Acting excellence keeps audience awake in longer-than-usual production.

Reviewed by Tom Jones
November 13, 2016

A dying Massachusetts movie theater is portrayed as an aging artifact, one of the state’s few remaining movie houses using 35mm projection. The “digital” age is taking over movie theaters across the country, and The Flick’s three staff members continue their boring work of keeping the theater alive. The three manage the box office, the refreshment stand, run the projector, clean messy restrooms, and most of the time are seen sweeping up spilled popcorn and discarding boxes, cups, and candy wrappers after each film. For nearly three hours the audience watches as two of the three sweep bucket after bucket of refuse while maintaining their sanity with mundane conversation, spiked with “tests” they provide each other about past movie memories. As they chat and sweep, and chat and sweep, they reveal how difficult it is for them to become close to anyone – each other included.
Continue reading OpenStage’s “The Flick” is heart-wrenching look at the staff of a movie theater on its last legs. →

Talented cast in OpenStage, etc. production of “Ultimate Beauty Bible”.

Reviewed by Tom Jones
October 15, 2016

Three young millennials, working for the same high-end fashion magazine, get together for cocktails; with the idea they are renewing friendships which began when they interned together at the magazine following college. They are an unusual trio: a blond, a brunette, and a redhead, sitting in a bar or cocktail lounge, dressed to the nines, and attempting to be gracious and loving while their friendship, if there ever was one, is shallow as a saucer.
Continue reading Not much glitz and glamour working for high end fashion magazine in New York City. →

About 50 songs are included in the “war” of opposing performers at MAC

Reviewed by Tom Jones

It is “Fight Night” at Midtown Arts Center. All gloves are off, but two teams of amazing vocal cords are in combat as “Motones vs. Jerseys” offer the audience a grand duel for more than two hours of superb music.
Continue reading “Motones vs Jerseys” musicians are in fine form as Midtown audience cheers →

Shakespeare’s “Taming of the Shrew” is Rollicking Tale

Reviewed by Tom Jones
June 11, 2016

Baptista is a wealthy gentleman of Padua whose younger daughter, Bianca, has many suitors. Unfortunately for the wooing young men, Baptista will not promise her to anyone until her older sister, Katherine is wed. Problem. Katherine, known as “Kate” is a semi-monster whose miserable temperament is well known throughout Italy. It is going to be a hard sell to wed her before allowing Bianca to follow suit.
Continue reading The “Shrew” Becomes The “Tamer” at OpenStage Outdoors →

1985 movie turns up as exciting look at teenagers in the 1970s

Reviewed by Tom Jones
June 7, 2016

Jean-Luc Cavner is a very talented performer! A graduate of The University of Northern Colorado, Jean-Luc is making his BDT Stage debut as “’Ren” in “Footloose” after substantial experience in various roles and delighting audiences travelling on Holland America Cruise Lines. He controls the stage from his first dancing scene, and retains command for the entire show. Ren is a street-smart rock-and-roll phenomenon in his native Chicago. When his father walks out on the family, Ren and his mother are uprooted and take refuge with her sister in a tiny western town known as Bomont. His street-wise actions are taken as hostile by many in the little town, and he has a difficult time fitting in. He is adrift without a father figure for guidance.
Continue reading “Footloose” is a High Energy Delight in Boulder →

“The Fantasticks” is a Heartwarming Memory Piece of Young Love

Reviewed by Tom Jones
March 19, 2016

The lyrics of “Try to Remember” have long been my anthem of growing older and wiser – at the same time:

“Deep in December it’s nice to remember
Although you know the snow will follow.
Deep in December it’s nice to remember
Without a hurt the heart will hollow.
Deep in December it’s nice to remember
Then follow. Follow.”
Continue reading “Try to Remember” is Hard to Forget in “The Fantasticks” at Midtown Arts Center in Fort Collins →

Loveland Opera Theatre Provides Pure Fun on the Rialto Stage

Reviewed by Tom Jones
February 27, 2016

Daffy cops are in full chase as down-on-their-luck pirates try to woo a herd of the Major General’s daughters. Gilbert and Sullivan provided several delightful comic operettas, with “Pirates of Penzance” probably being the most entertaining, and containing wondrous melodies.
Continue reading Gilbert and Sullivan’s “Pirates of Penzance” is Rollicking Tale in Loveland →

Playing characters in OpenStage production Charlie Ferrie and Sesugh Solomon Tor-Agbidye light up the stage in their efforts to change each other!

