Category Archives: Location

2018, Fort Collins, Midtown Arts Center, Musical

“West Side Story” is Wondrous at Midtown Arts

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.

Photo Credit Dyann Dierks

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, Fort Collins, Midtown Arts Center, Musical

“Grease” Performers Younger Than Ever

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.

Photo Courtesy of Leah Allen

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.

Photo Courtesy of Leah Allen

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.

Photos Courtesy of Leah Allen

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.

Photo Courtesy of Leah Allen

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, Bas Bleu, Drama, Fort Collins, Review

Award Winning “Equus” Arrives At Bas Bleu

Peter Shaffer Masterwork is a Marvel of Acting and Direction

Reviewed by Tom Jones,
June 22, 2018

There should be a sign outside the stage of Bas Bleu this month – “Quiet, Genius at Work.”

On stage is a spell-binding production of Peter Shaffer’s masterwork, “Equus,” a tour-de-force production of excellent acting and direction.

© 2018 William A. Cotton

The Tony Award-winning drama looks at the turmoil of an emotionally disturbed young man and the tired and bored psychiatrist who is trying to treat him. There are strong wills at work, as the doctor tries to reach the heart of the boy’s mental suffering. By show’s conclusion, I felt as if the audience should carry David Siever and Koby Adams aloft, showering them with accolades for their performances as the boy and the psychiatrist. They did receive a standing ovation.

For nearly three hours the audience is treated to a production so cleverly staged that the audience is mentally transferred out of the bounds of normal theatre. There are the concerned doctor and his patient, the bewildered mother, the horrific father, the doctor who has brought her patient to the psychiatrist, the young girl infatuated with the disturbed boy, the attending nurse, and five amazing horses that come to life with the clicking of their hoofs and impressive stature.

© 2018 William A. Cotton

We learn from the outset that a very disturbed young man has blinded five horses in his care in a stable in England. A psychiatrist is contacted with the hope that he can find the cause of the emotional suffering, and bring the boy some kind of relief. Koby Adams is a revelation as the tormented Alan Strang, with equally excellent David Siever, as Dr. Martin Dysart. They are given great support from Jim Valone and Gale McGaha Miller as Alan’s bewildered (and bewildering) parents, Hesther Salomon as a magistrate and close friend, Teal Jandrain as the charming young girl in the village, Steven Wright as Harry Dalton the stable owner. And those horses – they have personalities of their own – portrayed by Ryan Volkert, Blake Roberts, Cas Landman, Sheppard Braddy, and Brett Sylvia.

Director Robert Braddy worked as Scenic Designer for the production of the play at CSU in 1976, and has long been interested in directing the show.

© 2018 William A. Cotton

Playwright Shaffer’s production was introduced to the London stage in 1973 and arrived on Broadway in 1974, where it ran for more than 1200 performances and received numerous honors. Several issues turn up – religion, ritual sacrifices, sexual attraction, conflict between personal values and social mores. There is “a lot going on” in the telling of the young man’s torment. Wikipedia notes that Alan Strang has” a pathological religious fascination with horses.” The characters surrounding him have issues of their own, some bewildered by where they personally belong.

© 2018 William A. Cotton

Caution is required. This is not a play for young persons. Subject matter is mature. There is nudity. There are some scenes that become tiring.

Late in Act 2, the doctor makes a breakthrough in reaching the tormented Koby. In that scene, it is as if all the air has been sucked from of the theatre. The audience barely breathed — realizing they were witnessing brilliance on the stage.

“Equus”
Where: Bas Bleu Theatre Company
401 Pine Street, Fort Collins, CO 80524
When: To July 1, 2018
For Information: Telephone 970/498-8949
Online: www.basbleu.org

2018, Fort Collins, Midtown Arts Center, Musical

“Look at Me, I’m Sandra Dee!”

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.

Image by Dyann DIercks Photography

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.”

Image by Dyann DIercks Photography

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.

Image by Dyann DIercks Photography

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.”

Image by Dyann DIercks Photography

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, Boulder, Musical, Review

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

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.

Photo Courtesy of Glenn Ross

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.

Photo Courtesy of Glenn Ross

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.”

Photo Courtesy of Glenn Ross

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, Comedy, Fort Collins, OpenStage

“Comedy of Errors” Offers An Evening Of Sublime Silliness

OpenStage’s Production Of Shakespearean Tale Provides Smiles For A Summer Evening

Reviewed by Tom Jones
June 3, 2018

The printed program announces that there are two chaps in the story named Antipholus: Antipholus of Syracuse and Antipholus of Ephesus. Each has a manservant, each named Dromio — one of Syracuse and one of Ephesus. Shakespeare’s family reportedly included a set of twins. Twins are everywhere in “The Comedy of Errors.” Figuring out who is who is the audience’s task in the park this spring.

The two sets of twins were separated at birth, neither knowing of the other’s existence as the story begins in ancient Ephesus, Greece. When Antipholus of Syracuse and his manservant arrive in town, the current citizens find themselves in a fit of frenzy, not realizing the “new faces” are twin brothers of their local friends. Even the Ephesus wife is in turmoil.

The weather cooperated brilliantly for opening night, as the talented OpenStage cast of players entertained the audience with this crazy story under the stars. To make the story even more challenging, women play all of the roles. In Shakespeare’s time, men portrayed all the roles. Director Denise Burson Freestone has taken a risk in switching genders in her version of the tale. And it works! Julie Kaye Wolf and Sydney Parks Smith take on roles of the two Antipholus characters. Molly McGuire and Corinne Webber are the two Dromios.

Women playing the men characters was initially confusing and a tad disturbing. When I figured out who was who, the gender gyrations were great fun and the women “became” the men they portrayed. By the show’s end, I had completely forgotten that the Antipholus twins were actually women, and that their “father,” was really Louise F. Thornton.

The plot is a maze of craziness. As is the case with many Shakespearean plays, it can be helpful to read a brief synopsis of the story before settling in to see a production. This is further complicated when a production is performed outside, with the audience seated on the grass or on chairs they personally furnished, resulting in sometimes-difficult views of the stage. The sound was quite good, including inclusion of sound effects that highlight the lunacy.

Denise Burson Freestone’s excellence as a director is evidenced as the entire cast provided very clever action. The moments of farce are genuinely funny, including an over-the-top swordfight late in the show. Performances were exceptionally good. The actors were very well rehearsed.

Again – a caution. If you are not acquainted with the story, take a few moments to check the synopsis on Google before heading to the park. Bring your folding chairs, a light jacket, maybe a blanket, and perhaps a snack and beverage. The street-side food truck offers a limited amount of good food at good prices. Show is about an hour and 45 minutes with no intermission.

“The Comedy of Errors”
Where: OpenStage Theatre production, outside in the Park at Columbine Health Systems,
947 Worthington Circle in Fort Collins (Corner of Worthington Circle and Centre Avenue)
When: Through June 30, 2018
Tickets: 970/221-6730
Online: www.openstage.com

2018, Bas Bleu, Drama, Fort Collins

World Premiere of Colorado Playwright Laura Pritchett’s “Dirt, a Terra Nova Expedition”

Bas Bleu Delivers An Alarming Reminder Of The Six Inches Of Soil Beneath Us

Reviewed by Tom Jones
April 15, 2018

Wendy Ishii, founding artistic director of Bas Bleu theatre, acknowledges that she is a risk taker. Creating a theatre company in Fort Collins was one. She took another risk (or challenge) several months ago in her living room after viewing a documentary film “Symphony of the Soil” in the company of Colorado author, Laura Pritchett. The two exchanged ideas and came upon the possibility of Pritchett writing a play about the soil – “Dirt.” Pritchett is a successful writer, publishing five novels and two works of non-fiction. She had not (yet) written a play.

The idea was “planted” and fertile soil appeared in the form of a commission by Bas Bleu to turn Pritchett’s ideas about soil science and planet concerns into a full-length play. The world premiere of “Dirt. A Terra Nova Expedition” opened April 5, 2018, at Bas Bleu, and continues its local run through May 6.

Photo Credit Bill Cotton

The result provides fascinating and frightening observations concerning the future of life on our planet. At the beginning of “Dirt,” we are introduced to Estella and Leo (played by Tabitha Tyree and Jacob Richardson) living in an underground bunker beneath the surface of Fort Collins 20 years in the future. Life above ground is disappearing, and the young couple has reserved enough provisions to live for only a few months. Estella is pregnant, and due to have her baby soon. They spend their days observing scientific data, reviewing global histories, and are now writing a play about their lives beneath the ground. Leo takes the role of sacrificing his own life for the benefit of others by leaving enough provisions for Estella to survive beneath the surface until the baby is born.

Photo Credit Bill Cotton

He instructs Stella to remain in the underground bunker until time for the child to be born, at which time she must climb the ladder to escape with the hope that the planet’s ecological system will have been successful modified. Leo reminds Stella of the sacrifice that explorer Robert Scott made for men in his charge on an expedition to Antarctica in 1912, and he climbs up the ladder to face the hostile world by himself.
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The pregnant Estella is left alone in the bunker. She continues writing the play that she and Leo had discussed. She becomes immersed in scientific studies, alarmed at what has happened to the soil, and pained by results of perceived global warning. Her mind is beginning to unravel to the point that she does not clearly understand what is happening to her. She conjures up memories of the past, including instructions her professor father gave to her. She muses over the “mentors” that have been around for centuries to help scientists and artists “create.” She gives thought to the philosophy that we “truly do not realize all that we do not know.”

