The Wonderful Music of Oz

The Wonderful Music of Oz

Lone Tree Arts Center

Lone Tree, CO

October 12, 2019

L. Frank Baum’s masterpiece The Wonderful Wizard of Oz, is an American classic. The bestselling book became a beloved film and has inspired musicals, plays and songs. It’s no wonder someone came up with the idea to celebrate the music inspired by this novel.

Singers Kelli Rabke, Scott Coulter and Chris Blum accompanied by pianist John Boswell brought the music to vivid life. In his role of host Scott Coulter added interesting facts and trivia between the songs.

The show opened with a harmonized version of “Somewhere Over the Rainbow.” The lineup also included a lively rendition of “King of the Forest,” Elton John’s “Goodbye Yellow Brick Road,” “The Wizard and I” and “Rainbow Connection” from The Muppet Movie. Kelli Rabke demonstrated two different interpretations of Glinda by pairing “Popular’ from Wicked with “Believe in Yourself” from The Wiz. The show came to a rousing finale with Rabke’s soaring version of “Defying Gravity.”

The concert showcased the incredible talent of the performers, the enduring charm of The Wonderful Wizard of Oz and the incredible music it has inspired.  

Miss Saigon

Miss Saigon
National Tour
Buell Theater
Denver, CO
September 10-22, 2019

Miss Saigon is a musical from the great spectacle era on Broadway. It was known more for its impressive helicopter recreation and casting controversies. But will the stand after thirty years?

Many of the show’s lyrics were changed – most to make the language cruder. These took away from the poetry of the original score.

Act Two began with a brilliant performance of “Bui Doi” with gorgeous harmonies from the ensemble. It was accompanied by an emotional slideshow. It also brought John to the forefront after being barely noticeable in Act One. He created a solid foundation for the rest of the performance.

Despite the show’s title, the Engineer is considered the lead role. (This is due to Jonathan Pryce originating the role on London’s West End and on Broadway.) At the beginning he was hard to understand but as the show progress he became more commanding in the role.

Kim, the heart of the story was the typical timid flower. While she was likable, she was unremarkable. Likewise, Chris came across as conflicted, but we never felt like we knew anything about him. And Ellen, suffered greatly from the updated score. Her passionate song “Now That I’ve Seen Her” was replaced by the weaker “Maybe,” making her appear wishy-washy and uncommitted.

The most memorable moment was the recreation of the Fall of Saigon. The set and it’s movement helped the cast create a scene of chaos and confusion. The helicopter was mostly light effects and simple stagecraft, far for the original piece that set audiences buzzing in the 1990’s. But this production proved it needed to be there to create a finality to the US withdrawl from Vietnam.

Despite the label of a spectacle musical, Miss Saigon has proven that at its heart it is a story about love and human connection. This new production emphasized the damage left behind after a war. While it doesn’t undermine the PTSD experienced by many soldiers, it reminded audiences that those left behind also suffer. 

Anastasia

Anastasia
National Tour
Buell Theater
Denver, CO 
August 7 - 18, 2019

In 1997, Twentieth Century Fox released the animated film Anastasia as an attempt to capture some of the Disney Princess magic. On its initial release, it was a box office disappointment. However, in the 22 years since it has gained a cult following among princess fans.

The new musical version is appealing to a new generation of princesses. However, this is not the Anastasia any of them remembers. The creators removed the character of Rasputin and all elements of magic. Instead the antagonist is the new Soviet empire and specifically Gleb, an officer and son of a Romanov executioner. The most unfortunate part of these changes is that audiences may believe that these changes are closer to the reality of the Anastasia legend, when in fact, it is a completely fabricated story.

While some of the charm of the film remained in the characters of Anastasia, Dimitri and Vlad, the overall feel was darker and less magical. The few remaining songs from the original film shone among the forgettable, uninteresting new additions. The cast was talented, but they had an impossible task of holding up a dark, dragging storyline.

The plot was in desperate need to comic relief, and in Act Two we were introduced to the Countess Lily. She brought a Carol Burnett style humor to the scenes in France. However, her duet with Vlad “The Countess and the Common Man” was not family friendly.

The real star of the show was the set. While the background was made up of mostly projected scenery, it blended seamlessly with the actual set pieces making for a realistic look. The costumes brought a glamour to the scenes in Paris as an offset to the bleakness of Russia.

