The Nutcracker

The Nutcracker
Colorado Ballet
Ellie Caulkins Opera House
Denver, CO
November 26 - December 24, 2016

The Nutcracker is a holiday tradition offered by the Colorado Ballet. The company presents a month-long production of the classic ballet and every year most performances sells out.

The performances offer some comfortable consistencies every year. We are treated to Geoffrey Gonzales at Drosselmeier, a snowstorm during the Dance of the Snowflakes, the silly antics of Mother Ginger. But they are not afraid to make changes to their beloved production. This year featured a new costume for the Sugar Plum Fairy and a more relaxed and funny performance.

Even with the subtle changes, it’s still the same charming show. The music inspires, the dancing astounds and the story makes everyone smile. For those who love it, The Nutcracker will always sparkle.

Frosty and Frozen

Frosty and Frozen
Colorado Symphony
Boettcher Concert Hall
Denver, CO
December 21, 2016

The Colorado Symphony has a wide variety of holiday concerts offered every December. Frosty and Frozen is a new show aimed towards children and families. The concert consisted of traditional holiday songs, a carol sing along, selections from Disney’s Frozen and a few well-selected classical pieces. The result was one of the most enjoyable concerts I have ever attended at Boettcher Concert Hall.

The concert began with Sleigh Ride, a festive piece that set the tone of the show.  The classical pieces included were well chosen. The selections from The Nutcracker were among the most familiar music and were well received. And while “winter” from Vivaldi’s Four Seasons might seem a bit difficult for children to sit through, the solo violinist, Yi Zhao, dazzled the audience and made what could have been a stuffy portion seem magical.

The concert also featured soloist Nadya Hill. Her initial appearance was for “Do You Want to Build a Snowman” from Disney’s Frozen. While she looked the part in her navy dress with a burgundy wrap, much which evoked Anna’s costume from the film, the performance wasn’t as impressive. Partway through the song, she forgot the lyrics. On the bright side, the children in the audience filled in for her nicely.

Hill later sang “Let It Go” where she tweaked the lyrics a bit. (With a song this epic, those changes are glaring.) She sang it well, but the emotion of the performance seemed lacking. She later led a sing along of songs. Some of the choices were less than familiar like “Toyland” and “All I Want For Christmas Is My Two Front Teeth.” Fortunately, the lyrics were in the program.

The difficulties of the soloist aside, the concert was fun and charming. It was a prefect blend of popular music and classical pieces. The audience participation was well-suited for the audience. While it was not a perfect show, I hope the symphony tries this one again!

Beauty and the Beast

Beauty and the Beast
Vintage Theater
Aurora, CO 
November 25, 2016 - January 8, 2017

The Vintage Theatre has never shied away from a challenge. They have a lovely, intimate stage which they regularly push to its limits. Beauty and the Beast is a beloved classic transformed into a stage spectacle. It’s a huge task to translate into a regional production.

The cast was very strong for this production. Belle and the Beast have strong, beautiful voices and clear understanding of their characters. The affection between them did seem to grow before our eyes. While their Gaston was not the muscle man of the film, his voice and swagger give us the bully the story needs. LeFou is his perfect sidekick, believable in his ridiculousness.

The castle staff have great chemistry between them, although their accents were often uneven. The ensemble was strong, pulling off great feats in the choral songs. The dance sequence in the song “Gaston” was heavily influenced by the Broadway production and they pulled it off flawlessly. “Be Our Guest” was flat by comparison – the cast was just not large enough to pull off the spectacle we are used to.

The biggest disappointment in the production was the set for the show. It seemed more like a high school set than one for a professional theater. Technically it functioned as needed, but it never changed throughout the show. So, the door to Belle’s home became the main entrance to the Beast’s castle and the entryway to the kitchen. Lighting effects helped to change the setting a bit, especially with some of the outdoor scenes.

The costumes for the show demonstrated far more creativity. While they were clearly modeled after the clothing the characters wore in the original film, the designer put her own spin on them. Lumiere’s black and gold sequin suit was stunning. And while Belle’s ball gown was still in its signature yellow, but it was more ornate and period appropriate than the movie version. The costumes for Cogsworth, Mrs. Potts and Chip were a bit crude, but they got the point across.

Overall, the production suffered very little being scaled down. The Vintage extended the magic after the show by having both Belle and the Beast/Prince in the lobby after the show for meet and greets. It was a popular draw for children of all ages and it continued until everyone had a chance to take photos.