Reviewed by Tom Jones

November 7, 2015

Police have already been alerted and are on the scene by the time Arthur Przbyszewski arrives at his “Superior Donuts” shop to find it has been vandalized. The front window is broken. Tables and chairs have been tipped over and a nasty graffiti has been spray painted on the wall.

Charlie Ferrie portrays Arthur and is believable as the 60ish man who was a product of the free-spirited 1970s. He hasn’t yet quite grasped the reality that he just might be able to do something more
with his life than sit alone in his shop and smoke pot.

Even learning of the vandalism in his business doesn’t seem to upset Arthur. He accepts the situation as just one more distraction in his semi-reclusive life. He inherited the shop from his father, a
Polish immigrant who died while Arthur was hiding out in Canada, showing his opposition to the Vietnam War. He has subsequently returned to Illinois to take care of the shop, still maintaining his 70s
pony-tale and hippie attire. Arthur’s space is next door to a DVD store whose owner is eager to buy Arthur’s deteriorating space.

Arthur doesn’t like the idea. Why? Hard to explain, as “Superior” doesn’t appear to have much of a clientele and Arthur is not a congenial attraction! He just seems to feel safe and content in his situation. He his located on the North Side of Chicago, an area that has been down on its luck for many years, but might be on the verge of revitalization.

Shortly after the vandalism, and before Arthur has done anything to remove the graffiti, a tall black man, Franco Weeks, arrives,  indicating he wants Arthur to hire him to help out in the shop.

Sesugh Solomon Tor-Agbidye is a revelation as the self-assured, smooth talking young man who appears to have a lot more going for him than even he might realize. Arthur questions him as to why
he wants to work there, and the interview process is reversed with Franco asking why Arthur doesn’t want to make the shop more functional and appealing He wants interesting pictures on the walls, music in the air, a more congenial atmosphere, and more than just donuts and coffee on the menu.

Amazingly, Arthur decides to hire Franco, at $8.00 per hour, which includes painting over the graffiti, mopping the floor and maybe eventually learning how to bake donuts. Franco accepts the
position, and by Intermission I expected to return to find the “Superior Donuts” look substantially changed. This does not happen, as the story evolves into the Arthur-Franco friendship, with some sub-plots along the way.

“Superior Donuts” is by playwright Tracey Letts who received the Pulitzer Prize, Tony Award and Drama Desk Award as best play a few seasons ago with his highly-acclaimed “August, Osage
County.” That was considered by many to be some sort of “masterwork” even though the language was disturbing.

Letts didn’t use all of his disturbing language in “Osage,” as he appears to be comfortable having swear words in English coming from lips of persons with several different native tongues in “Donuts.” These include Americans, Polish, Russians, and Italians!

The set and lighting are great, and Emelie Borello provides very good direction. The play looks like it was written to be a television sit-com series – complete with strong leading roles, and a variety of supporting players, showcasing several different characters: The kindly policeman and his devoted female co-worker, the quirky bag lady who drops in for freebies, the man desirous of buying the shop, and two mob men who are on the lookout for payoff.

The end result is an interesting play,made better than its writing by the talent of the two leading men – Charlie Ferrie and Sesugh Solomon Tor-Agbidye. Their interchange is remarkable, as friendship grows and changes are contemplated.

“Superior Donuts”

Where: OpenStage Theatre production, on the Magnolia Theatre Stage of Lincoln Center.

