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.