The film version of Anastasia will inevitably draw families and especially young girls to the theatre for this show. However what they will experience is a bloody trip through the Russian Revolution and a gun wielding villain with an intense climax. While the creators may have striven for a more “realistic” story, they have alienated the built in audience from the original film.

Madame Butterfly

Madame Butterfly
Central City Opera
Central City, CO
July 7 - August 5, 2019

Madame Butterfly is a rare opera that reaches further than just classical audiences. It inspired the play M. Butterfly and the musical Miss Saigon. Even people who do not love opera know the name and the story. This year the Central City Opera Festival features it as their marquee show.

The music was beautiful and well sung but the story was dated. The script did not give a clear explanation that Butterfly’s motive was to preserve her honor. In today’s society, it came across more that she was in despair.

The cast was disappointing in the obvious lack of Asian performers. For a show set in Japan, it would have been appropriate to have people who appeared Japanese.

The character Butterfly got her nickname due to her effervescent and fluttery personality. However that wasn’t rally the case. She was large and stoic. She didn’t bring butterflies to mind at all. Pinkerton, her love, was uninteresting and rather smarmy. He came across as a callous player rather than the man of anyone’s dreams.

It was Butterfly’s son who stole every scene. While a bit too old for the part, the child was charming and hit every cue.

The set was simple, yet was surprisingly versatile throughout the show. It had many entrances to create a feeling of a larger space. The costumes were beautiful and were the most integral part of creating the Japanese setting.

Overall, the Central City production of Madame Butterfly was lovely to look at and listen to. But some casting decisions did take away from the integrity of the production.

Cinderella and Her Barely Godmother

 Cinderella and Her Barely Godmother

Arts in the Open
Four Mile Historic Park
Denver, CO
July 25, 2019

Cinderella and Her Barely Godmother is not the y typical fairy tale damsel in distress story. In fact, this play took the familiar story in a brand new and very modern direction.

The show was created for outdoor showings. This performance was presented at Four Mile Park in Glendale. The production team chose the locations wisely, using the historic buildings that perfectly set each scene. The guide was also well versed in the local wildlife that he would point out between scenes.

The show began as expected. The stepmother and the stepsisters were cruel and not too bright. Cinderella was clearly demonstrated her intellectual and social skills early.

The second scene took the audience to Fairy Godmother school which might have been mistaken for Hogwarts. Each student godmother had their own personality and issues that came across quickly. There the audience met Barely, the struggling student "godfather."

Barely was a charming, awkward character who bonded sweetly with the practical Cinderella. Their interactions were the heart of the show. The script allowed their relationship to unfold with a few surprises. The cast jumped from character to character quickly and used simple costume pieces to create a new persona. They kept a consistency despite the constant changes.

The production at Four Mile Park brought Arts in the Open back to the Denver area for a relaxing walk instead of a strenuous hike. It created an ideal experience for families with small children. Hopefully they will return to this venue in the future.

Lunar Landing 50th Anniversary Celebration

Lunar Landing 50th Anniversary Celebration
Colorado Symphony
Boettcher Concert Hall
Denver, CO
July 20, 2019

This year marked the fiftieth anniversary of the first Lunar Landing. To mark the occasion, the Colorado Symphony presented a special concert.

The program was filled with soundtracks written by John Williams. It started with the main theme from Star Wars and also included suites from Close Encounters of the Third Kind and ET, the Extraterrestrial. These familiar pieces were more dynamic when played live.

Passages was the last number before intermission. It was preceded by a short video about how it was created for the 100th birthday of John F. Kennedy. Unfortunately, the video was necessary to understand the piece.  It was a strange operatic singing of Walk Whitman’s A Passage to India interspersed with soundbites from Kennedy, some manufactured, some real. It was confusing and not pleasant to listen to.

The highlight of the show was From the Earth to the Moon and Beyond, featuring a slideshow and narration by astronaut Richard Heib. It brought together the feat of landing on the moon in 1969 with a look into the future of space travel. It was an inspiring piece.

The encore performance of Clare de Lune or Moonlight was pretty, but it was anti-climactic after the powerful performances that preceded it.

The Lunar Landing Concert was a unique way to celebrate the anniversary of one of humankind's accomplishments. And it showcased how music and art reflect life.

