Sierra Boggess in Concert

Sierra Boggess In Concert
Colorado Symphony
Boettcher Concert Hall
Denver, CO
February 14, 2016

Sierra Boggess is currently one of the biggest stars on Broadway. She grew up in Denver and performed with the Colorado Children's Chorale and the Central City Opera in her youth. Prior to her Broadway debut in The Little Mermaid, the show had its pre Broadway tryout in Denver, Her ties to her hometown are tight. And throughout her concert with the Colorado Symphony she showed herself as a local girl.

She came out dressed as you would expect in a flowing pink gown with sparkling earrings and an elegant updo. But her beautiful appearance was nothing compared to her performance of "The Sound of Music". Throughout the concert, she used songs from musicals and an opera to tell stories of her life. As the show went on, we got to know her better. She worked in "Part of Your World" from The Little Mermaid by talking about her first rehearsal for the show.

Sierra showed great versatility throughout the concert. She performed the Andrew Lloyd Webber medley with comedic skill. In the medley, she sang "Think of Me" in a Britney Spears fashion and quickly switched to the gritty "Buenos Aires" in the style of an opera singer. She added a chorus of "Go Go Go Joseph" in rap fashion as well.

The Colorado Children's Chorale performed with Sierra on selected songs. Most spectacular was "Come to My Garden" from The Secret Garden. The arrangement was gorgeous but hearing the personal story of how Sierra first sang that song as a member of the Chorale added more magic to the performance.

Most entertaining was Sierra's performance of "If You Could See Me Now," which she sang as she told a story of performing for Queen Elizabeth at the home of Andrew Lloyd Webber. Her storytelling was marvelous and she once again portrayed herself as a the local girl who made it big.

To close the concert, Sierra sang "Wishing You Were Somehow Here Again" from The Phantom of the Opera. Her performance was nothing short of brilliant. It is easy to understand why Andrews Lloyd Webber considered her the best Christine Daae he has heard.

This concert showcased not only the talent, but also the personable nature of Sierra Boggess. Her performance with the Colorado Symphony was a wonderful opportunity to appreciate her abilities and origins.

The Wizard of Oz

The Wizard of Oz
National Touring Company
Buell Theater
Denver, CO 
February 7-13, 2016

Even though The Wizard of Oz started out as a movie, it is one of the most beloved musicals of all time. It is such a classic that most theater groups painstakingly reproduce the without much modification.

The current tour of the show has not taken this reverent approach. Not only have they made changes to the book and songs, they have put a completely new spin on the costumes and character relationships.

The new music is mostly unexciting. Many seem to have been added just so previously non singing characters like the Wicked Witch of the West and the Wizard have songs to perform. "Bacchanalia" is actually a less interesting song than "The Jitterbug" which it replaced. The one exception is "Already Home" at the end of the show. This one song is the only memorable one aside from the original Arlen and Harburg score.

The costumes for the four main characters are fairly conventional. However, the look of the witches is original, creating a similar look between the Wicked Witch of the West and Glinda was an interesting compliment to the script change which made them cousins. My favorite change, however, was the clothing of the Munchkins. Just as in the original L. Frank Baum books, the Munchkins all dressed in blue. However, going by this convention, the Winkies should have been dressed in yellow rather than the orangish red they wore.

The Oz sets were surprisingly simple and often amateurish. The rainbow lighting fixture at the top of the stage was interesting and the color changes added a special touch to the sets, but the fake looking flowers and moving platform that represented the yellow brick road weren't impressive.

The special effects were a mixed bag. The screen which raised and lowered throughout the performance was a tip off that a special effect was coming. The tornado was impressive, but the use of projected images to show the flying monkeys seemed lazy. Often the effects on the screen was used to replace action on the stage while the set was changed behind.

The performances of the cast were strong. The dog playing Toto however, stole the show. The dog was so well trained that he often sat on stage during scenes without distracting from the action. And he came and went perfectly on cue. At the end of the performance, it was the dog who received the loudest ovation.

This version of The Wizard of Oz attempts to walk a fine line between remaining true to the original and creating a new, modern telling of a classic American fairy tale. How well it succeeds is on the eye of the beholder.