Porgy and Bess

Porgy and Bess
Aurora Fox Theater
Aurora, CO
November 25, 2016 - January 1, 2017

Porgy and Bess is an icon in American musical theater. George and Ira Gershwin’s 1934 opera was the first to feature and entirely African American cast. It was an important step in theater as well as in American society. Despite the importance of the piece, it is rarely performed.

The script the Fox team used is a 2011 adaptation by Suzan-Lori Parks, which transformed the opera into a musical and widened the scope of characters. Despite the adaptation, the story is full of stereotype characters: crippled beggar, drug addicted floozy, criminal kingpin, religious zealot, bossy wife, flashy drug dealer. However, the performances from this incredibly talented cast bring a realism to these roles that overcomes the caricature roots.

In the hands of the Fox creative team, Porgy and Bess is not a racial story. It's a human story. Race does have a place in the story in a few places when the white police officers show up. In those few scenes a real tension is on display. But for the rest of the show, the characters are just people living their lives.

The costumes only enhance the realism of these characters. They could wear the same outfits for the entire show, but they don’t. At the community picnic everyone wears their Sunday best, and it’s a delight to see. And after the picnic they returned to everyday clothes, but not the ones from the day before – just as real people do.

The set is more suggestive than realistic, but it takes the audience into Catfish Row – a simple community. Porgy’s home is completely closed to us – highlighting this private man. The lighting and sound crew are able to transport us to the ocean.

In the center of all this phenomenal staging is the music. The Gershwin score is amazing to begin with. But in the hands of the Fox’ music director it soars to heights even the composers would love. Each performers voice was strong and up to the challenging music. The harmonies created by this team were beautiful. The duets between Porgy and Bess are not traditional – they usually end up singing separately in time and those parts were in perfect balance.

Porgy and Bess will likely never escape the controversy that has always surrounded it. Some audience members may be bothered by the stereotypical nature of the characters, the drug use or the violence. Despite these concerns, the Fox has created a valuable theatrical experience – both socially and artistically.

Godspell

Godspell
Jester's Dinner Theater
Longmont, CO
October 7, 2016 - January 29, 2017

Jester’s Dinner Theatre is an intimate theater nestled on Main Street in Longmont. It has been around for 17 years but it is likely unfamiliar to most residents of the Denver Metro area. The space is small, the menu is simple and the staff is incredibly friendly.

Godspell was a good fit for the intimate space. The set was very simple – on stage were a piano, a ladder and an array of props and costume pieces used throughout the show. The costumes were modern. The Hawaiian shirt on John the Baptist and the smiley face t-shirt on Jesus were fun.

The script for Godspell is a loose one with plenty of openings for improv. The cast made great use of these moments to represent them as millennials. The show didn’t feel like a relic from the early 1970’s – if came across as a modern telling of the Christian Gospels. Godspell is more like a series of sermons and hymns than a musical. The cast didn’t shy away from this concept.

Overall the show was well staged. The occasional use of the aisles gave it a sense of unpredictability. While much of it was humorous, the treatment of the Last Supper and Crucifixion scenes were given the seriousness they deserve. Godspell was widely criticized for featuring the Crucifixion without the Resurrection. The cast cleverly addressed this by suggesting it during the curtain call.

The biggest flaw in the production was the acoustics. Many of the female actors’ voices were not strong enough to carry without amplification. Their voices would occasionally be drowned out by the chorus or even the piano. Despite that, the cast seemed to enjoy performing and it was contagious.

As a side note, after the show my daughter asked a group of actors to have her photo taken with them. They responded by gathering the entire cast for the photo. We all left feeling appreciated as new audience members. The hometown feel of this theater will certainly bring us back!

Jersey Boys

Jersey Boys
National Tour
Buell Theater
Denver, CO
November 9-13, 2016

Broadway has been filled with autobiographical musicals over the years. So Jersey Boys, the story of the Four Seasons, doesn’t seem to be much different. However, the way that the story is told is what makes it special. That is why after eleven years it is still playing on Broadway and touring the US.


The story started in “Spring,” a chapter narrated by bad boy member Tommy De Vito. It got off to a fast start and kept a breathtaking pace throughout. The simple set changed from city streets, restaurants, jail houses and stages quickly thanks to the effective lighting and screen displays.