Her mental wanderings introduce her to scientists, medical personnel, philosophers and eventually to Persephone, the Greek goddess of harvest and fertility, who arrives to help Estella at the time of childbirth. The play’s voice sounds alarms about what we need to do in order to save our own existence. Action of the plot takes place just 20 years in the future giving, the reminder that time is running out.

Photo Credit Bill Cotton

Jennifer Bray, Kevin Coldiron, and Maya Jairam, playing multiple roles in and out of Estella’s mind, join Tyree and Richardson on stage. Myths of past philosophies and isms are produced in dance, as are the appearance of scientific Nematodes (roundworms). Aleah Black, Francis Lister, and Holly Wedgeworth are the musical dancers who are sometimes enchanting, sometimes spookily reminiscent to the ghoulish “walking dead,

The show’s director, Jeffrey Bigger, writes in the show’s program, “I will be forever changed by what I have learned working on this show. Coming to the realization that there are just six inches between life and death was a very cathartic moment.”

Playwright Pritchett grew up on a small ranch in northern Colorado. She received her BA and MA in English a Colorado State University, and has a PhD in English from Purdue University. Her writings have garnered many awards, with subject matter focusing on ecology, conservation, climate change, and social justice issue.

“Dirt, a Terra Nova Expedition”
Where: Bas Bleu Theatre
401 Pine Street, Fort Collins, CO 80524
When: Through May 6, 2018
Tickets: 970/498-8949
For more information: www.basbleu.org

2018, Fort Collins, Midtown Arts Center, Musical

“Ragtime” Is An Explosion Of Talent At MAC

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.

Image by Dyann DIercks Photography

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.

Image by Dyann DIercks Photography

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.

Image by Dyann DIercks Photography

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

Image by Dyann DIercks Photography

”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.

Image by Dyann DIercks Photography

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.

Image by Dyann DIercks Photography

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

2018, Fort Collins, Lincoln Center, OpenStage

“And Then There Were None” (Except For The Audience & One Actor)

OpenStage Delivers Agatha Christie’s Famed Tale On Lincoln Center’s Magnolia Stage

Reviewed by Tom Jones
April 1, 2018

Invited guests begin arriving by boat at Soldier Island off the coast of Devon, England. They are a mixed bag with no one knowing the others, and not knowing why he/she has been invited. Their host doesn’t show up, and the guests begin to die – to the sounds of the sinister nursery rhyme “Ten Little Soldiers.” There is only one house on the tiny island, no harbor, and just a small boat dock where groceries and passengers are dropped off. Does this sound creepy enough? Who is doing the killing – one of the guests, the hired help, or perhaps someone hiding on the island?

OpenStage Theatre’s production of And Then There Were None by Agatha Christie James Burns as Philip Lombard, Mark Terzani as General Mackenzie, Dan Tschirhart as Dr. Armstrong, Jack Krause as Rogers, Debbie Swann as Mrs. Rogers, Brikai Cordova as Vera, David Austin-Groen as William Blore, Kiernan Angley as Anthony Marston, Jessica Emerling Crow as Emily Brent, and Greg Clark as Sir LawrenceWargrave in OpenStage Theatre’s production of And Then There Were None by Agatha Christie. Photography by Joe Hovorka Photograph

As the corpses mount, there is concern that the audience just might be included among the carnage. Agatha Christie’s famous whodunit has been around since 1939, turning up as a novel, several movies and plays. It is Christies best seller, with 100 million copies sold. It is the world’s best-selling mystery, and one of the best-selling books of all time. The story has held up well, and the current OpenStage cast is in fine form.

Even better than “fine form.” All eleven of the formers are familiar to Northern Colorado audiences. Each has his/her moment to shine in this cleverly crafted sinister scenario. Kiernan Angley, who delighted audiences in “Romeo and Juliet” a few seasons ago, is great fun as an over-the-top young man, Anthony Marston, with an enormous ego. Other favorites includes James Burns as Philip Lombard (the only guest with a gun), Brikai Cordova as Vera Claythorne (secretary to the host she has never met), and Greg Clark as Sir Lawrence Wargrave.

Kiernan Angley as Anthony Marston in OpenStage Theatre’s production of And Then There Were None by Agatha Christie. Photography by Joe Hovorka Photography

As the guests arrive and learn that their host isn’t going to show up that night, a voice recording of the unknown host advises that his presence is there to haunt the guests. Each is reportedly concealing a death they caused earlier in their lives, but for which they were never punished. On the mantel above the fireplace is a reading of the poem “Ten Little Soldiers Boys,” as well as ten soldier figurines that begin to tumble to their deaths as the cast is reduced.

Dan Tschirhart is excellent as Dr. Armstrong; Jessica Emerling Crow is wonderfully annoying as the religious fanatic who knits incessantly. Mark Terzani is the mysterious General Mackenzie; David Austin-Grӧen is William Blore who may or may not be who he claims to be. Jack Krause and Debbie Swann are very good as the servants, hired by the mysterious host. They are a husband and wife who have secrets of their own. Andrew Cole is Fred Narracott, the man to bring supplies and passengers by boat to the island, never returning as a storm makes transportation to and from the island too hazardous.

Dan Tschirhart as Dr. Armstrong Wargrave, Jessica Emerling Crow as Emily Brent, James Burns as Philip Lombard, Kiernan Angley as Anthony Marston, Mark Terzani as General Mackenzie, Brikai Cordova as Vera and Jack Krause as Rogers in OpenStage Theatre’s production of And Then There Were None by Agatha Christie. Photography by Joe Hovorka Photography

The impressive set design is by James Brookman, with properties and set dressing by Carla Brookman. It is very attractive vacation home with modern conveniences, and a fine view overlooking the stormy seas. When the storm causes the electricity to fail, the guests hover in the semi-light of candles, fearful of each other and of what just might be outside the door. The fear of the unknown turns to near comic melodrama a few times, especially at the conclusion of Act 1 and again at the end of Act 2, when more deaths are announced. Total performance length is less than two and one-half hours, including two ten-minute intermissions. Cast needs time to change costumes and three-act plays were the norm when the play was written in the 1930s. The total experience is a well-produced crowd pleaser. Highly honored performer and director Sydney Parks Smith has directed a spooky telling of the Christie tale. Parks is assisted by the work of James and Paula Brookman (set design and set dressing), Grant Putney (lighting), Victoria Villalobos (sound), Kirsten Hovorka (hair design), Maggie Cummings (makeup design). and Maile Hӧrger-Speetjens (costumes).

Audiences can find out what happened to the eight guests and two housekeepers on the Magnolia Stage through April 28.

“And Then There Were None”
Where: OpenStage Theatre production on the Magnolia Theatre Stage of Lincoln Center
417 West Magnolia Street, Fort Collins
When: Through April 28, 2018
Tickets: 920/221-6730
Online: www.lctix.com

2018, Loveland, Loveland Opera Theater, Musical, Review, Rialto Theater

Loveland Opera Theatre Is A Winner As That “Merry Widow” Waltzes Onto Rialto Stage

Terrific Voices, Lavish Costumes & New Libretto Combine For Delightful Production of Lehar’s Famous Operetta!

Reviewed by Tom Jones,
February 20, 2018

More than 100 years ago Franz Lehar’s “The Merry Widow” premiered in Vienna. Audiences and critics were quick to realize the charm of the operetta, and productions quickly spread across Europe, and ultimately throughout the world. It just might be the most popular operetta in history.

Photo Courtesy of D. St. John Photography

This winter Loveland audiences were becoming aware that something special was happening with the arrival of the show. Stage Director Timothy Kennedy has worked on various productions of The Merry Widow” for many years, and went to work writing a new libretto for this production, adding to the wonders of the Lehar music. The result is a winner. Costuming is excellent, as Davis Sibley designed them specifically for this production.

Tale is very loosely based on a real situation, although names and locations have been changed. Pontevedro, an imaginary country near Paris is in a financial crisis. The country’s most wealthy citizen has died leaving his fortune to his widow, Hanna. If she should marry someone outside the country, Pontevedro would be in financial ruin.

Photo Courtesy of D. St. John Photography

This problem comes to a head when the Pontevedrian Ambassador to Paris is giving a ball at the embassy in Paris to celebrate the birthday of his king, and the arrival in Paris of the widowed Hanna Glawari. The Ambassador learns that he must do everything in his power to keep the widow from marrying anyone not a local Pontevedrian.

Mayhem ensues. The Ambassador’s wife is smitten by the charm of a Frenchman who just might be on the lookout to marry the wealthy widow. The Pontevedrian king’s nephew, Count Danilo, is on the short list of possible candidates and is currently working in the Parisian embassy. Danilo had been in love with Hanna many years ago. His uncle refused the request for the two to marry, and sent Danilo away. He is embittered by what happened to him and refuses to be party to the idea of marrying the now-wealthy widow. There is comic relief as the Ambassador goes through a ritual of calling the roll each time he meets with his goofy three-man staff.

Photo Courtesy of D. St. John Photography

This is all going on to the lilting Lehar music. “The Merry Widow Waltz” is front and foremost, instantly recognizable. Equally charming, however, is “Vilja Song” which is so beautifully performed that I wanted the audience to stop the show with a standing ovation. That didn’t happen, but the sequence remains rich in my mind as the show’s most brilliant scene. “You’ll Find Me at Maxims,” and “Girls, Girls, Girls” are also familiar songs. The operetta is performed in English.

