Wild Tale Of John Wesley Powell And His Men Makes For Intriguing TheatreReviewed by Tom Jones,
January 24, 2020
Men on Boats? Nope. The OpenStage theatre program for this show wisely notes that the show’s title is not right. There is neither a man nor a boat in sight. The “Men on Boats” take the audience on a fascinating journey down the Green and Colorado rivers to the western edge of that “Big” Canyon – the “Grand.”
Timothy Ackerman Is Brilliant As The Misunderstood Monster
Reviewed by Tom Jones
November 10, 2018
What do you remember about “Frankenstein?” My memory bank did not pull up much information. Was he a monster, a monster’s creation, or just someone to terrorize children at Halloween? OpenStage continues its wonderful trend of providing excellent theatre. “Frankenstein” just may be one of the best! In addition, it helped me fill in the blanks about that Frankenstein chap!
For starters, “Frankenstein” is NOT the monster! The monster/creature is the nameless creation of a brilliant scientist and mathematician, Victor Frankenstein. The deformed and frightening creation comes to life, initially only grunting and struggling. Timothy Ackerman is spellbinding as the creature, wanting only to find some joy in a world that finds him frightening. Heath Howes is excellent as Victor Frankenstein, the genius, who abandons his “creation,” leaving it to fend for itself. He does not yet realize that the creative success of his lifetime will become his lifetime’s torment.
Peter Anthony is a highly respected director who has received numerous accolades. Among his recent successes was “The Crucible.” I wondered then, “What can he do for an encore?” What he has “done” is provide local audiences with yet another evening of unparalleled wonder. The actors are remarkable, and his direction has succeeded in making it possible for the audience to understand virtually every word spoken. The set he created is an “experience” all its own, as the audience is transported through the various seasons in Europe of the 1790s.
The production opens with a virtual monster terrorizing the local community. He is so deformed that he frightens anyone who sees him. He has no one to care for him. No one to feed him. The first few minutes he is on stage I wondered what the script “dialogue” must show, as there are only howls and grunts. Fortunately, the creature turns up at the forest wilderness home of De Lacey, a blind man who is taken care of by his son. The son and his new wife are away much of the time. De Lacey cannot see the creature, but does touch his deformed head, realizing that he needs help. He invites the creature into his home and ends up feeding him, befriending him, and ultimately teaching him. The creature is wild looking, but has an amazing mind, and is a quick learner.
The leading players are especially good. Howes is convincing as the mathematical and scientific genius who has created “life” and has no way to explain what he has done. Ackerman as the creature is a wonder. He was recently excellent as John Proctor in “The Crucible.” His skills there were enormous, but nothing of the magnitude he exhibits as the creature this season at OpenStage. Charlie Ferrie is very good as the blind De Lacey. Teal Jandrain is believable as Victor’s fiancée, who cannot understand why her desired husband wants to put off marriage yet again. Luke Stephens and Kiere Gilbertson are also effective as the son and daughter-in-law of the blind teacher.
The entire cast is flawless. In addition to those mentioned above, special notice must be made of Dominique Mickelson’s appearance as the not-yet-complete female creature; Jacob Sadow as William Frankenstein, the young member of the family who fears the creature, but is somewhat willing to help him; and Steven P. Sickles as Victor Frankenstein’s father. Several persons play multiple roles, but Director Anthony has carefully let the audience know who is who throughout the entire show. The “entire show,” incidentally, takes place in less than two hours — no-intermission. The production is so very interesting that a person sitting near to me echoed my thoughts, “It is over already? What happened to the time?”
What “happened” to the time was the result of a script by Nick Dear, based on the novel by Mary Shelley. Shelley was only 21 when she wrote her Gothic novel, “Frankenstein,” based on Prometheus of Greek mythology. The book, published in England in 1818, has been widely read and has been adapted into hundreds of movies, plays and other books. The production at OpenStage this season is Playwright Dear’s interpretation of the story, as premiered at the Royal National Theatre in London in 2011.
The novel and the current play continue to touch on many themes. Fear of creating something beyond our capacity to care for it. Fear of the unknown. Fear of others foreign to us. And, our unwillingness to accept anyone “different” from us in appearance or in ideas. The audience experiences an entire gamut of emotions. This spellbinder is enthralling and thought provoking to the very end.