417 West Magnolia Street, Fort Collins.

When: Through November 28, 2015

Tickets: 970/221-6730

For more information: www.ltix.com

A Well-Told Harrowing Tale with No Happy Ending in Sight!

Reviewed by Tom Jones
October 8, 2015

Tighten your seat belts. The ride is bumpy, and there isn’t much hope of a happy landing! Fortunately the journey is well done, and provides opportunity for some introspection as we think — “what if we are ultimately afflicted as the victim or a family of someone faced with Alzheimer’s.”

Playwright Bruce Graham wrote “The Outgoing Tide” in 2010. This interesting, and sometimes frightening story made its way to the Bas Bleu stage this year. Bas Bleu must be heralded as a provider of plays not frequently found in local theatres. The subject matter is a reality that we are eager to sweep under the carpet, not talk about, and hope it will “just go away.”

Deb Note-Farwell has directed “Tide” with great care. The show’s star is Jonathan Farwell, Deb’s husband in real life. The Farwells are a team to be reckoned with. Jonathan is a veritable “treasure,” one of the finest actors in Colorado. Deb is a “treasure” in her own right, providing a host of memorable performances on stage, and directing many others were great acclaim.

In “Tide” we meet Jonathan as Gunner, a man in his late 70s or 80s, fishing outside his home on Chesapeake Bay, and realizing that his life has become a fright. He is losing his mind, losing his memory, and he realizes it. This is a terrifying prospect for him (or for anyone else with Alzheimer’s). Farwell is an acting miracle in virtually every character he portrays, and he has rarely been better than in this current role. He is feisty, kind, irritating, and wise –sometimes within the same sentence!

Farwell toe-to-toe, however, is Ann Whiteman, portraying Gunner’s wife, Peg. She is living on the edge herself, devoting her entire life to her declining Gunner. Truth be told, however, maybe that is all she truly wants to do! Whiteman is absolutely convincing as the fractured wife, and the conclusion she faces is virtually unbearable.

Rounding out the family trio is the couple’s son Jack, superbly portrayed by L. Michael Scovel. Jack has turned up at the family’s home, evidently at the request of his father. The two men have had virtually no closeness. The son is more interested in cooking than in fishing or playing ball. He believes his father has no use for him. The father cannot figure out his son, nor does he want to think much about it, beyond giving him some financial help in the event the son is left fatherless. The son and his wife are divorcing, and Gunner wants to make certain the divorce arrangement is clean and final. He also has ideas of his own about how to possibly end his own life with a boat “accident” while he retains the capability of so doing. This could leave his wife and son with substantial insurance funds.

The right to life. Death with dignity. The possibility of choosing how and when one might die. Tough topics to cover in a two and one-half hour production. But the thoughts linger long after the play’s conclusion – leaving the audience with incredible memories of a show superbly well done.

“The Outgoing Tide”
Through October 11, 2015
For information: Bas Bleu Theatre Company
401 Pine Street
Fort Collins, CO 80524-2433
Telephone: 970/498-8949
Or visit the Web:  www.basbleu.org

The ‘Jets’ and ‘Sharks’ spar for territory on the streets of Manhattan in superb retelling of “West Side Story” at Candlelight!

Reviewed by Tom Jones, October 10, 2015

Local gangs continue to be at war, each marking its ‘territory’ on the city streets.” Immigrants and local residents have difficulty getting along. Police officers can be ‘good’ or ‘bad,’ – depending upon your side of the argument. And all of this set to the brilliant music composed by Leonard Bernstein nearly 60 years ago – with brilliant dances based on choreography of Jerome Robins, and some of the finest voices in the area!

