There’s Dancing In The Aisles At Midtown Arts Center

Reviewed by Tom Jones
October 14, 2018

Open the floodgates, and let the adjectives flow. “The Roy Orbison Experience” has arrived in Fort Collins. And that voice. Where did Chris Trimboli come from? Bespectacled with the Roy Orbison trademark dark glasses, Trimboli began to sing – and what a voice! The audience went crazy. This was an evening of absolute joy.

While acquainted with some of Orbison’s music, I did not have an appreciation of his voice and talent until seeing this production. According to the program, several years ago Trimboli was approached by a producer who asked him if he knew who Roy Orbison was. He did not, so that night he went home and started listening to Orison music and researching the man behind the glasses.

Product of that introduction is the musical now premiering in Fort Collins. Trimboli had done his work learning about Orbison and is now portraying the musical legend in the show that he wrote. Trimboli may just become a legend himself, as his voice, like that of Orbison, is one of a kind.

The format is interesting — on one end of the ballroom is a slightly-raised platform where the band plays, including enough space for singers to perform from time to time. The other end also has a raised platform with three or four microphones for the performers to use to tell of Orbison’s life and to sing some of the music. I was sitting very near to the orchestra, and found myself continually craning my neck to find which end of the room I needed to be watching. This also led to some difficulty in understanding the story itself. The band frequently played (although softly) during some of the narrative, and I had difficulty understanding what was being said.

Roy Orbison was born in the Texas oil fields town of Wink. He began composing music early and was a contemporary of the Beatles, Johnny Cash, Linda Ronstadt, Patsy Cline, Elvis Presley, and other musicians of the era. Although he died 30 years ago, he remains one of the most respected musician and composers in the annals of American music history. His career had substantial highs and lows, as did his personal life. His first wife died in a motorcycle accident, followed two years later by the death of his two eldest sons in a fire that destroyed his Tennessee home. He remarried, and his career was having a tremendous rebirth, only for him to die of a heart attack at age 52. He left a remarkable legacy of achievement. – Not only music he performed, but also music he composed for others.

John Seaberry provided musical arrangements for the current Orbison show. He plays bass in the band, with Victor Walter on the piano, Ryan Millard on guitar, and Dean Vlachos on percussion. Chris Trimboli is music director.

The musical showcases many of Orbison’s classics, using the voice of Trimboli, as well as voices of three very talented back-up performers. Anthony Weber looks and sounds like he might be another Trimboli or Orbison in the making. Emily Erkman has extensive experience as a lead singer for several bands. Delany Garcia brought the house down with her “Blue Bayou.” This is the now-grown-up version of the young girl who charmed me as young Mary Lennox years ago at Greeley’s Union Colony Dinner Theatre’s production of “The Secret Garden.” I could hardly believe my eyes and ears.

Northern Colorado has great credentials with this show, as Weber studied OperaPerformance at CSU, Chris Trimboli is a graduate of the University of Northern Colorado, and Delany Garcia is a senior there this year. Erkman spent the early years of her career in New York and in Colorado

The excellent skills of Michael Lasris are apparent as he directs the show – keeping the audience’s attention moving from one side of the room to the other while creating such memorable moments of Roy Orbison’s legacy, with such magic music as “Blue Bayou, “Oh Pretty Woman,” “Only the Lonely,” “Crying,” and a host of others.

The audience was not eager for the show to end. They were clapping, cheering, and dancing in the aisles. This is super entertainment.

And what a year this is for the show’s producer, Jalyn Courtenay Webb. She sings. She acts. She performs. She teaches. This past summer the Colorado Theatre Guild honored her as Best Actress in a Musical for her role in “Always, Patsy Cline” at MAC. Webb is the founder of the new divabee Productions, and can now add “producer” to her resume. This is her first venture producing a show. And what a winner it is.

“The Roy Orbison Experience”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To November 18, 2018
Information: Box Office: 970/225-2555
Tickets: www.midtownartscenter.com

Leonard Bernstein Music Is As Glorious As Ever

Reviewed by Tom Jones
September 7, 2018

Early in Act I Kyle Smith, as Tony, musically tells the audience that “Something’s coming and it’s gonna be great.” That promise is wondrously fulfilled in this excellent production of the Broadway classic, “West Side Story.”