“Frankenstein”
Where: OpenStage Theatre production on the Magnolia Theatre Stage of Lincoln Center
417 West Magnolia Street, Fort Collins
When: Through November 24 2018
Tickets: 920/221-6730
Online: OpenStage.com www.lctix.com
OpenStage’s Production Of Shakespearean Tale Provides Smiles For A Summer EveningReviewed 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
OpenStage Delivers Agatha Christie’s Famed Tale On Lincoln Center’s Magnolia StageReviewed 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?
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.
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.
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
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.
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.
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.
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:
“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
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 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.”
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.
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
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.
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
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!
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 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
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.
A 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
Dysfunctional Brothers Kidnap a Businessman for Whom No One Will Pay Ransom
Reviewed by Tom Jones
April 17, 2016
Treat and Phillip are adult dysfunctional brothers, living in a run-down area of Philadelphia. Their father abandoned them, and their mother has died. Treat has taken the role of family protector, going out each day to rob and steal. He has convinced his younger, mentally-challenged brother that he must never leave the house. As a result, Phillip spends his days either in the closet where his mother’s clothes were left, or watching “The Price is Right” on television in his upstairs bedroom. He is completely at the mental and physical mercy of his brother. He has no idea what it is like to go outside, and has never even learned to tie his shoes. He has, however, been teaching himself to read and has some books and newspaper stashed in secret places around the house, hoping Treat will not find them.
Continue reading OpenStage provides riveting theatre with “Orphans”.
Rebecca Spafford is riveting as a not-so-dumb woman living on the fringes of society
Reviewed by Tom Jones
March 6, 2016
Tanya Shepke is a character to be reckoned with. She is a sassy gum-chewing barmaid in rural Missouri who ends up at the police station – turning herself in before she can be arrested for drunk driving. She is a wild woman, who is amazingly street savvy. Her education is minimal, as she talks as if she might have learned her “basic ABCs,” but needs to include “f bombs” in every sentence. Rebecca Spafford is a wonder as the wild woman who claims, among other things, that her husband tried to drown her in the bathtub.
Continue reading “The North Plan” is a wild and thought-provoking tale of civil unrest and martial law possibilities.
Denise Burson Freestone and Bruce K. Freestone share the stage as farming neighbors in production in Lincoln Center’s Magnolia Theatre.
Reviewed by Tom Jones
January 24, 2016
It is always a treat to see Bruce and Denise Burson Freestone on stage. The couple founded OpenStage Theatre in 1973, but rarely perform together in a local production. Seeing them share the stage is but another welcoming delight in “Outside Mullingar” at the Magnolia Theatre of Lincoln Center through February 6.
The Freestones appear as Tony Reilly and Aoife Muldoon, Irish neighbors who own adjacent farms. Muldoon’s husband has just died, and she stops in to visit with Reilly, a widower, on her way home from the funeral. They appear to be longtime friends who have probably cared more for each other than either is willing to admit. They talk about their farms, about their children, and appear to have a special bond. Their children, Anthony and Rosemary, are about the same age, but have barely been civil to each other since Anthony shoved Rosemary to the ground, when they were children, more than 20 years ago. The chemistry between the married-in-real-life Freestones is rewarding as they spar and chat as Irish neighbors.
Todd Hoven is believable as Tony’s son whose love of the farm is not apparent to his father. Because of this concern, his ageing father has decided to give the farm to a nephew living in New York. The father claims that the son is not manly enough. Hoven is great to watch as the sometimes insecure son who dearly loves the farm’s “earth,” and continues to be at loose ends since his girlfriend rejected his marriage proposal several years ago and married another man.
Completing the quartet of semi-lost souls is Jessica Emerling Crow as Rosemary Muldoon. She is the now-grown girl that Anthony caused to fall many years ago. She is a feisty pipe smoking dynamo with little self-esteem and no potential love interest. Even though she well remembers the time Tony pushed her to the ground, she has been holding herself in contempt for not letting the grown Tony realize she cares for him.
John Patrick Shanley is a highly-respected playwright. He received the Academy Award in 1988 for the movie, “Moonstruck,” and the Tony Award and Pulitzer Prize for Drama in 2005 for “Doubt: A Parable.” He was nominated for an Academy Award in 2008 for Best Adapted Screenplay for the movie version of his play now known as “Doubt.”
His “Outside Mullingar” opened in New York in January, 2014. His latest play, “Prodigal Son” is scheduled to open Off-Broadway at the Manhattan Theatre Club in New York City next month.
