Alice (in Wonderland)

Alice (in Wonderland)
Colorado Ballet 
Ellie Caulkins Opera House
Denver, CO
February 19-28, 2016

The story of Alice in Wonderland seems to have two identities – the popular Disney film and an association with 1960’s drug culture. The production of  Alice (in Wonderland) by the Colorado Ballet attempts to join these two themes.

It is clear that the creators wanted their audience to feel off balance. The proscenium and stage which are usually black were all white for this show. The special effects were clever and well thought out – except for the doll dressed as Alice who was whirled around after she fell through the rabbit hole. The doll was a cheap tactic that fooled no one.

The rest of the effects were creative, a series of doors in different sizes to demonstrate Alice’s shrinking and growth; Tweedle Dee and Tweedle Dum riding a bicycle through the air; a caterpillar which blossomed into a huge butterfly before our eyes. The process of creating the effects wasn’t a mystery, as we could usually see wires and set up but the results were impressive.

The costumes were what we would expect – right down to Alice’s blue dress. However they were very creative in the court of the Queen of Hearts where the ballerinas wore tutus made of playing cards. And the animal costumes captured the essence of the characters without being overwhelming.

The dancing was surprising. In many parts it wasn’t ballet at all. But the dancing always fit the characters and mood of the scene. Especially fun was the constant use of a children’s corps. They appeared to shrink the adult dancers as well as give depth to group scenes.

The music was not the traditional classical score of a ballet. We often heard the discordant sliding of a violin and unsettling percussion.

Alice is not a traditional ballet, but it succeeds in capturing the strange and fantastic nature of Wonderland.

The Addams Family

The Addams Family
BDT Stage
Boulder, CO
November 21, 2015 - February 27, 2016

The Addams Family seems a strange subject matter for musical theater. However, since it’s run on Broadway productions of it have been produced all over the Denver metro area.

The cast at the BDT Stage was made up of actors who perform there regularly. And despite the unusual characters, they are perfectly suited for their roles.

The central character is Gomez Addams, whose Spanish accent is lovely to listen to and never falters.  His asides to the audience are humorous and endearing. His chemistry with Morticia is believable and the balance between these two strong personalities works. The relationship between Wednesday and Pugsley is also one all siblings can relate to.

The script is humorous and the cast’s timing is flawless. Uncle Fester, who could easily be annoying, is silly and likeable. The ensemble, dressed as ghostly ancestors, take on their own personalities throughout the show. Their constant presence blends in with each scene, never overpowering the action.

The story line is surprisingly compelling. Anyone familiar with the Addams Family knows they are an odd, macabre group. But with the addition of a “normal” family into their lives, the audience sees there is a bit of macabre in all of us.

The costumes were just what we expect for the characters and the set was created around an ingenious staircase which turned to reveal a new perspective. The starry sky was the perfect backdrop throughout the show. The moon set inside the stars became a character on its own.

While The Addams Family may seem like a story that would only appeal to fans of the TV show, the musical version has a broader appeal that will surprise many.

Hello Dolly!

Hello Dolly!
Candlelight Dinner Playhouse
Johnstown, CO
January 14 - March 6, 2016

Filling the shoes of legendary actors like Barbra Streisand, Walter Mathau, Michael Crawford and Tommy Tune is a tall order, but is a task that the Candlelight Dinner Playhouse willingly took on with its production of Hello Dolly! Since this show is not often produced, it is the Gene Kelly directed film that will be most familiar to audiences.

The set of the show was well thought out. The background works as a train station and the streets of New York. The remaining sets were quickly brought on and off stage, keeping the backdrop as the streets of New York.

The characters were all interesting, however the relationships that are supposed to exist through the performance fall flat. The script really doesn‘t give these characters any reason to be around each other or fall in love. But the cast does their best with what they have and we are rooting for a happy ending.

The humor in the show didn't resound with the audience for the most part and the slapstick comedy added in the production seemed out of place.

The real star of the show was the dancing. The production numbers were big and bright with choreography which fit the time period. The scenes inside the Harmonia Gardens restaurant sparkled like the dishes they served.

The costumes throughout the show brought out the mood for each occasion. The changes were frequent as they needed to be. And when Dolly made her entrance into the restaurant for the title song her glamour was just what the audience wants to see.

The show is old fashioned, but it is also fun.

Sierra Boggess in Concert

Sierra Boggess In Concert
Colorado Symphony
Boettcher Concert Hall
Denver, CO
February 14, 2016

Sierra Boggess is currently one of the biggest stars on Broadway. She grew up in Denver and performed with the Colorado Children's Chorale and the Central City Opera in her youth. Prior to her Broadway debut in The Little Mermaid, the show had its pre Broadway tryout in Denver, Her ties to her hometown are tight. And throughout her concert with the Colorado Symphony she showed herself as a local girl.

She came out dressed as you would expect in a flowing pink gown with sparkling earrings and an elegant updo. But her beautiful appearance was nothing compared to her performance of "The Sound of Music". Throughout the concert, she used songs from musicals and an opera to tell stories of her life. As the show went on, we got to know her better. She worked in "Part of Your World" from The Little Mermaid by talking about her first rehearsal for the show.