When the season switched to “Summer,” and Bob Gaudio took over the narration the mood changed. And when the group broke into “Sherry” the energy in the building exploded. The band’s rise to the top was swift and the audience was transported to a 1960’s concert.

Just when we thought we knew everything, Nick Massey took over the “Fall” narration. Suddenly we got another side of the story. And in final season, “Winter” our hearts broke as we heard Frankie Valli’s tragedies behind the scenes.


Between the Jersey accents and the fast pace we really entered the world around the band as they evolved. The story was filled with intelligent humor and the music that everybody knows.

The performers told the story with impeccable timing and the songs were a walk down memory lane. At times the actor portraying Frankie was a bit shrill and "My Boyfriend's Back" didn't really sound anything like the original recording. But that didn't any of the joy out of hearing these classics live.

At curtain call I was amazed to see all the women in the show were played by three actresses - an impressive feat. All the characters were somewhat exaggerated and yet still believable. I see a lot of theater, but I have never been to a performance where the audience was on their feet before the first actors arrived for the curtain call. The standing ovation was well deserved. Jersey Boys was one of the most enjoyable nights of theater I have had.

Halloween Spooktacular

Halloween Spooktacular
Colorado Symphony
Boettcher Concert Hall
Denver, CO
October 29, 2016

For most kids, the idea of sitting through a concert of classical music isn’t an appealing thought. To encourage the attendance of children, the Colorado Symphony has its annual Halloween Spooktacular. All the musicians dress up (some more creatively than others!) and the audience is also encouraged to wear costumes. Many of the adults dress up as well. Before the show, kids had the option to make Halloween themed crafts.

The concert began with the conductor striding onstage dressed as Darth Vader and leading the musicians in The Imperial March from Star Wars. That immediately caught everyone’s attention. After a warm up of popular pieces, the concert added some classical pieces. The conductor patiently went over themes in The Noon Witch and instrumental characterizations in A Conversation Between Beauty and the Beast. He also gave an animated description of the action in Wagner’s Rise of the Valkyries. To aid in the fun of the music, he changed costumes often to complement the music.

The concert ended with The Raider’s March from the Indiana Jones films and three pieces from the Harry Potter movies. As the kids left the concert hall, each was handed a goodie bag with small treats and toys inside. With the annual Spooktacular concerts, the Colorado Symphony has created the perfect atmosphere to introduce children to classical music.

Dracula

Dracula
Aurora Fox Theater
Aurora, CO
October 7 - November 7, 2016

Dracula is a classic character and especially popular this time of year. Less familiar is the musical of the same name written by Frank Wilderhorn. The musical stays faithful to the original novel by Bram Stoker. The novel is surprisingly sexual considering the era it was written in. And the script and performance of the show doesn’t back away from that aspect at all. The female vampires constantly demonstrated the sexual hold Dracula had over them.

The music in this show will be entirely unfamiliar to most audiences. The songs have not been widely recorded and few are memorable after the curtain closed. The program did not contain a list of musical numbers either which didn’t help. The ensemble piece “Deep in the Darkest Night” was a soaring anthem and the most inspiring song in the show. Lucy’s song “How Do You Choose?” gave Act 1 some much needed comic relief.

Despite the unrecognizable score, the cast at the Aurora Fox performed each one beautifully. The voices of the performers were incredible and the harmonies were a pleasure to listen to.

The script doesn’t help the actors at all to help the audience understand Dracula’s motives. Dracula seems so content at the beginning to surround himself with beautiful, oversexed vampires of his own creation and yet when it comes to Mina Harker, his motives change with no reason why. And while he spends the entire story fighting for his survival and then suddenly gives up.

The costumes and scenery brought the Victorian era to life. The set was remarkably flexible. The walls which came in for intimate indoor scenes moved smoothly around the stage. Most scenes changed with very little visible to the audience – quite a feat considering how many changes were needed. The fog machine at the front of the stage added effect however at time the amount of fog actually obstructed the view of the action on stage.

Despite the lack of familiarity audiences may have with the material and the obvious flaws in the script, the performances in Dracula make it a show worth seeing.

Swan Lake

Swan Lake
Colorado Ballet
Ellie Caulkins Opera House
Denver, CO
October 7-23, 2016

Just the mention of Swan Lake brings to mind ballerina’s in fluffy white tutus, beautiful music and high romance. The Colorado Ballet production brought all of these images into dazzling reality.