Directing “Outside Mullingar” for OpenStage is Matthew G. Smith. In the program notes, Smith comments how important it is to take a leap of faith and explore what it means to love someone though they may not love us in return. Anthony Reilly and Rosemary Muldoon find themselves living alone and lonely in adjacent farms, each with their insecurities and neither realizing his/her own potential. The cast is uniformly excellent. “Mullingar” is an enchanting tale of persons growing older, finding faith in themselves, and hopefully finding the ability to “move on.”
“Outside Mullingar”
Where: OpenStage Theatre production
Magnolia Theatre Stage of Lincoln Center.
417 West Magnolia Street, Fort Collins.
When: Through February 6, 2016
Tickets: 970/221-6730
For more information: www.lctix.com
Kiernan Angley and Abbey Featherston shine as star-crossed lovers in retelling of classic story!
Reviewed by Tom Jones
April, 2015
The oft-told-tale of young love in Italy is given a successful new look as Verona, Italy, becomes Verona, Missouri, in OpenStage’s excellent version of “Romeo and Juliet.” The story’s location has changed, as has the time of the play. For this production the time is after the US Civil War, where families continue to feud.
Kiernan Angley and Abbey Featherston play the young lovers whose relationship faces dreadful opposition from their families. Angley and Featherston are remarkable, and the chemistry between them is palatable! Whereas most of the angry families oppose the romance, only the kindly Parson Lawrence and the Nurse to Juliet give them any support. Jacob Offen and Judith Allen are both excellent in these supporting roles.
This is an exciting retelling of the tale, and looks great with the scenic design by Lori Rosedahl. Costumes are also wonderful, as designed by Rebecca Spafford. Ambrose Ferber is credited with fight direction. It, too, looks like every punch hits the mark! Lighting by Grant Putney is particularly effective. R. Todd Hoven, who directed this production, comes from a family line in Missouri where his ancestors found peace with neighboring families, instead of re-fighting the Civil War in their actions.
In his Director’s Statement, Hoven notes, “My hope is to raise awareness of those moments of intense conflict in life when we can each choose to take a breath, converse and solve and prevent the kind of regrettable escalations that our misguided and sometimes intractable characters chose and experienced.”
Shakespeare wrote the play about 1594-96, more than 400 years ago! The story has become as timeless as many of Shakespeare’s quotes from the play. Yes, we heard “O Romeo, Romeo, wherefore are thou Romeo?” And “Good night, good night. Parting is such sweet sorrow. That I shall say good night till it be morrow.”
The country dance sequence, choreographed by Jessica V. Freestone, where the two lovers meet is delightful – looking as if could have come from Broadway’s “Oklahoma.” The shy Juliette is just 18, and emotionally swept away by the charm of Romeo. Kiernan Angley displays enormous confidence as he dances and romances. His moves are not unlike a young Gene Kelly.
The cast is numerous and effective. Highlighting some of the supporting roles are Dan Tschirhart as Count Paris who wants to marry Juliet, Heath Howes as Benvolio, Mark Terzani as Lord Capulet and Con Woodall as Lord Montague. Finola Doyle is only 13, and makes an excellent contribution to the play as Petra.
This is a flawless production where every aspect of the show works to perfection. It is also somewhat of a “family” affair. Director Hoven is married to Jessica V. Freestone, the choreographer, and daughter of OpenStage founders. Director Hoven’s son, Kimber, is sound designer and he performs as Balthazar. The director is son-in-law to OpenStage founder Denise Burson Freestone and Bruce K. Freestone. If only every family could have such talent!
There is always risk involved when a director moves a production to a different time period, or to a different location than the original play. Everything works here in Director Hoven’s favor – and the show looks as if it was created for the post-Civil War setting, with the problems relevant then, and just as relevant now – when love crosses boundaries of social structures.
It has been several years since I have seen a production of “Romeo and Juliet,” Perhaps I have never seen it portrayed so remarkably as presented this month on the stage of the Magnolia Theater by OpenStage.
“Romeo and Juliet”
Where: OpenStage Theatre production, on the Magnolia Theatre Stage of Lincoln Center.
417 West Magnolia Street, Fort Collins.
When: Through April 25, 2015
Tickets: 970/221-6730
For more information: www.ltix.com
Magnolia Theatre at Lincoln Center hosts delightful OpenStage Farce with two cops, three crooks and eight doors!
Reviewed by Tom Jones
February 22, 2015
I wonder what was going through the mind of playwright Paul Slade Smith when he wrote the zany show, and what must have been going through the mind of Director Judith Allen, as she mentally mapped out what would transpire in “Unnecessary Farce” on the Magnolia Stage of Lincoln Center!