Tony has been leader of a youth gang, the Jets. When his gang swoops onto stage in an amazing display of choreography, they set the tone for an especially rewarding evening of talent. The Jets are not a happy group, as their “territory” is being threatened by the sudden emergence of Puerto Rican immigrants, The Sharks.

Choreographer Jerome Robbins had the idea of putting Shakespeare’s “Romeo and Juliet” in the context of the teenage gang warfare in New York City of the 1950s. He worked with composer Leonard Bernstein to produce a near-ballet telling of the turmoil. Lyrics are by Stephen Sondheim who was then just 26 years old. The collaboration opened in New York in 1957, and went on to fame worldwide as a stage musical and later as an Academy Award winning movie. Their efforts have stood the test of time, and the story is every bit as relevant now as it was 60 years ago. The Leonard Bernstein score has become a classic, and the MAC orchestra provides an excellent rendition.

When Tony, former Jet leader, meets Maria, the sister of the Shark leader, all interest in gang rivalry vanishes. He is immediately smitten, and so is the audience. Chemistry between Kyle Smith as Tony and Josy Soriano as Maria is palpable. The introduction of the two amidst the dance at the high school gym is one of Broadways most rewarding scenes, with Tony singing the ever-beautiful, “Maria.” Stage musicals don’t get much better than this! Soriano is especially impressive as the young Puerto Rican immigrant, Maria

Jill Godfrey is credited for directing and choreographing this current marvel. She has the Jets and Sharks displaying their physical manliness while erupting in near-classical ballet. The fight scenes are staged with great believability, and the dancing is continually exciting. Substantial preparation and training are evident in providing such effective results. Jalyn Courtenay Webb is musical director, reminding the audience that the songs continue to be as enchanting as ever – “Something’s Coming,” “Maria,” “America,” “I Feel Pretty,” “Somewhere,” and the delightful “Gee, Officer Krupke.”

Some in the cast are beyond their teenage years, but talent abounds. Samuel Rene Damare doesn’t miss a beat as the Jet’s “Riff.” Dorian O’Brien” is excellent as his Shark nemesis, “Bernardo.” Demi Ahlert holds center stage in the palm of her hand as Maria’s friend, “Anita.” Sara Kowalski is sheer delight as the young girl who doesn’t yet fit into any group, and so desires to “belong.” Christopher Alvarado as Chino is convincingly heart-broken with his actions. In reality, there is not a weak link in the entire group of accomplished actors, singers, and dancers. Special note must be paid to Daniel Harkins as the mean-spirited cop who would like to erase the Puerto Ricans from the area, and to John Jankow, owner of the local drug store, desperately trying to retain some sort of peace and order between the rival toughs.

Set, lighting, and costumes are all very effective.

Beautifully portrayed, “West Side Story” is not a happy tale. This is a gritty production, with an undercurrent of continued fear and apprehension, laced with the desire of hope for a better future. As the show ended, the audience was in stunned silence for several seconds before reality of the excellence they had witnessed set in. Then virtually everyone stood up to cheer and express appreciation.

Prior to the beginning of the Opening Night performance, the cast and crew honored Kurt Terrio, owner of The Midtown Arts Center.” This production of “West Side Story” is the 100th show Terrio has produced over the years in various venues. Work on an earlier version of “West Side Story” was one of his first efforts.

“West Side Story”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To November 11, 2018
Information: Box Office: 970/225-2555
Tickets: www.midtownartscenter.com

The Academy at Midtown Arts Center Provides Three Versions Of The Teenage Classic

Reviewed by Tom Jones
August 19, 2018

Three weeks! Three weeks from first read-through to standing ovation performance. Must be some sort of record! Staff of The Academy at Midtown Arts Center in Fort Collins worked in overdrive all summer to provide three separate versions of “Grease.” Two of the versions were designed for younger performers, third through eighth grades. The third one was comprised of high school age students.

Each section session lasted three weeks, each providing an entire production of “Grease” after three weeks at the Academy. The performance I saw was enormous fun – the youngest section of this summer’s Academy offerings. Sizes went from mini to maxi, with some diminutive performers displaying some enormous potential. And the attitudes were great. Youngsters with greased hair and black leather jackets strutted with great élan. Girls, some tough as nails, some shy as mice, came through with great vim as the school’s Pink Ladies clique. Everyone on stage was obviously having a great time. So was the audience – most friends and families of the performers.