Hamlet

Hamlet
Foothills Theatre Company
Clement Park
Littleton, CO
July 19 - 27, 2019

Summertime is the season for Shakespeare. In Colorado, at least five companies regularly present the Bard’s works in an outdoor setting. The smallest of these companies is Foothills Theatre Company who performs their shows for free in Clement Park. This season’s play was Hamlet.

Hamlet is a huge undertaking. Presenting it outdoors with a limited set and a small cast was a challenge, but this group did not shy away from it.

Hamlet himself was a young man. He played the feigned madness of the character effectively, but the transitions between his crazy antics and lucid thoughts were not believable. His feelings for Ophelia were also unclear. In the early scenes he seemed to dislike her. It wasn’t until after her death he admitted he cared for her.

The performance of King Claudius was mesmerizing. He was a narcissistic character who only displayed remorse when he was caught. The role was played with passion and depth, giving the show a complex villain.

For the role of Polonius, the directed opted to cast a woman. The gender switch worked well within the script, creating Polonius as a confidant of the queen rather than a lord with an over friendly relationship with her. Unfortunately the performance was stiff and the audience was unable to bond with the character.

The set looked basic but it was surprisingly versatile. The main backdrop hid a small scaffold which was used as the ramparts where the ghost of Hamlet’s father was seen and a balcony where the ghosts of slain characters eerily watched the actions after their deaths.

Hamlet was not an easy choice of show, but the cast and crew pulled it off. It was never too ambitious, rather the goal was to simply tell the story, which it did successfully.

Fiddler on the Roof

Fiddler on the Roof
National Tour
Buell Theater
Denver, CO
June 11-16, 2019

Fiddler on the Roof is a show most people have heard of but few have seen. The current national tour is changing that.

The opening song is “Tradition.” It spoke of the strange customs of this devout Jewish group in the town of Anatevka in Russia. While it was lighthearted and energetic, it set the stage for the dark story ahead.

From the beginning, the choreography shone. It was lively and interesting with a clear influence on the Jewish and Russian culture. The performance of the songs was a perfect companion to the dance sequences. Since so many have iconic status, expectation were high and none were disappointing.

While Tevye seemed a bit young for the role, he was engaging. His relationships with family members were warm and believable. His daughters were difficult to tell apart throughout the show.

The sets were simple and effective. The use of the fly system at the Buell was fun to watch. It is rare to see so many pieces rising and falling through the performance. This technique allowed for quick set changes and a smooth flow of action.

The costumes were certainly appropriate for the period, however in many cases they were too similar to each other so identifying characters was difficult at times.

While the theme of family is one most audience members could relate to, the mindless persecution and religious rigidity were tougher to understand. Despite some audience members’ discomfort with the material, the message about refugees in Fiddler on the Roof is still relevant.

Wicked

Wicked
National Tour
Buell Theater
Denver, CO 
May 9 - June 9, 2019

Wicked has flown into Denver for a record sixth time. This musical has been around for 15 years, and it seems that audiences has not tired of it.

The story and music have held up well. It did not seem dated in any way. Audiences can still relate to the characters and the situations. The dark plot of prejudice is still relevant.

The production had a strong cast. Elphaba was strong and defiant. Glinda was appropriately ditzy and shallow. The lead actresses had a good chemistry between them throughout. Fiyero was charming and the growth of his character unfolded smoothly.

The ensemble added strong support to the performance. The voices were strong and blended beautifully. The production numbers were nearly flawless.

Even the set still looked modern. The industrial structures surrounding the action gave the production a steampunk look which is more popular now than when Wicked was created. The set pieces which easily moved on and off stage created each location completely.

The costumes effectively traced the transformation of the characters. Glinda was still fashionable while Elphaba’s style evolved from simple to gothic.

Wicked shows no sign of losing popularity. The story has a universal appeal, the staging is striking and the songs are unforgettable. The spell it has cast over audiences doesn’t seem to have faded at all.

Jack and the Beanstalk

Jack and the Beanstalk Arts in the Open
Chautauqua State Park
Boulder, CO
June 1-30, 2019

Summertime is when Arts in the Open offers fun, fantasy shows presented during a scenic hike at Chautauqua Park in Boulder.  The first show this season is Jack and the Beanstalk.

