Golden Dragon Acrobats

Golden Dragon Acrobats
PACE Center
Parker, CO
October 23, 2015

The PACE Center has an impressive record of bringing famous international acts to their venue. This year it was the Golden Dragon Acrobats. As expected, the show was sold out.

The show was an entertaining combination of music, dance and acrobatics. The group of performers was actually fairly small, but they performed a wide range of astonishing feats.

The show began with a line of five women with meticulously choreographed arm movements which evoked Hindu gods. They were followed by four acrobats who stunning stacked and manipulated their bodies into unbelievable shapes.

We watched in awe as women juggled balls with their feet and passed them easily to each other. Acrobats performed somersaults and flips over each other in rapid succession. Performers rode unicycles, jumped several ropes at once and acrobats created elaborate tableaus.

We were astounded by seven people balanced on a small bicycle. But the highlight was clearly when one male acrobat stacked eight chairs and balanced treacherously near the stage lights on the ceiling. As each chair was brought out, the audience sat further on their edge of their seats.

While it was astounding to see the acts in person, it bears noting that occasionally the performers did make mistakes. It was only further proof that the routines are very difficult.

The evening was much like a Cirque du Soliel show without the astounding price tag.

La Sylphide

 La Sylphide
Colorado Ballet
Ellie Caulkins Opera House
Denver, CO
October 2-11, 2015 

La Sylphide is one of the oldest ballets on record. After seeing many of the classics over the years, it was interesting to see one that preceded them all.

The storyline is simple – as many ballets are. The hero awakens to find a beautiful sylph in his home. His obsession with her causes him to lose everything.

The costumes in this show evoked the Scottish highlands. I must admit it was refreshing to see the male dancers in kilts rather than tights. The women’s long dresses did not make them look like ballerinas, but the dancing seamlessly blended with these changes.

The choreography in Act 1 was reminiscent of the dancing from the Scottish Highlands. The highlight of the evening was the company dancing in the great hall. It was a spectacular sequence, even if James, the hero, had to be pulled back in while chasing his elusive sylph.

Act two started strongly with Madge, the witch, doing a strange dance around her cauldron, reminding me of the witches in Macbeth. The rest of the act was dominated by the sylphs. The set up was much like the Wilis’ dance in Giselle. Unfortunately, these sequences were not as captivating as the Wilis.

With the exception of the ending, the production didn’t feel old fashioned. It was beautiful to watch and easy to follow.

Lookingglass Alice

Lookingglass Alice
Denver Center Theater Company
Stage Theater
Denver, CO 
September 11 - October 11, 2015

The story of Alice in Wonderland is a familiar one. While most are familiar with the Disney movies, many different versions exist. Some add lesser known characters or scenes that are rarely used, but none is able to pass the overwhelming confusion of Alice on to the audience. Lookingglass Alice manages to accomplish just that.

From the first few minutes, the audience is off balance. The show incorporates many surprises and special effects that are unexpected and shocking. Just when you feel comfortable, your consciousness is changed once again.

Lookingglass Alice is performed by five actors – four of which portray constantly changing characters. The talents of this group are immense. Several characters like the three-person caterpillar and Tweedle Dee and Tweedle Dum demand  detailed physical and vocal coordination. It was all timed perfectly.

The special effects were dazzling. Alice’s “river of tears” were two blue screens which flowed like water and moved smoothly up and down, then magically disappeared. The Queen of Hearts and White Queen grew younger as the show progressed and their appearances changed in ingenious ways. Humpty Dumpty’s great fall has never been more shocking.

Alice’s adventures are overwhelming for her and the audience. One never knows what is coming at them or how it’s coming. She is showered by shoes, blinded by bright lights and covered with falling papers and none of it makes any sense. Her guide, Lewis Carroll himself, appears with a calm voice but no useful information.

Finally, Alice is presented with a rope to pull herself out. While falling and twisting herself into knots, she ultimately pulls herself to the top and finds enjoyment in her journey.

Lookingglass Alice is unlike any theatrical experience I’ve had before.  It is an accomplishment in itself to put a new spin on a classic story. However, to take a classic story and allow an audience to experience it is a new way that is not detrimental to the original, is a special event indeed.

Jekyll & Hyde

Jekyll & Hyde
Aurora Fox Theater
Aurora, CO 
September 18 - October 11, 2015

Jekyll & Hyde is a show I am very familiar with. I saw the original pre-Broadway tour in 1995 and the revival tour in 2013. I even own the original concept album. It’s a difficult and imperfect show, so I was interested in how it would translate into a regional production.