Some of Colorado’s most powerful voices are front and center for this production. Leads are Phoenix Gayles as Hanna, Josh DeVane as Danilo Danilovitsch, Emily Morris as The Ambassador’s wife Valencienne, Nathan Snyder as Camille de Rosillion, and Rob Hoch as the Ambassador.

The cast is large, nearly 50 performers on stage plus an orchestra of 13 plus keyboard. Set is designed by Noel Johnston, lighting by Peter F. Muller. Orchestra is conducted by Adam Torres with choreography Sarah Wilhelm.

Director and libretto writer Timothy Kennedy has assembled a very talented ensemble, with standout performances by the lead performers, chorus, and orchestra at every turn.

Dr. Juliana Bishop Hoch, Executive and Artist Director of the Loveland Opera Theatre is to be applauded for her work, not only providing excellent productions to Northern Colorado, but for making it possible for school-age students to go to the shows. “The Merry Widow for Kids” is a one-hour instructive introduction to opera and what goes on behind the scenes. Families are invited to attend performances of this abbreviated performance Saturdays February 24 and March 3 at 2:30 p.m. In addition, many schools in the Loveland and Fort Collins area bring students to one-hour versions of the show in late February and early March during school hours.

“The Merry Widow” is a Loveland look at the “lost and found” of love, highlighted by incredible individual, orchestral, and choral talents. The show is a somewhat naïve look at romance of a century gone by, displayed with great charm. And that brilliant music.

“The Merry Widow”
Where: Presented by Loveland Opera Threatre, on the Rialto Theatre Stage
228 West 4th Street
Loveland, CO 80537
When: February 23, 24, and 25, March 2, 3, and 4
For information: www.lovelandopera.org, 970/593-0085
Rialto Theatre Box Office: Telephone 970/962-2120

2017, Bas Bleu, Drama, Fort Collins, Review

“Waiting For The Parade” Provides Very Good Theatre At Bas Bleu

Five Canadian Women Are Poignantly Portrayed On The “Home Front” During World War II

Reviewed by Tom Jones,
February 6, 2018

“Waiting for the Parade.” What is this? I was not aware of this moving story. This was my loss. Canadian playwright, John Murrell, was commissioned by the Alberta (Canada) Theatre Projects to write a play about Canada’s involvement in the Second World War. The result was his 1977 look at the war through the eyes of five women in Calgary who saw the conflict from a variety of prospectives.

Murrell’s play was not an instant hit, but went on to become probably the most-produced Canadian play in history.

The Bas Bleu Theatre Company rehearses their production of “Waiting for the Parade,” January 31, 2018.
© 2018 William A. Cotton

We meet five women who gather as volunteers to work for the war effort while Canadian men are away, fighting in the war. They are not a gaggle of best friends, but five women who have ended up together rolling bandages, preparing sanitation kits, and other items they hope will help sustain the far-away soldiers.

Their “boss” is the incredibly unlikeable, Janet. She is well portrayed by Lou Anne Wright as a no-holds-barred taskmaster, more interested in being self-important than really helping her staff. Her military-age husband has opted to stay home, working for a news agency that reports the war news over the radio.

The Bas Bleu Theatre Company rehearses their production of “Waiting for the Parade,” January 25, 2018.
© 2018 William A. Cotton

Wendy Ishii is a jewel as Margaret, who openly remarks, “I can’t stand that Woman,” (Janet, the boss) as the bandages must be rolled again –if they are not “perfectly tight.” Margaret is a widow with a son in the military, and another son at home who opposes the war.

Lauren Scott is wonderful as Catherine, whose husband Billy is “somewhere” overseas, but she has minimal news of his whereabouts. He has been gone so long that she begins to wonder how much she cares for him – noting that she really can’t even remember what he looks like.

Eve is well-portrayed by Dominique Mickelson. Eve’s husband is older than she is, and is not currently serving in the military. She is a young school teacher who agonizes that her young male students are more interested in joining the army than completing their studies.

Rounding out the intriguing group is Ellen Badger as Marta. Marta is a near-outcast in the town, as her father was taken away to live in an internment camp after German propaganda was found in their basement.

Playwright Murrell has produced a moving story, keeping the audience enthralled with each revelation of the five women. Not one “of the five,” but every bit a “character” in the show is the music. Some of the music, such as “White Cliffs of Dover,” is familiar, and is effectively used to provide various moods of the war as seen from afar. The women even take time out from the conflict to dance together!

© 2018 William A. Cotton

Direction of the Bas Bleu presentation is by Ami Dayan and Lou Anne Wright. Together they have provided an evening of great entertainment. The set and lighting are very effective. The set has been designed to be a “home” for each of the five women, as well as the meeting place for their volunteer bandage-rolling. Set and props detail are especially effective.

“Waiting for the Parade” is a warmly moving and educational production. News of American citizens on the home-front has been depicted often. This is a rare look at the lives of our Canadian neighbors to the north. Wendy Ishii, who is very good as “Margaret,” notes, “Part of the fun of these characters is that their stories are laced with humor, pathos, and resiliency as they live in the uncertainty of the future.”

“Waiting for the Parade”
Bas Bleu Theatre Company
401 Pine Street, Fort Collins, CO 80524
When: To March 4, 2018
Telephone 970/498-8949
Online:  www.basbleu.org

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

Award Winning “Fun Home” On Stage At Midtown Arts Center In Fort Collins

Excellent Performances Highlight This Regional Premier

Reviewed by Tom Jones
February 2, 2018

The last time I saw Vince Wingerter on stage, he was Bert, the affable chimney sweep in the heartwarming, “Mary Poppins.” He was very good in that role, but soars this season as Bruce, the tormented father in “Fun Home.” He rules the roost over a family in turmoil in their restored Victorian “House on Maple Avenue” that doesn’t quite fit into the All-American happy façade.

Image by Dyann DIercks Photography

This is a no-holds-barred look at a slice of the Americana dream that has rarely been so carefully dissected. Bruce, an English teacher in the local Pennsylvania town, took over the family funeral home (the “fun” home of the title) at the death of his father. He is confusion in motion, sometime playful and loving to the children, seen in fits of near rage the next, when the family doesn’t do precisely at he wants at the precise moment he desires.

The children are bewildered by him. His wife, Helen, unhappily endures what is happening, not wanting to cause further wrath. Bruce is a closeted gay man, in his personal hell of having no idea how to accept himself. His daughter, Alison has turmoil of her own. When she was very young she realized that she was attracted to women. She has no idea of where she fits in, until she goes to college and becomes aware of a society within a society which may actually accept her for who she is.

Image by Dyann DIercks Photography

This is a sometimes uncomfortable realization, but is very well portrayed by a talented cast. The story is based on the memories of the real Alison Bechdel. She is shown in three stages of her life: Small Allison (the young girl), a Middle Alison (college student), and as an adult, recording and drawing what has happened to the “House on Maple Avenue” in mid-Americana, USA. The young Alison is double cast, with Julia Gibson and Ella Sokolowski playing in alternating performances. The Small Alison I saw was Julia Gibson. She is a star in the making. It will be exciting to watch her develop over the years.

Photo Credit: Dyann Diercks Photography

Sarah Lewis is very convincing as the college-age Alison, carefully taking notes of what she sees in life, and transferring her ideas to artwork. She has the challenge of accepting herself as a lesbian, initially having no idea of what such a label entails.

Monica Howe is the protagonist, playing the adult Alison. “Fun Home” is basically her story, looking at the family life as she saw it. The real life Alison Bechdel created the comic strip “Dykes To Watch Out For” which ran in lesbian and gay publications for many years. She gained a wider readership with the publication of “Fun Home: A Family Tragicomic,” a graphic memoir about her relationship with her gay father.

Alisa Metcalf is very good as the bewildered wife, having no idea of where to turn in the family confusion. She takes refuge with her piano. Her song, “Helen’s Etude” is one of the most memorable scenes in the show. Zulfiya Asquino is effective as the college-age Alison’s first lover. Corbin Payne is seen as the local handyman and other characters. Matthew Farley and Ryan Fisher are the family’s young boys. They are good dancers, and bring some comedy relief to the heavy story, climbing in and out of the “fun home” caskets.

Image by Dyann DIercks Photography

The musical was developed through several readings and performances, culminating with the Broadway opening in the spring of 2015. It is the first Broadway musical with a lesbian protagonist, and the original New York run was extended several times. It was nominated for many awards, and was named as Best Musical in the 2015 Tony Awards.

Music is by Jeanine Tesori; book and lyrics by Lisa Kron. The Midtown Arts Center production was produced and directed by Kurt Terrio. The music is pleasant, with thought-provoking lyrics. The score received many awards.

This is a very well-acted production. It is NOT “The Sound of Music” or “Mary Poppins,” but a disquieting rendition of a family trying to come to terms with reality. The set is terrific. The cast is terrific. The show is an eye-opening glimpse into the challenging world of gay and lesbian persons coming to terms with themselves, their families, and society as a whole.

“Fun Home”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To March 17, 2018
Box Office: 970/225-2555
Online at  www.midtownartscenter.com

2018, Fort Collins, Lincoln Center, OpenStage

OpenStage’s “The Crucible” Is Riveting Production

Salem Witchcraft Trials of 1692 Are Frightful Reminder Of Society Going Amuck.

Reviewed by Tom Jones
January 20, 2018

Last year’s OpenStage production of “August: Osage County” was among the finest Colorado productions of the year. Not to be outdone, they have again achieved brilliance with Arthur Miller’s “The Crucible” now onstage at Lincoln Center’s Magnolia Theatre.