The original “West Side Story” opened on Broadway in 1957. Leonard Berstein’s music was heralded as among the most exciting written for a Broadway show.   His composing career included Broadway musicals, “Candide” and “On the town” plus numerous symphonies and choral classics. Music critic Donal Hehahan wrote,”Bernstein became one of the most talented and successful musicians in American History.”  Lyricist for “West Side Story” was a newcomer by the name of Stephen Sondheim who was 26 years old. The story is based on Shakespeare’s “Romeo and Juliet,” and the dark mood it portrays was overshadowed by the cheerful “The Music Man” which won the Tony Award that year as Best Musical!

“West Side Story,” however, went on to triumph in London and was made into a movie musical in 1961, receiving ten Academy Awards, including that for Best Movie. Stephen Sondheim wrote the lyrics for this show and later for “Gypsy,” then went on to write words and music for a host of Broadway shows, receiving eight Tony Awards (more than any other composer) and described by Frank Rich of The New York Times as “now the greatest and perhaps best-known artist in the American musical theater.”

The production now at the Candlelight is among the most sensational shows seen on the Johnstown stage! Heading the cast are Scott Severtson as Tony and Kimberly Ann Crawford as Maria. They are unforgettable! When they combine voices to sing on the balcony of Maria’s tenement house, and later when they sing “One Hand and One Heart” in the bridal shop, the audience is in reverent awe! Their chemistry is palatable! The “Dance in the Gym” sequence is one of Broadway’s most memorable scenes — when Tony and Maria first meet, dance, and fall in love.

Not to be outdone, however, are supporting players Jessica Hindlsey and Bob Hoppe. Hindlsey is terrific as Maria’s friend, Anita, and Bob Hoppe as Riff, the Jet’s gang leader, is superb.

Story looks at rivalry between two teenage street gangs of different ethnic backgrounds, in the 1950s on the streets of New York. The actual locale of the street gangs of the 50s was cleared in an urban renewal project, and is now home of the the city’s cultural triumph – Lincoln Center!

Choreography for the original production was created by Jerome Robbins. Matthew D. Peters based his choreography for the Candlelight production on the original work of Robbins. The current show is staged and directed to perfection by Donald Berlin. Casey Cropp is music director and conductor. The orchestra under his change is extremely good, especially considering the requirements of performing the near-classical Bernstein music!

Many of the songs of the original show have lasted as mainstream popular music for nearly 60 years – “I Feel Pretty,” “One Hand, One Heart,” “Tonight, “ and “Something’s Coming.” Vocal music direction is expertly provided by Melissa Swift-Sawyer.

Technical aspects of the show are flawless. Scenic design by Glenn Grassi, lighting by Katie Gruenhagen, sound by Colin Hardesty, costumes by Judith Ernst combine to provide a spell-binding evening of theater.
A word of caution. While Candlelight’s most recent production was the delightful family show “Chitty Chitty Bang Bang,” “West Side Story” covers more serious themes and situations – but brilliantly so!

“West Side Story” has fortunately been passed from generation to generation, since its inception in the 1960s. Its message of potential hope does not fade – nor does the incredible music and choreography!

“West Side Story”
Where: Candlelight Dinner Playhouse
4747 Marketplace Drive, Johnstown
To: November 15, 2015
For Tickets: Box Office: 970/744-3747
Email: info@ColoradoCandlelight.com
Website:  ColoradoCandlelight.com

Creede’s acclaimed Repertory Theatre Celebrates 50 Years of Excellence – we saw two of this summer’s shows – “Guys and Dolls” and “Good on Paper” – Both terrific!

Reviewed by Tom Jones
August 10, 2015

Many years ago my wife and I began summer visits to Pagosa Springs in Southern Colorado. We had spent a few summer visits there before we “discovered” Creede – a tiny town about 90 minutes north of Pagosa. Much to our amazement, we learned that Creede hosts one of America’s most respected theatre companies – Creede Repertory Theater (CRT). In recent years we have made a point of driving over Wolf Creek Pass to see delightful shows offered at CRT! We have rarely been disappointed, and some of our very favorite theatre experiences have been seeing Creede productions: “Fools,” “The 39 Steps,” and last summer’s amazing “Hope and Gravity” – just to mention a few. This year CRT celebrated its 50th Anniversary in providing great theater and was honored by the Colorado Theatre Guild as Outstanding Regional Theatre.

