Sweeney Todd

Sweeney Todd
Denver Center Theater Company
Denver, CO
April 15 - May 15, 2016

Sweeney Todd is a difficult show to produce. It is difficult to sing, difficult to stage and often difficult to stomach. But the Denver Center Theater company has never backed away from a challenge.
Sweeney Todd is a black comedy, horror story and tragic operetta.

The show began with “The Ballad of Sweeney Todd.” It was staged as a funeral. A hole opened up in the center of the stage with smoke rising from it. Each character approached the hole and threw something in – as if they were attempting to remove all trace of the man from their lives. At the end of the song, Sweeney rose from this “grave” to tell his own story. It was a powerful beginning.

After the ceremonial opening song, we moved directly into the tale. Through Sweeney’s new friend Anthony, we learn about the wrongs which drove him away from London. Once the background was established, we traveled with Sweeney as he attempted reclaim his life. What he found is even more tragic than when he left. As Sweeney’s thoughts turned to revenge, the tone of the story changed. Revenge is a desire most experience over the course of our lives and as we watched Sweeney turn that desire into action, we were both understanding and horrified.

The crux of the story is Sweeney's descent into the very depravity he is fighting against. The characters he meets along the way have their own agendas and all are affected by his desire for vengeance. His landlady Mrs. Lovett is less than subtle in willingness to stoop to any low.

Each character is perfectly cast in their roles and their voices add an operatic component to the discordant music. The serious tone is eased with several comic songs including “Try a Little Priest.” Despite the blackness of the subject, the masterful way it was performed made the audience laugh.

The darkness of the score is highlighted by two beautiful ballads – “Joanna” and “Not While I’m Around." The beauty of the songs and performance remind the audience of the reality of these people in this tragic story.

The new orchestrations by DeVotchka may not be noticeable to most and that is a tribute to how well they fit the show. The music has a less grand, more disjointed feel than the original.

The set created the mood perfectly. It transported the audience to industrial age London. The multi-level background gave characters a place to walk as they traversed the city. Mrs. Lovett’s shop easily moved on and off the stage and even turned to create more rooms. In Act Two the audience was transported to the shop's basement where the enormous oven spewed smoke. It was as if we were in the bowels of hell.

My only complaint about the show was Sweeney’s famous barber chair, which unfortunately had major technical difficulties at the performance I saw. The first issue at the start of Act Two was disruptive. But the second at the climax of the show was devastating. Seeing the last victim have to walk down the stairs and off stage felt amateurish. In a high quality production like this, it was a huge let down.

Overall, Sweeney Todd is an outstanding production. However, it is not for everyone. With difficult topics like murder, rape and cannibalism, it could upset sensitive viewers. But for those who can stomach the dark subject matter, it is a must see.

Peter and the Starcatcher

Peter and the Starcatcher
BDT Stage
Boulder, CO
March 4 - May 14, 2016

Peter and the Starcatcher is billed as a prequel to Peter Pan. While it is meant for an older audience, it carries much of the charm of the story. BDT Stage has made the play into an entertaining journey.

Who all the characters are or will become is not always clear. It doesn’t take long to identify Black Stache as the future Captain Hook. And Smee is, well, Smee. However, the other characters are not easily relatable to the famous story. But the script reveals their roles in its own time.

The telling of the tale is untraditional with the entire cast acting as a Greek chorus to narrate. The preface monologues were presented well with plenty of momentum to illustrate and entertain the audience until the action started.

The story is somewhat confusing with two identical trunks on two very different ships. The script and emphasis by the actors help us to attempt to keep them straight, especially when the same set is used for both ships.

The real star of the show was the staging. Scenes were blocked in a clever way and the use of simple objects demonstrated movement and changes in location. In many cases a simple rope designated walls. The positioning of actors was also effective. Many times their leaning and twisting gave the feeling of a lurching ship.

The casting was well done, as usual. Smee was just as you remember him and Black Stache had the charisma and perfect comedic timing needed to lead into Captain Hook. Molly asserts herself as a leader and the perfect lead in to Wendy. And Peter’s slowly emerging character gives insight to his desire to never grow up.

