Swan Lake

Swan Lake
Colorado Ballet
Ellie Caulkins Opera House
Denver, CO
October 7-23, 2016

Just the mention of Swan Lake brings to mind ballerina’s in fluffy white tutus, beautiful music and high romance. The Colorado Ballet production brought all of these images into dazzling reality.

The setting gives the feeling of impending tragedy throughout. The darkened stage brilliantly showed off the gorgeous costumes. The menacing perch of the villain Von Rothbart demonstrated his control over the fates of the characters.

The choreography for the ballet was often breathtaking. The ensemble sequences featured variations among the dancers which brought complexity and depth to the scene. The swans moved elegantly around as one would expect and they often completely filled the stage. The Swanelles were stunning in their perfectly synchronized steps across the stage.

The solo performances were beautiful to watch, but they often became repetitive. The structure of the ballet features many solo performances while the rest of the company watches. At times, the length of those designated dances detracted from the story.

The costumes throughout the staging were stunning.  The swan maidens were exactly what we would want to see – feathery white tutus. The members of the court were richly attired to demonstrate their station. The exception was the Prince, whose costume was much plainer than everyone around him. 

This production delivered everything an audience expects from a classic ballet. The music was beautifully performed, the dancing seemed flawless, the emotional responses were real. The beauty of the performance even seemed to balance out the tragic ending.

Evita

Evita
Candlelight Dinner Playhouse
Johnstown, CO
September 22 - November 13, 2016

During the current political climate, the 1978 musical Evita by Tim Rice and Andrew Lloyd Webber is as relevant today as when it was written, maybe even more.

The show follows the rise of Eva Duarte Peron, the wife of Argentine dictator Juan Peron. But this is more than the story of a famous woman, it also has many political references throughout. While the Candlelight Dinner Playhouse has downplayed the political points, they are still there. Songs like “Art of the Possible” showing politicians in a game of musical chairs, shone a spotlight on the randomness of which candidate will actual win an election. And being in an election year, it’s a hard point to overlook.

Adding to the political climate is the character of Che. He is appropriately dressed in army fatigues and often dons the beret of his inspiration - Che Guevara. His commentary is like a political satire throughout the story. Although he and Eva clearly don’t agree, the audience doesn’t feel compelled to take sides.

The Candlelight’s Eva is a sympathetic figure, the biggest accusations against her are downplayed, while the love of her “descamisados” takes center stage. And their Eva is up to the challenge. She commands the stage early on although her performance in Act 2 is stronger than the first. Her rendition of the anthem “Don’t Cry For Me, Argentina” is nothing short of mesmerizing.

The role of Juan Peron seemed small and it was performed with great skill. The chemistry he had with Eva was palpable. He was perhaps a bit too likable for a controversial dictator, but his singing was excellent.

Rounding out the main characters was Augustin Magaldi, the tango singer. His role was well played with a strong comedic flair.

The ensemble was strong, switching from skillfully from role to role. The color contrast between the black and white clad aristocrats and colorfully dressed peasants made the transitions easy for the audience to follow.

The costumes were part of the spectacle of the show. Eva’s wardrobe helped paint the picture of her. Some of the changes occurred on stage which was a bit awkward.  The set was simple, but lent itself well to the action of the show. The choreography was lively and energetic. At times there were a few hiccups, but considering it was opening weekend I expect those kinks will be worked out.

In the past, one of my favorite aspects of the Candlelight Dinner Playhouse has been the availability of the cast after performances. However, this marks the second show in a row where the principal characters were not around after the show. None of the four leads waited tables at our performance and the actors did not appear in the lobby. It’s a disappointing change.

Once Upon A Mattress

Once Upon A Mattress
Town Hall Arts Center
Littleton, CO
September 9 - October 9, 2016

The Princess and the Pea is one of the few traditional fairytales that has never received the Disney treatment. The musical version Once Upon A Mattress isn’t as well-known as an animated film. But it is a fun retelling of the story.

Despite its fairytale setting, the show does contain some mature themes – such as the unexpected pregnancy of Lady Larkin and her desperation to get married despite the law saying no one can marry until Prince Dauntless does. Despite this, there is plenty for kids to love about the show.

This show is not meant to be taken seriously and the cast never does. The fast pace of the show and energy of the cast keep it light. The jokes seemed fresh and occasionally a modern spin added to the fun. It felt like the audience never stopped laughing.

