ago with the actress Armfeldt. He takes his young wife to a local performance of the touring company. Seeing Desiree on stage renews memories of his past love for her, and he succumbs to her allure. Their lives are about to change, but not without affecting several others – some deliciously bizarre.

Rachel Turner is in delightful form as the young wife – happy to be married and have nice clothes and to go to elaborate balls; but horrified about losing her virginity. Jeremy Rill is enormous fun as the over-the top self-assured Count Carl-Magnus Malcolm, the military man currently dallying with the actress. His character has an ego as big as all outdoors, but reportedly has the “brain of a pea.” Sparring toe to toe with this army dragoon is his wife, Countess Charlotte Malcolm, brilliantly portrayed by Megan Van de Hey.

Susan Long is the Armfeldt family matriarch – Desiree’s mother, and Fredrika’s grandmother. The country weekend takes place on her estate. She hasn’t much use for her actress daughter, dotes on her granddaughter, and lives in a dreamworld of the past, recounting her various “liaisons” with the rich and famous. Adding even more craziness to the goings-on are Frid and Petra played by Ryan Belinak and Lindsey Falduto, both worldly-wise servants. They are well acquainted with the upper crust, but appear to accept their roles in the lower echelons of society. Lindsey Falduto’s “The Miller’s Son” is especially poignant, as Petra realizes that she can serve the wealthy, but will end up marrying someone in her level of society. On the other hand, Lawyer Egerman’s adult son, Henrik, is a seminary student, with no idea of where he fits into the life of his family, or life anywhere for that matter. Barret Harper is superb on his own, as the bewildered, cello-playing Henrik.

Excellent accompaniment is provided by Deborah Fuller (violin), David Short (cello) with Trent Hines and Angela Steiner (piano) — Hines for first three weekends, Steiner for final weekend.

The musical was inspired by an Ingmar Bergman 1955 movie, “Smiles of a Summer Night.” Playwright Hugh Wheeler wrote the book, with Stephen Sondheim providing music and lyrics. The music is written as waltzes in three-quarters time.

Sondheim was in peak form as a composer and as a lyricist when writing “A Little Night Music.” This is especially evident in the “Weekend in the Country” scene where various persons are looking at attending a weekend party on the Armfeldt estate – some invited, some not. The lyrics include the Count and Countess thinking about going (without an invitation), singing:

“A weekend in the country…
How I wish we’d been asked.
A weekend in the country
Peace and quiet. We’ll go masked.”

This is beguiling production. Everything about it is first-rate. As the theatre is small, the audience can hear nearly everything said or sang, and becomes infatuated with the characters, their foibles, their frolics, and is with them every step of the way. The show even includes the classic, “Send in the Clowns.”

“A Little Night Music”

Where: The Pluss Theatre, Mizel Arts and Culture Center, 350 S. Dahlia Street, Denver, CO 80246

When: Through February 17, 2019

For more information: Cherry Creek Theatre, 303/800-6578, cherrycreektheatre.org

2019, Fort Collins, Midtown Arts Center, Musical, Review

“My Way – A Musical Tribute To Frank Sinatra”

January 18, 2019 Tom

Midtown Arts Features Music Of “Old Blue Eyes”

Reviewed by Tom Jones
January 18, 2019

Frank Sinatra became a legend. Beginning as a scrawny teen crooner from Hoboken, New Jersey, he subsequently ruled the musical world until his death at 82 in 1988. He was virtually adored by music-lovers, looked at with dismay by some others — because of his personal life. He didn’t write his own music; but gave voice to a host of songwriters. He reportedly recorded something like 1,500 songs – some over-the-top wonderful.

About four dozen of the songs he recorded are featured this season at Midtown Arts Center production of “My Way – a Musical Tribute to Frank Sinatra” on stage in Fort Collins.

Jalyn Courtenay Webb stars in and directs this tribute. She, too, has become a legend in her time, as the vocal stylist and director of many productions in the area. This year she received the prestigious Colorado Theater Guild Henry award as best performance by an actress for her work at MAC in “Always, Patsy Cline.” But as in the world of sports, even the world’s most successful baseball player doesn’t hit a home run every time he comes to bat.

I am an unabashed theatre fan. I usually get an adrenaline rush each time I await the beginning of a show. Some have criticized me, noting “Oh, he likes everything he sees.” Unfortunately “everything” does not include this current Sinatra tribute.

The Sinatra songs are there; such great memories provided with “Fly Me to the Moon,” “My Way,” “It Was a Very Good Year,” “Summer Wind,” and the list goes on and on. The instrumental background is flawless. The four vocal performers are talented. Unfortunately, they don’t seem to be participating in the same show. There is minimal chemistry between then. Some of the Act One vocal harmonies are wondrous. As the show continued, however, either the performers could not find the pitch, or the sound system let them down. I could understand very little of the spoken tidbits of Sinatra history.

Productions in the MAC Ballroom setting are always problematic as there is no one center of focus. The Sinatra tribute is staged as if in a 1950s nightclub, with the cast sometimes mingling with the audience, with a drink in hand. Sometimes this works. Sometimes it is distracting.

“My Way — A Musical Tribute to Frank Sinatra” has become a phenomenon of its own, currently playing in dozens of venues worldwide. If you are eager to hear such standards as “All of Me,” “My Kind of Town,” “Young at Heart,” and “I’ve Got You Under My Skin,” rush to Midtown Arts Center this season.

If not, don’t cross the theater off your list of places to go. While the Sinatra tribute is playing in the MAC Ballroom, the terrific “Dames at Sea” is on the main stage.

I saw Bernadette Peters tap-dancing her way to stardom many, many years ago when she created the leading role in New York. I was delighted with a production of it at University of Northern Colorado a few years ago, and already have my tickets to see the MAC version. I’m not going to let my unhappiness with the current “Tribute” dampen my enthusiasm for the theatre. The adrenalin rush will always be there for me.

And all is not lost with “Sinatra.” Old Blue Eyes provided more than one generation happy memories with his incredible styling of some wonderful music. Many in the audience appeared to be enchanted with the memories brought to life on stage at MAC. I learned that the performance I attended was rife with subsequently-repaired technical problems, and that earlier audiences have given the show standing ovations.

“My Way – a Musical Tribute to Frank Sinatra”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To March 17, 2019
Information: Box Office: 970/225-2555
Tickets: www.midtownartscenter.com

2018, Fort Collins, Holiday, Midtown Arts Center, Musical, Review

Midtown Arts Center Provides the “Heart Of The Holiday”

December 17, 2018 Tom

Choreography & Excellent Voices Bring New Story To Life!

Reviewed by Tom Jones

December 15, 2018

The Second Act of “Heart of the Holiday” provides one of the most satisfying musical offerings this holiday season, JC McCann, Anne Terze-Schwarz, Taylor Marrs, and Jalyn Courtenay Webb are a quartet of perfection singing a terrific combination of “O Holy Night” and “Silent Night.” While some parts of the performance may be a tad plodding, this specific number is worth the price of admission. And worth the effort of getting out of the house on a wintry night to see a show.

This is the final Holiday Season for Midtown Arts Center, as it is joining forces in 2019 with Candlelight Dinner Playhouse. For this final Holiday show, Kenny Moten and Jessica Hindsley have put together homage to theatre performers everywhere. Emphasis is on those whose lives have been affected in providing entertainment to Fort Collins audiences for many years. Musical arrangements are the work of John Seaberry who plays bass/guitar in the accompanying band under direction of Victor Walter. The band is especially good.

The show’s writer joined forces with Joseph Callahan to provide the namesake song, “Heart of the Holiday,” performed late in the show. That song is very nice, but just can’t compare with the “O Holy Silent Night” opening the Second Act.

Moten and Hindsley have leaned heavily on Michael Bennett’s original Broadway direction of “A Chorus Line” in 1975. In that landmark musical, dancers are auditioning for a show, and are asked to tell about their lives and what dancing means to them. They strike dancers “poses” which have become Broadway trademarks. In “Heart of the Holliday” Jalyn Courtenay Webb is auditioning dancers for a holiday show. The final cast is chosen. But before they can relax, she quizzes them on what “The Holidays” mean to each of them. She is especially interested in memories of the performer’s past shows. This is a clever precept, as the MAC performers strike the “Chorus Line” poses — interesting at first, but becoming a bit tiring by show’s end.

The cast has interesting reports about their love of dancing, with some tidbits of past shows. One especially zany sequence is a review of a 40-performance run of a show that included non-stop syncopation to “A Sleigh Ride” music. The choreography is great fun, as the dancers become more and more exhausted with each performance. By the run’s final night, they have expelled all energy and fall into an immoveable heap.

Sometimes the “true meaning of Christmas” becomes trite. This is cleverly countered when a vignette of going “home for the Holidays” turns out to be a “hate for the Holidays” adventure.

Everyone in the cast has extensive musical experience. They are excellent dancers and singers. Jalyn Courtenay Webb leads the cast. She also provides musical direction for the production. She has a wonderful voice. Charlotte Campbell, Anne Terze-Schwarz, Sarah Ledtke McCann, Taylor Marrs, JC McCann, Tezz Yancey, Tyler Baxter, Delany Garcia and Stephanie Garcia are all on stage for nearly the entire show – with each having an opportunity to “shine” as they recall holiday memories.