I would be remiss if I didn’t also give credit to the new chef at BDT Stage. The menu has been steadily improving over the past few years. The current offerings are more interesting and flavorful than the past. It’s difficult to decide which meal to order – then make plans to try something else next time!

Black Elk Speaks

Black Elk Speaks
Aurora Fox Theater
Aurora, CO 
March 18 - April 10, 2016

American history is something we all learn in school. And, as we learn, history tends to tell the story from the viewpoint of those who write it. Black Elk Speaks is American History – told from a viewpoint few ever hear. This is the story of Native American tribes versus “Manifest Destiny.”

The set is simple and beautiful. A rock on a stage of soil with a real fire in the middle. The moon hangs low in the distance. It feels like a special and sacred place. The show begins with a ritual. In these ceremonies, marijuana is usually burned but the producers chose to use sage instead. The scent is very similar and it added to the atmosphere.

The narrator, Black Elk, took the stage and told the story of his ancestors. From the beginning we learn this is the Native American stories as they tell them. The costumes worn by European settlers are exactly as a native would have made them out of animal hides with fringe.

The actors take turns playing the Native American heroes – Little Crow, Crazy Horse. The stories don’t excuse bad behavior on their own part, but they do emphasize the wrongs done to them. At time it’s heartbreaking. The first mention of “Sand Creek” lead to a large groan from the audience. Everyone knew what was coming.

The cast made up entirely of Native Americans, proudly name their tribes in their bios. The performance is inspired and told with grace. Ultimately, it is a story of healing and forgiveness. In the final scene, a child offers the ceremonial bowl to the audience. Perhaps the next chapter will be a peaceful one.

The Fantasticks

The Fantasticks
Inspire Creative
Parker Schoolhouse Theater
Parker, CO
March 11-20, 2016

The Fantasticks is advertised as the longest running musical in history. It’s true that the original production ran off Broadway for over 40 years and its signature song “Try To Remember” is a song most people will recognize. Despite this impressive pedigree the show is rarely produced in local theaters.

The production at the Parker Schoolhouse Theater was advertised that it would be presented with limited costumes and sets. Last year I was not impressed with their dressed down version of Into the Woods. However, the intimate nature of The Fantasticks seemed a better fit for this staging.

Right away it was clear that this production would be a step up from Into the Woods. The stage was set with a circus-like set with a huge truck surrounded by a huge sign with the show name emblazoned on it. This simple setting was transformed with simple, but effective pieces – a sheet for the wall dividing the families, red curtains to create exotic locations, even the moon and sun appeared to set the mood. The lighting also proved an effective scene changer.

Each character emerged wearing a costume which did not change throughout the show. However, they were not a distraction and fit each character throughout the changes in the story.

The cast of the show was very small – only 8 actors. However, these talented people had no trouble carrying the show. The chemistry between Matt and Luisa and their fathers Hucklebee and Bellamy works well in the various stages of relationships. The comical actors are enjoyable in their antics. And El Gallo in his changing role as narrator and charlatan connected with the audience as both knowledgeable and vulnerable.

The first act of the show is charming and enjoyable. The idea the fathers have to create a feud to get their children to defy them and fall in love is on every parent can appreciate. And at the end of the act, it seems everyone will live happily ever after. But real life, and The Fantasticks, doesn’t work that way. The characters face issues they didn’t plan on after their dreams come true. It’s a difficult lesson for the characters and not always a fun ride for the audience. But once the show is over we connect with the characters even more closely.

The story is one most can identify with. Life has its ups and downs. Yet we persevere and find out what really is important in life.  

Alice (in Wonderland)

Alice (in Wonderland)
Colorado Ballet 
Ellie Caulkins Opera House
Denver, CO
February 19-28, 2016

The story of Alice in Wonderland seems to have two identities – the popular Disney film and an association with 1960’s drug culture. The production of  Alice (in Wonderland) by the Colorado Ballet attempts to join these two themes.