The setting gives the feeling of impending tragedy throughout. The darkened stage brilliantly showed off the gorgeous costumes. The menacing perch of the villain Von Rothbart demonstrated his control over the fates of the characters.

The choreography for the ballet was often breathtaking. The ensemble sequences featured variations among the dancers which brought complexity and depth to the scene. The swans moved elegantly around as one would expect and they often completely filled the stage. The Swanelles were stunning in their perfectly synchronized steps across the stage.

The solo performances were beautiful to watch, but they often became repetitive. The structure of the ballet features many solo performances while the rest of the company watches. At times, the length of those designated dances detracted from the story.

The costumes throughout the staging were stunning.  The swan maidens were exactly what we would want to see – feathery white tutus. The members of the court were richly attired to demonstrate their station. The exception was the Prince, whose costume was much plainer than everyone around him. 

This production delivered everything an audience expects from a classic ballet. The music was beautifully performed, the dancing seemed flawless, the emotional responses were real. The beauty of the performance even seemed to balance out the tragic ending.

Evita

Evita
Candlelight Dinner Playhouse
Johnstown, CO
September 22 - November 13, 2016

During the current political climate, the 1978 musical Evita by Tim Rice and Andrew Lloyd Webber is as relevant today as when it was written, maybe even more.

The show follows the rise of Eva Duarte Peron, the wife of Argentine dictator Juan Peron. But this is more than the story of a famous woman, it also has many political references throughout. While the Candlelight Dinner Playhouse has downplayed the political points, they are still there. Songs like “Art of the Possible” showing politicians in a game of musical chairs, shone a spotlight on the randomness of which candidate will actual win an election. And being in an election year, it’s a hard point to overlook.

Adding to the political climate is the character of Che. He is appropriately dressed in army fatigues and often dons the beret of his inspiration - Che Guevara. His commentary is like a political satire throughout the story. Although he and Eva clearly don’t agree, the audience doesn’t feel compelled to take sides.

The Candlelight’s Eva is a sympathetic figure, the biggest accusations against her are downplayed, while the love of her “descamisados” takes center stage. And their Eva is up to the challenge. She commands the stage early on although her performance in Act 2 is stronger than the first. Her rendition of the anthem “Don’t Cry For Me, Argentina” is nothing short of mesmerizing.

The role of Juan Peron seemed small and it was performed with great skill. The chemistry he had with Eva was palpable. He was perhaps a bit too likable for a controversial dictator, but his singing was excellent.

Rounding out the main characters was Augustin Magaldi, the tango singer. His role was well played with a strong comedic flair.

The ensemble was strong, switching from skillfully from role to role. The color contrast between the black and white clad aristocrats and colorfully dressed peasants made the transitions easy for the audience to follow.

The costumes were part of the spectacle of the show. Eva’s wardrobe helped paint the picture of her. Some of the changes occurred on stage which was a bit awkward.  The set was simple, but lent itself well to the action of the show. The choreography was lively and energetic. At times there were a few hiccups, but considering it was opening weekend I expect those kinks will be worked out.

In the past, one of my favorite aspects of the Candlelight Dinner Playhouse has been the availability of the cast after performances. However, this marks the second show in a row where the principal characters were not around after the show. None of the four leads waited tables at our performance and the actors did not appear in the lobby. It’s a disappointing change.

Once Upon A Mattress

Once Upon A Mattress
Town Hall Arts Center
Littleton, CO
September 9 - October 9, 2016

The Princess and the Pea is one of the few traditional fairytales that has never received the Disney treatment. The musical version Once Upon A Mattress isn’t as well-known as an animated film. But it is a fun retelling of the story.

Despite its fairytale setting, the show does contain some mature themes – such as the unexpected pregnancy of Lady Larkin and her desperation to get married despite the law saying no one can marry until Prince Dauntless does. Despite this, there is plenty for kids to love about the show.

This show is not meant to be taken seriously and the cast never does. The fast pace of the show and energy of the cast keep it light. The jokes seemed fresh and occasionally a modern spin added to the fun. It felt like the audience never stopped laughing.

Princess Winnifred is an unlikely princess – she’s loud, clumsy and brutally honest. But she didn’t lack charm. Prince Dauntless was annoying and spineless, but he too was a sympathetic figure. Despite these over-the-top flaws, a chemistry did develop between these two and they easily swayed the audience to root for them. The villain of the story was Queen Agravaine. She was the typical overbearing mother. Yet she too was easy to understand and the audience loved to hate her.