Stage set includes impressive snow trees on both sides of the stage. Costumes are very good. The entire production includes excellent choreography, excellent voices, and excellent band support. The “heart” of the Holiday is felt throughout. It reminds us that even the “wondrous” Holidays can provide some challenges. Sounds like life in general.

And there is that Act Two wonder of “O Silent Holy Night” that leaves the audience thunderstruck.

“Heart of the Holiday”

Midtown Arts Center

3750 South Mason Street, Fort Collins, CO 80525

To December 24, 2018

Telephone 970/225-2555

ONLINE: midtownartscenter.com

2018, Bas Bleu, Comedy, Fort Collins, Musical, Review

“The Flea and the Professor” Is An Event Of Delightful Fantasy.

December 7, 2018 Tom

Hans Christian Andersen Tale For Children Lights Up The Bas Bleu Stage.

Reviewed by Tom Jones,

June 22, 2018

With guileless delight six talented performers take stage this season having great fun explaining why they are NOT“The Greatest Show on Earth.” No, there is nothing “great” or even “showy” in this charming silliness recounting of a Hans Christian Andersen tale. “The Flea and The Professor” is reportedly his last creation. He was nearly 70 when he came up with this story that few have read. I wonder what he might have been smoking at the time, as there is neither rhyme nor reason why this should ever see the light of day as a story, let alone as a stage musical. That said, Bas Bleu has produced a beguiling evening of fun. The cast has no worries about staying on key or in step, allowing the audience to have as much fun as they appear to be having.

The Bas Bleu Theatre Company rehearses its production of “The Flea and the Professor,” November 21, 2018. Photo by Bill Cotton

Graeme Schultz has a gee-whiz charm that grabs the audience from the outset as The Professor. He has big ideas, but nothing that can amount to much. He longs to follow in his father’s footsteps in the air as a hot air balloonist. But first must find some means of employment, trying his luck as a carnival magician without much talent, and without much magic. His story is told by Sarah Paul-Glitch who begins the show as the story teller and ends up as The Professor’s wife. They are quite a pair. As his magician’s assistant, she is not willing to always disappear on stage or be sawed in half, so disappears from his life.

When The Professor’s luck and abilities have completely vanished, he scratches himself to find he has a flea. Not just any flea, but a flea with great ideas and a desire to be “a friend.” John Kean is probably six and one-half feet tall, and he emerges as the flea in The Professor’s life. He is a goofy wonder on his own. They develop an incredible friendship, making a pinky-pact to be lifelong buddies. They even develop a stage act that becomes unbelievably popular.

No, it makes no sense. But that is the charm of the entire 80-minute show of friendship and acceptance. And it is a musical. No melodies to carry you home, but they do provide winsome joy on stage. The show is a charmer.

Joining the three are Jennifer Brayas a 12-year-old spoiled and pouting Cannibal Princess, Kelly Forester as an over-the top Cannibal Queen, Michael Anthony Tatmon as the Cannibal King, and showing up everywhere doing everything is Paul Brewer as the Sea Captain, Loyal Subject, and everybody else. It is quite a troupe of rag-tag players, dressed in fashions that befit no one, but exuding delight at every silly moment. The Professor and his flea take their popular “show” around the world. They end upin an out-of-the-way island inhabited by cannibals – including the crazed cannibal royal family hungry for a human meal.

The total production is bizarre, and I found myself immersed in the infectious delight of the cast. Jordan Harrison wrote the script, and Director Jeffrey Bigger has done an amazing job of presenting the off-the-wall story. The show provides a sense of wonder, rarely found in current society.

Andersen was born in 1834 and became Denmark’s most famous author. His fairy tales include “The Emperor’s New Clothes, “The Little Mermaid,” “The Snow Queen,” “The Ugly Duckling”, “Frozen.” And the list goes on and on“The Flea” is rarely mentioned, but came to light as a stage musical written by Jordan Harrison. It received acclaim in 2011 receiving Barrymore Awards as Best Production of a Musical and Best Leading Man in a Musical. In the current Bas Bleu delight the“Not the Greatest” tackiness theme is apparent everywhere – the set, the costumes, the story. But the production itself is a real winner. Not the “Greatest,”but a real heartfelt winner.

“The Flea and The Professor”

Where: Bas Bleu Theatre Company

401 Pine Street, Fort Collins, CO 80524

When: To December 23, 2018

For Information: Telephone 970/498-8949

2018, Arvada Center, Comedy, Holiday, Musical

Newcomer Josh Houghton Is Brilliant As “Buddy” The Elf

November 24, 2018 Tom

“Elf – The Musical” Is Joyous Christmas Treat At Arvada Center

Reviewed by Tom Jones
November 21, 2018

The elves in Santa’s North Pole Workshop are a happy and busy crew, preparing toys for Santa to distribute worldwide. The fun begins. They are a clever sight to behold – all about three feet tall, spinning and dancing with glee. They are an efficient lot, all except one unusually tall and maybe not overly bright chap, Buddy. He overhears other elves discussing why he is not as efficient as they are. Speaking in hushed tones, they comment that Buddy’s probable problem is that he is “Human.” Buddy confronts Santa who confirms that he arrived at the North Pole after crawling into one of Santa’s bags as a baby on a long ago Christmas delivery. Santa has raised him as his own, but shares information as to where his true father lives. Buddy says “Goodbye” to the North Pole and heads for Manhattan to find his dad.

Josh Houghton (Buddy)
Matt Gale Photography 2018

Josh Houghton is enormously talented as the six-foot-six inch elf, Buddy. Houghton can sing. Houghton can dance. Houghton can mime. Is there anything this wonder cannot do? His timing is impeccable. He is a non-stop whirlwind of delight, as he becomes the naïve, enormously tall, and wonderfully kind Buddy.

Josh Houghton (Buddy) and elves
Matt Gale Photography 2018

When he reaches the New York City office of his father, Buddy is every bit as charming, fun, and nutty as he was among the elves at the North Pole. His father, well portrayed by Mark Devine, is not amused.

The basic story is familiar to those who saw the 2003 movie starring Will Farrell as Buddy. A few changes have occurred in transferring the movie to the stage, but it is every bit as charming and endearing as that first glimpse we had of Buddy many years ago. This stage musical version first appeared on Broadway in November of 2010 and has become a popular holiday season show.

Mark Devine (Walter Hobbs) and Josh Houghton (Buddy)
Matt Gale Photography 2018

Arvada is giving this great gift to audiences this season. Opening night enthusiasm was high, and a sold-out season may be in store. Gavin Mayer directs this charmer, especially using the skills of Kitty Skillman Hilsabeck’s choreography and Laura K. Love’s scenic design. The stage turns into a large children’s book of colorful artwork – the North Pole, the Manhattan Skyline, Rockefeller Plaza Skating Rink, The Tavern on the Green Restaurant in Central Park, and others. There is nonstop action – a wondrous rotating Christmas tree decorated before our eyes, a believable skating moment on the rink at Rockefeller Center, a host of not-so-happy off-duty dancing Santas as seen away from their work.

Leslie Hiatt (Jovie) and Josh Houghton (Buddy)
Matt Gale Photography 2018

“Elf” is truly Josh Houghton’s show. He does, however, have excellent assistance. Leslie Hiatt is enchanting as Jovie, the Macy’s employee who becomes Buddy’s love interest. Hiatt is especially good in her “Never Fall in Love with an Elf” rendition in Act II. Also in that second act is the musical report that “Nobody Cares about Santa” provided by the dancing Santas.

Maria Couch is very good as Buddy’s stepmother. Sharon Kay White is delightful as the Hobbs office employee who becomes a Buddy fan upon first meeting. Colin Alexander plays two rolls. He is a jolly and kind Santa; and a less-than jolly and less-than-kind, Mr. Greenway. The role of Buddy’s younger brother, Michael is played in various performances by Tyler Fruhwirth, Austin Golinksi and Harrison Hauptman. I saw Fruhwirth who was particularly good.

Josh Houghton (Buddy) and Colin Alexander (Santa)
Matt Gale Photography 2018

Music and lyrics by Matthew Sklar and Chad Beguelin are pleasant and warm-hearted. There are no melodies that the audience hums when leaving the theatre, but “A Christmas Song” hits home. This is an anthem to family, love, memories, and the Christmas spirit.

While the audience doesn’t go away humming, they do leave the theatre chuckling, when thinking of the total experience — especially incredible antics performed by Josh Houghton and entire cast in this seasonal charmer.

“Elf — The Musical”
Where: Main Stage Theatre, Arvada Center for the Arts and Humanities
6901 Wadsworth Boulevard, Arvada, CO 80003
When: Through December 23, 2018
Tickets: 720/898-7200
Online: Arvadacenter.org

2018, Fort Collins, Midtown Arts Center, Musical

“Orbison” Leaves Audience Cheering

October 15, 2018 Tom

There’s Dancing In The Aisles At Midtown Arts Center

Reviewed by Tom Jones
October 14, 2018

Open the floodgates, and let the adjectives flow. “The Roy Orbison Experience” has arrived in Fort Collins. And that voice. Where did Chris Trimboli come from? Bespectacled with the Roy Orbison trademark dark glasses, Trimboli began to sing – and what a voice! The audience went crazy. This was an evening of absolute joy.

While acquainted with some of Orbison’s music, I did not have an appreciation of his voice and talent until seeing this production. According to the program, several years ago Trimboli was approached by a producer who asked him if he knew who Roy Orbison was. He did not, so that night he went home and started listening to Orison music and researching the man behind the glasses.

