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. 

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.

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.

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.

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. 

La Traviata

La Traviata
Opera Colorado
Ellie Caulkins Opera House
Denver, CO
November 3, 2018

La Traviata is timeless love story, the epitome of opera. It's no wonder that Opera Colorado sold out opening night of the production.

The show started with a bang at a dinner party hosted by Violetta. The beauty of the music and the setting were on full display. The set for the show was open and versatile. It contained a large window with a diagonal staircase and a doorway on the other side. But what the set dressers did with that blank canvas was stunning. The opening scene created a lavish dining room for Violetta’s home, Act Two was a luxurious country house and the finale took place in Violetta’s bedroom which at one time would have been stunning, but instead carried the pall of sickness and struggle.

Violetta was beautiful, charming and talented. Her voice performed the Verde music as it was meant to be heard. Alfredo’s voice was also a perfect vessel for the music. Unfortunately he did not have the same magnetism as his costar.

The costumes were equally magnificent. Violetta’s opening costume was a majestic red gown. She couldn’t help but be the center of attention in that dress. The rest of the cast were glamourous but they were clearly the court of the stunning Violetta.

Opera Colorado’s production of La Traviata was everything opera should be: beautiful music in a gorgeous setting with larger than life characters and a tragic end.

Love Never Dies

Love Never Dies
National Tour
Buell Theater
Denver, CO 
October 23-28, 2018

As a sequel to The Phantom of the Opera, Love Never Dies has a lot to live up to. This show has had a rocky road to its first US tour with too many revisions to keep up with.

The show begins with the assumption that every audience member has seen Phantom and knows it well.  The Prologue let the audience know he was still pining for Christine but gave no other expository information.

The character of the Phantom didn't seem to have changed much in the ten years since the end of The Phantom of the Opera. Raoul became a gambler and drunk while Christine's career blossomed. Most strange was the inclusion of Madame Giry and her daughter Meg. Both have seemed to forget their fear of the Phantom and gone into business with them. Madame Giry still commanded the dancers but somehow acquired a greedy sense of business while Meg has a strong desire to be Christine.


The storyline also took liberties with the original script. Suddenly the Phantom's psychotic need to control Christine has transformed into a love affair.

The script by itself was uncomfortable. While Raoul and the Phantom were still fighting over Christine, they made an agreement that her decision to sing a song would determine who would be with her - taking Christine's future completely out of her hands.

The music, unfortunately, was not as memorable as the original. The title track "Love Never Dies" was beautiful and climatic "The Beauty Within" and "Beneath a Moonless Sky" were nice to listen to at the time but most of the rest of the songs just served to move the story along.

The sets and costumes for the show did not disappoint. During the circus scenes the backdrop lit up like a carnival and the smooth transitions to the Phantom's Lair and Christine's dressing room were exactly what Phantom fans would expect. The use of mirrors for the Phantoms entrances were expected and yet they still managed to surprise.

Christine's costumes were enchanting, especially for the show's title song. However, they did undermine her situation of being short of money. The circus like costumes of the ensemble were colorful and fun but they directly contrasted the creepy music behind them.

When comparing Love Never Dies to its predecessor, it won't even come close. But taken on it's own, it is an enjoyable night at the theater.

Beautiful

Beautiful
National Tour
Ellie Caulkins Opera House
Denver, CO 
September 4 - 9, 2018

To be fair, Beautiful was more about the creation of Carole King's immortal Tapestry album than a biography. But that is not a detriment to the show. The meaning behind each song only adds another dimension to the album. Fans will never hear it the same way again - in a good way.

Carole was only sixteen when the action begins. The audience warmed to her instantly. Very quickly her songwriting career launched and her writing partner Gerry Geffen entered the picture. After this quick exposition, the story slows down in order to set up Carole's place in music history.

The plot was perfectly set up with the introduction of fellow composers Barry Mann and Cynthia Weil. The friendly competition made the accomplishments of each team even more impressive.

The strength of the music was on full display when characters talked about a new song and when it was revealed to the audience it was an instantly recognizable classic. The recreation of these songs as they would have been originally performed was electric.

The character development moved smoothly alongside the historic music. Each character evolved into real situations audience members could relate to.

The performances were stunning throughout. Carole matured before our eyes as Gerry fell apart. The ensemble easily transitioned from sixties icons to office workers.

The set appeared simple, but it adapted from songwriting warehouse to television stages. The more intimate scenes were played in front of the curtain with ease. The costumes helped to set each scene in time.

The effects of seeing Beautiful will likely last longer than many theatrical experiences. It is a reminder the songs that tell the stories of our lives first were lived by those that wrote them.