The only “adults” in evidence on stage were the super band of experienced “Grease” music providers. Some were the same as performing at Midtown Arts Center’s “Grease” production this summer that runs to August 26. They provided excellent background for the young stars to shine.

This was the first stage experience for most of the performers I saw. There are already some standouts. Ella Tremblay is the show’s star as Sandy Dumbrowski, the wide-eyed innocent who transfers to the rowdy Rydell High School in 1959 without knowing anyone. Tremblay is great. She has excellent stage presence, a very good voice, and looks terrific.

Giving Tremblay great support were Zoe Glenn as the rough and tumble Rizzo; Katie Brown, as the overly-enthusiastic and universally disliked cheerleader Patty. Ellie Swain was the continually-eating Jan whose daily highlight is going through everyone’s sack lunches. Maya Stanley was excellent as Cha Cha. Gillian McCreery was convincing as “Frenchie” the beauty school dropout, who had everyone routing for her to succeed. Kathryn Attkisson was in fine form as Marty, singing of her “Freddy, My Love.”

Across the school’s cafeteria from the girls Pink Ladies clique, are the tough-guy wannabees. They become angry when one of their pack, Danny Zuko, might want to change his ways and hook up with the innocent Sandy. Zach Pickett is in good voice for the role, but does come across as too-kind for the pack. Cameren Torres has great fun as Kenickie, standing atop his new car to sing, “Greased Lightning.” Maisen Theisen was the guitar thumping Doody. Amy Smith nearly stole the show as Sonny, the sunglass-wielding, swaggerer.

While the cast isn’t quite yet ready for prime-time, such just may be on the horizon for several. And in the meantime, it appears that everyone was having a swell time on stage. And all after only three weeks from first-read to final curtain! The cast for each show is large, with more than 50 performers participating in each of the Academy’s three sections this summer.

Michael Lasris directed the show, with Jalyn Courtenay Webb as producer and artistic director, Emily Erkman was musical director, and original choreography was by Joshua Buscher. Instructors for the three show-providing sessions were Katie Burke, Abbie Hanawait, and Kyle Smith. Interns included Max Allan, Emily Hevelone, Sky Hume, Aliyah Kirkes, Zoe Maiberger, Naomi Roberts, Melanie Smith, Evan Wilusz, and Marion Yager, with Alyssa Ankney and Jon Collins as tech crew. Britni Girard was costumer.

The friendly audience was awed by the choreography, with more than 50 young performers on stage at the same time in many scenes – singing and their dancing their hearts out. “Grease is the word” this year at Midtown Arts Center.

The Academy concluded its “Grease” shows August 19, and the professional version of the show continues on stage to August 26.

The Academy at Midtown Arts Center
3750 South Mason Street, Fort Collins, CO 80525
Telephone:  970/225-2555

Registration is now open for fall classes at the Academy. Classes begin September 10. Use code “early bird” for $50 off any class.
Register at www.midtownartcsenter.com/education.

High Energy “Grease Lightning” Lights Up Fort Collins Midtown Arts Center

Reviewed by Tom Jones
June 15, 2018

Yep, “Sandra Dee” is musically back in town. And she brought a whole bunch of her famous friends from Rydell High School of 1959. Oh, yea, and also there is the goody two-shoes Sandy, transplanted from a different school, who has a difficult time finding her way in the new environment. The gentle guy she met on vacation on the beach that past summer turns up as head honcho of some not-so-pleasant dudes in the school.

This month the movie version of “Grease” celebrates its 40th anniversary. In observation of that long-ago date, Midtown Arts Center in Fort Collins has assembled the whole gang of teenagers to take us through the paces of what high school life was like in the 1950s.

In those days gone by, songs had lyrics everyone could understand and repeat. Many of those songs are incredibly well known even now – “Summer Nights,” “Greased Lightning,” “Look at Me, I’m Sandra Dee,” “Hopelessly Devoted to You,” and “You’re the One That I Want.”

John Travolta swaggered through the movie with great élan as Danny, with Olivia Newton John as the charming innocent, Sandy. For this stage version, Kyle Smith plays Danny Zuko with Lizzy Hinton as Sandy Dumbrowski. This is not the Sandra Dee of 1950s movie fame. Dee was the model of what a “good girl” should be in the era.