Each character was well-created and their place in the story was clear. And despite a very simple story, stretching it into a two-hour show didn’t seem like overkill. Each song was well performed and the choreography was interesting.

The theater is very small and the only way around it is right along the stage edge. Because of this, latecomers are not seated at the Town Hall Arts Center. The grade of seating is also less than most theaters. In my case I was seated behind a very tall man which made viewing the show difficult.

The Phantom of the Opera

The Phantom of the Opera
National Tour
Buell Theater
Denver, CO
August 25 - September 11, 2016

It’s difficult for me to believe that Andrew Lloyd Webber’s The Phantom of the Opera is 30 years old. I saw it on Broadway in 1990 and several times on tour. The production on tour now is called a “restaging” of the original. It is puzzling why a show with the unprecedented popularity of Phantom would be compelled to change anything, but it was worth seeing to find out.

As the show began, it was clear to see it was the sets which received the greatest “update.” At the beginning of the show, the chandelier is already positioned above the audience, unlike the previous version where it started on the stage and was raised into position during the overture.  It was a much more realistic looking chandelier than its predecessor, but less impressive.

The song "Music of the Night" has been blocked differently. Gone is the strange Christine doll in a wedding dress. (Although Christine did appear in the finale wearing the wedding dress, although there is no explanation for the dress.) The Phantom's lair is now more of a luxury suite than a crude habitat.

The sets appear to be one round piece that turns throughout to change the setting. While they are sumptuously decorated, they are not as spectacular as the original. The new sets make the opera house feel small, less imposing. The underground lake in particular wasn't as impressive than in the past.

Fans of the first production will be happy to note that most of the original costumes are featured in this restaged production. Each one of Maria Bjornson’s designs are still stunning. One notable exception was the Masque of the Red Death costume worn by the Phantom at the end of “Masquerade.” The newer costumes were far less elaborate and frightening as the original. I found myself wondering how the characters knew it was the Phantom in this less dramatic costume.

Regardless of the staging, the music was the star of the show. After 30 years every song stands the test of time. The cast of the show was strong and the music still soared.

The tone of the show also seems to have changed. With the premiere of the ill-received sequel, Love Never Dies, the productions seems to take a more positive view of the Phantom – even during his murderous rampage at the end. Such changes are necessary to make the sequel believable, but it left theater goers with a different experience than before.

For those who never saw the previous staging, this show will likely delight them. But fans of the original may be disappointed in parts. Despite these changes, it’s clear Phantom still has the power to mesmerize an audience.

The Wizard of Oz

The Wizard of Oz
Candlelight Dinner Playhouse
Johnstown, CO
July - September 2017

For 77 years, The Wizard of Oz has been a family favorite – first on film and later on stage. The past few years have seen many productions of it in the Colorado region. The most recent was produced by the Candlelight Dinner Playhouse.

The main actors varied widely in ability. Their Dorothy was pleasant, but it came across as a shallow portrayal. There was nothing new or deep about the character. And “Somewhere Over the Rainbow” was nice, but not as stirring beautiful as it could have been.

Her three friends were far more interesting. The Cowardly Lion was particularly likeable with his antics. And it was fun to see the Scarecrow flop around as he did. His delivery of his lines added more comedy than the film version we’re all so familiar with.

The Wicked Witch of the West did well with a mix of the film version and her own spin of the character. She kept the role from becoming too scary for the audience filled with children and still managed some humor when needed.

The ensemble was filled with talent, but the staging unfortunately tended to over shadow their performances. As Munchkins, they performed on their knees. While it was well choreographed, it seemed like a silly gimmick.

The show was well choreographed. None better than "The Jitterbug" - a song that was removed from the film. The cast shone in their complex dance moves and you could understand why Dorothy and her friends were exhausted afterwards.

Also strange was the casting of a young girl as Toto in Oz, but a real dog was used in the Kansas scenes. The girl was absolutely adorable with a realistic sounding bark, but there didn’t seem to be any reason for the change.

The sets of the show were often bulky and cumbersome. During the tornado and Dorothy’s return we were left with a dark stage and the sound of changing scenery. There was nothing to even suggest the tornado.