Settlers reached Cape Cod in 1620, and about seventy years later the Puritan citizens of the Massachusetts Bay Colony face ongoing strife. Their theocratic society, isolated from most of the world, needed to rely on everyone in the village to be supportive and helpful. Unfortunately, the small society was rife with greed, selfishness, hypocrisy and now even rumors of witchcraft.

The community’s spiritual leader is Reverend Samuel Parris. He is horrified one night to find his daughter, Betty, and other young women of the village dancing in the woods, maybe naked, and seemingly involved in some kind of witchcraft activity. Betty has fallen ill. Is she in a trance? Is she ill from having taken an evil potion? Or is it something else? Parris is hesitant to make any waves about the incident, as his religious responsibilities to the community are not on solid footing. L. Michael Scovel is very good as Reverend Parris.

Teal Jandrain as Abigail Williams in OpenStage Theatre’s production of The Crucible by Arthur Miller. Photography by Joe Hovorka Photography

As Betty remains bedridden, only sometimes coherent, some members of the community are questioned. One is Abigail Williams, reportedly the young women’s ringleader. She proclaims her innocence, reporting that someone else in the group once tried to force her to drink blood. She lives in the Parris home, following the death of her parents. She and the Reverend do not get along, and Parris does not believe the stories she tells.

This sets the mood for two and one-half hours of the fearful tale. Teal Jandrain is terrific as Abigail, beguiling one moment, thrown into fits of delirium the next. Confused by Abigail’s mood changes is John Proctor, a married neighbor with whom Abigail had a brief affair in the past. Timothy Ackerman is outstanding as Proctor, with Corinne Wieben providing a similarly excellent portrayal of his wife, Elizabeth.

Timothy Ackerman as John Proctor and Corinne Wieben as Elizabeth Proctor in OpenStage Theatre’s production of The Crucible by Arthur Miller. Photography by Joe Hovorka Photography

The fireworks are non-stop, with the community in turmoil, not only with rumors of witchcraft, but with greed, selfishness, questionable real estate deals, and hypocrisy against those who are less than active in their religious devotion. Some are convinced that the devil’s influence is everywhere. As a result, several women and one man are hanged, to supposedly rid the community of evil. Another man is “pressed” — squeezed to death.

The soul-searching John Proctor is tormented by his own frailties. His wife, Elizabeth, appreciates that her husband is a truly honorable man, but is having difficulty putting his past indiscretion out of her mind. Abigail is amazement in action. One moment I am convinced that she is a truly wonderful person, the next I am convinced that she and Teal Jandrain (who portrays her) are both consumed by the devil. This is a disquieting experience.

Arthur Miller’s play opened in New York in 1953. Even though it received largely negative reviews, it did win the 1953 Tony Award for Best Play. A year later, a new production received great acclaim and went on to become a classic.

Teal Jandrain as Abigail Williams and Timothy Ackerman as John Proctor in OpenStage Theatre’s production of The Crucible by Arthur Miller. Photography by Joe Hovorka Photography

The current OpenStage production succeeds on every front. Director Peter Anthony is widely respected for his continual work. He not only directed this production, but also designed the excellent scenery and sound. Lighting is by Brian Miller. The effective costumes are the work of Rebecca Spafford.

The cast is large and impressive. Acting is remarkable throughout. In addition to the leads mentioned, great work is also done by Heath Howes as Reverend John Hale, Ken Fenwick as Deputy Governor Danforth, Katie Houser as Mary Warren, Alicia Myers as Tituba, Brien Fletcher and Giles Corey, Steven Wright as Thomas Putnam, Kathy Leonard as Rebecca Nurse, Duane Sawyer, as Ezekiel Cheever, Joe Vader as John Willard, Hailey Goebel as Betty Parris, Shelby Taylor as Mercy Lewis, Kalie Allyn Lanik as Susanna Walcott, Quinn Bringelson, Lauren Gorman, and Rocky Eisentraut as girls in the village.

OpenStage was honored last year by the Colorado Theatre Guild as the Theatre Company of the Year. The year is starting in great style with “The Crucible,” a brilliantly staged and performed reminder of how a cauldron of hysteria can destroy society.

Arthur Miller’s excellent writing, the cast’s remarkable performances, and Peter Anthony’s brilliant work as director combine to provide a must-see performance at OpenStage.

“Crucible” definitions:

  • Purification through ordeals
  • The New Oxford American Dictionary in 2001: “A container in which metals or other substances may be melted or subjected to very high temperatures. A place or occasion of severe test or trial.”
  • At one time, the U.S. Marine Corps had a test known as “The Crucible” where members of the group were put through an ordeal of physical activity with no sleep — not everyone succeeding in the activity.

“The Crucible”
Where: OpenStage Theatre production on the Magnolia Theatre Stage of Lincoln Center
417 West Magnolia Street, Fort Collins
When: Through February 17, 2018
Tickets: 920/221-6730
For more information: Visit Open Stage

2017, Bas Bleu, Fort Collins

Chekhov meets Snow White in Award Winner

“Vanya and Sonia and Masha and Spike” Shine at Bas Bleu Theatre

Reviewed by Tom Jones
November 16, 2017

Vanya and Sonia have reached middle age, with very little going for them. They live in the family home in Bucks County, PA, and have spent most of their adult lives looking after their now-deceased parents. Vanya and Sonia have been unhappy for so long it seems that they have forgotten what happiness is. A day’s highlight might be their bickering over whether the coffee is hot enough. Their boring lives are interrupted by the arrival of their world-famous actress sister, Masha, who breezes into town much to her peers’ annoyance.

The stage is set for two and one-half hours of clever intrigue, family squabbles, and a rich coming-to-realization of what is important in life.

© 2017 William A. Cotton

Jeffrey Bigger as Vanya, and Kelly Foerster as Sonia, are convincing as the brother and sister inhabiting the family home. Vanya is a gay man with no apparent close friends. Sonia was adopted into the family as a young girl, has grown to middle-age with no apparent friends, and no apparent interests. Neither of them is employed, and their successful sister, Masha, pays all the bills.

© 2017 William A. Cotton

The arrival of Lee Osterhout-Kaplan as Masha lights up the stage. Masha, is an over-the-hill actress who is accustomed to having her own way with everything she does, and with everyone she touches. She arrives from her New York home with Spike, her latest gigolo, in tow. She has been through five husbands, and is currently hanging out with a young hunk half her age. Marcus Turner is super as Spike – a handsome dimwit whose main claim to fame has been to have auditioned for a bit part in a tv sitcom. Masha not only rules her young lover, but rules the stage as well. She is impressive.

© 2017 William A. Cotton

Her reason to travel to the family home is to find a realtor to sell the property. While she is in town she’ll take the family to a neighborhood costume party where she plans to reign supreme as Snow White. The family balks at being assigned to supporting roles – dwarfs.

Vanya and Sonia and Masha were given names from Anton Chekov stories beloved by their parents. The Chekhov references are abundant, from names to family discord, even to the fading cherry orchard now reduced to just nine trees. Knowledge of Chekhov is not required, but is an added delight to playwright’ Christopher Durang’s clever story.

© 2017 William A. Cotton

“Vanya and Sonia and Masha and Spike” opened on Broadway in 2013. Critics praised the show, and it proved to be an immediate commercial success — recouping its initial investment in less than four months. In 2013 it received the Tony Award for Best Play, the Drama Desk Award for Outstanding Play, and numerous other honors.

© 2017 William A. Cotton

Direction for this production is by Graham Lier. This is his directorial debut, and he fills the roll admirably. I saw the first Bas Bleu public performance and was impressed with how the entire cast became better and better as the play progressed. I can only imagine how accomplished everyone will be in future performances.

Among the initial standouts: Lee Osterhout-Kaplan as Masha who is already brilliant every moment she is on stage. Jeffrey Bigger’s Vanya provides a tender monologue review of what life was like in the 1950s. Kelly Foerster as Sonia is heart-wrenching when speaking to a gentleman caller by telephone the morning after the costume ball. She came to life that previous evening, and can’t believe that someone was interested in knowing her better. Alexandra Bunger-Pool is a warm-hearted charmer as the neighbor girl who can find happiness everywhere she goes. Jasmine Winfrey is the voodoo-operating housekeeper who is able to put the household in order. Marcus Turner is the not-so bright Spike who has more brawn than brains, and is bewildered by the entire family.

© 2017 William A. Cotton

This production includes high hilarity and poignant pathos. Masha is terrified that her successful life as a sought-after actress may have peaked, and can’t face the reality of being asked to portray the role of a grandmother. Her young lover is happiest when parading around in his undies not caring what anyone around him might think. Vanya and Sonia can’t fathom what life might be like if the house is sold. This is a particularly-well-crafted play. The dreary lives are enhanced to the extent that “hope” is not just around the corner — it is on the doorstep. “There is always hope.”

“Vanya and Sonia and Masha and Spike” (and Nina and Cassandra) are all in fine form, with this delightful fairly-tale of a family in turmoil.

“Vanya and Sonia and Masha and Spike”
Where: Bas Bleu Theatre Company
401 Pine Street, Fort Collins, CO 80524
When: To December 17, 2017
For Information: Telephone 970/498-8949 or Click Here

2017, Comedy, Fort Collins, Musical, OpenStage

Monty Python is Alive and Well in OpenStage’s “Spamalot”

Choreography Excels In This Daffy Delight!

Reviewed by Tom Jones
October 29, 2017

Life isn’t easy in 932 A. D. for King Arthur in England. He is trying to round up a group of gallant and valiant men to serve as knights for his round table. Trouble is, not many people have even heard of this Arthur chap, and the French are outright hostile to him.

