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→
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.
Fun And Foibles Of Romantic Relationships Are Spot On!
Reviewed by Tom Jones
October 13, 2018
While dating: “I love you. You’re perfect!
Day after wedding: “Now change.”
Four talented and likeable performers are on stage this season at BDT Stage taking the audience on a sentimental journey of love, happiness, and even a touch of despair. The longest-running off-Broadway review in history has been revised slightly for the 21st century. Some of the modifications are great fun.
Bob Hoppe, Brian Jackson, and Heather Marie Doris are familiar faces to BDT Stage audiences. Anne Terze-Schwarz is new to BDT Stage, but has extensive experience, is a UNCO alum, and a native of Colorado. They are all very good.
Hoppe can change characters in the twitch of an eyebrow, and takes the entire family on a not-so-joyous afternoon drive. Choreography in this scene is especially clever, with the family of four cruising around the stage with their self-propelled automobile.
Brian Jackson does not want to budge from the couch for the final 32 seconds of the football game on TV, even though his wife, Heather Marie Doris, is trying every tease she can come up with to share some romance. Jackson is also remarkable as the breakfast-time husband, who realizes his love for his wife is as deep as ever, even though they speak nary a word while reading the morning paper over cups of coffee. Anne Terze-Schwarz is effectively somber as the wronged woman trying to make a video to post on a dating network. Doris is terrific of the dreadfully-dressed bridesmaid who laments “Always a Bridesmaid” after catching the bride’s bouquet.
Hoppe and Jackson are zany and obnoxious as parents who can think or talk about nothing but the soundly-sleeping child in the other room.
And so it goes, from first dates, marriage, raising a family, remaining in love, looking for a mate after a divorce, and even going to funerals to find dates after spouses die.
The review has been around for many years, and has not lost its charm. Coming up with ideas for the current generation are problematic. A generation or so ago, when the production first appeared off-Broadway, the thrill of love was usually culminated with an exciting wedding and honeymoon. This has become somewhat passé, as pre-marital co-habitation is now the norm in many situations, and the resulting current scene of Selfie-texting in the review more off-putting than funny.
Directing and choreographing the review is Seth Caikowski who is well known to local audiences as a delightful comedian. He received the Henry Award for best supporting actor a few seasons ago in BDT Stage production of “The Drowsy Chaperone.” Neal Dunfee conducts the on-stage orchestra, providing excellent support to the goings-on.
The audience had no difficulty relating to most of the show’s sequences. They were thinking, “That is you.” That is me.” “That is us!” “And neither of us has changed….much”
“I Love You, You’re Perfect, Now Change”
Where: BDT Stage
5501 Arapahoe Avenue, Boulder
When: Through November 3, 218
Tickets: Box Office (303) 449-6000
For more information: BDTStage.com
Wild Tale Of The Powell Exploration Is The Catamounts Gem in Boulder
Reviewed by Tom Jones,
October 9, 2018
Alright, already – the men aren’t men. The cast is entirely female, dressed as male frontier explorers, excellently guiding the audience through the saga of John Wesley Powell’s first trip down the Colorado River in1869. What a trip!
The Civil War had concluded five years earlier. The transcontinental railroad had just begun operation, sufficient to transport boats for the Powell expedition to enter the river at what is now Green River, Wyoming. The entire expedition down the Green, connecting to the Colorado, and concluding at the western edge of the Grand Canyon was fraught with peril. The telling of the story is fraught with peril of its own as the amazing cast is jostled through rapids, over waterfalls, with sometimes brief stretches of calm on the three-month journey.
Staging is remarkable. There is no water in sight, but the production has been incredibly choreographed and directed to have the audience feel we are actually with the group on the river, and on the dry land for campfire meals, and local explorations. When boats are capsized, the audience wants to reach out to “grab” the expedition members to save them from drowning. Fortunately no one drowned on the expedition, although four of the original ten members did leave the group before journey’s end as the river emerges from the cliffs of the “Grand” canyon.
This is theatre at its most remarkable success. Director Amanda Berg Wilson has done an excellent job in putting the actors through their paces, to bring a feeling of raw courage and realism in the production. The women become the “men” they portray, as gender becomes unimportant.
GerRee Hinshaw portrays the one-armed Major John Wesley Powell. He lost his arm in a Civil War battle, but that has not reduced his ability to explore rivers. By the time the expedition begins, he is already one of the most river-travelled men in America. He is portrayed in “Men on Boats” as a stern leader, with great knowledge of river travel, less knowledge of how to deal with men under his command. Near-mutinies result. He has been hired by the U. S. Government to head the expedition, and intends to succeed – despite frequent criticisms by the men in his charge.