Product of that introduction is the musical now premiering in Fort Collins. Trimboli had done his work learning about Orbison and is now portraying the musical legend in the show that he wrote. Trimboli may just become a legend himself, as his voice, like that of Orbison, is one of a kind.

The format is interesting — on one end of the ballroom is a slightly-raised platform where the band plays, including enough space for singers to perform from time to time. The other end also has a raised platform with three or four microphones for the performers to use to tell of Orbison’s life and to sing some of the music. I was sitting very near to the orchestra, and found myself continually craning my neck to find which end of the room I needed to be watching. This also led to some difficulty in understanding the story itself. The band frequently played (although softly) during some of the narrative, and I had difficulty understanding what was being said.

Roy Orbison was born in the Texas oil fields town of Wink. He began composing music early and was a contemporary of the Beatles, Johnny Cash, Linda Ronstadt, Patsy Cline, Elvis Presley, and other musicians of the era. Although he died 30 years ago, he remains one of the most respected musician and composers in the annals of American music history. His career had substantial highs and lows, as did his personal life. His first wife died in a motorcycle accident, followed two years later by the death of his two eldest sons in a fire that destroyed his Tennessee home. He remarried, and his career was having a tremendous rebirth, only for him to die of a heart attack at age 52. He left a remarkable legacy of achievement. – Not only music he performed, but also music he composed for others.

John Seaberry provided musical arrangements for the current Orbison show. He plays bass in the band, with Victor Walter on the piano, Ryan Millard on guitar, and Dean Vlachos on percussion. Chris Trimboli is music director.

The musical showcases many of Orbison’s classics, using the voice of Trimboli, as well as voices of three very talented back-up performers. Anthony Weber looks and sounds like he might be another Trimboli or Orbison in the making. Emily Erkman has extensive experience as a lead singer for several bands. Delany Garcia brought the house down with her “Blue Bayou.” This is the now-grown-up version of the young girl who charmed me as young Mary Lennox years ago at Greeley’s Union Colony Dinner Theatre’s production of “The Secret Garden.” I could hardly believe my eyes and ears.

Northern Colorado has great credentials with this show, as Weber studied OperaPerformance at CSU, Chris Trimboli is a graduate of the University of Northern Colorado, and Delany Garcia is a senior there this year. Erkman spent the early years of her career in New York and in Colorado

The excellent skills of Michael Lasris are apparent as he directs the show – keeping the audience’s attention moving from one side of the room to the other while creating such memorable moments of Roy Orbison’s legacy, with such magic music as “Blue Bayou, “Oh Pretty Woman,” “Only the Lonely,” “Crying,” and a host of others.

The audience was not eager for the show to end. They were clapping, cheering, and dancing in the aisles. This is super entertainment.

And what a year this is for the show’s producer, Jalyn Courtenay Webb. She sings. She acts. She performs. She teaches. This past summer the Colorado Theatre Guild honored her as Best Actress in a Musical for her role in “Always, Patsy Cline” at MAC. Webb is the founder of the new divabee Productions, and can now add “producer” to her resume. This is her first venture producing a show. And what a winner it is.

“The Roy Orbison Experience”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To November 18, 2018
Information: Box Office: 970/225-2555
Tickets: www.midtownartscenter.com

2018, Candelight, Musical, Review

Mary Poppins Flies & Bert Turns Things Upside Down in Johnstown

September 10, 2018 Tom

Disney’s Delight Lands Onstage at Candlelight Dinner Playhouse

Reviewed by Tom Jones
September 9, 2018

That ever-efficient nanny, Mary Poppins, is flying in and out of Johnstown this season. Harmony Livingston is delightful as the ingenious Poppins who proclaims that she is “Practically Perfect” in every way as she arrives at the George Banks household in London. The family has not been successful in finding a good nanny, as the two children have run off a string of would-be-governesses. Mary is a no-nonsense dynamo that knows just what children need, and how to make them enjoy the transformation.

Livingston is given great help by Bert, her longtime friend in fantasy. Cole Emarine is super as the mysterious friend who turns up here and there and everywhere as a friend to all. We originally meet him as an artist displaying paintings in a public park. He then turns up at a local fair, and finally as a chimney sweep who promises good luck to anyone who shakes his (dirty) hand.

Livingston as Mary and Emarine as Bert make a very impressive duo. They are both multi- talented, have great singing voices and can dance up a storm. Emarine’s athletic skills have him performing a maneuver that needs to be seen to be believed, dancing with his chimney-sweeping friends late in Act Two.

The action takes place in London, on Cherry Tree Lane, at a local park, and at the bank where George Banks works. There is a bit of mysterious magic permeating the show, mostly due to Poppins’ extra-ordinary abilities. When the show begins to lag, a mind-blowing evil Miss Andrew turns up. Referred to as “The Holy Terror,” when serving as George Banks’ childhood nanny years ago, she continues to be an evil and brutal tyrant. When the now-adult George sees her, he immediately flees the home. He has never fully recuperated from being under her care. Victoria Pace briefly steals the show in her performance as the dreadful Miss Andrew, appalled that Poppins’ kindness can have any effect on the home.

Everyone in the cast is skillful. Scott Hurst is believable as George Banks, the family head who has virtually traded his family for his job. Alisha Winter-Hayes is convincing as the ever-suffering kindly wife who is not pleased with the way her husband treats her and the children, but doesn’t know how to do anything about it. Scotty Shaffer and Annie Dwyer are the household servants whose jobs appear to entail ignoring anything unpleasant going on, and merely do their work. The roles of the two Banks children are double-cast, with Julia Gibson and Gwyneth Bohl trading places as Jane; and Ryan Fisher and John Miley portraying Michael. I saw Bohl and Miley. They both appeared to be at ease on the large stage, mixing well with experienced performers.

A well-designed and crafted set displays great detail of the buildings and park. Costumes and lighting are also excellent. Choreography is by Kate Vallee who excels with the chimney sweepers “Step in Time” and with everyone in incredible synchronization for “Supercalifragilisticexpialidocious” (twice!). Director Pat Payne has assembled a spirited cast of performers and has carefully used the talents of set designers, costumers, lighting and technicians. He appears to have figured out how to cast a magic spell on the entire show.

“Mary Poppins,” as seen this season in Johnstown, has music and lyrics by Richard M. Sherman and his brother Robert B. Sherman, with additional music and lyrics by George Stiles and Anthony Drewe. Script is by Julian Fellowes. The musical is based on children’s books by P. L. Travers and the 1964 Disney film, using various elements from both sources.

The original West End production opened in London in December of 2004, and subsequently transferred to Broadway two years later. It received numerous awards on both sides of the Atlantic and has been performed world-wide. The music has become classic Disney: “Practically Perfect,” Jolly Holiday with Mary,” “A Spoonful of Sugar,” “Feed the Birds,” Chim Chim Cherr-ee,” “Step in Time,” and the forever challenging “Supercalifragilisticexpialidocious.” (Can you spell it backwards?)

Just like the nanny portrayed, the musical “Mary Poppins” is “practically perfect in every way’”

“Mary Poppins”

Where: Candlelight Dinner Playhouse
4747 Marketplace Drive, Johnstown, CO
When: To November 11, 2018
For Tickets: Box Office: 970/744-3747
Website: ColoradoCandlelight.com

2018, Fort Collins, Midtown Arts Center, Musical

“West Side Story” is Wondrous at Midtown Arts

September 10, 2018 Tom

Leonard Bernstein Music Is As Glorious As Ever

Reviewed by Tom Jones
September 7, 2018

Early in Act I Kyle Smith, as Tony, musically tells the audience that “Something’s coming and it’s gonna be great.” That promise is wondrously fulfilled in this excellent production of the Broadway classic, “West Side Story.”

Tony has been leader of a youth gang, the Jets. When his gang swoops onto stage in an amazing display of choreography, they set the tone for an especially rewarding evening of talent. The Jets are not a happy group, as their “territory” is being threatened by the sudden emergence of Puerto Rican immigrants, The Sharks.

Choreographer Jerome Robbins had the idea of putting Shakespeare’s “Romeo and Juliet” in the context of the teenage gang warfare in New York City of the 1950s. He worked with composer Leonard Bernstein to produce a near-ballet telling of the turmoil. Lyrics are by Stephen Sondheim who was then just 26 years old. The collaboration opened in New York in 1957, and went on to fame worldwide as a stage musical and later as an Academy Award winning movie. Their efforts have stood the test of time, and the story is every bit as relevant now as it was 60 years ago. The Leonard Bernstein score has become a classic, and the MAC orchestra provides an excellent rendition.

When Tony, former Jet leader, meets Maria, the sister of the Shark leader, all interest in gang rivalry vanishes. He is immediately smitten, and so is the audience. Chemistry between Kyle Smith as Tony and Josy Soriano as Maria is palpable. The introduction of the two amidst the dance at the high school gym is one of Broadways most rewarding scenes, with Tony singing the ever-beautiful, “Maria.” Stage musicals don’t get much better than this! Soriano is especially impressive as the young Puerto Rican immigrant, Maria

Jill Godfrey is credited for directing and choreographing this current marvel. She has the Jets and Sharks displaying their physical manliness while erupting in near-classical ballet. The fight scenes are staged with great believability, and the dancing is continually exciting. Substantial preparation and training are evident in providing such effective results. Jalyn Courtenay Webb is musical director, reminding the audience that the songs continue to be as enchanting as ever – “Something’s Coming,” “Maria,” “America,” “I Feel Pretty,” “Somewhere,” and the delightful “Gee, Officer Krupke.”