This show was darker than most done by Arts in the Open. It dealt with hunger, parental abandonment, kidnapping and isolation. And while it did feature a happy ending it was a rough road getting there.

Jack was played by a female actor, but the change seemed minor. She played the character as a person without drawing attention to gender. The other four actors portrayed many characters – each had at least one which was memorable. The cow and golden goose added humor to the dark story. The giant was loveably awkward.

The costume pieces to create the characters were fun and effective. A black shirt with holes and a floppy hat with ears created the diva-cow easily. The golden goose’s tail and bowler hat were especially well done.

While the story contained dark elements, the message of the importance of empathy shone through it. Jack represented the positive effect each of us can have on the lives of those around us.

Chess

Chess
Longmont Theatre Company
Longmont, CO
May 3-18, 2019

Chess is a relatively unknown musical. It failed to make a big impact on Broadway and has been a work in progress for decades. The many versions make it confusing for producers to decide even which one to use. It is also difficult to perform, adding more for a company to deal with.

So, one has to congratulate the Longmont Theatre Company for even attempting such a difficult piece. They seemed to make a blunder early on by setting the action in modern day. Chess is a Cold War era piece. While there are still tensions between the United States and Russia, it is not even close to the conflict of the Cold War.

Act One was a good start. The vocal performances were strong enough to carry the complex score. Anatoly’s voice faltered in parts and Freddie’s acting wasn’t compelling, but Florence shone. The supporting characters filled their roles well. The base parts were particularly enjoyable.

Act Two marked a change in director style. While the scenes before intermission had purpose, the second act had the performers wandering aimlessly around the stage. The need to constant movement took away from some of the more powerful scenes.

Florence was by far the strongest performance in the show. She acted and sang the part convincingly. Freddy was weaker in the acting department. His strongest moment was during the song “Pity the Child.” But at times he seemed compelled to scream the song rather than sing it.

Anatoly was able to convey his character’s struggle, but his singing faltered at times. It might have been easy to overlook The Arbiter, but anyone who did missed out. He came across as a strong narrator. In one scene he appeared to move the characters around as if on a chess board. It would have been a fascinating take to see that attempted throughout the show.

The costumer had cleverly dressed the Soviets with red accents which the Americans in blue to begin with. But, for whatever reason, the identifying color scheme was all but abandoned in the second act. Anaoly when from a red tie to a non-descript one. But worse was the constant changing of clothes for Florence and Svetlana. Florence went from purple to red (a color she never should have worn in this context) and back to blue. Svetlana started off n green (which had no explanation) to red and back to a different green dress. The costumes in Act Two seemed more like a fashion show for the women than a character statement.

Despite some missteps, Longmont Theatre Company did an admirable job tackling a difficult musical.

The Marriage of Figaro

The Marriage of Figaro
Opera Colorado
Ellie Caulkins Opera House
Denver, CO
May 4-12, 2019

At the heart of The Marriage of Figaro is a love triangle – perhaps love octagon might be a better description. Everyone in the show is in love with someone else, creating conflict and ridiculous scenarios befitting one of the great comic operas.

The comedic element to The Marriage of Figaro was particularly strong. The situations in the script itself were often ridiculous, but the cast pulled the antics off, creating great waves of laughter throughout.

The cast presented endearing portraits of their characters. Even the faithless Count was likable. The performances were beautifully sung, bringing Mozart’s timeless score to life.

The performance of Cherubino was especially effective. Since the role is written for a soprano, a woman must be cast in the part. These conventions often lead to awkward love scenes. However, this Cherubino encapsulated the role, making each scenario seem realistic.

While the costumes were bright and effective, it was disappointing that Susanna wore the same dress she worked in to her wedding. It was even more unfortunate that her groom and every other cast member had a new, fancier outfit for the occasion.

The set was glamourous and effective. While the framing columns and elaborate floor were present throughout, the design of each room around those pieces was convincing – even allowing for a garden at the end.

The traditional approach with modern capabilities showcase just why The Marriage of Figaro endures. While some situations inside the story are dated, it’s message about love is eternal.