The group is a motley crew. There William Dunn, convincingly played by Karen Slack. Dunn is a hunter and trapper, excited when Powell decides to name a mountain peak after him. Joan Bruemmer-Holden portrays John Colon Sumner, a former soldier in the Civil war, and now a western explorer. Edith Weiss becomes Old Shady, another Civil War vet and older brother of the expedition’s leader. Erika Haase is Bradley, a youthful part of the team sometimes with more courage than sense. Ilasiea Gray is O. G. Howland, a printer and hunter, with Joelle A. Montoya playing Howland’s younger brother Seneca. Jessica Austgen is the British Frank Goodman, initially so very excited to be part of the group, but with a desperate longing to be back somewhere in Europe, preferably on the beaches near Marseilles. McPherson Horle is Hall, the mapmaker; and Missy Moore is Hawkins, the cook whose role becomes increasingly challenging as rations run dangerously low.
The show’s program notes that “The Catamounts create audacious contemporary theatre … believing in the necessity of new work, the power of collaborative creation, the constant innovation of artistic forms.” They succeed in all endeavors with this uniquely creative production. Author is Jaclyn Backhaus. The show’s thrilling endeavors are the action on the stage, as the river tests the courage of the expedition. The script does beg for more information about what is not told. I did race home to “Google” more about the expedition and the characters portrayed.
Last week my wife and I went through a few areas mentioned on the expedition story. We stopped briefly in Green River, Wyoming, where the group began the journey on the Green River. Just outside Moab, Utah, we found a plaque about the Expedition on one of the overlooks of Canyonlands National Park. We then stopped in Green River, Utah, to visit the John Wesley Powell Museum.
Today’s views of the canyon from above are remarkable. There is “civilization” with motels and stores, only to look down the canyon to see still-forbidding landscape of the Green and Colorado rivers that merge just outside Moab. The incredible story of traversing the rivers, thanks to Powell and his “Men on Boats,” has become fascinating history.
The Catamounts theatre company is making fascinating history on its own with this exhilarating production.
“Men on Boats”
Through October 13, 2018
Where: The Catamounts Theatre Company
Dairy Arts Center, 2500 Walnut Street, Boulder CO
Tickets: www.thecatamounts.org , or 303/444-seat
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
Joseph, Jack Barton, shows off his many-colored finery while his eleven brothers plot to get even.
Reviewed by Tom Jones
June 7, 2017
Jack Barton is in great form as Joseph when he flaunts the notion that he is the “favorite” son. He has a delightfully naïve superiority when he shows off the coat his dad (Jacob) has given him. He just can’t help himself when he struts around the stage noting, “I look handsome. I look smart. I am a walking work of art – in my coat of many colors.” The audience is joyfully ecstatic. His brothers on stage want to kill him. This is Joseph from the Bible’s book of Genesis. He and his brothers are terrific this spring in the Boulder Dinner Theatre Stage production of “Joseph and the Amazing Technicolor Dreamcoat.”
This has long been one of my favorite musicals. Upon arriving at the theatre in Boulder this week, however, I was dismayed to see the artwork for the show – not a bright colored coat from biblical times, but a poster of a Michael Jackson wannabe, complete with a white hat and glove. The basic story wonderful, and I was worried that this “fresh look” wouldn’t wear well with me. Once the show began, however, I tossed my concerns aside, and enjoyed one of the most delightful evenings this year. The “new look” at Joseph is great fun. It is a high energy show, highlighted with amazing choreography, generally not so prominent in other productions.
Andrew Lloyd Webber and Tim Rice brought this tale to the stage in 1968 as a 25-minute pop cantata in a London school. The show expanded to become a concert album in 1969, and opened in London’s West End in 1973. It was modified and performed in a variety of locations before arriving on Broadway in 1982. A version starring Donny Osmond was filmed in 1999, with the DVD becoming very popular.
Joseph and his famous coat have become one of the greatest hits of the Andrew Lloyd Webber and Tim Rice collaborations. They went on to create “Jesus Christ Superstar” and Evita.” Webber continued providing music, working with different lyricists, to give audiences a continual string of mega-successes: “Phantom of the Opera,” “Cats,” “Starlight Express,” “Sunset Boulevard,” “Aspects of Love” and on and on and on.
“Joseph” in Boulder is wondrously portrayed by Jack Barton. He is a handsome young man with a remarkable voice, and with an awe-shucks appeal to the audience, while his brothers rage against him. They dislike him so intensely that they toss him into a pit, and finally sell him to a caravan of Ishmaelites heading for Egypt. Tracy Warren is equally excellent as the show’s narrator. She was a memorable “Mary Poppins” a few shows ago, and has great charm and a powerful voice.