Tell Me On A Sunday

Tell Me On A Sunday
Avenue Theater
Denver, CO
January 22 - February 27, 2016

Tell Me On A Sunday is a one woman show following a British woman living in New York through her tumultuous love life. Since it was written in 1979, some aspects of the storyline were in need of updating. Originally, the main character narrated much of her adventures by writing letters to her "mum." In this version, she is sending her emails (even though she did refer to her New York "postmark" early on.) Her phone calls are all on her cell phone and the director even used a musical interlude to show her sending an angry text.

The majority of the scenes take place in the unnamed protagonist's apartment. It is a comfortable couch with a chair off to one side. Behind the couch was a raised platform which served for all the scenes outside. A large screen was set up on the back wall, but the evening I attended the screen was not working. The projections were not necessary to the show, but it would have been nice to see the show as it was meant to be.

Throughout the performance, props were brought out from well concealed spots to show the passage of time. The most fun was a picture frame where the current boyfriend's photo was displayed. The different ways she disposed of the photos and replaced them was entertaining on its own.

The emotions the heroine goes through during the action are universal. The giddiness of a new relationship, making excuses for those we care about, love, betrayal, forgiveness and acceptance are everyday emotions we can identify with. The songs to express these feelings are heartfelt and funny. "Capped Teeth and Caesar Salad" starts off playful and fun, but is soon a sad reflection on the situation. "Unexpected Song" is filled with the joy of new love and counters the heartbreak in "Tell Me On A Sunday."

The finale is hopeful, even if she still hasn't found Mr. Right. As she sings, she cleans up the various props left behind by her various boyfriends and heartbreaks. We are left with a clean apartment and a fresh outlook on the future.

Megan Van De Hay is up to the huge task of carrying the show by herself, although she seems a bit too old for the role. Every song is beautifully shared and the emotions are real. The staging never become stagnant despite the limitations of the setting and script. Many lovely tableaus appear throughout.

Andrew Lloyd Webber is known for his lavish musical spectacles. The Avenue Theater has done a wonderful job of bringing this less complex, human musical to life.

Mary Poppins

Mary Poppins
Inspire Creative
PACE Center
Parker, CO
January 15-31, 2016

Tickets for the PACE Center's Mary Poppins were very difficult to get. Every year at this time, PACE presents a family-oriented show. However, the reaction to Mary Poppins is unlike any I have seen.

In this case, the show fulfilled the hype. The show featured a detailed set, wonderful costumes and a talented cast who took this dark twist on the famous Disney movie to new heights.

The casting of Bert and Mary Poppins was "practically perfect." While Bert slipped from one occupation to another, the transitions were smooth. This Mary Poppins was sassier than her film counterpart, but her confidence and charm had the audience believing every bit of it. The actors playing the children were clearly much older than their characters should have been which made their misbehavior seem nasty instead of playful. Mr. Banks was particularly well performed. His dedication to "precision and order" felt authentic and the turning points which lead to his climatic epiphany were clear and moving.

Most memorable were the dance sequences. "Jolly Holiday" and "Supercalifragilisticexpialidocious"were rousing and fun. But "Step In Time" took it to a whole new level. The entire cast participated in the dancing. The combination of separate steps for some groups and return to unison kept it fresh. The song also featured Bert walking up one side of the proscenium - a clear salute to the Broadway choreography.

The costumes for the ensemble were characters in themselves. As each scene shifted the complete transformation of the actors didn't feel like we are seeing the same actors in new roles. The bright colors for the sequences "Jolly Holiday" and "Supercalifragilisticexpialidocious" clearly drew the line between fantasy and reality.

The set was effective overall. It did seem poorly planned to have crew members remove and replace the furniture for the Banks' living room over and over again. The creation of the children's bedroom on top of the living room seemed like a good idea, but the sight lines at some seats were compromised and the safety railing often blocked the actors faces while they sat on the beds. However, the projected backgrounds were excellent for scene changes and special effects.

It is clear to see why PACE has such a hit on their hands. And as an added touch of magic, the actors in costume were available for meet and greet after the performance.

Pixar In Concert

Pixar In Concert
Colorado Symphony
Boettcher Concert Hall
Denver, CO
January 15-16, 2015

Each year, the Colorado Symphony presents at least one concert with an animated theme. This year's offering Pixar In Concert was especially intriguing. This concert appeared to have wide appear. In attendance were families with children of all ages, but just as many adults without kids were there as well.