The set was well conceived – clearly demonstrating a dark, Industrial-age backdrop. The main set worked well as the streets of London and easily transformed for interior scenes. Jekyll’s laboratory was a large set which appeared to move by a manual crank was a nice touch. Creating Lucy’s room was more tedious, but the crew handled it smoothly.

The music was intriguing. The band had only five members, however this team created a complex sound. Each act began with haunting organ music and transitioned into violin and electric guitar during the performance.

The cast sparkled in this production. Even the smaller parts were created by talented actors with strong voices. The ensemble sequences were well-choreographed and sung perfectly.

Lauren Shealy, portraying Lucy, is clearly a star. She showed style in the dance sequence for the risqué “Bring on the Men.”  But it was her voice that captivated the audience.  “Someone Like You” was stunning, but it was the lesser known “A New Life” which demonstrated her command of the audience.

Not to be overshadowed, Jenna Bainbridge, as Emma balanced the complex love triangle. While playing the “good girl,” her Emma was strong and determined.  Emma’s best songs are duets. “Take Me As I Am” with Dr. Jekyll was warm and genuine. The haunting song “In His Eyes,” a duet with Lucy in Act 2, set the mood for the tragedy to come.

Naturally, the show hinges on the performance of the actor playing the title roles. Jeffrey Parker was up to the challenge. His Dr. Jekyll is well meaning and disorganized. I was a bit disappointed in “This Is the Moment” – the tempo was too fast and it seemed to be difficult for him to sing. But the next song, “Being Alive,” the initial appearance of Mr. Hyde, took the show to a new level. His face twisted into a grimace which completely changed his face. His voice deepened for both Hyde’s speech and singing. The transition was complete and mesmerizing.

The 2013 Broadway production used a recorded Hyde for “The Confrontation.” This production didn’t shy away from the nearly impossible task of having Parker switch from Jekyll to Hyde and back during this strange duet. The audience was helped by lighting cues for each character and his posture changed, but even without these aids, the transitions were clear – the almost angelic face of Jekyll was replaced with the twisted grimace of Hyde and back again.

The show as a whole is stunning. The script is not perfect, yet some of the moments I felt were the weakest in previous productions become strengths here. It was an ambitious endeavor, but the Fox was up to the challenge.

Matilda

Matilda
National Touring Company
Buell Theater
Denver, CO 
September 9-20, 2015

The book Matilda by Roald Dahl is a strange one. It is a blending of a tragic story with ridiculous humor. Yet, its story of children overcoming an oppressive school system has struck a chord with kids for generations.

The book seems like an unlikely choice to make into a musical. But it happened. It is certainly a difficult task. The villains in the story are over the top and the heroes are a bit bland. The story itself is complex and unbalanced in its telling. And the fact that it is so beloved makes the challenge greater.

The musical Matilda is somewhat successful in its goals. Her parents, Mr. and Mrs. Wormwood, and the schoolmistress Miss Trunchbull were a brilliant blend of selfishness and absurdity. Mr. Wormwood, the stereotypical used car salesman, and Mrs. Wormwood, the dumb blonde, seem to bring to life these caricatures. Mr. Wormwood’s “All I know I Learned from Telly” was a showstopper and Mrs. Wormwood’s dance moves in “Loud” were impressive.

Miss Trunchbill, portrayed by a male actor, also reveled in hilarity. While her character is inherently cruel, the writers were able to bring out the humor in in the evil. However, some of the punishments she doles out to her students might frighten smaller children.

On the other side, the heroes of the story, Matilda and Miss Honey, have much less definable character. Sure, Matilda was very smart, but she doesn’t seem to have any interests other than books. Miss Honey was mousy and quiet, but not inspirational or clever.

The biggest difficulty of the show was in the delivery of the script and songs. The entire cast adopted English accents and delivered them in a believable manner. While the speed they spoke in seemed authentic, it made the dialogue very difficult to follow throughout the show. And most of the songs are sung at a fast pace, which caused the audience to lose many of the lyrics.

Despite the difficulty understanding them, the child actors were impressive. The young lady playing Matilda’s friend Lavender was just like many hyperactive kids we all know.  They handled the difficult choreography with seeming ease.

The first act of the show was heavy on exposition and too light on plot. Act Two definitely made up for that. The plot picked up and the story started to move. Better late than never. The song “When I Grow Up” was a highlight in sentiment as well as presentation. Seeing the kids on swings and rhythmically switching as older kids replaced them was beautiful to watch.