Cats

Cats
National Tour
Buell Theater
Denver, CO 
April 23-28, 2019

The tagline of the musical Cats when it was on Broadway was “Now and Forever.” It certainly felt it played there forever, so much so that the show became a cliché. But when a revival surfaced in 2016, the show was reborn to a new Jellicle Life, captivating a new generation of audiences.

While the score and choreography are largely the same, the show has benefitted from some technical upgrades. The jacket worn by Mr. Mistoffeles was spectacular to watch as the light changed color. That certainly would not have been possible in 1981. The rapid onstage appearance of a train during “Shimbleshanks, the Railway Cat” was also impressive.

One change that was not quite as successful was the removal of “Growltiger’s Last Stand” and replacing it with “The Awefull Battle off the Pekes and the Pollicles.” The new addition was rather boring and seemed to slow the pace of the show.

While show has aged well, it was the incredible cast that made the show seem ageless. The choreography was nearly flawless performed. The musical direction brought gorgeous harmonies and meaning to the songs. “Memory” was especially thrilling, making this overdone piece seem brand new.

The current tour of Cats was the perfect example of how ma show in the right hands can stand the test of time. The plot is still thin, but the joyful singing and dancing brought the audience to their feet. It certainly felt like the Jellicle Ball will be with us “Now and Forever.”

Hello Dolly!

Hello Dolly!
National Tour
Buell Theater
Denver, CO 
March 27 - April 7, 2019

The national tour of Hello Dolly has been very successful due to the hit Broadway production and the show’s star Betty Buckley. So it was particularly disappointing when Denver Center announced that Buckley was only playing one of the two scheduled weeks in Denver. When the star’s name appears above the show title in the same font size, this is really unacceptable. Even worse was Denver Center’s decision to not publicly address the issue.

However, the show must go on.

Buckley’s understudy gave a solid performance, but it wasn’t extraordinary, leaving the audience to wonder if it would have been different had the star actually performed.

The rest of the cast was talented. Their voices were good and the acting on point. However, there was little heart in the performances. They were too slick to be meaningful making each one feel more like a caricature.

The sets and costumes were the stars of the show. The train pulling into Yonkers was an impressive work of stagecraft. Each scene was elaborately set with Harmonia Gardens living up the reputation of luxury. The costumes for the ensemble were colorful and sumptuous, but they didn’t ever outshine Dolly, they complimented her extravagant ensembles.

But the scene everyone would be talking about was the title song. The choreography was nothing short of spectacular. The combination of the talented dancers with the elaborate staircase was breathtaking to watch.

It’s always disappointing when a production over promises and under delivers as the company of Hello Dolly did with Betty Buckley. Without that expectation, this production would still have delighted audiences. But walking in with a sense of disappointment is not erased easily. And the performance was not enough to take the bitter taste away.

Peter and the Wolf

Peter and the Wolf
Colorado Symphony
Boettcher Concert Hall
Denver, CO
March 10, 2019

Peter and the Wolf has become a regular concert on the Colorado Symphony’s schedule. This classic work is the perfect way to introduce children to classical music. This year they added the Magic Circle Mime Company to help tell the story.

Before the concert began, we were introduced to Maggie who demonstrated a great ability to communicate despite not speaking. She yielded to the symphony for Light Calvary Overture. The piece was meant to familiarize the children in the audience with the instruments, but judging from the noise in the audience they were bored.

The presentation of Peter and the Wolf was a different matter. Maggie acted out the part of Peter and, in an inspired move, the musicians playing the instruments stood in front of the rest of the symphony, which made the story easier to follow. Conductor Christopher Dragon got in on the fun by playing Peter’s mean grandmother.

With the musicians “acting” out the story, the music played without interruption. But the story was not lost on anyone. The appearances of the wolf around the concert hall and finally onstage were exciting and not too scary for kids.

The concert was exactly what it was supposed to be: an entertaining introduction to what instruments sound like alone and as part of the symphony.

The Basque Things in Life

The Basque Things in Life
Bitsy Stage
Denver, CO
March 1 – April 15, 2019

This season, the Bitsy Stage has its cultural focus on immigrants. The Basque Things in Life introduced the audience to the Basque people from northern Spain and their mythology, particularly the Lamiaks.

In the story we saw through the eyes of Soriona and learned the story of the Lemiak with her. These woodland spirits were pretty ladies with duck feet. While the costume feet were not terribly realistic, but we got the idea.