Charlie Ferrie as King Arthur in OpenStage Theatre’s production of Spamalot by Eric Idle and book by John Du Prez, photography by Steve Finnestead Photography

Charlie Ferrie is in fine form as the befuddled king. He IS in command, but can’t seem to easily round up followers. Except for his ever-faithful “trotting” servant, “Patsy.” Dan Tschirhart is a standout as the not terribly bright aid-de-camp whose primary role to knock coconuts together to create the sound of trotting horses. Tschirhart never loses character, even when the thoughtless king ignores his presence while trying to get sympathy with “I’m All Alone.”

Carl Buchanan, Larry Linne and Kiernan Angley as Taunting Frenchmen in OpenStage Theatre’s production of Spamalot by Eric Idle and book by John Du Prez, photography by Steve Finnestead Photography

While the local citizens aren’t eager to go to war, or to search for the Holy Grail, they are amazingly willing to sing and dance! The dancing is terrific. The “Laker Girls” cheerleading the knights, “His Name is Lancelot,” and “You Won’t Succeed on Broadway” are all show-stopping routines. Choreographer Cole Emarine even includes a clever Jewish folklore “bottle dance” with Grail Goblets atop each dancer.

Direction of the continually-delightful mayhem is by Emelie Borello, with music direction by Joseph Perron.

In 1975 The Monty Python Comedy Group (including Eric Idle) created the movie, “Monty Python and the Holy Grail.” It immediately became a worldwide favorite and developed a cult following — the group that I refer to as “Pythonites.” Idle expanded the movie’s idea, writing book and lyrics for the 2005 musical “Monty Python’s Spamalot.” Clever bits of the movie have become comedy standards. Many of them turn up on the Fort Collins stage. Some work brilliantly, others not so well.

Dan Tschirhart as Patsy and Charlie Ferrie as King Arthur in OpenStage Theatre’s production of Spamalot by Eric Idle and book by John Du Prez, photography by Steve Finnestead Photography

Stage highlights include the creation of the Trojan Horse in the shape of a large rabbit that the knights forget to enter before placing it into a local castle. Then there is the incredibly mean rabbit who tears anyone to shreds who dares challenge him. The highwayman challenging the knights loses his arms and legs to King Arthurs’s men, noting with each limb-severing blow, “merely a flesh wound.”

And the goofy Knights Who Say Ni, who request a bit of shrubbery (with their virtually incomprehensible language) before anyone can continue the trail. Language is one of the few problems with the OpenStage production. From the welcome to the show through much of the dialogue emitting from the tops of castles the audience is often in a bewildered state of wondering just what is going on. Fortunately, the audience was packed with Monty Python fans (my “Pythonites”) who seemed to catch every nuance of craziness.

In addition to King Arthur and his ever-trotting servant, Patsy, another creative wonder is Kiernan Angley’s performance of Sir Lancelot. The role is just one played by versatile Angley. One moment he is the gay Sir Lancelot. The next moment he becomes a French Taunter, a Knight of Ni, or Tim the Enchanter. He is extremely masculine-heroic one moment, a fey delight, the next. Nikki Gibbs is the Lady of the Lake, the woman supposedly responsible for Arthur becoming the king. Gibbs is a very attractive addition to the scruffy crew, and is a good actress. She does not, however, have the raucous bravura of the desired diva. She sings her songs — doesn’t delightfully “belt” them.

Most of the performers play multiple roles, each with daffy-timing skills.

The 2005 “Monty Python’s Spamalot,” directed by Mike Nichols, received Tony Award for Best Musical. It has subsequently become a worldwide attraction. Currently on stage in Fort Collins, it is a brilliantly acted performance of non-stop lunacy, with only a modicum of sense. Just what we need right now.

“Monty Python’s Spamalot”
Where: OpenStage Theatre production, on the Magnolia Theatre Stage of Lincoln Center.
417 West Magnolia Street, Fort Collins.
When: Through November 25, 2017
Tickets: 970/221-6730
For more information: www.lctix.com

2017, Drama, Fort Collins, Midtown Arts Center, Musical

Love Lost and Found in Dublin

Award Winner “Once” Charms Midtown Arts Audience

Reviewed by Tom Jones
September 8, 2017

Before the story begins, the audience is entertained to some spirited Irish music, performed by the talented cast, in the setting of a Dublin bar. At the show progresses the performers sing to us, sing to each other, talk to us, and talk to each other. They tell us what they look for, what is important and what is not. It is early apparent that the characters portrayed are good and caring people – albeit with rough edges of language.

The first person we meet is “Guy,” who is emotionally in the dumps. His girlfriend has moved to New York, he lives upstairs above his dad’s vacuum repair shop where he works. And sings for coins on street corners. He has written lots of music, but has decided to give it up and has no idea what he truly wants in life. Fortunately, the for the audience, Guy is portrayed by Barry DeBois, who is very good looking and has an amazing voice. Whenever he sings, the audience is enthralled.

Image by Dyann DIercks Photography

Guy is on the verge of abandoning his guitar and whatever coins were tossed in his hat that day when along comes “Girl.” Elena Juliano is a delight as the feisty woman, a Czech by birth, now living in Dublin with her daughter, and her mother. Her husband has gone. She is a take-charge, no nonsense gem who immediately takes Guy under her wing, and convinces him that he has something going for him – his talent. She immediately realizes that he is a good “Guy.” She is in no hurry for romance, but needs a challenge to bring some joy into her semi-dreary life. She can play the piano and knows good music when she hears it.

How Guy and Girl look at life, what they want from life, and from each other are central to the story. “Once” began as a movie in 2007. The stage musical and the movie include music and lyrics by Glen Hansard and Marketa Irglova. The score incudes the haunting Acadamy Award winning song, “Falling Slowly.” Music ranges from delightful Irish pub songs to heartful suggestions of desire.

Image by Dyann DIercks Photography

The Broadway musical version opened in 2012 and received eight Tony Awards including those for Best Musical, Best Actor and Best Book. It has subsequently been seen by audiences in England, Ireland, Australia, Korea, Canada, South Korea, and throughout the United States. It is a very interesting show. The is no high-kicking chorus line, but is a thoughtful musical tracing the ups and downs of potential romance.

In addition to the beautiful “Falling Slowly,” some highlights include the opening “Leave,” and an especially beautiful “Gold.” With musical accompaniment of the cast, Guy sings this at the conclusion of Act 1, noting “And I love her so. I wouldn’t trade her for gold.” It becomes even richer late in Act 2 when the entire ensemble sings with without accompaniment.

Image by Dyann DIercks Photography

The cast includes twelve incredibly talented persons, all taking acting parts, all playing a variety of musical instruments, and dancing their hearts out. The cast includes the young girl, Ivanka, who is “Girl’s” daughter. The role is double cast, with Stella Seaman or Kassidy Terrio taking the role for various performances. I saw Stella Seaman. She is a joy! Most of the cast are new to the MAC stage. Familiar to local audiences, however, are John Jankow, Charity Ruth Haskins, and John Seaberry,

All the music is provided by performers on the stage. The set is an attractive bar that can become a music store, a vacuum repair shop, a hillside overlooking Dublin, and wherever the story goes. Kurt Terrio produced and directed the show, with Michael Lasris providing the terrific choreography. Barry DeBois, who is so excellent as “Guy,” also serves as music director.

The music, although beautiful, is not familiar. The audience does have difficulty understanding what is being said and sung. Accents are Irish and Czech. Sometimes the dialogue is flashed on the stage in Czech with the idea that it is clever to see what the persons are saying. Unfortunately, it just makes the situation more difficult, as we often can’t understand what is being said in Czech or in English. When Girl sings to her own piano accompaniment, the piano sometimes is too loud to hear Elena Juliano’s pleasant voice.

It is not difficult to follow the show’s basic premise. Twists along the way, however, can be difficult to understand. The conclusion is an emotional one with Guy and Girl singing the same song of love – with an ocean separating them. Maybe a second viewing would be helpful to better understand the lyrics, as “Once” may just not be enough. It is basically a heartfelt and beautiful show.

“Once”
Where: Midtown Arts Center
3750 South Mason Street
Fort Collins, CO 80525
To: November 11, 2017
For Tickets: Phone: 970/225-2555
MAC’s Website

2017, Drama, Fort Collins, Youth

“Fiddler on the Roof” Is A Winner

Student Production Wows Audience at Midtown Arts Center

Reviewed by Tom Jones

August 19, 2017

Twenty or so years from now the star performers at local theatres just might look back at this year, and say, “Remember when we received a standing ovation at MAC when we were young students in ‘Fiddler on the Roof?” That same group of performers may continue to receive “standing ovations” wherever they go, as they possess boundless talent and enthusiasm. Today they are the stars of tomorrow.

PHOTO CREDIT: Leah Allen

Forty-six students at the Academy at Midtown Arts Center provided three performances of their student training achievement in mid-August of 2017. At the “welcome” provided prior to the curtain opening, the audience learned that the production this season is a result of just three weeks of rehearsals. Jalyn Courtenay Webb and Michael Lasris, the show’s producer and director noted that finalizing the show is actually a miracle, with unbelievable odds that a show of this caliber could be completed in so little time, and with a cast of not-yet-professionals. The show itself echoes one of the productions songs, “Wonder of Wonders, Miracle of Miracles.”

