Annie

Annie
National Touring Company
Buell Theater
Denver, CO 
April 29 - May 10, 2015

Musicals don't get much more beloved than Annie. The songs are familiar to even the most casual theater goer and everyone recognizes Annie, Sandy and Daddy Warbucks. And despite a lifetime of attending theater, I had never seen it onstage. This touring production didn't let me down.

For this show to work, the actress playing Annie has to be special. And she was. Her rendition of "Tomorrow" was heartfelt and uplifting. She's likely sung it hundreds of times and yet it still sounded fresh.

The rest of the cast were just as strong. Miss Hannigan was not so evil that she wasn't hilarious. Daddy Warbucks was a loveable workaholic and you can't help but develop a fondness for Grace and the rest of the staff.

Sandy was played by a live dog. His appearances were brief, but I doubt there wasn't a single member of the audience who wouldn't have gladly taken this dog home. He was sweet and endearing. (The dog's story in the program only added to the appeal.)

The production numbers were especially entertaining. The harmonies were spot on and the choreography was engaging.

It's been a while since I've seen the technology used to change sets as smoothly and quickly as the ones in this show. Each one was a marvelous representation of the locations they portrayed. You never forgot you were in New York City.

This production was everything a touring company should be. It had a talented cast, impressive sets and an enduring script. And it was clear that the audience agreed with me because every song was received with an enthusiastic and long round of applause. Annie is the perfect show to introduce children to live theater or to add to their theatrical experience.

The Magic Flute

The Magic Flute
Opera Colorado
Ellie Caulkins Opera House
Denver, CO 
April 30 - May 10, 2015

I am a big fan of the music of Mozart. I've seen many of his operas on television, but never live. So I was excited to see Opera Colorado's production of The Magic Flute.

I noticed quite a few children in the audience. Normally opera is not looked on as child-friendly, but the production team did a great job of creating a show which appealed to all ages.

The sets were simple, but made to be more elaborate with beautiful projections. The set was a fancy door with stair leading up to it. Five long narrow screens were used to dress the set. The screens regularly raised and lowered throughout the show to change the location. Sometimes they were twisted or draped to created new textures. And the projections were effective in setting each scene without looking too fake.


The costumes were equally appealing. The Queen of the Night was richly attired in glittering purple and her hand maidens dresses in different brilliant colors complemented her beautifully. The subdued tones of Sarastro and his priests provide a strong and deliberate contrast.

The songs were sung in the original German, but surprisingly the dialogue was in English. (It may have surprised the audience even more that there was spoken parts in the show.) The display screens at each seat showed both the translation of the German lyrics and the English text.

As you would expect in an opera, the singing was flawless. Every single note was seemingly perfect and beautiful. The Queen of the Night's aria in Act Two was stunning. The seemingly effortless performance of each impossibly high note was a delight to hear. Sarastro's rich, deep bass notes, once again, provided stark contrast with his rival.

Contrary to the age old belief that opera singers can't act, the portrayals were convincing. Papageno was a standout in his comedic performance. Even his non-scripted sounds were humorous.

The story is quite old fashioned. Two people who fall in love before they even meet is pretty far-fetched. And Pamina and Papageno's suicide attempts border on bad taste. But when the potential tragedies are averted and they are wrapped in the beautiful music of Mozart, we are willing to overlook these outdated themes.