Sierra showed great versatility throughout the concert. She performed the Andrew Lloyd Webber medley with comedic skill. In the medley, she sang "Think of Me" in a Britney Spears fashion and quickly switched to the gritty "Buenos Aires" in the style of an opera singer. She added a chorus of "Go Go Go Joseph" in rap fashion as well.

The Colorado Children's Chorale performed with Sierra on selected songs. Most spectacular was "Come to My Garden" from The Secret Garden. The arrangement was gorgeous but hearing the personal story of how Sierra first sang that song as a member of the Chorale added more magic to the performance.

Most entertaining was Sierra's performance of "If You Could See Me Now," which she sang as she told a story of performing for Queen Elizabeth at the home of Andrew Lloyd Webber. Her storytelling was marvelous and she once again portrayed herself as a the local girl who made it big.

To close the concert, Sierra sang "Wishing You Were Somehow Here Again" from The Phantom of the Opera. Her performance was nothing short of brilliant. It is easy to understand why Andrews Lloyd Webber considered her the best Christine Daae he has heard.

This concert showcased not only the talent, but also the personable nature of Sierra Boggess. Her performance with the Colorado Symphony was a wonderful opportunity to appreciate her abilities and origins.

The Wizard of Oz

The Wizard of Oz
National Touring Company
Buell Theater
Denver, CO 
February 7-13, 2016

Even though The Wizard of Oz started out as a movie, it is one of the most beloved musicals of all time. It is such a classic that most theater groups painstakingly reproduce the without much modification.

The current tour of the show has not taken this reverent approach. Not only have they made changes to the book and songs, they have put a completely new spin on the costumes and character relationships.

The new music is mostly unexciting. Many seem to have been added just so previously non singing characters like the Wicked Witch of the West and the Wizard have songs to perform. "Bacchanalia" is actually a less interesting song than "The Jitterbug" which it replaced. The one exception is "Already Home" at the end of the show. This one song is the only memorable one aside from the original Arlen and Harburg score.

The costumes for the four main characters are fairly conventional. However, the look of the witches is original, creating a similar look between the Wicked Witch of the West and Glinda was an interesting compliment to the script change which made them cousins. My favorite change, however, was the clothing of the Munchkins. Just as in the original L. Frank Baum books, the Munchkins all dressed in blue. However, going by this convention, the Winkies should have been dressed in yellow rather than the orangish red they wore.

The Oz sets were surprisingly simple and often amateurish. The rainbow lighting fixture at the top of the stage was interesting and the color changes added a special touch to the sets, but the fake looking flowers and moving platform that represented the yellow brick road weren't impressive.

The special effects were a mixed bag. The screen which raised and lowered throughout the performance was a tip off that a special effect was coming. The tornado was impressive, but the use of projected images to show the flying monkeys seemed lazy. Often the effects on the screen was used to replace action on the stage while the set was changed behind.

The performances of the cast were strong. The dog playing Toto however, stole the show. The dog was so well trained that he often sat on stage during scenes without distracting from the action. And he came and went perfectly on cue. At the end of the performance, it was the dog who received the loudest ovation.

This version of The Wizard of Oz attempts to walk a fine line between remaining true to the original and creating a new, modern telling of a classic American fairy tale. How well it succeeds is on the eye of the beholder.

Tell Me On A Sunday

Tell Me On A Sunday
Avenue Theater
Denver, CO
January 22 - February 27, 2016

Tell Me On A Sunday is a one woman show following a British woman living in New York through her tumultuous love life. Since it was written in 1979, some aspects of the storyline were in need of updating. Originally, the main character narrated much of her adventures by writing letters to her "mum." In this version, she is sending her emails (even though she did refer to her New York "postmark" early on.) Her phone calls are all on her cell phone and the director even used a musical interlude to show her sending an angry text.

The majority of the scenes take place in the unnamed protagonist's apartment. It is a comfortable couch with a chair off to one side. Behind the couch was a raised platform which served for all the scenes outside. A large screen was set up on the back wall, but the evening I attended the screen was not working. The projections were not necessary to the show, but it would have been nice to see the show as it was meant to be.

Throughout the performance, props were brought out from well concealed spots to show the passage of time. The most fun was a picture frame where the current boyfriend's photo was displayed. The different ways she disposed of the photos and replaced them was entertaining on its own.

The emotions the heroine goes through during the action are universal. The giddiness of a new relationship, making excuses for those we care about, love, betrayal, forgiveness and acceptance are everyday emotions we can identify with. The songs to express these feelings are heartfelt and funny. "Capped Teeth and Caesar Salad" starts off playful and fun, but is soon a sad reflection on the situation. "Unexpected Song" is filled with the joy of new love and counters the heartbreak in "Tell Me On A Sunday."

The finale is hopeful, even if she still hasn't found Mr. Right. As she sings, she cleans up the various props left behind by her various boyfriends and heartbreaks. We are left with a clean apartment and a fresh outlook on the future.

Megan Van De Hay is up to the huge task of carrying the show by herself, although she seems a bit too old for the role. Every song is beautifully shared and the emotions are real. The staging never become stagnant despite the limitations of the setting and script. Many lovely tableaus appear throughout.

Andrew Lloyd Webber is known for his lavish musical spectacles. The Avenue Theater has done a wonderful job of bringing this less complex, human musical to life.