Princess Winnifred is an unlikely princess – she’s loud, clumsy and brutally honest. But she didn’t lack charm. Prince Dauntless was annoying and spineless, but he too was a sympathetic figure. Despite these over-the-top flaws, a chemistry did develop between these two and they easily swayed the audience to root for them. The villain of the story was Queen Agravaine. She was the typical overbearing mother. Yet she too was easy to understand and the audience loved to hate her.

Each character was well-created and their place in the story was clear. And despite a very simple story, stretching it into a two-hour show didn’t seem like overkill. Each song was well performed and the choreography was interesting.

The theater is very small and the only way around it is right along the stage edge. Because of this, latecomers are not seated at the Town Hall Arts Center. The grade of seating is also less than most theaters. In my case I was seated behind a very tall man which made viewing the show difficult.

The Phantom of the Opera

The Phantom of the Opera
National Tour
Buell Theater
Denver, CO
August 25 - September 11, 2016

It’s difficult for me to believe that Andrew Lloyd Webber’s The Phantom of the Opera is 30 years old. I saw it on Broadway in 1990 and several times on tour. The production on tour now is called a “restaging” of the original. It is puzzling why a show with the unprecedented popularity of Phantom would be compelled to change anything, but it was worth seeing to find out.

As the show began, it was clear to see it was the sets which received the greatest “update.” At the beginning of the show, the chandelier is already positioned above the audience, unlike the previous version where it started on the stage and was raised into position during the overture.  It was a much more realistic looking chandelier than its predecessor, but less impressive.

The song "Music of the Night" has been blocked differently. Gone is the strange Christine doll in a wedding dress. (Although Christine did appear in the finale wearing the wedding dress, although there is no explanation for the dress.) The Phantom's lair is now more of a luxury suite than a crude habitat.

The sets appear to be one round piece that turns throughout to change the setting. While they are sumptuously decorated, they are not as spectacular as the original. The new sets make the opera house feel small, less imposing. The underground lake in particular wasn't as impressive than in the past.

Fans of the first production will be happy to note that most of the original costumes are featured in this restaged production. Each one of Maria Bjornson’s designs are still stunning. One notable exception was the Masque of the Red Death costume worn by the Phantom at the end of “Masquerade.” The newer costumes were far less elaborate and frightening as the original. I found myself wondering how the characters knew it was the Phantom in this less dramatic costume.

Regardless of the staging, the music was the star of the show. After 30 years every song stands the test of time. The cast of the show was strong and the music still soared.

The tone of the show also seems to have changed. With the premiere of the ill-received sequel, Love Never Dies, the productions seems to take a more positive view of the Phantom – even during his murderous rampage at the end. Such changes are necessary to make the sequel believable, but it left theater goers with a different experience than before.

For those who never saw the previous staging, this show will likely delight them. But fans of the original may be disappointed in parts. Despite these changes, it’s clear Phantom still has the power to mesmerize an audience.

The Wizard of Oz

The Wizard of Oz
Candlelight Dinner Playhouse
Johnstown, CO
July - September 2017

For 77 years, The Wizard of Oz has been a family favorite – first on film and later on stage. The past few years have seen many productions of it in the Colorado region. The most recent was produced by the Candlelight Dinner Playhouse.

The main actors varied widely in ability. Their Dorothy was pleasant, but it came across as a shallow portrayal. There was nothing new or deep about the character. And “Somewhere Over the Rainbow” was nice, but not as stirring beautiful as it could have been.

Her three friends were far more interesting. The Cowardly Lion was particularly likeable with his antics. And it was fun to see the Scarecrow flop around as he did. His delivery of his lines added more comedy than the film version we’re all so familiar with.

The Wicked Witch of the West did well with a mix of the film version and her own spin of the character. She kept the role from becoming too scary for the audience filled with children and still managed some humor when needed.

The ensemble was filled with talent, but the staging unfortunately tended to over shadow their performances. As Munchkins, they performed on their knees. While it was well choreographed, it seemed like a silly gimmick.

The show was well choreographed. None better than "The Jitterbug" - a song that was removed from the film. The cast shone in their complex dance moves and you could understand why Dorothy and her friends were exhausted afterwards.

Also strange was the casting of a young girl as Toto in Oz, but a real dog was used in the Kansas scenes. The girl was absolutely adorable with a realistic sounding bark, but there didn’t seem to be any reason for the change.

The sets of the show were often bulky and cumbersome. During the tornado and Dorothy’s return we were left with a dark stage and the sound of changing scenery. There was nothing to even suggest the tornado.