On Your Feet

On Your Feet
National Tour
Buell Theater
Denver, CO 
August 8 - 19, 2018

Anyone listening to music in the 1980's has to recognize the music of Gloria Estefan. On Your Feet took this memorable soundtrack and used it to tell the deeper story behind that music.

The focus of the story was on family. While both Gloria and Emilio were immigrants from Cuba, they were shown as an American family. It wasn't until Emilio wanted to release a song in English that the issue of racial bias entered the story. When Emilio declared "This is what an American looks like!" the audience roared.

A major strength of the show was when the famous songs by Gloria Estefan were used in a personal context. It was a strong demonstration of how relatable their music was and still is. Act Two was less dynamic due to the heavier subject matter and the use of many unfamiliar songs to fill in gaps. But it all came to an emotional climax with the famous comeback song "Coming Out of the Dark."

Each character was well cast. Gloria was stunning and she did justice to each famous song. Emilio was handsome, charismatic and the glue that held the show together. Gloria's mother was also compelling, especially when she got into her backstory.

The set was simple was versatile. The show began with the musicians at stage center and they moved smoothly behind the play space. Their presence was a metaphor of the continual presence of music in the character's lives. The set changes were smooth and most were minimal but effective. The use of color and lights brought made the show feel more like a concert at times.

The costumes were an excellent interpretation of each character and it was fun to see them evolve into spectacular performance outfits. Gloria commented on Emilio's bad shorts in the beginning - and they were memorably bad!

Lovers of the music of Gloria Estefan and Miami Sound Machine aren't the only ones who will enjoy this show. The inspirational true story should appeal to everyone.

Les Miserables

Les Miserables
National Tour
Buell Theater
Denver, CO 
July 25 - August 5, 2018

Musicals don't get any more epic than Les Miserables. After more than 30 years, this show still has an audience in London, Broadway and on tour.  The story of the redemption of Jean Valjean has not lost its impact on people.

In 2010, the show was restaged, removing the revolving stage and creating more realistic backdrops. The result was a more intimate and darker show. Some moments, such as "One Day More," were left virtually the same and for good reason, the staging was spectacular.


The actor playing Jean Valjean was difficult to understand in the opening scenes of the show. For a through-sung musical, that's a problem. However, he got better as the show progressed, receiving an extended ovation for a stunning rendition of "Bring Him Home."

The performance of Javert was strong throughout. His character was strong an militant. His motivation was clearly shown in "Stars." Fantine was beautiful and vulnerable and Eponine was as tragic as ever. Marius and Cosette created a moving love story in the midst of tragedy.

Despite being over 30 years old, Les Miserables is not showing it's age. The story and music is still as powerful and human as they were on it's opening night in 1987.

The Book of Mormon

The Book of Mormon
National Tour
Ellie Caulkins Opera House
Denver, CO 
June 13 - July 1, 2018

The musical The Book of Mormon took Broadway by storm in 2011. In that time, the appeal of this satirical show has not died down. Even on its third trip to Denver the tickets sold quickly.

The show started quickly with “Hello,” showing a group of young men training to go door to door. From there the story took off running. The songs were full of energy and the choreography added to the humor.

The main characters of Elder Price and Elder Cunningham were fun to watch. They had good chemistry between them. Nabulungi was charming but when she sang it was difficult to understand the words. On a song like “Sal Tlay Ka Siti" it was unfortunate because much of the humor was lost.

The brief bits from the actually Book of Mormon helped put the show in context. The “Spooky Mormon Hell Dream” served as a psychological analysis as well as a production number. Songs like "I Believe" and "Baptize Me" showed relatable sides of the characters.

The show was funny, often vulgar and never took anything seriously. It pushed the limits of good taste and the comfort level of the audience. The result was a hilarious presentation that somehow managed to show the human side of all the characters involved.

Aida

Aida
Opera Theatre of the Rockies
Ent Center for the Arts
Colorado Springs, CO
May 10 - 13, 2018

Verdi’s Aida is on the of the classic operas that most people have heard of, if not seen. As part of their 2oth season, Opera Theatre of the Rockies presented it in concert form.

While the show did not have a set, images of Egypt were projected on a screen at the back of the stage to suggest the locations of the scenes. The cast were fully costumed throughout, even changing between scene to show the passage of time. Amneris had particularly spectacular outfits befitting the princess of Egypt.

