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

Reviewed by Tom Jones
September 20, 2024

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

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

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

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

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

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

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

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

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

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

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

Award Winning Musical Is Ablaze With Crazy Corniness And Terrific Choreography

Reviewed by Tom Jones
February 9, 2024

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

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

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

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

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

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

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

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

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

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

Greatness On Stage At The Candlelight

Reviewed by Tom Jones
July 10, 2023

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

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

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

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

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

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

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

Put them all on stage together – they amaze!

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

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

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

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

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

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

Reviewed by Tom Jones
February 11, 2023

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

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

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

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

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

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

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

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

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

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

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

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

“Footloose” Comes Alive At The Candlelight!

By TOM JONES

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

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

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

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

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

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

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

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

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

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

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

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

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

By Tom Jones
April 18, 2021

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

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

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

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

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

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

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

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

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

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

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

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

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