The concert was aided with three giant screens hung which showed parts of the film while each suite was played. In some cases it was selective scenes which focused on a small portion of the story. In others it was closer to a summary. Considering the audience is expected to be familiar with the movies, that wasn't an issue.

The brilliance of the presentation was that the focus was still on the music, despite the video screens. Without the dialogue, the scores shone. The first act included the most emotional music including Finding Nemo, A Bug's Life, Up and Wall E. The second act was more dynamic. Opening up with The Incredibles and including both Monsters Inc movies, Cars 2 and Toy Story 3.

The audience roared with approval throughout and at the conclusion rewarded with musicians with a standing ovation. While there is a place for Classical Masterpieces, clearly the Symphony has an appreciation for the music of today. Concerts like this should only broaden their appeal and solidify the need for an orchestra in Denver.

The Arabian Nights

The Arabian Nights
Aurora Fox Theater
Aurora, CO
January 8 - February 14, 2016

In the years since Disney's Aladdin, pop culture has designated The Arabian Nights as a collection of children's stories. This couldn't be farther from the truth. While many of the stories are family friendly, many of them are decidedly adult content. The Arabian Nights which The Aurora Fox Theater is presenting is a more mature take on the tales.

In the opening minutes the cast presents the indiscretions of the queen and her murder as well as the killings of many innocent brides in her wake. The precarious position Scheherezade finds herself in is quite clear early on and the audience is not allowed to forget it. While her character as well as the king's are never well defined, you can see that she is a clever woman and the king's fascination with her is easy to understand.

The script brings to life many of the tales told over the famous 1001 nights. They are bawdy, violent and magical filled with sex, violence and gross humor. When Scheherezade begins a story, her voice doubles over the actors as the focus shifts. It is an effective mechanism.

Less effective was the times when the actors all acted as narrators and attempted to speak as one. More often the dialogue became garbled and was difficult to understand. The elderly patrons behind me had a particularly difficult time.

Apparently after telling many stories, the playwright had a need to show the audience that additional stories remain. So the cast members took to telling some of those stories at the same time. So over an excruciating ten minutes, four or five stories played out simultaneously. It was impossible to focus on any part of the scene. The result was almost white noise.

The set is magnificent and the costumes stunning. The talented cast are called upon to quickly change character and they do so in a convincing manner. Subtle costume changes are used throughout when changing characters. In some cases the changes are too slight and the change of character too fast for the audience to keep up with.

The scope of the subject is enormous and it is an ambitious project. Clearly it would be impossible to cover all the stories in the original tale. However, the Fox production captures the vastness of the work while showing the timelessness of the stories. While not perfect, it is an enjoyable production.

Funny Girl

Funny Girl
Vintage Theater
Aurora, CO
November 27, 2015 - January 17, 2016

Funny Girl is the first show I have seen at the Vintage Theater. I found the space to be contemporary and comfortable. The staff were exceptionally friendly and the theater was intimate with an old fashioned feel.

Stepping into the shoes of Barbra Streisand is no easy task, but this show does an admirable job. Their Fanny Brice was appealing. Her Brooklyn accent was authentic sounding but never grating. And it added to the earthiness of the character. The most difficult adjustment was on the singing. We're used to hearing Streisand's powerful contralto, but their actress had a lovely light soprano. The songs were performed well, if not how we are used to them.

Their Nicky Arnstein was also a fascinating character. He started as the perfect gentleman but as the story unwinds we saw his enormous flaws. Unfortunately we realized it faster than Fanny does and the outcome was sincerely heartbreaking.  

The small cast pulled off the large productions numbers well. The follies numbers were particularly successful - the costumes and choreography gave them an old-fashioned feeling.

The sets were well conceived and having costumed actors reset their own scenes created a sense of ownership for the characters in their space.

The costumes were flawless and the number of them was astonishing. Not only were the main characters able to show the passage of time in their clothing, but they made convincing character changes as well.

Funny Girl was a show well worth seeing. It is old fashioned theater produced for a modern audience without feeling updated. It was an impressive show and I look forward to seeing more at their venue.