PHOTO CREDIT: Leah Allen

“Fiddler” is the tale of the Jewish milkman, Tevye, the kindly father of five daughters, questioning why God has made life so difficult for him in Russia of 1905. He and his wife of 25 years, Golde, live in a tiny village of Anatevka, accepting their poverty as a way of life, handed to them by “Tradition.” Tim Watson is amazing as the middle-age Tevye. He has a marvelous voice, and incredible stage presence. He will begin his college studies this year in Laramie. It will be interesting to follow his career, and I am curious how long before he will turn up as a brilliant Henry Higgins in “My Fair Lady,” or as Harold Hill in “The Music Man.” Avree Linne is a student at Fossil Ridge High School in Fort Collins. I was slow to warm up to her. But midway through the production either she became brilliant, or I just began to appreciate her talents, and I came away from the show with awe for her skills.

The list goes on and on (and on and on, as there are 46 young persons in the show). Among the standout supporting players are Meg Brown as Yente, the matchmaker; Lexi Reese, Daye Waldner and Zoe Maiberger as the oldest of the five daughters, and Jack Bramhall-Heck as the shy tailor, Motel, in love with the oldest daughter, Tzeitel. Meg Brown (Yente) and Jack Bramhall-Heck (Motel) have the flashiest roles, and light up their every scene. Also of particular interest is Nic Rhodes who is the “Fiddler” at the beginning of the show and turns up frequently to provide the inner feelings of the show’s leading man, Tevye.

“Fiddler” is a musical with music by Jerry Bock, lyrics by Sheldon Harnick, and a book by Joseph Stein. The original Broadway production opened in 1964, and was the first musical theater run in history to surpass 3,000 performances. It received numerous awards, became basis for a highly successful movie in 1971, and continues to play on stages throughout the world.

The August 2017 production is the conclusion of this summer’s youth Academy endeavors. It is a winner in every respect. The sound and lighting are excellent, the costuming is very good. Perhaps the highlight of the production is the movement of the performers – getting so many persons on and off the stage so frequently and efficiently, and have them performing so many choreographic skills throughout the entire show. Director Lasris credits Dominique Atwater, Adam Bourque, Cassidy Cousineau, and Emily Erkman, for their work as choreographers and musical directors. Artistic Director is Jalyn Courtenay Webb, who also produced the show. Webb commented that she is personally impressed with the vocal skills of the ensemble, noting that she has rarely heard the show sound so good.

I have been a little hesitant to see student productions at local schools. Shame on me. Whenever you have a friend or family member that you know is performing in a local student production, find out more about it, and dash to the auditorium. The Academy at Midtown Arts Center is one of the most imminent theatre schools in the area. Enrollment for their next season is open now, with the Fall Schedule set from September 11 to November 16.

Congratulations to everyone connected with this delightful “Fiddler” production. I’ll be on the lookout to see where so many of you will be performing next!

“Fiddler on the Roof”
Where: The Academy of Midtown Arts Center
750 South Mason Street, Fort Collins, CO 80525
Online: Midtown Art Center

2017, Musical, Tuacahn Center For the Arts, Utah

“Newsies –The Musical” Lights Up Huge Tuacahn Stage

Tale of Real-Life Newsboys Strike in New York City in 1899 is Enormously Endearing

Reviewed by Tom Jones
August 8, 2017

A rag tag group of young newspaper sellers made their own headlines in 1899 in New York City. They fought the establishment, demanding slightly higher wages, and respect. Their exuberant story has found an equally-exuberant audience in Padre Canyon outside St. George, Utah, this summer.

This is the 22nd season for Tuacahn Center for the Arts – with its enormous stage and open-air backdrop of the red cliffs of Southern Utah. This summer their audiences are treated to “Shrek The Musical,” “Mamma Mia!,” and the terrific Disney’s “Newsies.” I didn’t plan to see all three shows, so selected the one I knew the least about, and ended up being swept away with “Newsies” this summer.

What a great choice. In 1992 the musical film “Newsies” turned up in movie theatres. Music is by Alan Menken, with lyrics by Jack Feldman, and a book by Harvey Firestein. The movie became a cult favorite, and became a Broadway musical in 2012, playing 1,005 performances. The Broadway production reportedly cost about five million dollars to stage, and recouped the initial investment in seven months. At that time, it was the fastest of any Disney musical on Broadway to turn a profit. A movie version of the theatrical production had a three-day release this past February, grossing more than three million dollars

As produced at Tuacahn there is an underlying feeling of ultimate joy, as the young boys struggle for survival in the tough streets of early New York. Their story could have resulted in a dreary look at dreary lives, but has succeeded in rising above the dire circumstances to become an anthem of survival for the city of New York and ultimately for the nation.

The production’s success relies not only on the basic story, but on the amazingly athletic dancing of the performers, the heartfelt music of the composers, and the story itself. Newspaper delivery boy Jack Kelly tells his disabled friend, Crutchie, of his desire to someday leave New York City, and move to find his dreams in the faraway western town of Sante Fe. He is a talented artist, with no family, no money, and has his share of troubles with the law. His story could be replicated throughout the entire cast of orphans and homeless young men of the time living on the edge of society in hostile New York City.

The leads in “Newsies” include Ryan Farnsworth as Jack Kelly, Jordan Aragon as his friend, Crutchie, Daniel Scott Walton as Davey, Will Haley as Davey’s brother Les, and Whitney Winfield as Katherine, the newspaper reporter who comes to their aid. The cast is enormous and featured roles include Matthew Tyler as Joseph Pulitzer and Jennifer Leigh Warren as Medda Larkin. Pulitzer has become immortalized by his financial success, and by the literary awards bearing his name. In “Newsies” he is shown in a very different light, with the audience wanting to “boo” his every appearance.

There is always a danger of performing a show outside on summer evenings. There were two (or maybe three) drops of light rain following the intermission, but the total effect of an evening outside on a wonderful summer night was one of sheer wonder. A visit to Tuacahn becomes an “event” all its own. At the top of the huge set are the living quarters of the young newsies. Their laundry was hanging out in windows, being blown slightly by a southern Utah breeze, and the incredible dancing on the stage beneath, providing its own storm of delight. A woman in the audience noted she had already seen the show more than ten times. That might be overdoing it a little, but “Newsies” is a true triumph.

Disney’s “Newsies”
Where: Tuacahn Center for the Arts, the base of Padre Canyon,1100 Tuacahn, Ivins, Utah, 84738
Website: www.tuacahn.org

2017, Boulder, Musical, Review

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

BDT Stage

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

Reviewed by Tom Jones
June 7, 2017

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

Photo Courtesy of Glenn Ross

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

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

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

Photo Courtesy of Glenn Ross

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

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

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

Photo Courtesy of Glenn Ross

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

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

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

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

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

2017, Comedy, Drama, Fort Collins, OpenStage

“The Three Musketeers” Are A Dueling Trio In The Park In The OpenStage Production

Joe Coca Photography

Latest Version of Longtime Favorite Provides Great Fun, Great Swordsmanship!

Reviewed by Tom Jones
June 4, 2017

Eons ago, before the “Star Wars” illuminated sabers came into fashion, the weapon of choice among youngsters everywhere was the sword. Nearly every young man, and many young women learned early how to wield a wicked weapon with a wooden (or sometimes even cardboard) sword. These wondrous weapons are back – in the hands of three of fiction’s most famous: “The Three Musketeers.”

In addition to having great sword-playing skills, the Three Musketeers were known for their trust in each other. Their bond of friendship was never ending, and they swore forever loyalty with “One for All and All for One!”

D’Artagnan, a young Frenchman from the country, has a goal of becoming a Musketeer, to serve the French King. He is traveling to Paris to reach his goal. He is feisty and hot-headed. Within the first few minutes of his arrival on stage, D’Artagnan has challenged duels with three different men, three men that he was not aware are members of the Musketeers. Dan Muth is a site to behold as the ever-dueling, ever-loving, ever reliable D’Artagnan. His swordsmanship is impressive – impressive even to three Musketeers who realize the young man’s potential — and they offer him friendship instead of duels.

Such is the premise of playwright Richard Strahle’s version of “The Three Musketeers.” Alexandre Dumas wrote the original saga, first published in serial form in a French newspaper in 1844. It is fascinating to realize how much of Dumas’ lengthy epistle has been condensed to 90 minutes of fun in Strahle’s play, now outside on stage in Fort Collins. The story is placed in the mid-1600s in France. Intrigue between Comte de Rochefort, Cardinal of the Catholic Church in France, and the French King (King Louis XIII) is coming to a boil.

D’Artagnan is tossed into the turmoil, as he has becoming smitten with Constance, a servant to the queen who lives in the same apartment complex as the would-be Musketeer. The King’s Musketeers are at odds with the Cardinal’s Guards.

Dan Muth as D’Artagnan, Heath Howes as Aramis, Steven P. Sickles as Athos, and Andrew Cole as Porthos. Joe Coca Photography

The Musketeers are a jovial and efficient group of friends. The “three” we meet are Athos, played ty Steven P. Sickles, Aramis, played by Heath Howes, and Porthos, played ty Andrew Cole. They each have their own tales to tell and are well portrayed. Hannah Honegger plays Constance, the queen’s servant and love of D’Artagnan’s life. Casey Thomas becomes Anne of Austria, Queen of France. The leading woman’s role is the evil Milady de Winter. Kate Austin-Groen is very good as the conniving woman working with the Cardinal to bring down the French King.