Some in the cast are beyond their teenage years, but talent abounds. Samuel Rene Damare doesn’t miss a beat as the Jet’s “Riff.” Dorian O’Brien” is excellent as his Shark nemesis, “Bernardo.” Demi Ahlert holds center stage in the palm of her hand as Maria’s friend, “Anita.” Sara Kowalski is sheer delight as the young girl who doesn’t yet fit into any group, and so desires to “belong.” Christopher Alvarado as Chino is convincingly heart-broken with his actions. In reality, there is not a weak link in the entire group of accomplished actors, singers, and dancers. Special note must be paid to Daniel Harkins as the mean-spirited cop who would like to erase the Puerto Ricans from the area, and to John Jankow, owner of the local drug store, desperately trying to retain some sort of peace and order between the rival toughs.

Set, lighting, and costumes are all very effective.

Beautifully portrayed, “West Side Story” is not a happy tale. This is a gritty production, with an undercurrent of continued fear and apprehension, laced with the desire of hope for a better future. As the show ended, the audience was in stunned silence for several seconds before reality of the excellence they had witnessed set in. Then virtually everyone stood up to cheer and express appreciation.

Prior to the beginning of the Opening Night performance, the cast and crew honored Kurt Terrio, owner of The Midtown Arts Center.” This production of “West Side Story” is the 100th show Terrio has produced over the years in various venues. Work on an earlier version of “West Side Story” was one of his first efforts.

“West Side Story”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To November 11, 2018
Information: Box Office: 970/225-2555
Tickets: www.midtownartscenter.com

2018, Arvada Center, Musical, Review

“Mamma Mia!” At Its Best As Live Theatre!

September 10, 2018 Tom

The Arvada Center for the Arts and Humanities Hosts Delicious ABBA Treat

Reviewed by Tom Jones
September 8, 2018

Sophie is in a bind. She is about to be married, and wants to invite her father to walk her down the aisle. Problem is that she does not know who her father is. Raised by a single parent mom who runs a guesthouse on a tiny Greek island, Sophie finds her mother’s diary, learning that her mother had liaisons with three different men who just might be her father.

What to do? Invite all three to the wedding!

Mariah MacFarlane (Sophie) and Shanna Steele (Donna)
Matt Gale Photography 2018

Such is a premise of the delightful “Mamma Mia!” on stage this autumn at The Arvada Center for the Arts and Humanities. It is a joy from beginning to end. Mariah MacFarlane and Shannan Steele are both excellent as Sophie, and her mother, Donna Sheridan. Worth billing as a “cast” member is the incredible set designed by Brian Mallgrave. It is as sunny and inviting as a sunny day on a Greek island, and as warm and comfortable as a guest bedroom in a charming vacation villa.

The Arvada Center was honored this past July as the Colorado Theatre Guild for Outstanding Season for a Threatre Company. Included in its list of recent wonders are “Sense and Sensibility,” “Joseph and the Amazing Technicolor Dreamcoat,” “Sunday in the Park with George,” and “All My Sons.” What to do for an encore? Have Director Rod A. Lansberry put together a production of “Mamma Mia!”

“Mamma” burst onto the stage in London in 1997 and was an instant success. The idea was interesting. Take some of the Swedish group ABBA’s already-existing hit songs, weave them into a basic story of young love, and magic pops out of the magician’s hat! Music and lyrics are by Benny Andersson and Bjorn Ulvaeus, with book by Catherine Johnson. It premiered in London in 1999 and became a worldwide sensation. It opened in New York City in 2001 and played 5,773 performances before closing 14 years later. The 2008 movie version is reportedly the most successful movie ever shown in England.

Glenn DeVar (Sky) and Mariah MacFarlane (Sophie)
Matt Gale Photography 2018

As wedding guests arrive, we meet several young friends of the engaged couple, two of Donna’s longtime “best friends,” and the three possible fathers, not realizing why they are invited, and not realizing they may have fathered a beautiful daughter – about to be wed.

Then there is the ever-welcome music – “I Have a Dream,” “Thank You for the Music,” “Mamma Mia,” “Dancing Queen,” “The Winner Takes All,” “I Do, Do, I Do,” and many more.

MacFarlane and Steele headline the always-entertaining cast, with additional sensational performances by Kitty Skillman Hilsabeck and Piper Lindsay Arpan as Donna’s friends, Rosie and Tanya, with Daniel Robert Sullivan, Mark Devine and Jeffrey Roark as the unsuspecting potential father of the bride. Hilsabeck also provided the highly appreciated toe-tapping choreography.

The set, direction, and performances are not the only marvels. The orchestra, lighting and costumes are all equally impressive.

If the thunderous applause from the opening night Arvada audience is any indication, tickets to “Mamma Mia!” are going to be difficult to find. This is a joyful experience, and the audience was hesitant to let the performers leave the stage.

“Mamma Mia!”
Where: Main Stage, Arvada Center for the Arts and Humanities.
6901 Wadsworth Boulevard, Arvada, CO 80003-9985
When: Through September 30, 2018
Tickets: 720/898-7200
For more information: Arvadacenter.org

2018, Fort Collins, Midtown Arts Center, Musical

“Grease” Performers Younger Than Ever

August 21, 2018 Tom

The Academy at Midtown Arts Center Provides Three Versions Of The Teenage Classic

Reviewed by Tom Jones
August 19, 2018

Three weeks! Three weeks from first read-through to standing ovation performance. Must be some sort of record! Staff of The Academy at Midtown Arts Center in Fort Collins worked in overdrive all summer to provide three separate versions of “Grease.” Two of the versions were designed for younger performers, third through eighth grades. The third one was comprised of high school age students.

Each section session lasted three weeks, each providing an entire production of “Grease” after three weeks at the Academy. The performance I saw was enormous fun – the youngest section of this summer’s Academy offerings. Sizes went from mini to maxi, with some diminutive performers displaying some enormous potential. And the attitudes were great. Youngsters with greased hair and black leather jackets strutted with great élan. Girls, some tough as nails, some shy as mice, came through with great vim as the school’s Pink Ladies clique. Everyone on stage was obviously having a great time. So was the audience – most friends and families of the performers.

The only “adults” in evidence on stage were the super band of experienced “Grease” music providers. Some were the same as performing at Midtown Arts Center’s “Grease” production this summer that runs to August 26. They provided excellent background for the young stars to shine.

This was the first stage experience for most of the performers I saw. There are already some standouts. Ella Tremblay is the show’s star as Sandy Dumbrowski, the wide-eyed innocent who transfers to the rowdy Rydell High School in 1959 without knowing anyone. Tremblay is great. She has excellent stage presence, a very good voice, and looks terrific.

Giving Tremblay great support were Zoe Glenn as the rough and tumble Rizzo; Katie Brown, as the overly-enthusiastic and universally disliked cheerleader Patty. Ellie Swain was the continually-eating Jan whose daily highlight is going through everyone’s sack lunches. Maya Stanley was excellent as Cha Cha. Gillian McCreery was convincing as “Frenchie” the beauty school dropout, who had everyone routing for her to succeed. Kathryn Attkisson was in fine form as Marty, singing of her “Freddy, My Love.”

Across the school’s cafeteria from the girls Pink Ladies clique, are the tough-guy wannabees. They become angry when one of their pack, Danny Zuko, might want to change his ways and hook up with the innocent Sandy. Zach Pickett is in good voice for the role, but does come across as too-kind for the pack. Cameren Torres has great fun as Kenickie, standing atop his new car to sing, “Greased Lightning.” Maisen Theisen was the guitar thumping Doody. Amy Smith nearly stole the show as Sonny, the sunglass-wielding, swaggerer.

While the cast isn’t quite yet ready for prime-time, such just may be on the horizon for several. And in the meantime, it appears that everyone was having a swell time on stage. And all after only three weeks from first-read to final curtain! The cast for each show is large, with more than 50 performers participating in each of the Academy’s three sections this summer.

Michael Lasris directed the show, with Jalyn Courtenay Webb as producer and artistic director, Emily Erkman was musical director, and original choreography was by Joshua Buscher. Instructors for the three show-providing sessions were Katie Burke, Abbie Hanawait, and Kyle Smith. Interns included Max Allan, Emily Hevelone, Sky Hume, Aliyah Kirkes, Zoe Maiberger, Naomi Roberts, Melanie Smith, Evan Wilusz, and Marion Yager, with Alyssa Ankney and Jon Collins as tech crew. Britni Girard was costumer.

The friendly audience was awed by the choreography, with more than 50 young performers on stage at the same time in many scenes – singing and their dancing their hearts out. “Grease is the word” this year at Midtown Arts Center.

The Academy concluded its “Grease” shows August 19, and the professional version of the show continues on stage to August 26.

The Academy at Midtown Arts Center
3750 South Mason Street, Fort Collins, CO 80525
Telephone: 970/225-2555

Registration is now open for fall classes at the Academy. Classes begin September 10. Use code “early bird” for $50 off any class.
Register at www.midtownartcsenter.com/education.