The music provides a variety of styles. There is a crazed “One More Angel in Heaven” country western provided by Brian Burron as one of the brothers, dishonestly claiming how much sorrow the brothers feel when Joseph disappears. There is the French ballad “Those Canaan Days” later in the show when the starving brothers think of past wealth, and are amazed at how well life seems to be in prosperous Egypt. There is the Elvis Presley take with black-wigged, hip-grinding Scott Severtson as the Pharaoh singing “Song of the King.” “Go, Go, Go, Joseph” looks like at a disco hit of the 50s – a roaring finale to First Act. Near the show’s end there is “Benjamin’s Calypso” when the brothers are in Egypt, humbled and pleading for help.
The rest of the music is disarmingly memorable, including “Any Dream Will Do.” (While I continue to be enchanted by this song, I have no idea what it means.)
The fresh look at the story is credited to director Matthew D. Peters and choreographer Alicia K. Meyers. They pay homage to Michael Jackson throughout. No mention is made of him, but the choreography is straight from Jackson “moonwalking” days, and the costuming is complete with the signature Jackson white hat and glove.
The supporting cast is flawless. Wayne Kennedy is a hoot as Potiphar, putting up with the antics of Mrs. Potiphar, played by Alicia K. Meyers. Scott Severtson is black-wigged to come across as the Elvis Presley Pharaoh. The eleven other brothers are unanimously super dancers and singers. The total music presentation, choreography and vocals, is brilliant. The cast includes many young persons who appear as “audience” initially to the narrator, then come back frequently, adding to the vocal delight of the production
The finale is complete with the high energy review of the major songs – an ending that has become standard with most productions of the show
Costuming, sets, and orchestra are extremely good. What is missing? Not much. Some of the show’s basic humanity has been lost by the sheer energy portrayed. Some of the lyrics are not as clearly understood as desired. The total effect, however, is dazzling. Yes, Joseph is handsome. He does look smart. He is a walking work of art — wearing his amazing coat of many colors. “It was red and yellow and green and brown and scarlet and black and ochre and peach and …… “
“Joseph and the Amazing Technicolor Dreamcoat”
Where: Boulder Dinner Theatre Stage,
5501 Arapahoe Avenue, Boulder, CO 80303-1391
When: To August 19, 2017
Information: Box Office: 303/449-6000,
Seles VanHuss shines in 1920s musical at Boulder Dinner Theatre Stage
Reviewed by Tom Jones
November 27, 2016
Millie Dillmount, delightfully played by Seles VanHuss, is the traditional mid-western young woman who arrives in New York City without fear, and with aspirations of a great change in her life. Some girls travel to the Big Apple to make it big in show business. Millie’s plans are much more defined. She wants to marry a rich man. Continue reading Millie Goes Thoroughly Modern in New York City→
Boulder Dinner Theatre Stage Offers Good Food and Ghosts with “The Addams Family”
Reviewed by Tom Jones
December 3, 2015
A very strange “family” has moved into Boulder.There is the father, Gomez, his luscious bride, Morticia, their two children – the very strange Pugsley and his sister, Wednesday, who has potential of being somewhat normal.Then Grandma comes with the group, as does Gomez’s brother, Uncle Fester.The family’s servant is an extremely tall chap, Lurch, who doesn’t say much but brings an air of frightening delight to the going’s on.
We meet the family on stage in “The Addams Family,” a musical version of the death-defying antics of cartoon characters created by Charles Addams.The cartoons resulted in a very successful TV run about the strange family.The gang was assembled for a Broadway production in 1960.The Broadway team had great credentials, but were not successful in giving life to the family.Even the amazing talents of Nathan Lane and Bebe Neuwirth could not surmount the script and music difficulties, however.The show was subsequently rewritten, and is finding a new life of it own in local productions, such as the current Boulder show.
The set is clever – the spooky mansion, the cemetery crypt, the ever-present trees!This is a cartoonish set design that is very effective.
Wednesday realizes that her family is not normal, but confides in her father that she has fallen in love with a regular guy – Lucas Beineke.She has an “uncharacteristic desire to marry a square kid from Ohio!”She has invited Lucas and his parents to the family home, so that everyone can meet over dinner.There hasn’t been such a stage dinner since “La Cage Aux Folles” when a gay couple invited the Mayor of Paris and his wife to meet their heterosexual son who was about to marry the Mayor’s daughter.This time around there are not questions of gender, but problems of living and dead!Uncle Fester enlists the help of the dead ancestors who emerge from the family crypt for guidance and support at the family dinner.
Wednesday has evidently worn black for 18 years, but turns up in a bright yellow outfit the the family party.Her father is aghast, noting, “You look like a crime scene!”
Scott Beyette has directed the show and stars as Gomez.Alicia King plays his wife, Morticia, with Sara Grover taking the role of their daughter, Wednesday.Wayne Kennedy is a delight as Uncle Fester, as is Casey Andree playing the solemn servant, Lurch.Barb Reeves plays the daffy grandma, and the role of Puglsey is double-cast, with Ethan Lelandand Owen Leidich sharing the part.I saw Leland who is very good, especially when attached to his adored torture machine, giving him the opportunity to cream loudly in wonderful pain!