The entire plot of intrigue and mischief could become dreary, but Strahle’s version is great fun, — more of a melodrama than a drama. The show’s program notes “Family Friendly Theatre in the Park!” This is OpenStage’s annual venue in The Park at Columbine Health Systems. There were several young people in the audience at the performance I saw. They cheered. They booed, and were continually alert during the 90-minute show.

The adults appeared to be equally delighted with the goings-on. The show begins at 7:00 p.m., with patrons urged to arrive early to find good places on the lawn to view the stage. There is no seating provided, so the audience brings their own chairs, or spreads blankets on the lawn. Many brought their own picnics, and there are food trucks where sandwiches and ice cream can be purchased.

The sound system is good, and the set is small, but efficient. Denise Burson Freestone has directed this delightful show, with Benaiah Anderson serving as fight director. The cast is large, and moves flawlessly on and off the tiny stage. There was no evidence of swords in the audience, but those onstage were kept impressively moving throughout the evening.

Playwright Richard Strahle is a Fort Collins native whose scripts are highly respected. The “Three Musketeers” marks the first time he has been commissioned to write a play, and the first time OpenStage has commissioned a playwright for a specific project. In the playbill he suggests, “Please laugh at the jokes.” The audience does.

“The Three Musketeers”
Where: OpenStage Theatre production, outdoors in the Park at Columbine Health Systems,
947 Worthington Circle in Fort Collins (Corner of Worthington Circle and Centre Avenue)
When: Through July 1, 2017
Tickets: 970/221-6730
For more information: www.openstage.com

2017, Bas Bleu, Comedy, Fort Collins

“Boeing Boeing” is Bonkers Fun at Bas Bleu!

 

An Architect in Paris Keeps Busy Tracking Airline Stewardess Schedules.

Reviewed by Tom Jones,
June 2, 1027

The wonderful set on the Bas Bleu stage provides the immediate idea that the audience is in for some door-slamming farce. Six or seven (I lost track of the count) doors provide enormous fun for arriving and exiting – such is the joy of French farce. In “Boeing Boeing” the doors are not slammed, but are opened and closed in split-second timing as the cast comes and goes with clock-like precision.

Photo courtesy William A. Cotton

Bernard is a bachelor architect living in Paris. His apartment affords sweeping views of the city. It is not clear when Bernard has time to enjoy the view, or even to work, as he is the paramour of carefully selected air hostesses (we now refer to them as stewardesses) whose schedules he carefully tracks. He is in love with and engaged to Gloria, an American with TWA; is in love with and engaged to Gabriella with Alitalia; and in love with an engaged to Gretchen with Lufthansa. He keeps an up-to-date worldwide airline schedule, so that he can keep track of his private team of stewardesses.

Phil Baugh is excellent as the sly Bernard. He doesn’t appear to be the least bit smarmy, but a “great to know” type of guy who is wonderful at wooing three beautiful women. He claims to love each of them, and they vow their love to him in return — not having any idea that they are sharing the guy.

Photo courtesy William A. Cotton

Berthe, was housekeeper of the apartment when Bernard purchased it, and has stayed on. It is her “home” and she has learned to tolerate Bernard’s lifestyle and abet his womanizing scheme. She knows when to cook “Italian,” when to cook “German,” and when to cook “American” (pancakes with ketchup).

We first meet Gloria who is getting ready to leave the apartment for her next flight. The timing is a little close, and Bernard doesn’t want to delay her departure, as the Alitalia stewardess, Gabriella, is soon to arrive. Before Gloria leaves, however, Robert (a longtime friend from Bernard’s school days) arrives. He is in Paris briefly, on his way to Southern France to see his mother. Robert, too, is a bachelor, but has no string of women chasing him. He is aghast and amazed when he learns of Robert’s system of scheduling his romances.

Jeffrey Bigger is terrific as Robert. His “Robert” and Phil Baugh’s” Bernard” are excellent comedy foils, with the long-suffering Cheryl King’s sometimes grumpy, and always interesting “Berthe” tossed into the mix.

Photo courtesy William A. Cotton

As anticipated, TWA departs. Alitalia arrives. Lufthansa arrives. TWA returns. Mayhem ensues. Alexandra Bunger-Pool as Gloria, Sarah Paul-Glitch as Gabriella, and Elizabeth Baugh, as Gretchen make a great trio of “engagees.” Each has her native-country accent and traits. Each is beautiful, and each is a super comedienne!

Bas Bleu is not known to be a mecca for farces. It has outdone itself, however, with “Boeing Boeing.” The plot is crazy, the set is a wonder, and the acting is first rate. It is so much fun, however, that in one moment, TWA’s Alexandra Bunger-Pool, could not restrain herself because Jeffrey Bigger’s Robert was being basically hysterical. This is a funny play!

It is a classic farce, written by the French playwright Mark Camoletti. It was subsequently translated by Beverly Cross and opened in London in 1962, running for a total of seven years. In 1991 the play was noted by the Guinness Book of Records to be the most performed French play throughout the world. The original 1965 Broadway production lasted less than a month, but a 2008 revival played nearly a year, winning several awards. The plot turned up in 1965 as a movie starring Jerry Lewis and Tony Curtis.

It would be difficult to find a more delightful cast romping through the Parisian apartment than those on stage at Bas Bleu. Director Cheryl King has created a joyful group of thespians hard-pressed to keep a straight face throughout the knee-slapping hilarity. Brian Miller is credited with designing the wonderful set, and Dennis Madigan’s lighting is effective. “Boeing Boeing” soars.

Something new is being offered: The theater is opening the new Bas Bleu Café for the run of “Boeing Boeing” on Friday and Saturday nights from 6:00 p.m. to midnight. Wine, beer and sandwiches will be available for purchase before, during, and after the show, along with mingling with the cast.

Tricia Navarre, Production Manager

A final note: This is the final show of Tricia Navarre, production manager. Trish is retiring, after serving as an integral part of the Bas Bleu team for 15 years. Her know-how, kindness, and wisdom have been greatly respected.

“Boeing Boeing”
Where: Bas Bleu Theatre Company
401 Pine Street, Fort Collins, CO 80524
When: To June 25, 2017
Telephone 970/498-8949
Online: basbleu.org

2017, Comedy, Fort Collins, Midtown Arts Center, Musical

Popular Movie “Sister Act” Transfers With Great Enthusiasm To Stage At Midtown Arts Center

Marissa Rudd Is Sensational As Deloris, Becoming A Nun Against Her Will.

Reviewed by Tom Jones
April 8, 2017

Shakespeare’s Hamlet (the famous Dane) warned his love, Ophelia, to “get thee to a nunnery” to ward off his advances. In “Sister Act” a wanna-be nightclub performer is whisked off to a convent for her own protection after she sees her gangster boyfriend shoot a man.

Marissa Rudd is a wow as the talented singer, Deloris, whose boss boyfriend claims she is not yet ready for the big time. In disgust, she leaves the club, being in the wrong place at the wrong time to witness a murder.

Photography Credit: Dyann Diercks Photography

With the gangster and his mob-of-three on the trail, police hide Deloris in a local convent. The Mother Superior wants nothing to do with the idea, but is advised she must assist. Deloris’ background included several years in a parochial, followed by some street-smart adventures. She is no happier pretending to be a nun than the Mother Superior is in hiding her. The nuns in the convent are confused by the sudden arrival who doesn’t appear to truly be one of the sisterhood. Continue reading Popular Movie “Sister Act” Transfers With Great Enthusiasm To Stage At Midtown Arts Center →

2017, Comedy, Fort Collins, Lincoln Center, OpenStage, Review

OpenStage’s “Don’t Dress for Dinner” Is A Delectable Farce In The French Countryside!

Steller Cast Provides Laugh-Out-Loud Situations In This Bawdy Tale.

Reviewed by Tom Jones
April 2, 1017

Bernard, a successful Frenchman living with his wife, Jacqueline, in a country home, has taken careful precautions to plan the weekend to perfection. Jacqueline is set to go away by train for a few days to visit her mother. He has arranged with a catering service to provide a delectable dinner to share with his mistress, Suzanne, who is due to arrive for a blissful weekend of love making. Bernard learns that a longtime buddy, Robert, is also in the area, and can see no worry about also inviting him to the home, at least for dinner.

Bernard’s plans fall apart in quick order. When Jacqueline learns that the friend, Robert, is coming to stay the night, she cancels plans to visit her mother. Bernard does not know that his wife, Jaqueline, is Robert’s mistress. Continue reading OpenStage’s “Don’t Dress for Dinner” Is A Delectable Farce In The French Countryside! →

2017, Comedy, Loveland, Loveland Opera Theater, Review, Rialto Theater

The Merry Wives of Windsor” have moved from England to Scarsdale, New York

Loveland Opera Theatre Provides Great Fun – Greatly Sung

Reviewed by Tom Jones
February 27, 2017

Two neighboring wives in Scarsdale, New York, receive letters from the town lecher – John Falstaff, indicating his desire for rendezvous. He is a not very bright lecher, as the women receiving the letters live side by side in the community, and are most eager to share the silly request with each other. They decide to teach him a lesson by inviting him to their homes, with further plans to make him realize his foolishness.