2018, Candelight, Musical

Enthusiastic Audience Greets Disney’s “Newsies”

July 2, 2018 Tom

Very Large Cast At Candlelight Dinner Playhouse Hits All The Right Notes

Reviewed by Tom Jones
June 29, 2018

Dancing is terrific! Director Pat Payne and Choreographer Matthew D. Peters have rounded up an amazing group of dancers to soar and leap nearly non-stop for two and one-half hours. Opening night audience broke into applause a couple of times during the routines – not even waiting until the end of the dance.

Alan Menken wrote the “Newsies” music, but it is not every-day familiar. Most of the audience appeared to know it better than I did. Many noted they were fans of the 1992 movie musical starring Christian Bale. One woman in the Candlelight opening night audience mentioned that when she was a teenager, the weekly slumber parties usually included their favorite movie – “Newsies.” She claims to have seen it 14 times. The movie was a critical and financial failure, but subsequently developed a surprisingly large fanbase. Bale noted, “You say something bad about “Newsies” and you have an awful lot of people to answer to.”

When the movie became a Broadway show, it became a hit and ran for more than 1,000 performances, gaining a whole new generation of fans. The production was highly honored, especially for the choreography, and has transferred to the Candlelight stage with great enthusiasm.

Some of the older patrons, such as me, who grew with Broadway’s “Sound of Music,” “South Pacific,” and “The King and I” initially had a difficult time. Diction was not perfect early in the show. But once the story line began to make sense, the audience was more appreciative. By the time Act II concluded, everyone appeared to be “aboard,” and curtain call acclaim was exciting.

Story is loosely based on an actual strike event in New York City in1899. Newspapers were sold by young men and women, “Newsies,” who had to buy the papers each day, making money only on the papers they sold, as none were returnable. Joseph Pulitzer, publisher of the New York World, realized the paper would make more money if he increased fees the Newsies needed to pay. Kent Sugg is very good as the heartless Pulitzer. Pulitzer went on to great fame and glory with creation of the “Pulitzer Prizes” in later years. In 1899, however, such generosity was not on the horizon. Even New York Governor Teddy Roosevelt, well portrayed by David L Wygant, was not happy with Pulitzer at the time.

The plight of the Newsies was made even darker, as the police would pick up young boys for a variety of supposed crimes and have them incarcerated in “The Refuge.” This was a horrific situation, as the boys suffered while the police made government money for each boy they placed.

“Newsies” Jack Kelly is the ring leader of the unhappy young newspaper hawkers, encouraging then to go on strike to reverse the fee increase. Logan Traver sings well as the unhappy Jack, desperately wanting to escape the plight of New York City, and wishing to re-locate to the site of his dreams, Santa Fe. Traver has a very good singing voice and is an exceptional dancer. Harmony Livingston plays Katherine Plumber, a journalist who is interested in the Newsies plight. It turns out that she has more to offer than Jack Kelly ever imagined.

While the cast is universally talented, several performances stand out, including newcomer Hugh Butterfield as Romeo making his Candlelight debut, Ben Welch as the unfortunately handicapped “Crutchie” who is taken to the dreadful Refuge, and Cole Emarine who serves as dance captain. There are 28 performers in the large cast. The role of the young Les is played by Tyler Fruhwirth and Hayden McDonald in alternating performances. Tyler performed the role opening night and was delightful as the spunky young boy.

Choreography continues to be “Newsies” primary claim to fame. Early in Act 2, the audience broke into applause during the “King of New York” routine. Choreographer Matthew D. Peters put dancers through a “boot camp for dancers” early in the rehearsal schedule, making certain the already-talented performers could maintain their stamina through an exhaustive production. They have learned well, and stamina they have! Pat Payne’s direction of the entire production is excellent.

“Newsies” is a joy for fans of the movie, as well as for the older audiences, delighted to learn what all the fuss is about from the younger generations.

“Newsies”
Where: Candlelight Dinner Playhouse
4747 Marketplace Drive, Johnstown, CO
When: To August 26, 2018
For Tickets: Box Office: 970/744-3747
Online: www.ColoradoCandlelight.com

2018, Fort Collins, Midtown Arts Center, Musical

“Look at Me, I’m Sandra Dee!”

June 18, 2018 Tom

High Energy “Grease Lightning” Lights Up Fort Collins Midtown Arts Center

Reviewed by Tom Jones
June 15, 2018

Yep, “Sandra Dee” is musically back in town. And she brought a whole bunch of her famous friends from Rydell High School of 1959. Oh, yea, and also there is the goody two-shoes Sandy, transplanted from a different school, who has a difficult time finding her way in the new environment. The gentle guy she met on vacation on the beach that past summer turns up as head honcho of some not-so-pleasant dudes in the school.

This month the movie version of “Grease” celebrates its 40th anniversary. In observation of that long-ago date, Midtown Arts Center in Fort Collins has assembled the whole gang of teenagers to take us through the paces of what high school life was like in the 1950s.

In those days gone by, songs had lyrics everyone could understand and repeat. Many of those songs are incredibly well known even now – “Summer Nights,” “Greased Lightning,” “Look at Me, I’m Sandra Dee,” “Hopelessly Devoted to You,” and “You’re the One That I Want.”

John Travolta swaggered through the movie with great élan as Danny, with Olivia Newton John as the charming innocent, Sandy. For this stage version, Kyle Smith plays Danny Zuko with Lizzy Hinton as Sandy Dumbrowski. This is not the Sandra Dee of 1950s movie fame. Dee was the model of what a “good girl” should be in the era.

That “Sandy” was the epitome of wholesomeness, mocked by the rougher elements of society as someone to be disdained and pitied When Dumbrowski arrives at her new school the Pink Ladies show off their supposed superiority, mocking her with–
“Look, at Me. I’m Sandra Dee, lousy with virginity.
Won’t go to bed ‘til I’m legally wed. I can’t, I’m Sandra Dee.”

On leaving the theatre, a member of the audience noted, “It was like the entire stage was full of leads.” Voices are very good and the dancing is astonishing The MAC production was directed and choreographed by Joshua Buscher with Jalyn Courtenay Webb serving as music director. Buscher was in the Fort Collins Carousel Theatre production of “Grease” 12 years ago while he was a student at UNC. Six months after graduating, he appeared in the revival of “West Side Story” for two years, and has been in Broadway productions of “Priscilla, Queen of the Desert,” and “Big Fish.”

Music was furnished by a super group of on-stage musicians, with the minimal props and action going on in front of them. There didn’t initially appear to be much room for choreography, but Director Buscher has provided routines that could be confined into smaller spaces, and the syncopated moves were flawless.

The stage musical, as originally conceived, was a raunchy, raw and aggressive tale that was subsequently toned down. It has been further modified to become a landmark of teenage angst. It is basically a look at what peer pressure can do, but taking a sometimes comical look at what teenagers felt they needed to do to be part of a group. “Sandra Dee” in the song becomes a “Sandy” who has potential of being a tough gal in the Pink Ladies clique.

It opened on Broadway in 1971 and ran for nearly ten years. When it closed in 1980, it was then the longest run in Broadway history. The production now onstage at MAC has a few very brief moments of toughness, but is generally family oriented, and a true delight to see. Versions of it have played worldwide, and the John Travolta movie turned up in 1978, resulting in virtual adoration.

Jalyn Courtenay Webb is convincing as Miss Lynch, the high school teacher who tries to help the students maneuver through the pitfalls of adolescence – pitfalls that she has not yet personally overcome. Tara Fitzgerald is the tough-as-nails, Rizzo, the unofficial leader of the Pink Ladies clique. Abigail Hanawalt is delightful as the non-too-bright Frenchie, a “Beauty School Dropout.”

Stuart Rial is great fun as the nerdy Eugene, who can do virtually anything, except find his way into the “in” crowd. Rakeem Lawrence is very good as Roger, the high schooler whose main claim to fame is that he “moons” every chance he gets. Taylor Marrs turns up in two crazed roles – the disc jockey Vince Fontaine and also as the Teen Angel performer. Mid way through Act I. Corbin George provided his personal dynamite as Kenickie with his over-the-top vocalizing of “Greased Lightning.”

Christy Oberndorf, Stephanie Garcia, Amy Dollar, Timothy Canali, Peyton Schoenhofer, Carley Ingold, Anthony Weber, and Delany Garcia complete the roster of talents on stage – several with individual moments to shine. Even Kenickie’s cherished convertible becomes a featured performer as “Greased Lightning.”

The total show is a delightful romp of looking at the teenagers of the last century, making us wonder how we might behave if we could be temporarily transplanted into the rock and roll generation. Then every guy wanted his greased hair slicked back, his own “Greased Lightning” convertible, and every girl wanted to be “Hopelessly Devoted” to someone.

“Grease”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To August 25, 2018
Box Office: 970/225-2555
Tickets: www.midtownartscenter.com

2018, Candelight, Musical, Review

Another Opening – Another Show! 17 days until Disney’s “Newsies” sweeps into Johnstown!

June 15, 2018 Tom

Candlelight Dinner Playhouse Offers Acclaimed Show “Newsies” For Summer Run.

Reported by Tom Jones
June 12, 1018

I am an unabashed theater fan. I continue to get an adrenalin rush each time I sit in an audience, waiting to be amazed as the lights go down and the show begins, especially musicals. I take for granted the extensive work that has usually gone into making a play or musical succeed.