The story was written so much of the action took place offstage. Rademes was already in love with Aida when the opera began. His conquest of the Ethiopians was only referred to after it happened. Even his trail was held offstage where Amneris could only listen in. And with the performance in concert style, it lacked action in front of the audience. A fully staged opera would have contained a victory parade, but since this was a concert, the lights went down on stage and the focus went to the musicians.

Musically, the performance was spectacular. The voices of the singers were perfection and they were beautifully framed by the live orchestra and chorale. But an audience member wanting to see a traditional opera might have been disappointed.

Jurassic Park in Concert

Jurassic Park in Concert
Colorado Symphony
Boettcher Concert Hall
Denver, CO
May 3-4, 2018


The Colorado Symphony has brought in many new audience members with their well publicized movie series. This evening, they presented the music of Jurassic Park. The movie started immediately after conductor Brett Mitchell stepped onstage. The film was presented with subtitles and it was surprising to see how often there was no music at all.

John William’s score for Jurassic Park is one of his most recognizable and hearing it live added an emphasis on the music. It was disappointing that the sound effects were not also li e p that would have made the dinosaurs feel even closer!

The Movies at the Symphony is an excellent series to bring live music to an audience that may not otherwise be interested.

Hamilton

Hamilton
National Tour
Buell Theater
Denver, CO 
February 24 - April 1, 2018

It’s hard to think of a show that has received more hype than Hamilton – An American Musical. Once the hype gets going it’s difficult for the material to live up to.  But this show delivered.
The pace of Hamilton was lightning fast. The dialogue was minimal between the catchy songs. The hip hop soundtrack appealed to a much wider audience than you would expect. “My Shot,” “Helpless,” “The Room Where it Happened” and “The Story of Tonight” already have a life outside the show.

The story was the epic journey of Alexander Hamilton from poor immigrant to founding father to his early death. The narrator was Aaron Burr, the man most famous for killing Hamilton in a duel. The character development throughout the show was impressive. Not only did we get to know Hamilton, his friends and family, we also got familiar the villain Burr. The interesting part was that the audience didn’t hate Burr at any time in the story. The short appearances of King George were the shots of comic relief the audience needed.

The performances throughout the show were engaging. Each actor created appealing characters. The songs were immaculately performed. The harmonies were beautifully put together and most of the lyrics were easily understood. And in a show that is mostly sung, that was vital.

The set appeared plain, but it was well used throughout the show. The dual rotating floor was not over used but was effective when it was. But the star of the technical side was the lighting. It created texture, movement and focus throughout.

Hamilton may not be for everyone, but it does have a wide appeal with great music, likable characters and an inspiring story with genuine emotion. Expect to see the Hamilton machine steaming along for years to come.

Jotunheim

Jotunheim
Bitsy Stage
Denver, CO
February 22 – April 8, 2018


The Bitsy Stage has made its name presenting folk tales from around the world in format that is easily accessible for audiences of all ages. While their latest show Jotunheim is advised for ages eight and older, it did not change that focus.

Billed as a heavy metal musical, Jotunheim presented Nordic tales of Thor and his Hammer. The costumes were dark with a decidedly steampunk influence. Aside from the well-known Beatles song “Blackbird,” the music was original to the show. With a live electric guitar, the audience could feel the music just as much as they heard it.

The characters were the strength of the show. Thor was not a blonde Adonis but an arrogant and often confused figure. Odin was strong and unapproachable while Loki was goofy and tricky, but certainly not a villain. Freya was the most enjoyable character as a strong woman who wanted to be known for her brains more than her beauty.

The script was simple but fun. It brought a loft myth to a realistic level. Once again, the Bitsy Stage has highlighted how people are more similar than we are different.

Video Games Live

Video Games Live
Colorado Symphony
Boettcher Concert Hall
Denver, CO
March 9-10, 2018

In past concerts, the Colorado Symphony has presented the music of video games as part of the Geek and Pops Series. Video Games Live was a show made up completely with this music. The audience this performance attracted was enthusiastic about this concept.

The show began with composer and guitarist Tommy Tallarico performing the music of Castlevania with the symphony. While he came across more as a rock star, his passion for the music was contagious. Other composers Emmanuel Fratianni and Austin Wintory joined him at various times in the show.

The musical selections included Mario, Skyrim, Street Fighter II, Kingdom Hearts, and each was accompanied by graphics from the games. The experience effectively set up the artistry that goes onto each of these games. And, as one who is not a “gamer,” the music was enjoyable on its own.

After the performance, all the guest artists stayed for a meet and greet with the many attendees who wanted to see them. They were all gracious and spent quality time with each fan. The whole experience built a sense of community with the varied people who share a love of video games.