Creede has been home to some of our favorite performers, who have been part of the company’s summer theatre productions. We have seen Christy Brandt, Anne F. Butler, John Arp, John DiAntonio, Caitlin Wise, and John S. Green so many times that we are surprised when they don’t become as excited to see us when visiting with performers following the show – excited as we are to see them. We were miffed when John DiAntonio and Caitlin Wise didn’t invite us to their wedding last year – how could they not include us, when we thought we KNEW THEM so well– having seen them in so many different shows! But we are adult enough, however, to realize that unknown persons smiling from the audience do not provide opportunities for lasting friendships with the actors we admire!This summer we missed, “Ghost Light,” ”August: Osage County,” and “Our Town, but did see ”Guys and Dolls” and “Good on Paper.” Driving back to Pagosa Springs late one evening after seeing the two shows the same day, we mused that it was a shame we did not have the time to see all of this summer’s productions!

“Guys and Dolls” is a charmer from the opening chords of “Runyonland” to the final “Marry the Man Today!” Rarely have the leading roles been in better hands than this year’s Tosin Morohunfola as Nathan Detroit, Sean Thompson as Sky Masterson, Emily Van Fleet as Sarah Brown, and Mehry Eslaminia as Miss Adelaide.

Sky Masterson is a sure-bet gambler who takes on a bet many think he cannot win – that he can take the humble Salvation Army worker on a date to Havana! He wins the bet, and almost loses the girl – but not quite! Sean Thompson is excellent as the no-frills Masterson, and Emily Van Fleet is his equal, initially fighting off Masterson’ advances, only to succumb to the potential “good” Masterson has to offer. The show’s “star, “ however is the zany Mehry Eslaminia as the wide-eyed Adelaide. She is “center stage” whether it be leading the under-dressed and over-exuberant girls in “Bushel and a Peck,” or in determining that a boyfriend’s hesitancy to marry can result in a bad cold! She is a very talented performer! The score includes “I’ll Know When my Love Comes Along,” “If I Were a Bell,” ”Luck Be Lady Tonight, “ and “Sit Down, You’re Rockin’ the Boat.”

Supporting players are quite wondrous: Brian Kusic doesn’t miss a beat as Harry the Horse, Joey Biltmore and others. Keep your eye on Graham Ward as he switches persona in the flick of an eye between Nicely-Nicely Johnson and Big Julie. Caitlin Wise is super as one of the Hot Box girls, and plays other roles as well!.

Costumes, lighting, sound, choreography and a terrific cast combine to make “Guys and Dolls” a must-see!

– – – – –

“Good on Paper” is not a splashy musical, but a terrific piece of theatre, outlining the challenges of finding that “perfect” mate! Caitlin Wise plays Peg, a lovelorn police-sketch artist whose drawings come to life. She rejects all suitors, as no one can match up to her standards. That is until “Guy” springs from her paper sketch and into her apartment as a live person! Guy is played by John DiAntonio whose self-assured swagger and incredible good looks, make him the “perfect man” of Peg’s dreams. Peg’s sister, Sandy, has her own imaginary friends, as she writes trash books about forbidden love, etc. Mehry Eslaminia plays Sandy. We saw her earlier in the day as the super Adelaide in “Guys and Dolls” and realized her extensive range of talent in bringing to life an entirely different character in the evening’s “Good on Paper.”

DiAntonio and Wise are married in real life – tying the knot a year ago in Creede. They are super together on the stage as sparring romantics. Completing the cast are Brian Kusic and Logan Ernstthal portraying two of the crooks shown in Peg’s police sketches. They also come to life in Peg’s apartment, with her fearing that more of her sketches may come in person to haunt her! Kusic is particularly amusing, as he wants to “expose” himself to everyone at every turn, whereas Ernstthal’s Vincent is a complete “tough.”