The cast created believable relationships with great chemistry between them all. The parents were loving, even though they did not see eye to eye; the family friend was a warm addition. At the center of it all was the change in the mother and daughter bond.

The set was charming. The pre show set up featured the outside of a house and a mountain with a waterfall. When the performance began the house was turned around to show the interior. The pieces gave the family real “work” to do, including a working pump for washing dishes and preparing coffee. The waterfall on the mountain created a small pool where several characters soaked their feet. That realistic aspect of using water on the set kept the audience focused on the story.

The story left behind two timely messages. The first was the importance of immigrants holding on to the culture that makes them unique. The other is the value of family and their time spent together. Given the audience, it was a valuable lesson.

Into the Woods

Into the Woods
CU Presents
University Theater
Boulder, CO
February 24, 2019

Into the Woods has become one of the most popular works of Stephen Sondheim in region theatre. Despite it's fairy tale appeal, it is a dark and complex piece to produce. But this has not diminished its popularity. The run at the CU Presents was sold out before it began.

The focus of the production was clearly on the humor. The funny moments stood out although they occasionally went too far and even interfered with characters.

While each role was cast with talented performers, some of the choices were perplexing. It was hard to get around that Little Red looked far older than Jack’s mother. The narrator never found his place in the cast and the princes, while funny, were a bit too foppish to be charming. The use of “dryads” to move set pieces and bring on the cow were alternately clever and annoying.

The set was beautiful to look at with many playing levels to allow for Rapunzel’s tower and climbing a beanstalk. In Act 2 it even lit up for breathtaking atmosphere. It allowed a character to cross the stage above the main action without disturbing it. Unfortunately it wasn’t always used to its full potential. Cinderella’s family was relegated to an awkward staircase for their playing space and it created slow exits at several points.

The costumes were confusing. The main characters were dressed like fairytale characters. However, the two princes had on bland looking smoking jackets while Jack’s mother and Cinderella’s stepmother wore modern couture. And it was disappointing that every ball gown was calf length. Both of Little Red's costumes were fierce (in a good way).

The biggest issue with the production was the pace. Act 1 is the lighter and more entertaining of the two but in this production it dragged. Several of the songs were slower in tempo than usual which added to the feeling that it would never end. The darker Act 2, however, was paced much better. It flew by easily.

The CU Presents production demonstrated how complex this work by Sondheim truly is. The characterizations, the music and the tempo all have to work. 

Cosi Fan Tutti

Cosi Fan Tutti
Loveland Opera Theatre
Rialto Theater
Loveland, CO
February 22 - March 3, 2019

Cosi Fan Tutti is a well-known opera. Like many local productions, Loveland Opera Theatre looked to put their own spin on this classic.

The concept of the production was to incorporate famous works of art into the show. That seems like an odd undertaking, but it actually worked well. Each scene was set with the artwork projected in the background as a recreation formed in front of it. After the initial set up, the scene was allowed to proceed without too much focus on the painting.

The Saturday matinee performances were created especially for families. The understudies played the main roles and the presentation was narrated. Between each scene was a description of what had happened in the previous scene and what was coming up, helping the children follow along. Scene Two even allowed for the children to go onstage and be a part of the opera! Before the third scene there was a demonstration of how lighting adds to the mood of each scene. And at the end was a question and answer period.

The biggest drawback to the format what that the extra features took up so much time that the audience didn’t see a conclusion. Instead the narrator revealed how the story ended.

Because they were copying these famous works, each scene was somewhat dictated to the designer. The larger pieces like trees and fountains, were painted in the style of the artwork. The furniture was more realistic. The space was always colorful and fit the comedic tone of the opera.

The recreation of the painting allowed for fantastic costumes. Most notable were the Seurat Sunday in the Park setting for the second scene of the first act. These costumes were lovely to look at.
The third scene was brilliantly directed. While Dorabella had a rather dull aria, the rest of the characters were all carrying on silly shenanigans which kept the audience fully engaged.

The cast was talented and, since the opera was in English, were easy to understand. Usually operas geared for children do not have full chorus, so it was fun to see that in this production.
Loveland Opera Theatre has put together a comprehensive and entertaining production to introduce children to opera.  It was both education and fun, making opera accessible to those who may think of it as only for the old and stuffy. Bravissimo!