This has been an especially rich season for Colorado theatre, including such wonders as “Ragtime” at Midtown Arts Center, “The Little Mermaid” at Boulder Dinner Theatre Stage, ”Sunday in the Park with George” at Arvada Center for the Arts and Humanities, and the upcoming “Grease” at Midtown Arts. I decided to look into the “making” of a show, and received permission to attend a rehearsal of Disney’s “Newsies,” now in preparation at the Candlelight Dinner Playhouse.

Tuesday, June 12, the entire cast of “Newsies” assembled for what looked to be a marathon rehearsal. The show doesn’t open until June 29, but cast and crew were in full preparation of what has potential of being a seasonal winner.

I arrived at the theatre’s rehearsal hall to spend a couple of hours watching the cast go through their paces. There were about 15 ensemble dancers – 12 guys and three girls, plus about ten other performers, all acting, singing, and dancing. “Five, six, seven, eight. Again — one, two, three, four….” Choreographer Matthew D. Peters was counting as the dancers went through the steps time and time again. He knows what he is looking for. He appeared to be a patient man. And no one seemed to complain when he said, “Ok, let’s try it again.” He choreographed, directed, and is in the cast of the currently-running “The Little Mermaid” in Boulder.

I did not see the”Newsies” movie on which the theater production was based. Nor did I see the original Broadway production or subsequent touring company. I did see a version of the show last summer at Tuacahn in Southern, Utah, and was thunderstruck by the ten minutes of opening-scene dancing.

The current “Newsies” director, Pat Payne advised me a few weeks ago that the dancers were going through a couple weeks of “dancing boot camp.” He noted, “The show is so physical that the dancers must have great stamina to make it through the full two and one-half hours each performance.”

Matthew Peters, Choreographer
Photo Courtesy of Tom Jones

We are aware that professional athletes train unmercifully, but seldom realize the theater performers have similarly arduous training. The performers I saw rehearsing had already passed the “tryout” period and had been cast for the show. Everyone was doing his or her darndest to hit the steps correctly as Peters counted, “One, two, three, four…” The rehearsal was set to continue for possibly eight more hours that day.

The first scene I saw being rehearsed consisted of just a few bars of an Act Two song and dance, “King of New York.” The routine was being rehearsed as a “soft shoe.” The floor of the rehearsal room cannot withstand the strain of tap shoes which will be featured when the show opens on stage. Visibly helpful during the rehearsal was Stage Manager Malia Stoner who appeared to be everywhere, when needed.

On hand to watch the initial dance routine were Harmony Livingston and Logan Traver who are the production’s leads. When they took their places in the rehearsal for the Act Two run-through, they stunned the viewing cast. Their voices are excellent, and their physical chemistry is dynamic.

Pat Payne, Director
Photo Courtesy of Tom Jones

Director Pat Payne has impeccable credentials. He appears to be as patient as choreographer Peters, and the two seem to have utmost respect from the assembled cast. Payne and Peters have put together an incredibly talented group of performers of many ages for this based-on-an actual event show. I didn’t see the set, which is to be a replica of lower Manhattan in 1899. The “orchestra” consisted of a man at a keyboard, and another hitting a soundbox for some recording helps.

Lack of scenery, costumes, or orchestra, did not appear to affect the rehearsing performers, who acted, sang and danced as if they were on a stage in front of a large audience. I was in awe of the natural talent in evidence. Some of the faces (and dancing feet) were familiar to me, including Leo Battle, Elliot Clough, Sarah Grover, Eric Heine, Sara Kowalski, Heather McClain, Kent Sugg, Broc Timmerman, and David Wygant. Many have extensive experience at Candlelight and in other theatres in the area.

No one appeared to be trying to outdo others in the cast. That afternoon it was as if I was attending a large family reunion where everyone was actually happy to see each other and share their talents! Tempers may have flared later in the day; but while I was watching, the experience could not have appeared more pleasant and normal. And extremely interesting.

“Newsies” began as a Disney movie in 1992 based on a real-life newsboys strike in New York City. The musical stage version arrived on Broadway in 2012 receiving great acclaim, including Tony Awards for choreography and original score.

While choreographer Mathew D. Peters and his assistant Cole Emarine were counting dancing moves with “five, six, seven eight,” the entire group was counting down the 17 days prior to the show’s opening night at Candlelight.

Colorado’s theatergoers’ percentages rank among the nation’s highest. In 2015, 59% of all Coloradoans attended a visual arts event, vs. 39% nationwide. I will be interested to see how I and the thousands of Colorado theatre fans respond to the based-on-reality and soaring choreography of “Newsies,” opening at the Candlelight June 29.

An incredible amount of work and extensive rehearsals have already gone into the production. I’ve seen some of it, meticulously counted out – “Five, six, seven, eight. Again, one, two, three four…….”

“Newsies”
Where: Candlelight Dinner Playhouse
4747 Marketplace Drive, Johnstown
To: June 29 to August 26, 2018
For Tickets: Box Office: 970/744-3747
Online: www.ColoradoCandlelight.com

2018, Boulder, Musical, Review

“The Little Mermaid” Is Feast Of Sight & Sound!

June 13, 2018 Tom

Hans Christian Andersen’s Underwater Tale Surfaces With Great Beauty

Reviewed by Tom Jones
June 10, 2018

Roll out the adjectives. Last night I saw opening night of “The Little Mermaid” at the Boulder Dinner Theatre Stage. I don’t know quite how to adequately report the wonders of that five-star theatrical feast without sounding sappy in my affection for the show.
Hans Christian Andersen’s tale of the mermaid who longs to be human remains intact, but the “telling” becomes a wonder of talent and stagecraft. The staging is nothing short of amazing. The entertainment “feast” has so many courses, that it is hard to know what to include and what to leave out, to further surprise the audience.

For starters, there is the underwater sequence where mermaid Ariel swims up to rescue the drowning Prince Eric who has fallen overboard from a storm-tossed ship. There is the continuing story shift from land above the ocean, to a ship on the ocean and to the sea beneath. The underwater scenes are incredible, as the cast continually move their “fins” enough to remind the audience that we are seeing something under the sea, while not becoming annoying with the movement.

There are the puppets portraying underwater delights, again moving as if with the flow of the tide. The Act One “Under the Sea” production number is one of the most visually dazzling sequences in memory. I did not want the scene to conclude, as the stage was alive with the excitement of being beneath the sea’s surface. Not to be outdone is an Act Two “Kiss the Girl.” This time the action is on a lagoon above the water, with puppet birds and creatures coming to enchant Ariel and Eric in a rowboat.

I am in awe at what the entire creative team at BDTS has accomplished. The direction, choreography, music, scenic design, audio, costumes and wigs, lighting, puppetry, projections, and flying design are impeccable. I can’t fathom what producing this production has entailed. Matthew D. Peters is the show’s director and choreographer who put together this wonder, produced by Michael J. Duran, with Alicia K. Meyers as assistant director.

Lillian Buonocore is charming as the confused Ariel. It is her voice the sailors hear when she emerges from the water. Buonocore’s background in classical ballet is on full display, as she is the continually moving fish under the sea, and the woman who can’t initially figure out how to use her legs when such becomes a possibility. Cole LaFonte is equally charming as Prince Eric. His voice and stage presence are impressive, and the audience and assembled cast encourage him to “Kiss the Girl” to hopefully end the evil spell cast upon her by the witch of the sea.

Supporting roles include the over-the-top evil Ursula, played by Alicia K. Meyers. Ursula is the evil witch of the sea, sister of King Triton, who will stop at nothing to win the kingdom’s title for herself. Chaz Lederer becomes Flounder the fish in love with Ariel. Bob Hoppe is non-stop delight as he taps and swims and flies as Scuttle. Scott Severtson is the underwater King Triton, with Brian and Jackson and Matthew D. Peters portraying the underwater Flotsam and Jetsam. Scott Beyette has his moments to shine as Chef Louis the above-ground chef preparing a fish meal for Ariel, without realizing that the mermaid has no desire to “eat her own.” Brian Burron is excellent as the ever-present servant Grimbsy who tries to make some order out of chaos. Sometimes stealing the show is Sebastian, the puppet crab played by Anthony P. McGlaun in the performance I saw. He is eager to help Ariel whenever possible, not so eager to be her meal when the palace chef prepares fish for dinner.

Ariel’s visits to the seashore have encouraged her to sing to the waters, with her voice beguiling many. She is also fascinated by “humans” and has created an underwater display of everything she has found in the ocean, including discarded forks that she assumes must be hair combs. Her father King Triton, is dismayed with his youngest daughter’s interest in humans, and refuses permission for her to “surface.”

Hans Christian Andersen’s original story appeared in an 1837 collection of his fairy tales. The collection also included “The Princess and the Pea,” “Thumbelina,” and “The Emperor’s New Clothes.” The collection was not immediately successful, as Andersen’s prior successes had been as a travel writer and novelist. His fairy tales, however, resulted in his becoming the best known Danish writer. He was only 32 when “The Little Mermaid was published in the series of stories.

The animated movie version of “The Little Mermaid” was created by the Disney Corporation and released in 1989. The stage musical came to life in Denver in 2007 prior to opening on Broadway the next year. It ran for nearly 700 performances on Broadway and has subsequently been produced worldwide. The Broadway version was adapted for the touring company in 2015, with that version now being seen on stage in Boulder.