This is a fun and thought-provoking play making its Creede debut this summer!

For information, prices and dates of this summer’s CRT productions:’
www.creederep.org
Telephone 719/658-2540

“Chitty Chitty Bang Bang” is Family-friendly Entertainment Running the Gamut from Slapstick to Serious at Candlelight.

Reviewed by Tom Jones, August 13, 2015

The car flies! Well, not quite “flies,” but it does rise up from the stage – much to the delight and amusement of everyone in the theatre. The car itself is quite amazing – a terrific highlight to its production namesake “Chitty Chitty Bang Bang” now on stage at the Candlelight Dinner Playhouse in Johnstown.

Special effects have long been used by movies. Now, they are becoming wonderfully commonplace on the stage! We saw Peter Pan fly away with Wendy on the stage at Candlelight. We saw Mary Poppins fly away from the stage at Boulder Dinner Theatre. Now we have an entire car that is airborne, occupied by David Wygant, Alisha Winter Hayes, Rebecca Hyde and Brekken Wald as they fly from England to Vulgaria – and back! Wygant plays Caractacus Potts, the car’s inventor. Alisha Winter Hayes is Truly Scrumptious, a delightfully self-assured woman who is willing to get on board. Hyde and Wald play Pott’s children with no fear of where the amazing car just might take them.

The show did take a little time for me to become enchanted by the goings-on! The script seems to be two shows. The first act introduces us to the Potts family, to the wonderful Truly Scrumptious, and tells us that Potts is a somewhat daffy inventory, who has yet to make it big. The second act is more interesting, as Potts and group fly the car-plane to Vulgaria, a mythical country whose loony Baron is trying to steal Pott’s car and other inventions.

This is the regional premiere of Richard and Robert Sherman’s musical adventure based on the 1968 movie, a version of an Ian Fleming book for children. The premise is that Potts is a kind-hearted but down-on-his luck father of two who has terrific ideas,with little financial success. . Alisha Winter Hayes turns up as Truly Scrumptious, the motorized bicyclist who claims to know more than she does about engines. She is great fun and is quick to charm Pott’s children. Young stage actors are sometimes difficult to understand. Not so with Rebecca Hyde and Brekken Wald. They are delightful from the outset – each has a very good singing voice, stage presence, and speaking voice.

This is specially important in “Chitty,” as the audience included a large number of well-mannered young persons who appeared to be completely in love with the show – even when the evil “Childcatcher” appears in the second act with plans to capture every child in the dreadful country of Vulgaria. Markus Warren was in great form as the Childcatcher! His job is to pick up any children and to “send them away,” as the country’s Baron and his wife claim they hate children and have them banned from the country. Bob Hoppe became drenched in Candlelight’s “Singing in the Rain” and is back for more abuse as the goofy Baron. Alicia King is deliciously wicked as the Baroness Bomburst who claims that she hates “little things.”

There are many young persons in the cast who provide vitality to the production. Of the supporting cast adults, Scott McCoppin is especially endearing as The Toymaker in Vulgaria who makes toys only for the silly Baron, as children have all been exiled or are in hiding! Stephen Charles Turner is convincing as Grandpa Potts. Eric Heine and Jack Barton provide comedy relief as Vulgarian spies who are trying to hijack Potts’ ideas. They provide over-the-top slapstick, but their interaction with the audience is substantial, and the young people watched their every move!

The music is reminiscent of the Sherman brothers’ earlier “Mary Poppins,”and includes some fun pieces, “Toot Sweets” in the candy factory, “Hushabye Mountain” in the children’s bedroom, “Truly Scrumptious” at the countryside and seaside, and the always hummable “Chitty Chitty Bang Bang.”