Brett Ambler is convincing as the naive young suitor, Lucas Beineke, who finds the zany Wednesday to be someone special.Scott Severtson and Joanie Brosseau are effective as Lucas’ bewildered parents strangely horrified by the goings-on in the Gomez household.
Scenery is terrific, as are the lighting, and costumes.The sound system did not permit me to understand some of the characters as easily as I had hoped.Songs are pleasant, but not after-the-show hummable.There is an especially fun scene when Fester declares that he is in love with the moon, singing, “the Moon and Me.”Dancing is spotty – with some good numbers, but an overly-long Tango near the show’s end.
An interesting part of the production’s effectiveness is the presence of many dead ancestors who meander through the show, silently and effectively “commenting” on what is happening among the live folk.This is a blissfully ghoulish little show!
Affectionadoes of early incarnations of “The Addams Family” will have a field day noting some of the comedic touches which have been handed from from cartoon format, to TV series, to the stage.The dark and brooking “look” of the family has been remarkably transferred in this goofy tale.And the food is very good!
“The Addams Family”
Through February 27, 2016
BDT Stage –Boulder’s Dinner Theatre
4401 Arapahoe Avenue
Boulder, CO 80303
For information: Telephone 303/449-6000
Or online at www.BDTStage.com
“Unproduced Screenplay About the Death of Walt Disney is an Interesting“ Look at the Creator of “Micky Mouse.”
Reviewed by Tom Jones
March 23, 2015
Just the mention of the name “Walt Disney” conjures up impressions of “The Magic Kingdom,” family entertainment, nature documentaries, “Disneyland,” “Mary Poppins,” and yes – “Mickey Mouse!.” Some of these warm and fuzzy ideas about the motion picture genius are about to be threatened by The Catamounts’ interesting take on Disney’s later years. The Boulder-based company staged “A Public Reading of An Unproduced Screenplay About the Death of Walt Disney,” as written by Lucas Hnath.
This was my first opportunity to see The Catamounts. The evening was an adventure by itself – having difficulty finding the theater’s entrance, then being warmly welcomed into the theater, separated from the parking area by a curtain and a nondescript door. The night I saw the show, the production was arranged for theater-industry guests. It was as if I was attending a private party of long-time friends, delighted to see one another, and welcoming some new faces to their crowd – my wife and I attended the show with friends – none of us having any idea what we were about to see!
The reading’s title is nearly as long as the performance , that is actually about 70 minutes, with no intermission. The length was about right, as four persons seated on a table facing the audience as if they were reading a screenplay could become a tad tedious if it were longer. As currently constructed, however, the show is a fascinating look at author Hnath’s take on what may have developed if Disney had written the show as his final production.
Paul Borrillo is mightily impressive as the famous Disney. His portrayal doesn’t create new fans for the animation genius, as we learn he was an egomaniac, usually treating his family and close associates with great disdain. His daughter’s memories of being raised by him resulted in her reminding him he was such an awful father, that she didn’t want any of his children to be named after him. He used anyone to achieve his personal aims, treating his brother Roy, as if he barely existed, and actively disliking his daughter’s husband, Ron.
Mark Collins is very good as the brother, who appears to keep Walt appearing as somewhat normal, while taking the brunt of Disney’s idiosyncrasies and unpleasantness. Jason Maxwell portrays Ron, his daughter’s husband. He appears as a none-too-bright chap, eager to do anything to please his father in law, or at least have a job! Lindsey Pierce plays the daughter. She has the gumption to confront her father about his meanness, but the confrontation does nothing to change her father’s intents.
Some looks behind the Disney productions are delightfully revealing. Disney insisted on making a live-action documentary which included a sequence about Lemmings jumping to their deaths by suicide. The Lemmings tale was eventually shown to be completely false, and Disney required his brother to take responsibility for the “error.”
The “Unproduced Screenplay” reading concludes with Disney’s head being purportedly cryonically frozen the idea that he’d eventually return to life. This is the tale that author Hnath proposes Disney would have written, had he authored his own story! In reality, Disney died at age of lung cancer 65 and his remains were cremated.
Amanda Berg Wilson directed this fascinating piece of theatre. I was intrigued with what I saw, and the show did result in my wanting to “know more” – spending time with Google to decipher Disney fact from fiction! The “Public Reading” generated substantial discussion among those in attendance, trying to figure out what was fact and what was fantasy – and how we might wish to write our own story for future posterity!
“A Public Reading of An Unproduced Screenplay about the Death of Walt Disney”
March 13-28 2015, The Catamounts in the madelife building, 20001 21st Street, (East entrance), just off Pearl Street in Boulder.
For tickets: 702/468-0487
For information about The Catamounts: www.thecatamounts.org