And what a sight to see! The sets, the lighting, the costumes, the flying, and the incredible beauty of the entire production. Seeing it nearly becomes gluttonous. I had visually consumed so much that I was somewhat overfull. Act Two is too long, and a slightly-reduced offering would be preferred. It took me a few post-show hours to properly digest and reflect on what I had seen, appreciating the wonder of it all.

“The Little Mermaid”
To September 8, 2018
BDT Stage – Boulder’s Dinner Theatre
5501 Arapahoe Avenue
Boulder, CO 80303
Telephone: 303/449-6000
Online: BDTStage.com

2018, Candelight, Musical

“The Impossible Dream” Is A Spell-Binding Success On Stage At “Candlelight”

May 19, 2018 Tom

David Wygant’s Enormous Talent Brings Don Quixote To Life In “Man of La Mancha”

Reviewed by Tom Jones
May 18, 2018

For starters, the set is beautiful. The show opens at a Spanish prison dungeon at the time of the Spanish Inquisition where inmates have minimal chance of survival. The show concludes with that same set, but with the background opening on a sky of stars offering a tiny glimpse of hope. In between, the audience is provided with a feast of talent, glorious music, clever visual effects and some inspiration of what humankind just might become.

That “glorious music” includes the forever wondrous “Impossible Dream,” as well as thoughtful advice, and clever comedy relief with “I’m Only Thinking of Him” “I Really Like Him,” “What Does He Want of Me,” “Little Bird, Little Bird,” “Golden Helmet of Mambrino,” “A Little Gossip,” and my personal favorite “Dulcinea.”

David L. Wygant rules the stage as the poet-actor-tax collector Cervantes. He and his friend, Sancho, are thrown into the Spanish prison awaiting trial, charged with foreclosing on a monastery. The prisoners are a mixed-bag of criminals, eager to steal everything they can from the new inmates, and making fun of their naïve optimism of ever being released.

The prisoners decide to provide their own “trial” for the poet and his friend. Cervantes produces a manuscript that he has written, hoping to convince the group of his innocence. The manuscript is his tale of a befuddled knight of the woeful countenance, “Don Quixote de La Mancha.”

Cervantes then provides his “case,” using the prisoners to play the various roles. His story comes to life in this play within a play. There are sinners, merchants, barmaids, clergymen, government officials and even two amazing horses with personalities of their own.

Central to the story Cervantes relates are the woeful Don Quixote and the guttural Aldonza. She is a barmaid used for sexual pleasure by every man in the area. She is hard as nails, but Quixote looks through the exterior, and sees what she could be – a woman of great warmth and intelligence, with the beautiful name – “Dulcinea.” Heather McClain is rough-and-tumble excellent as the shrill Aldonza, not initially believing that she could ever be as wonderful as the Dulcinea of Cervantes’s imagination.

Cervantes’s skill as a writer lets him see beneath the surface of everyone – not accepting them at face value, but what they could become. It is a great lesson.

The musical was inspired by “Don Quixote,” a classic story by Miguel de Cervantes in the 17th Century. The book is by Dale Wasserman with lyrics by Joe Darion and music by Mitch Leigh. Wasserman has repeatedly reported that the show should not be taken as a faithful rendition of author Cervantes nor of his story “Don Quixote.”

The original 1965 Broadway production ran for more than 2,000 performances and received several Tony Awards, including that for Best Musical. It has been revived four times on Broadway and has become one of Broadways’ most cherished shows.

Scott Beyette has brilliantly directed the Candlelight production, with great choreography by Bob Hoppe. The wonderful set was designed by Halea Coulter, with Joel Adam Chavez as scenic artist. Lighting is by Vance McKenzie, costumes by Liz Hoover, sound by Mark Derryberry. Dave MacEachen is technical director; Victor Walters is music director.

The large cast is uniformly excellent. David L. Wygant and Heather McClain are the stars, but receive impressive support from the entire company, including Ethan Knowles as Sancho, Kent Sugg and Thomas P. Castro each in dual roles, Eric Heine as Padre, Ben Griffin as the Barber, George Lemmon as Pedro, and Leo Batlle as Anselmo – just to mention a few.

Late in Act 2, Eric Heine (as Padre) beautifully sings, “To each his Dulcinea that he alone can name…to each a secret hiding place where he can find the haunting face to light his secret flame. For with his Dulcinea beside him so to stand, a man can do quite anything, outfly the bird upon the wing, hold moonlight in his hand.”

The total effect is a display of brilliance which is becoming the “norm” in Colorado theatres. This past season alone has produced such great productions as “Sunday in the Park with George” at The Arvada Center for the Arts and Humanities, “Ragtime” at Midtown Arts Center in Fort Collins, and now the gorgeous “Man of La Mancha” at Candlelight. This is one of Candlelight’s finest productions in its ten years of providing quality entertainment to the area.

“Man of La Mancha”
Where: Candlelight Dinner Playhouse
4747 Marketplace Drive, Johnstown
To: June 17, 2018
For Tickets: Box Office: 970/744-3747
Online: ColoradoCandlelight.com

2018, Arvada Center, Musical

“Sunday in the Park with George” Is Beauty At Its Best

April 18, 2018 Tom

Sondheim Prize-winning musical arrives in full splendor at Arvada Center for the Art and Humanities

Reviewed by Tom Jones
April 18, 2018

On a wall of the Art Institute of Chicago hangs an enormous work – “A Sunday Afternoon on the Island of La Grande Jatte.” The painting by George Seurat is about eight feet by ten feet, and is his view of Parisians relaxing in a park on an island in the Seine in the late 1800s.

Seurat was a 25-year old Parisian painter who worked the next two years to complete the project. He did not use the traditional brush strokes, but affixed each speck of paint dot-by-dot, spearheading the pointillism movement. The painting did not meet with great acclaim, but has subsequently been accepted as one of the art masterpieces of the 1800s.

“Sunday in the Park with George” is a remarkable fictitious account of what constitutes art, reminding us that “art isn’t easy,” and showing the torment Seurat went through, causing grief for himself and all those around him while completing the painting.

Cole Burden is excellent as the tormented and tormenting George Seurat. He has no patience with himself or with his models as his “art” is everything. He is also a perfectionist who toils endlessly over getting his “dots” just right to create appropriate color in the eyes of the beholder. His “Finishing the Hat” is among the finest Broadway scenes in memory.

Object of much of his ranting is his model, Dot. Emily Van Fleet is a wonder as the not-very-educated young model who wants more than anything to be a dancer in the “Follies,” and complains incessantly that “It’s hot out here,” standing still in the French park while George immortalizes her on canvas. She wants to be educated and does retain a book of her notes about grammar.

“Sunday in the Park with George” was originally written as a one-act musical, expanding to two acts shortly before opening on Broadway in 1984. Act I revolves around Seurat’s work on the project, and his relationship with his model/mistress “Dot,” and the Sunday park visitors who wander through his painting

At the conclusion of Act I, George realizes that his “white canvas” has now become full of glorious color, and stops painting with the cast and models freezing into one of Broadways most glorious Act I conclusions: “Sunday.”

Any act would be difficult to follow what transpired before the curtain fell on Act I. Rod A. Lansberry, director of the current Arvada production, has done wonders in bring Act II to life, instilling it with emotion and beauty that were lacking in the original show. This act takes place 100 years after conclusion of the painting. George’s great grandson, also named “George,” is living in Chicago and has become an artist. Not with oils but with mechanics and lights.

He is being honored at a reception at the Chicago Art Institute, home of the “Grand Jatte” painting, and is surrounded by persons wishing to be seen near him, even some who might honor him with a commission for future work. The original George was not honored in his lifetime, and none of his paintings sold while he was alive. At the base of the now-considered masterpiece “A Sunday on the Island of La Grande Jatte,” his great grandson explains how the concept of art has changed so dramatically in past years, with the artist now having to devote too much of his time in finding funds.

Emily Van Fleet, Dot in Act I, now returns to the stage as the wheelchair bound grandmother, Marie. She has come to the Art Institute where George is being honored and lapses in and out of reality in her memories of the past. Again, Van Fleet is mesmerizing.

“Sunday in the Park with George” opened on Broadway in 1984 and in London two years later. It has gone on to productions worldwide and major revivals in New York and London. It received the Pulitzer Prize for Drama in1985, the ninth musical in history to be so honored.

Stephen Sondheim wrote music and lyrics for the show, including some of his most thoughtful ideas. Near the end of the show, as the great-grandson George explains that it might now be time to “Move On,” making decisions that may or may not work out as you wish. Sondheim’s lyric suggests, “The choices may be mistaken, but the choosing is not.”

The current production at the Arvada Center for the Arts and Humanities is full of beauty; the music, the lyrics, the staging, the lighting, and the costumes.

The finale of Act I remains as glorious as ever, but now Act II provides its own beauty. As the story concludes, George looks back and notes, “White, a blank page or canvas. His favorite. So many possibilities.” “Sunday in the Park with George” is a treasure all its own.

– – – – –
Illusion vs. reality

George Seurat was actually only 25 years old when he began work on his “Grande

Jatte” painting, completing it two years later.

His model/mistress was Madeleine Knobloch (known as “Dot” in the musical). She did not marry another and move to America as Dot does in the musical.

George and Madeleine had a son. The son and George died within two weeks of each other when George was only 31. Madeleine was pregnant when George and their first son died. The second son died shortly after birth.

The “George” of Act II in the musical, supposedly the great-grandson of the painter, is an invention and never existed.