Just like the book, the audience was treated to a happy ending. A bit unbelievable, but no more so than many of the other plot elements. Even with all the flaws, the kids in the audience loved it.

Chitty Chitty Bang Bang

Chitty Chitty Bang Bang
Candlelight Dinner Playhouse
Johnstown, CO
July 23 - September 13, 2015

Chitty Chitty Bang Bang is one of Disney's less memorable films. Most have heard of it, but not many have actually seen it. So it's no surprise that most of the children at the Candlelight Dinner Playhouse were experiencing the story for the first time. For those who are familiar with it, it is a very silly and dated movie. The cast and crew have given the musical based on the film a much needed makeover.

The story has more villains than heroes. At the top are the Baron and Baroness who are selfish and greedy. By portraying them as overgrown children it's fun to root against them. The same can be said for their bumbling spies, Boris and Goran. The actors strike the perfect balance of silly and don't put it into the level of 1960's camp. The character with the most scare potential was the Childcatcher. Having him enter through he audience had the potential to freak out kids in the audience. However, enough humor was injected into his song "Kiddy Widdy Winkies" to put the audience at ease.

The focus of the show is inventor Caractacus Potts, his children Jemima and Jeremy, and candy heiress Truly Scrumptious. The actors portray their characters as quirky and warm. The child actors were very strong, not weighing down the show at all. Even the ridiculous name of the heroine is handled in such a way you are willing to accept it.

The multi-functional backdrop of the set blended beautifully with the pieces which were moved in and out to change to the many locations. Scene changes were efficient and smooth.

But the real star of the show is the car. It was impressive enough when it rolled out on the stage and it's driving motion was believable. The movement of the tires when it was floating was a nice touch. When the car was flying you could see the wires, but the effect was so impressive it really didn't matter. The car moved from side to side and even tilted in the air, giving it the feeling of forward motion.

Despite its age, the Sherman Brothers' songs still sparkle. And each one was performed beautifully. The musicians even interacted with the cast on occasion. Those moments made them feel more connected to the production.

The choreography was perfectly arranged. From simple movements to elaborate production numbers, the dancing blended with each scene and character.

As I have grown to expect, the service at the Candlelight Dinner Playhouse was friendly. The food was good and English themed to pair with the show. Most meals came with "bubble and squeak," that is mashed potatoes with brussel sprouts to Americans. The cast were available for meet and greet after the performance and happily posed for pictures and signed autographs.

The Legend of Robin Hood

The Legend of Robin Hood
PACE Center
Parker, CO
August 7 - 22, 2015

The iconic story of Robin Hood, surprisingly, does not have a definitive telling. Each version focuses on a few of the vast collection of tales associated with the characters, so when seeing a new versions you never know what you will be getting.

The script itself seems to have a struggle with identity. At times it's a screwball comedy, not taking itself seriously. At other times it wants to be a realistic version of the story. The transitions are clunky.

My biggest disappointment was that at the start of the story songs are already being sung to Robin Hood and his Merry Men are already assembled. The only piece not in place is Maid Marian - and even that is cloudy. The script is unclear if Marina is a woman Robin has dreamed of or if they had a prior relationship.

The script borrows heavily from the Kevin Costner film Robin Hood, Prince of Thieves and it relies on the audience to have a basic knowledge of the story. The production attempts to focus on the "legend" and not the man. The opening song and last 15 minutes of Act 2 frame this theme. However, the rest of the show doesn't carry it through, which is disappointing. It would set this telling apart from the many others.

The program we received did not contain a list of scenes or songs. In an unfamiliar show this is a real drawback. Due to this, I won't be able to reference any songs by name. The songs are for the most part not memorable and the lack of title makes them even less so. The songs sung at the finale of each act were nicely done - rich with harmonies and meaning. But the songs around them did little to advance the story.

The sets were well thought out, if a bit simple. While some scene changes were lengthy, the transformations were effective. The costumes were a high point. I appreciated that Maid Marian changed clothes often - as a noble woman would have.

The strongest performance was given by the Sheriff of Nottingham. His combination of greed and madness set up the "legend" theme. Without a believable obsession with Robin Hood, the finale would have fallen flat.

Robin Hood was a bit bland. Had the "legend" theme been stronger, that portrayal might have worked. Instead he came off as dull. Marina was a bit more fleshed out, but she is way too strong a fighter to believe she is noble.

The Merry Men were a good combination of camp and realism. They were all well cast and their performances were strong. However, it did seem strange that there were only four of them.

It's unlikely this will become the version of the Robin Hood people remember, but there are some special elements this company added to the vast array of tales.