In the past I have complimented the Candlelight on the availability of their cast after the show. This one was an exception. Only one of the “four friends” was available for meet and greet at the performance I attended. And considering it was a Sunday matinee with lots of kids, it was a disappointment.

The Candlelight Dinner Playhouse has had a terrific season. Unfortunately, they saved their weakest production for last.

Footloose

Footloose
BDT Stage
Boulder, CO
May 21 - September 3, 2016

Footloose is from an era when Broadway was hot on changing popular movies into big budget musicals. Some of those shows were more successful than others. Footloose seems to be an odd choice.

One of the biggest obstacles the creators had to overcome was the music from the film. The songs are great, but the lyrics usually don’t fit the storyline at all. Some like “Footloose” worked in without much trouble. But others like “Let’s Hear It For the Boy, “Holding Out For A Hero” and “I’m Free” are awkward at best. The songs added for the stage production are mostly forgettable, but they do move the story along.

Despite these noticeable script flaws, the BDT Stage has created an energetic show. The costumes, while more character driven than authentically 1980’s, were fun.  Ariel’s skimpy outfits were a bit much – especially when she wore them in front of her father who didn’t seem to have any reaction.

The set was well thought out. It featured playing areas on multiple levels which were used effectively. The script calls for several scenes on a bridge over train tracks and they delivered them in convincing fashion. The changes into a restaurant and the Moore’s home were impressive in their detail and quick set up.

It is the dancing which takes center stage, as it should be. The choreography is high energy and evokes the 1980’s without appearing dated. This show calls for numerous large scale sequences and the cast delivered on each one. “I’m Free” was particularly engaging – a great feat considering the awkwardness of the song set in the school gym.

The character of Ariel seemed two-dimensional at first, but as the story progressed, she became more compelling. Ren was attractive if not charismatic. The true heart of the show was Reverend Moore. Despite the almost cliché role he was given, he came across as genuine and ultimately evolved into the pillar of the community the audience wanted to see. During his final monologue he held the audience captive with emotion.

The characters of Rusty and Willard did plenty of scene stealing of their own. Both were fun and awkward in their own right (and much more realistic than either Ariel or Ren). Throughout the show the audience is rooting for them to finally get together.

While the show is not exactly a time capsule, it does take the audience back to an era where teen films spoke for American youth.

The Ballad of Baby Doe

The Ballad of Baby Doe
Central City Opera
Central City, CO
July 9 - August 7, 2016

The Ballad of Baby Doe is not a typical opera. Most noticeably, the libretto is in English, so at times it feels more like musical theater than opera. The music itself has a western feel to it which also at time feels out of place.
Despite being unconventional, The Ballad of Baby Doe has become a beloved American classic. And on its 60th anniversary, what could be more appropriate than performing the opera in Central City, where it first premiered?

I attended the family matinee, which was performed by the “apprentice cast.” Despite their title, this group is filled with talent. Above all, their August Tabor shone in this performance. While she is not the villain of the show, her role is supposed to be less appealing than the younger Baby Doe. This production failed on that count. Augusta was sympathetic and intelligent. Clearly the script called for Horace to fall in love with Baby Doe, but there didn’t seem much reason for it.

The part of Horace was well sung, but there didn’t seem to be much substance to the man. He was showy but often seemed unstable. While his songs of love to Baby Doe were sincere, but the script didn’t supply much reason for that love. And with little chemistry between the performers, it was hard to understand.

The production’s Baby Doe had a lovely singing voice. She came across as sweet and demure, but she lacked the charisma and charm needed to captivate the audience and explain Horace’s scandalous behavior.

The sequences featuring the chorus were filled with energy and style. The chorus went from prostitutes and miners to upper crust society smoothly. And the singing was engrossing. The rally for William Jennings Bryan was a high point. The performance of the presidential candidate demonstrated the “demagogue” he was referred to as. Although the slow motion paperboys saying after the election was comical at a time of solemnity.

The set became a player in the show. The background often featured a projection of the actual places in the story. At times smaller screens lowered to display the actual photos of the people being portrayed. When the audience is as close to the story as this one, those glimpses into reality just strengthen the connection.

The costumes were a bit puzzling. While Baby Doe changed her dresses often to demonstrate her extravagant lifestyle, Augusta wore the same dress throughout the decades that roll by. And since Augusta was the one with the most money it seemed odd.

Ultimately the story is a tragedy. The tenderness between Baby Doe and Horace is touching at the end.  The actors seemed to have a stronger handle on the sorrowful scenes than the passionate ones. Still, it is a satisfying experience at the opera and a chance to see future stars in action.