That “Sandy” was the epitome of wholesomeness, mocked by the rougher elements of society as someone to be disdained and pitied When Dumbrowski arrives at her new school the Pink Ladies show off their supposed superiority, mocking her with–
“Look, at Me. I’m Sandra Dee, lousy with virginity.
Won’t go to bed ‘til I’m legally wed. I can’t, I’m Sandra Dee.”

On leaving the theatre, a member of the audience noted, “It was like the entire stage was full of leads.” Voices are very good and the dancing is astonishing The MAC production was directed and choreographed by Joshua Buscher with Jalyn Courtenay Webb serving as music director. Buscher was in the Fort Collins Carousel Theatre production of “Grease” 12 years ago while he was a student at UNC. Six months after graduating, he appeared in the revival of “West Side Story” for two years, and has been in Broadway productions of “Priscilla, Queen of the Desert,” and “Big Fish.”

Music was furnished by a super group of on-stage musicians, with the minimal props and action going on in front of them. There didn’t initially appear to be much room for choreography, but Director Buscher has provided routines that could be confined into smaller spaces, and the syncopated moves were flawless.

The stage musical, as originally conceived, was a raunchy, raw and aggressive tale that was subsequently toned down. It has been further modified to become a landmark of teenage angst. It is basically a look at what peer pressure can do, but taking a sometimes comical look at what teenagers felt they needed to do to be part of a group. “Sandra Dee” in the song becomes a “Sandy” who has potential of being a tough gal in the Pink Ladies clique.

It opened on Broadway in 1971 and ran for nearly ten years. When it closed in 1980, it was then the longest run in Broadway history. The production now onstage at MAC has a few very brief moments of toughness, but is generally family oriented, and a true delight to see. Versions of it have played worldwide, and the John Travolta movie turned up in 1978, resulting in virtual adoration.

Jalyn Courtenay Webb is convincing as Miss Lynch, the high school teacher who tries to help the students maneuver through the pitfalls of adolescence – pitfalls that she has not yet personally overcome. Tara Fitzgerald is the tough-as-nails, Rizzo, the unofficial leader of the Pink Ladies clique. Abigail Hanawalt is delightful as the non-too-bright Frenchie, a “Beauty School Dropout.”

Stuart Rial is great fun as the nerdy Eugene, who can do virtually anything, except find his way into the “in” crowd. Rakeem Lawrence is very good as Roger, the high schooler whose main claim to fame is that he “moons” every chance he gets. Taylor Marrs turns up in two crazed roles – the disc jockey Vince Fontaine and also as the Teen Angel performer. Mid way through Act I. Corbin George provided his personal dynamite as Kenickie with his over-the-top vocalizing of “Greased Lightning.”

Christy Oberndorf, Stephanie Garcia, Amy Dollar, Timothy Canali, Peyton Schoenhofer, Carley Ingold, Anthony Weber, and Delany Garcia complete the roster of talents on stage – several with individual moments to shine. Even Kenickie’s cherished convertible becomes a featured performer as “Greased Lightning.”

The total show is a delightful romp of looking at the teenagers of the last century, making us wonder how we might behave if we could be temporarily transplanted into the rock and roll generation. Then every guy wanted his greased hair slicked back, his own “Greased Lightning” convertible, and every girl wanted to be “Hopelessly Devoted” to someone.

“Grease”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To August 25, 2018
Box Office: 970/225-2555
Tickets: www.midtownartscenter.com

Sheer Brilliance Is Key In This Powerful Production.

Reviewed by Tom Jones
April 13, 2018

Some musicals have outstanding overtures. Some have incredible finales. “Ragtime” has one of my all-time favorite introductory scenes. In the show’s first ten minutes three diverse cultures vividly come to life in the New York of 1906. There are the privileged upper class whites living in the New York suburb of New Rochelle; African Americans living in downtown Harlem; and Jewish immigrants from Eastern Europe who have found space in lower-Manhattan tenements.

The New Rochelle family consists of Mother, Father, Younger Brother, Grandfather, and Little Boy. Father is leaving the home to travel for a year with Admiral Peary’s expedition to the North Pole. He is leaving Mother at home to be “in charge” for the first time in their marriage.

The Harlem citizens are Coalhouse Walker, Jr. (a man-about-town musician), his girlfriend (Sarah), and their friends. Sarah has become pregnant by Coalhouse, and flees to New Rochelle, where no one will know her to give birth to the baby, hiding it in a local garden.