“Sunday in the Park with George”
Where: Main Stage Theatre, Arvada Center for the Arts and Humanities.
6901 Wadsworth Boulevard, Arvada, CO 80003-9985
When: Through May 6, 2018
Tickets: 720/898-7200
For more information: Arvadacenter.org

2018, Fort Collins, Midtown Arts Center, Musical

“Ragtime” Is An Explosion Of Talent At MAC

April 15, 2018 Tom

Sheer Brilliance Is Key In This Powerful Production.

Reviewed by Tom Jones
April 13, 2018

Some musicals have outstanding overtures. Some have incredible finales. “Ragtime” has one of my all-time favorite introductory scenes. In the show’s first ten minutes three diverse cultures vividly come to life in the New York of 1906. There are the privileged upper class whites living in the New York suburb of New Rochelle; African Americans living in downtown Harlem; and Jewish immigrants from Eastern Europe who have found space in lower-Manhattan tenements.

The New Rochelle family consists of Mother, Father, Younger Brother, Grandfather, and Little Boy. Father is leaving the home to travel for a year with Admiral Peary’s expedition to the North Pole. He is leaving Mother at home to be “in charge” for the first time in their marriage.

The Harlem citizens are Coalhouse Walker, Jr. (a man-about-town musician), his girlfriend (Sarah), and their friends. Sarah has become pregnant by Coalhouse, and flees to New Rochelle, where no one will know her to give birth to the baby, hiding it in a local garden.

Coming from Latvia are Tateh, a Jewish widower, who is bringing his daughter from poverty-stricken Eastern Europe, with the desire of finding some degree of happiness in the New World.

Characters in each of the cultures initially appear unaware of the other culture’s existence, preferring to live only in their immediate sphere. This is about to change when Mother finds the newborn black baby in her garden, and shows innate caring and capabilities by bringing mother and baby into her home to give them refuge. Coalhouse frantically looks for his beloved Sarah and ultimately finds her in the upper-class neighborhood of New Rochelle. The local citizens there are openly racist, especially men in the fire department, even though some of them have faced discrimination in their new surroundings, having come from Ireland. They want nothing to do with anyone of color.

While waiting for a train at the New Rochelle train station Mother meets Tateh and his frightened daughter. He is equally frightened, and has placed a rope around the daughter’s waist, pulling her along with fear he might lose her. This is a chance encounter that will ultimately be rewarding.

These divergent characters have difficulty co-existing, accepting other cultures, and meshing into a single society. They initially appear to be ignorant of the other cultures’ existences, preferring to live only in their immediate sphere.

Performances are universally excellent. Brian Boyd has an outstanding voice as the in-charge Coalhouse. Marissa Rudd matches his talent as Coalhouse’s girlfriend, Sarah. Alisa Metcalf is heartwarming as Mother, whose first major independent decision is to rescue Sarah and the newborn child. Father (Taylor Marrs) returns from the North Pole, appalled at what his wife as done. Chris Trimboli is believable as the Jewish immigrant with his daughter in tow. Marrs, Metcalf, and Trimboli also have excellent voices. The musical has become a heartwarming opera with English dialogue

”Ragtime” first appeared in 1975 as an historical novel by E. L. Doctorow. A movie version of the book appeared in 1981. The intertwined stories of the three cultures were then set to the impressive music and lyrics of Stephen Flaherty and Lynn Ahrens, with book for the musical by Terrence McNally. The show was introduced in Canada in 1996, but did not arrive on Broadway until January of 1998. It was very successful, received great audience acclaim, honored with several awards, and ran for 834 performances.

The story is successfully told to continually-interesting music: marches cakewalks, gospel, and the ever-enduring syncopated ragtime. The music has rarely, if ever, sounded better than currently heard on the MAC stage. Among the musical highlights are “Journey On,” “Gettin’ Ready Rag,” “Wheels of a Dream,” “Sarah Brown Eyes,” and “He Wanted to Say.” The format itself is not perfect. The overly-long Act I seems to be ready to happily conclude two or three times before some unpleasant situations must be faced.

Most performers in the large cast play multiple roles, including the impressive Daniel Harkins who turns up as Grandfather, J. P. Morgan, and Admiral Peary, switching roles, costumes and wigs something like 15 times in the course of the evening. The show’s author cleverly inserted the lives of several famous people to the story. We meet Harry Houdini, Evelyn Nesbit, Brooker T. Washington, J. P. Morgan, Henry Ford, Stanford White, Harry K. Thaw, Admiral Peary and Emma Goldman –all historical New York figures of the early 1900s.

Supporting players include Jalyn Courtenay Webb, impressive as Emma Goldman, Kyle Smith as Younger Brother, Hugh Buttterfield as Willie Conklin, and Charlotte Campbell as the saucy Evelyn Nesbit.

Produced by Kurt Terrio, the MAC production is flawlessly directed and choreographed by Joseph Callahan, with Jalyn Courtenay Webb as Music Director. Scenic design and lighting by Chad Bonaker, costumes by Charlotte Campbell and Alisa Metcalf, sound by Patrick Lapinski. The set is not attractive, but is cleverly functional. The orchestra is successfully conducted by Casey Cropp. Choral music and stage movement are extremely impressive throughout.

The costumes, the choral work, the directions, the acting, the music, sound and lighting all work to perfection, resulting in one of Midtown Arts most triumphant productions, maybe even matching their “Les Miserables” wonder of a few seasons ago.

Unfortunately, the basic themes of social injustice and intolerance remain as disturbing as ever, with little true advancement since the New York of 1906.

“Ragtime”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To May 26, 2018
Information: Box Office: 970/225-2555
Website / Tickets: www.midtownartscenter.com

Charlotte Campbell Brings Down The House Singing, “I Fall to Pieces”

“Those High School Days” Are Alive And Well In Johnstown.

The Yorkshire Moors Turn Up On Candlelight Stage In Elegant Production

Arvada Center Brings Tolstoy Epic To The Stage

Award Winning Musical Is Ablaze With Crazy Corniness And Terrific Choreography

Elvis Presley, Johnny Cash, Jerry Lee Lewis & Carl Perkins Are All Back In Town

Greatness On Stage At The Candlelight

Candlelight Dinner Playhouse Triumphs Yet Again!

Mystical Village in Scottish Highlands comes to life. It is a beauty!

Candlelight Dinner Playhouse Continues Its Triumphant Runs Of Excellence In Johnstown

Candlelight Dinner Playhouse begins 15th Anniversary With Great Swordplay, Music, Romance & Deceit

Candlelight Dinner Playhouse Dazzles Yet Again

Candlelight Dinner Playhouse Dazzles The Audience And Even Rains On Some!

Candlelight spotlights the goings-on of a theater company in disarray with “Curtains”

“Footloose” Comes Alive At The Candlelight!

Shrek And His Pals Combine For An Enchanted Evening

A Mother And Four Daughters Are At Home In Concorde, MA — Far From The Warfront

Alcott’s Little Women To Open Candlelight

By Tom Jones, April 6, 2021

Robert Louis Stevenson Story Results In Triumphant Candlelight Musical

“This is the Moment” As Two Talents Take Turns In Leading Role

The 1942 Movie That Gave Birth To “White Christmas” Has Arrived As A Stage Musical At Candlelight Dinner Playhouse.

Larry Cahn – Much More To This Scrooge Than The “Bah Humbug” Meany Of Productions Past.

“Thank You for the Music” – And The Entire Show!

Award Winning Musical Is Set In The Blue Ridge Mountains of North Carolina

Hugo’s Classic Story Is Set To Music At The Candlelight Dinner Playhouse

Reviewed by Tom Jones September 6, 2019

Popular Theatre Venue Celebrates Music of James Taylor

Candlelight Dinner Playhouse Greets The Jungle Man With Great Enthusiasm

Elaborate Sets And Great Costumes Add To The Magic

A Look Again At “My Fair Lady” At Midtown Arts Center

An Update To My Review!

Cast Is Joyous In Broadway Classic

An Update To My Review!

“Cosi Fan Tutte” Is A Wonder Of Sight & Sound

Off-Broadway Delight Is Two-Hour Treasure At Midtown Arts Center

Stephen Sondheim Award Winner On Stage In Denver

Reviewed by Tom Jones

Midtown Arts Features Music Of “Old Blue Eyes”

Choreography & Excellent Voices Bring New Story To Life!

“Heart of the Holiday”

“Elf – The Musical” Is Joyous Christmas Treat At Arvada Center

Disney’s Delight Lands Onstage at Candlelight Dinner Playhouse

“Mary Poppins”

Leonard Bernstein Music Is As Glorious As Ever

The Arvada Center for the Arts and Humanities Hosts Delicious ABBA Treat

The Academy at Midtown Arts Center Provides Three Versions Of The Teenage Classic

Very Large Cast At Candlelight Dinner Playhouse Hits All The Right Notes

High Energy “Grease Lightning” Lights Up Fort Collins Midtown Arts Center

Candlelight Dinner Playhouse Offers Acclaimed Show “Newsies” For Summer Run.

Hans Christian Andersen’s Underwater Tale Surfaces With Great Beauty

David Wygant’s Enormous Talent Brings Don Quixote To Life In “Man of La Mancha”

Sondheim Prize-winning musical arrives in full splendor at Arvada Center for the Art and Humanities

Sheer Brilliance Is Key In This Powerful Production.

Enjoying Theater Across Our Great State

Reviewed by Tom Jones
September 6, 2019