The French reportedly created “farce,”only to have it refined and embellished into a true art form by the crazy British and their neighbors across the pond, the Americans! Paul Slade Smith has elevated the genre to even greater heights with his truly silly “Unnecessary Farce.” Director Judith Allen has assembled a sublime group of talented loonies, and whipped them into amazing shape as seen at the Lincoln center this month.
Police officers Eric Sheridan and Billie Dwyer have been assigned by their boss to carry out a sting operation to entrap the local mayor in an embezzlement scheme, with everything to be set up in two adjoining rooms of a local hotel. Dan Tschirhart and Jessica MacMaster portray the police officers. They are a hoot. Eric is a basic softy, and Billie has just completed her police training – but is not yet proficient enough to carry a loaded weapon, and not skillful enough to toss anyone around. They do appear to have substantial bravado as they review plans for the sting. Karen Brown, an accountant, is set up in the room adjoining the police officers, with a not-quite-so-hidden camera focused on the room’s bed, to be certain to capture everything that the mayor tells the accountant. The camera records and relays the goings on to the officer’s room where Billie can just lounge on the bed and enjoy herself watching the activities in the next room.
Jessica Emerling Crow is delightful as the stern accountant, suddenly overwhelmed with the idea of becoming romantic with officer Sheridan. Don Kraus is also excellent as the ever-trustworthy mayor. Added to the mix are Kirby Anderson as Agent Frank, head of security at the town hall, and David Austin-Groen as a menacing hit man, “Todd.” Before Todd can complete any assignment he dresses in Scottish kilts, hopefully to scare his clients to death, after wearing them out with non-understandable Scottish! Then Louise F. Thorton turns up as Mary Meekly, the mayor’s wife, with secrets of her own.
True to form, the now-necessary farce is complete with slamming doors, mistaken identities, persons locked up in the closet, handcuffed, and wrapped in blankets, as clothes are taken off, replaced and everyone threatens everyone else with guns that may or may not function. One scene of high hilarity in Act Two has virtually the entire case circling around the room, up and over the beds, with guns draw forward and backward, trying to decide who is to shoot whom and …..why!
This is not “Our Town.” And it does not quite match the hysteria of another great farce, “Noises Off” as produced by OpenStage a year or so ago. Perhaps I am basically a hedonist, as I take delight in seeing such silliness. One reviewer noted the show “certainly isn’t food for thought, but its unsophisticated charm is a good taste of unabashedly crude comedy done right.”
“Unnecessary Farce” is a necessary “must-see” this season!
“Unnecessary Farce”
Where: OpenStage, at Magnolia Theater of The Lincoln Center, 417 West Magnolia Street, Fort Collins.
When: Through March 14, 2015
Fridays and Saturdays at 8:00 p.m., Sundays Matinees March 1 and 8 at 2:30 p.m.
For Tickets: 970/221-6730, lctix.com.
For more information: visit Openstage.com
“Spring Awakening” is Harrowing Look at Pubescent Teens’ Search for Understanding!
Reviewed by Tom Jones
November 15, 2014
Wendla is a teenager in a provincial German town in the late 1800s. She realizes that her body is going through some changes, but has no idea what they might mean! Nicole Olson is very good as the anxious young teen who goes to her mother for help. The austere mother refuses to give her daughter any guidance about the sexual awakening her daughter is facing – throwing her to the mercy of her young friends, many as confused as Wendla!
“Spring Awakening” produced by OpenStage in the Magnolia Theater of Lincoln Center is a harrowing look at the situation many teenagers face as they reach puberty – in the Victorian Germany or in present day-America. The original play, written by Frank Wedekind in 1891, was considered a scandal for its time, and was not produced on stage until several years later. The musical adaptation arrived on the Broadway scene in 2007 and received several Tony Awards that year, including being named Best Musical.
Continue reading “Spring Awakening” (OpenStage) at Magnolia Theatre
Heavenly Exiles Make 16-year “Journey to the West” in Search of Clues to Immortality!
Reviewed by Tom Jones
Yes, an orphaned Buddhist monk and three disciples are on a quest – searching to find sacred scrolls that hold the key to immortality. They are currently on the stage of Lincoln’s Center’s Magnolia Theater, in OpenStage’s impressive production of “Journey to the West.” Man’s search for the meaning of life, for immortality, and to bring enlightenment to the world have been themes of literature and theatre for centuries. The “search” occurs in “the Iliad” and “The Odyssey,” in “Pippin,” and even in “The Wizard of Oz!”
Continue reading Journey to the West at OpenStage Theatre