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.