It is clear that the creators wanted their audience to feel off balance. The proscenium and stage which are usually black were all white for this show. The special effects were clever and well thought out – except for the doll dressed as Alice who was whirled around after she fell through the rabbit hole. The doll was a cheap tactic that fooled no one.

The rest of the effects were creative, a series of doors in different sizes to demonstrate Alice’s shrinking and growth; Tweedle Dee and Tweedle Dum riding a bicycle through the air; a caterpillar which blossomed into a huge butterfly before our eyes. The process of creating the effects wasn’t a mystery, as we could usually see wires and set up but the results were impressive.

The costumes were what we would expect – right down to Alice’s blue dress. However they were very creative in the court of the Queen of Hearts where the ballerinas wore tutus made of playing cards. And the animal costumes captured the essence of the characters without being overwhelming.

The dancing was surprising. In many parts it wasn’t ballet at all. But the dancing always fit the characters and mood of the scene. Especially fun was the constant use of a children’s corps. They appeared to shrink the adult dancers as well as give depth to group scenes.

The music was not the traditional classical score of a ballet. We often heard the discordant sliding of a violin and unsettling percussion.

Alice is not a traditional ballet, but it succeeds in capturing the strange and fantastic nature of Wonderland.

The Addams Family

The Addams Family
BDT Stage
Boulder, CO
November 21, 2015 - February 27, 2016

The Addams Family seems a strange subject matter for musical theater. However, since it’s run on Broadway productions of it have been produced all over the Denver metro area.

The cast at the BDT Stage was made up of actors who perform there regularly. And despite the unusual characters, they are perfectly suited for their roles.

The central character is Gomez Addams, whose Spanish accent is lovely to listen to and never falters.  His asides to the audience are humorous and endearing. His chemistry with Morticia is believable and the balance between these two strong personalities works. The relationship between Wednesday and Pugsley is also one all siblings can relate to.

The script is humorous and the cast’s timing is flawless. Uncle Fester, who could easily be annoying, is silly and likeable. The ensemble, dressed as ghostly ancestors, take on their own personalities throughout the show. Their constant presence blends in with each scene, never overpowering the action.

The story line is surprisingly compelling. Anyone familiar with the Addams Family knows they are an odd, macabre group. But with the addition of a “normal” family into their lives, the audience sees there is a bit of macabre in all of us.

The costumes were just what we expect for the characters and the set was created around an ingenious staircase which turned to reveal a new perspective. The starry sky was the perfect backdrop throughout the show. The moon set inside the stars became a character on its own.

While The Addams Family may seem like a story that would only appeal to fans of the TV show, the musical version has a broader appeal that will surprise many.

Hello Dolly!

Hello Dolly!
Candlelight Dinner Playhouse
Johnstown, CO
January 14 - March 6, 2016

Filling the shoes of legendary actors like Barbra Streisand, Walter Mathau, Michael Crawford and Tommy Tune is a tall order, but is a task that the Candlelight Dinner Playhouse willingly took on with its production of Hello Dolly! Since this show is not often produced, it is the Gene Kelly directed film that will be most familiar to audiences.

The set of the show was well thought out. The background works as a train station and the streets of New York. The remaining sets were quickly brought on and off stage, keeping the backdrop as the streets of New York.

The characters were all interesting, however the relationships that are supposed to exist through the performance fall flat. The script really doesn‘t give these characters any reason to be around each other or fall in love. But the cast does their best with what they have and we are rooting for a happy ending.

The humor in the show didn't resound with the audience for the most part and the slapstick comedy added in the production seemed out of place.

The real star of the show was the dancing. The production numbers were big and bright with choreography which fit the time period. The scenes inside the Harmonia Gardens restaurant sparkled like the dishes they served.

The costumes throughout the show brought out the mood for each occasion. The changes were frequent as they needed to be. And when Dolly made her entrance into the restaurant for the title song her glamour was just what the audience wants to see.

The show is old fashioned, but it is also fun.