PHOTO CREDIT: D. St. John Photography

So begins a delightful recounting of Shakespeare’s 1602 play, “The Merry Wives of Windsor,” now set to music. Shakespeare’s merry wives have seen many transformations. Italian composer Otto Nicolai wrote and conducted the music for a German language opera in 1849, with libretto by Salomon Hermann Munsenthal, first performed in Berlin. Forty-four years later, Italy’s Giuseppe Verdi took his turn with the play with his opera, “Falstaff,” premiering in Milan in 1893.
Continue reading The Merry Wives of Windsor” have moved from England to Scarsdale, New York →

2017, Drama, Fort Collins, OpenStage, Review

Pulitzer Prize Winner “August: Osage County” triumphs at OpenStage

Denise Freestone is Flawless as Heavily-Flawed, Pill-Popping Family Matriarch

Reviewed by Tom Jones
February 19, 2017

The sustained applause at the conclusion of “August: Osage County” was an unusual display of approval. The opening night audience had been in their seats for more than three hours, but was in no hurry to leave the theatre, as the cheering, standing ovation was endless. The play is one of the most interesting productions performed in northern Colorado in recent memory.

Denise Burson Freestone as Violet Weston in OpenStage Theatre’s production of August: Osage County by Tracy Letts, photography by Joe Hovorka Photography

Denise Burson Freestone and Bruce K. Freestone, Founders of OpenStage, took substantial risk in bringing the award-winning play to Colorado. Looking at a family in turmoil is not a particularly pleasant subject. The cast is large. The set is large. The play’s duration is long. The language is foul. And the show is a winner.

Bruce portrays Beverly Weston, a poet whose fame reached its pinnacle many years earlier. He is now an alcoholic, unhappy with life. Denise plays his wife, Violet, who is suffering from oral cancer and is trapped in her own world of pills and cigarettes. They live separate lives under the same roof of their home in Osage County, Oklahoma, not far from Tulsa. The father’s alcoholism and the mother’s addictions have driven two of their three daughters to move far away, leaving only a lonely unmarried daughter nearby.
Continue reading Pulitzer Prize Winner “August: Osage County” triumphs at OpenStage →

2017, Bas Bleu, Drama, Fort Collins

“That Championship Season” looks back on a winning team 25 years later – men whose lives are stuck in memories of past glory.

Marlin May and Jim Valone provide gut-wrenching performances in Bas Bleu production.

Reviewed by Tom Jones February 10, 2017

The fictional local Catholic high school basketball team in Scranton, Pennsylvania, won the State Championship 1952. Twenty-five years later four of the team starters gather at the coach’s home to pay him their respects and to relive memories of their long-ago success. Time hasn’t been good to them. Their coach appears to be dying. One of the players is an alcoholic drifter. His brother is a junior high school principal who has helped others throughout his life, and now wants to do something “important,” but has no support. Another is the town mayor desperate to keep his political power. The wealthy player remains wealthy, but has apparently had a romantic dalliance with another player’s wife. The town’s economy is in shambles Political intrigue is rampant. Egos are out of control. Power is the goal. Winning is everything. This is not a group that you would to invite into your home for a quiet evening of pleasant chatter. It is hard to imagine that 25 years earlier the men were a cohesive unit – claiming a last-minute victory from the jaws of defeat.
Continue reading “That Championship Season” looks back on a winning team 25 years later – men whose lives are stuck in memories of past glory. →

2017, Fort Collins, Musical

“Forbidden Broadway” is Great Fun for Theatre Audiences of All Ages

Midtown Arts Center dishes up highlights of well-known shows.

Reviewed by Tom Jones
January 22, 1017

Broadway show fans will be hard-pressed to find a more entertaining venue than “Forbidden Broadway,” as presented by Midtown Arts through March 18. Local performers take on personas of the famous and not-so famous entertainers from the New York stages. Jalyn Courtenay Webb becomes Carol Channing in “Hello Dolly.” Scotty Shaffer is a wow portraying a tall feline from “Cats.” Lisa Kay Carter is a crazed over-the hill “Annie” longing for another role. Rob Riney is spot-on with his announcement that “This Is the Song That Goes Like This”” from “Spamalot.” Paul Falk keeps everyone on pace with his excellent piano accompaniment.

Scotty Shafffer, Photo Courtesy Jalyn Webb

Continue reading “Forbidden Broadway” is Great Fun for Theatre Audiences of All Ages →

Drama, Fort Collins, Magnolia Theater, OpenStage

OpenStage’s “Bright Ideas” is dark comedy of a couple’s desire to place their three-year-old son in the “best” pre-school.

Jessica Emerling Crow spirals into madness in her desire to climb the social ladder.

Reviewed by Tom Jones
January 14, 2017

Shakespeare used three witches in “Macbeth” to chant “Double, Double, Toil and Trouble” as they stirred poison in their boiling cauldron in a dark cave. Later they had a difficult time with “out damn spot” trying to remove emotional and physical evidence of their potion. Genevra Bradley, excellently portrayed by Jessica Emerling Crow, in “Bright Ideas” uses her Cuisinart to mix up a potion in her kitchen that will hopefully provide the desired poisonous result – pesto sauce. Genevra is the three witches rolled up into one unfortunate housewife, desperately trying to get ahead.
Continue reading OpenStage’s “Bright Ideas” is dark comedy of a couple’s desire to place their three-year-old son in the “best” pre-school. →

2016, Comedy, Fort Collins, Holiday, Midtown Arts Center, Musical

Remarkable Cast Brings Great Holiday Joy to Fort Collins

“A Christmas Story – the Musical” is Delightful Tale of a Youth Longing for a Red Ryder BB Gun.

Reviewed by Tom Jones, December 9, 2016

The beguiling charm of “A Christmas Story – The Musical” does not wait to enchant, little-by- little. The magic is there from the moment the author, Jean Shepherd, begins his story of growing up in the 1940s. Daniel Harkins is terrific as Jean Shepherd, narrating the semi-fictitious tale of himself – the young “Ralphie” of the play.
Continue reading Remarkable Cast Brings Great Holiday Joy to Fort Collins →

2016, Boulder, Musical, Review

Millie Goes Thoroughly Modern in New York City

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

Reviewed by Tom Jones
November 27, 2016

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

2016, Drama, Fort Collins, Musical

Deb Note-Farwell Amazes as Maria Callas

put-master-class-logoPopUp Theatre’s “Master Class” is in a class by itself!

Reviewed by Tom Jones, October 22, 2016

Deb Note-Farwell has long-been one of Colorado’s most talented performers. This season she has outdone herself. She not only plays a role, but becomes opera diva Maria Callas on a tiny Fort Collins stage. The actress has completely moved her own persona out of the way in the performance of a lifetime.
Continue reading Deb Note-Farwell Amazes as Maria Callas →

2016, Comedy, Fort Collins, Lincoln Center, OpenStage, Review

OpenStage’s “La Bete” is Two Hours of Bravura Acting on Lincoln Center Magnolia Theatre

la_bete_logoA knockout of theatre when an obvious bore becomes enchantment

Reviewed by Tom Jones
September 9, 2016

How long has it been since you’ve been “trapped” in the same room with someone who talks non-stop about himself, believes he (or she) is the center of wisdom, and stops talking only to stuff bits of food in his mouth, spewing much of it on the floor. This might be in classroom, a car, in a business environment, or (heaven-forbid) at a family reunion.
Continue reading OpenStage’s “La Bete” is Two Hours of Bravura Acting on Lincoln Center Magnolia Theatre →

2016, Comedy, Creede, Drama

Creede Repertory Theatre Continues to Amaze Audiences

“Kind of Red” and “The History Room” Provide Super Diversity To Theatre-Goers

Reviewed by Tom Jones
August 9, 2016

Tiny Creede, Colorado, (year-round population of less than 400) continues to make theatre history by being home to the terrific Creede Repertory Theatre (CRT). This summer the highly respected company basically has seven different shows running, including the musical “Dirty Rotten Scoundrels,” Noel Coward’s classic comedy, “Private Lives,” and the improv “Boomtown.” My wife and I were able to see two productions this summer, coming away delighted with each — “Kind of Red” and “The History Room.” Both were world premieres this summer, and both received acclaim a year ago when the company was looking at not-yet-produced shows at the Annual Headwaters New Play Festival.
Continue reading Creede Repertory Theatre Continues to Amaze Audiences →

2016, Comedy, Drama, Utah, Utah Shakespeare Festival

Utah Shakespeare Festival Wows Audiences

UT Shakespeare FestivalVariety of performances offers something for everyone in Southern Utah

My wife and I had not been to Cedar City for twelve years! We were impressed at the quality of plays during that long-ago visit. We were concerned then to learn that a massive project was underway by the Utah Shakespeare Festival to upgrade the facilities to the tune of several million dollars. We did not believe the goal could be reached. Woe be unto us. Twelve years later — the project IS completed! And excellently so! The Utah Shakespeare Festival itself is a mini (or maxi) miracle. The facilities are first rate. The performances are first rate. The whole project appears to work like clockwork, with visitors coming from throughout the nation and abroad. We were amazed at what we found this year on the campus of Southern Utah University.
Continue reading Utah Shakespeare Festival Wows Audiences →

2016, Boulder, Review

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

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

Reviewed by Tom Jones
March 18, 2016

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

2015, Boulder, Comedy, Review

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

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

Reviewed by Tom Jones

December 3, 2015

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

© 2015 Glenn Ross

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

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

© 2015 Glenn Ross
© 2015 Glenn Ross

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

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

© 2015 Glenn Ross
© 2015 Glenn Ross

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

© 2015 Glenn Ross
© 2015 Glenn Ross

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

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

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

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

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

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

2015, Boulder, Drama, The Catamounts

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

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

Reviewed by Tom Jones
March 23, 2015

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

Paul Borrillo as Walt. Photo credit Michael Ensminger

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

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

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

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

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

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

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

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

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