Sets are very good, as is the orchestra, conducted by Casey Cropp. Choreography by Alicia King is first rate, as are costumes by Judith Ernst. Melissa Swift-Sawyer is credited as Vocal Music Director – with excellent results! The show is staged and directed by Pat Payne who directed Candlelight’s recent hit, “Hairspray.”

I left the theater with my first-act concerns completely gone, as the ultimate tale of the importance of helping each other came through loud and clear, and I was humming the super “Bang Bang, Chitty Chitty Bang Bang” all the way home!

“Chitty Chitty Bang Bang”
Where: Candlelight Dinner Playhouse
4747 Marketplace Drive, Johnstown
To September 13, 2015.
For Tickets: Box Office: 970/744-3747
Online: ColoradoCandlelight.com
Email: info@ColoradoCandlelight.com

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

Reviewed by Tom Jones
June 4, 2015

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

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

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

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

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

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

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

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

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

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

Reviewed by Tom Jones
May 29, 2015

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

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

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

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

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

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

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

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

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

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

“The 39 Steps” is Clever Farce at Midtown

Reviewed by By Tom Jones

Four persons become a cast of nearly 100 characters in Midtown Arts Center’s farce, “The 39 Steps.” The show gained fame Off-Broadway in New York a few seasons ago when theatergoers found great joy in an amazingly-different version of a 1935 movie! “The 39 Steps” movie was directed in all seriousness by Alfred Hitchcock, based on a thriller written by John Buchan in 1915. The story and movie were a serious look at British intelligence during World War I. A few years ago an English actor, Patrick Barlow, came up with the idea of transferring the spy book and movie to the stage as a comedy.
The results are the zany spoof where four persons play a cast of many, with amazingly clever changes of costumes, dialects, and props! I first saw the show a few summers ago at the Creede Repertory Theatre in southern Colorado, and was knocked out by brilliance of the production.

Within the past year Kurt Terrio and his crew at Midtown Arts Center have provided terrific shows for local audiences – especially the wonderful versions of “Les Miserables” Monty Python’s Spamalot,” and “Miss Saigon!” Those productions were awesome with large casts, impressive sets, etc.

The “wow” of those successes, however, takes a back seat as a substantially smaller show now on the Midtown stage. The farce is fun, with many bits of clever staging, and with a hard-working cast of four who appear to be enjoying the challenge. Nate Huntley plays just one role in the show, the bored debonair Richard Hannay who wants nothing more than a quiet evening in his London flat. He is wrongfully accused of a murder and begins the caper of chasing (and being chased) on foot, by train, and by car to Northern Scotland to hopefully free himself from injustice. The remaining cast includes Nicki Casseri who plays roles of some of the women in the show. Andy McCain and Daniel Harkins play everyone else, including some crazy turns at cross-dressing. McCain is especially delightful as he seems to enjoy chewing up the scenery every time he appears – whether it be as a man, a woman, a farmer, a newspaper salesman, a police officer, and just about everybody imaginable.

Eric Mather directed the production. He has past experience with the show, having played the role of Nate Huntley last year at Littleton Town Hall. The direction includes several bits of lunacy where cast members try to crawl over a fence while being handcuffed, a stroll down several hallways with never-ending doors opening and closing, escaping from buildings by crawling through window frames, and chasing through (and on top of) a fast-moving train, and riding in cars of various types on bad roads, etc.. The bits are clever to a point, but became tiring after the repetitious fun goes on too long.

Knowledge of the 1935 Hitchcock movie is helpful, as there are references to later Hitchcock standards such as “Rear Window,” “North by Northwest,” and others. I rented the DVD prior to seeing the show the first time a few years ago. It is not mandatory to know the original story, but makes the show substantially more fun when realizing how the lunacy was inspired!

This “The 39 Steps” is not a glorious musical with great sets, etc. but is a well-acted non-stop farce spoofing serious espionage and spy movies in general!

“The 39 Steps”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins
When:Through March 13, 2015
Information: Box Office at 970/225-2555, or online   www.midtownartscenter.com