Coming from Latvia are Tateh, a Jewish widower, who is bringing his daughter from poverty-stricken Eastern Europe, with the desire of finding some degree of happiness in the New World.

Characters in each of the cultures initially appear unaware of the other culture’s existence, preferring to live only in their immediate sphere. This is about to change when Mother finds the newborn black baby in her garden, and shows innate caring and capabilities by bringing mother and baby into her home to give them refuge. Coalhouse frantically looks for his beloved Sarah and ultimately finds her in the upper-class neighborhood of New Rochelle. The local citizens there are openly racist, especially men in the fire department, even though some of them have faced discrimination in their new surroundings, having come from Ireland. They want nothing to do with anyone of color.

While waiting for a train at the New Rochelle train station Mother meets Tateh and his frightened daughter. He is equally frightened, and has placed a rope around the daughter’s waist, pulling her along with fear he might lose her. This is a chance encounter that will ultimately be rewarding.

These divergent characters have difficulty co-existing, accepting other cultures, and meshing into a single society. They initially appear to be ignorant of the other cultures’ existences, preferring to live only in their immediate sphere.

Performances are universally excellent. Brian Boyd has an outstanding voice as the in-charge Coalhouse. Marissa Rudd matches his talent as Coalhouse’s girlfriend, Sarah. Alisa Metcalf is heartwarming as Mother, whose first major independent decision is to rescue Sarah and the newborn child. Father (Taylor Marrs) returns from the North Pole, appalled at what his wife as done. Chris Trimboli is believable as the Jewish immigrant with his daughter in tow. Marrs, Metcalf, and Trimboli also have excellent voices. The musical has become a heartwarming opera with English dialogue

”Ragtime” first appeared in 1975 as an historical novel by E. L. Doctorow. A movie version of the book appeared in 1981. The intertwined stories of the three cultures were then set to the impressive music and lyrics of Stephen Flaherty and Lynn Ahrens, with book for the musical by Terrence McNally. The show was introduced in Canada in 1996, but did not arrive on Broadway until January of 1998. It was very successful, received great audience acclaim, honored with several awards, and ran for 834 performances.

The story is successfully told to continually-interesting music: marches cakewalks, gospel, and the ever-enduring syncopated ragtime. The music has rarely, if ever, sounded better than currently heard on the MAC stage. Among the musical highlights are “Journey On,” “Gettin’ Ready Rag,” “Wheels of a Dream,” “Sarah Brown Eyes,” and “He Wanted to Say.” The format itself is not perfect. The overly-long Act I seems to be ready to happily conclude two or three times before some unpleasant situations must be faced.

Most performers in the large cast play multiple roles, including the impressive Daniel Harkins who turns up as Grandfather, J. P. Morgan, and Admiral Peary, switching roles, costumes and wigs something like 15 times in the course of the evening. The show’s author cleverly inserted the lives of several famous people to the story. We meet Harry Houdini, Evelyn Nesbit, Brooker T. Washington, J. P. Morgan, Henry Ford, Stanford White, Harry K. Thaw, Admiral Peary and Emma Goldman –all historical New York figures of the early 1900s.

Supporting players include Jalyn Courtenay Webb, impressive as Emma Goldman, Kyle Smith as Younger Brother, Hugh Buttterfield as Willie Conklin, and Charlotte Campbell as the saucy Evelyn Nesbit.

Produced by Kurt Terrio, the MAC production is flawlessly directed and choreographed by Joseph Callahan, with Jalyn Courtenay Webb as Music Director. Scenic design and lighting by Chad Bonaker, costumes by Charlotte Campbell and Alisa Metcalf, sound by Patrick Lapinski. The set is not attractive, but is cleverly functional. The orchestra is successfully conducted by Casey Cropp. Choral music and stage movement are extremely impressive throughout.

The costumes, the choral work, the directions, the acting, the music, sound and lighting all work to perfection, resulting in one of Midtown Arts most triumphant productions, maybe even matching their “Les Miserables” wonder of a few seasons ago.

Unfortunately, the basic themes of social injustice and intolerance remain as disturbing as ever, with little true advancement since the New York of 1906.

“Ragtime”
Where: Midtown Arts Center, 3750 South Mason Street, Fort Collins, CO 80525
When: To May 26, 2018
Information: Box Office: 970/225-2555
Website / Tickets:  www.midtownartscenter.com