Grease

Grease
Inspire Creative
PACE Center 
Parker, CO
July 15 - 31, 2016

One of the problems with producing the musical Grease is the long shadow of the 1978 film. Many theater goers are disappointed to find many of their favorite songs from the film don’t appear in the stage version. What they don’t realize is many of the most popular songs were written especially for the movie.

In the 1990’s a new stage version of Grease was created by adding many of the film songs while still maintaining the lesser known original soundtrack. This script is the one Inspire Creative chose for their production of Grease. And it’s sure to please everyone.

The show began with a high energy performance of the title song and never lost steam.  Each song was well choreographed and staged. The harmonies were extraordinary. The songs from the original soundtrack were as enjoyable as the more recognizable ones.


The set was well thought out and effective. The stairways used to give additional levels reminded me of my high school days. I was also impressed with the many different costumes. The events of the show take place over a school year and the characters changed costumes regularly, helping to demonstrate the passing of time.

The cast was talented and energetic. Some of the strongest voices were in smaller parts, but their helped to make the chorus parts even more enjoyable. And it was a nice bonus to have the cast available in the lobby for meet and greet opportunities.

My only criticism was in the acoustics. The cast delivered their lines at conversation speed, which was a bit too fast for stage delivery and some of the dialogue was lost. The music provided by the band was terrific, but often a bit too loud. At times it drowned out the soloists.

With Grease, Inspire Creative has another terrific production under its belt. I’m looking  forward to what they do next.

Into The Woods

Into The Woods
Candlelight Dinner Playhouse
Johnstown, CO
May 19  - July 10, 2016

Into the Woods is seen by many as a fairy tale show. In a way, it is. But it takes more inspiration from the Grimm Brothers than Disney. Taking so many beloved characters and keeping them likable is a challenge.

This production chose to focus on the humor throughout the script – especially in the very dark second act. It proved to be an effective way to keep the show moving and not get dragged down by the tragic storyline. The Prince and his Steward were particularly funny in their antics.

Each song was performed with great skill, but you won’t likely leave the theater humming the music. With the exception of “Children Will Listen,” the songs are more plot devices than showstoppers.

The show goes through many location changes and, as usual, the Candlelight created interesting set pieces that easily move on and off stage. Even the woods background created interesting levels for the actors to play on.

The cast of the show was very talented, breathing new life into the fairy tale characters we already know. Red Riding Hood was sassier than her stories, Cinderella was resourceful and Jack an aimless dreamer. But they all work in this world.

We had plenty of heroes and villains here, but everything is not just black and white. Here even the most well-intentioned actions produced disastrous results – as we learn in the song “It’s Your Fault.”

All the pieces came together to make the show work. It is difficult material, but in the hands of the Candlelight Dinner Playhouse, it shone.

The Sound of Music

The Sound of Music
National Touring Company
June 21-26, 2016
Buell Theater
Denver, CO

The Sound of Music is one of the most beloved movies of all time. In fact, it is more famous as a film than a stage musical. Most people are familiar with the songs and the storyline. However, the stage production is different and has a charm of its own.

This touring production was well cast. Maria practically sparkled with her enthusiasm and it was believable that she was a handful with the nuns at the convent where the story begins. The Von Trapp children were talented and interacted well with each other. Captain Von Trapp’s disciplined ways were not over the top.


The staging of the show was beautiful. The hills were often present in the background – almost becoming a character in their own right. The set smoothly changed from an ancient church to a luxurious mansion. Each set drew you in to the beauty of their beloved Austria homeland.

One exception to this would be the scene in the concert hall just after the German invasion. The backdrop was made of five huge red flags with swastikas emblazoned on them. The effect made the audience uncomfortable – sharing the feelings of Captain Von Trapp.

The name of the show is The Sound of Music for good reason. The music is beautiful. Of course, the score by Rodgers and Hammerstein is among the best ever written, but the way it was performed was worthy of the material. It was fun and playful and then serious and moving. Every song perfectly fit the mood of the scene.

But no song was more powerful than “Climb Ev’ry Mountain.” While the actress playing Mother Superior struggled a bit (it wouldn’t surprise me if the altitude was the culprit), but she was able bring the house down by the finale.

This production was so well staged that the many children in the audience stayed captivated by it.