In the past I have complimented the Candlelight on the availability of their cast after the show. This one was an exception. Only one of the “four friends” was available for meet and greet at the performance I attended. And considering it was a Sunday matinee with lots of kids, it was a disappointment.

The Candlelight Dinner Playhouse has had a terrific season. Unfortunately, they saved their weakest production for last.

Footloose

Footloose
BDT Stage
Boulder, CO
May 21 - September 3, 2016

Footloose is from an era when Broadway was hot on changing popular movies into big budget musicals. Some of those shows were more successful than others. Footloose seems to be an odd choice.

One of the biggest obstacles the creators had to overcome was the music from the film. The songs are great, but the lyrics usually don’t fit the storyline at all. Some like “Footloose” worked in without much trouble. But others like “Let’s Hear It For the Boy, “Holding Out For A Hero” and “I’m Free” are awkward at best. The songs added for the stage production are mostly forgettable, but they do move the story along.

Despite these noticeable script flaws, the BDT Stage has created an energetic show. The costumes, while more character driven than authentically 1980’s, were fun.  Ariel’s skimpy outfits were a bit much – especially when she wore them in front of her father who didn’t seem to have any reaction.

The set was well thought out. It featured playing areas on multiple levels which were used effectively. The script calls for several scenes on a bridge over train tracks and they delivered them in convincing fashion. The changes into a restaurant and the Moore’s home were impressive in their detail and quick set up.

It is the dancing which takes center stage, as it should be. The choreography is high energy and evokes the 1980’s without appearing dated. This show calls for numerous large scale sequences and the cast delivered on each one. “I’m Free” was particularly engaging – a great feat considering the awkwardness of the song set in the school gym.

The character of Ariel seemed two-dimensional at first, but as the story progressed, she became more compelling. Ren was attractive if not charismatic. The true heart of the show was Reverend Moore. Despite the almost cliché role he was given, he came across as genuine and ultimately evolved into the pillar of the community the audience wanted to see. During his final monologue he held the audience captive with emotion.

The characters of Rusty and Willard did plenty of scene stealing of their own. Both were fun and awkward in their own right (and much more realistic than either Ariel or Ren). Throughout the show the audience is rooting for them to finally get together.

While the show is not exactly a time capsule, it does take the audience back to an era where teen films spoke for American youth.

The Ballad of Baby Doe

The Ballad of Baby Doe
Central City Opera
Central City, CO
July 9 - August 7, 2016

The Ballad of Baby Doe is not a typical opera. Most noticeably, the libretto is in English, so at times it feels more like musical theater than opera. The music itself has a western feel to it which also at time feels out of place.
Despite being unconventional, The Ballad of Baby Doe has become a beloved American classic. And on its 60th anniversary, what could be more appropriate than performing the opera in Central City, where it first premiered?

I attended the family matinee, which was performed by the “apprentice cast.” Despite their title, this group is filled with talent. Above all, their August Tabor shone in this performance. While she is not the villain of the show, her role is supposed to be less appealing than the younger Baby Doe. This production failed on that count. Augusta was sympathetic and intelligent. Clearly the script called for Horace to fall in love with Baby Doe, but there didn’t seem much reason for it.

The part of Horace was well sung, but there didn’t seem to be much substance to the man. He was showy but often seemed unstable. While his songs of love to Baby Doe were sincere, but the script didn’t supply much reason for that love. And with little chemistry between the performers, it was hard to understand.

The production’s Baby Doe had a lovely singing voice. She came across as sweet and demure, but she lacked the charisma and charm needed to captivate the audience and explain Horace’s scandalous behavior.

The sequences featuring the chorus were filled with energy and style. The chorus went from prostitutes and miners to upper crust society smoothly. And the singing was engrossing. The rally for William Jennings Bryan was a high point. The performance of the presidential candidate demonstrated the “demagogue” he was referred to as. Although the slow motion paperboys saying after the election was comical at a time of solemnity.

The set became a player in the show. The background often featured a projection of the actual places in the story. At times smaller screens lowered to display the actual photos of the people being portrayed. When the audience is as close to the story as this one, those glimpses into reality just strengthen the connection.

The costumes were a bit puzzling. While Baby Doe changed her dresses often to demonstrate her extravagant lifestyle, Augusta wore the same dress throughout the decades that roll by. And since Augusta was the one with the most money it seemed odd.

Ultimately the story is a tragedy. The tenderness between Baby Doe and Horace is touching at the end.  The actors seemed to have a stronger handle on the sorrowful scenes than the passionate ones. Still, it is a satisfying experience at the opera and a chance to see future stars in action.