Lunar Landing 50th Anniversary Celebration

Lunar Landing 50th Anniversary Celebration
Colorado Symphony
Boettcher Concert Hall
Denver, CO
July 20, 2019

This year marked the fiftieth anniversary of the first Lunar Landing. To mark the occasion, the Colorado Symphony presented a special concert.

The program was filled with soundtracks written by John Williams. It started with the main theme from Star Wars and also included suites from Close Encounters of the Third Kind and ET, the Extraterrestrial. These familiar pieces were more dynamic when played live.

Passages was the last number before intermission. It was preceded by a short video about how it was created for the 100th birthday of John F. Kennedy. Unfortunately, the video was necessary to understand the piece.  It was a strange operatic singing of Walk Whitman’s A Passage to India interspersed with soundbites from Kennedy, some manufactured, some real. It was confusing and not pleasant to listen to.

The highlight of the show was From the Earth to the Moon and Beyond, featuring a slideshow and narration by astronaut Richard Heib. It brought together the feat of landing on the moon in 1969 with a look into the future of space travel. It was an inspiring piece.

The encore performance of Clare de Lune or Moonlight was pretty, but it was anti-climactic after the powerful performances that preceded it.

The Lunar Landing Concert was a unique way to celebrate the anniversary of one of humankind's accomplishments. And it showcased how music and art reflect life.

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.

Fiddler on the Roof

Fiddler on the Roof
National Tour
Buell Theater
Denver, CO
June 11-16, 2019

Fiddler on the Roof is a show most people have heard of but few have seen. The current national tour is changing that.

The opening song is “Tradition.” It spoke of the strange customs of this devout Jewish group in the town of Anatevka in Russia. While it was lighthearted and energetic, it set the stage for the dark story ahead.

From the beginning, the choreography shone. It was lively and interesting with a clear influence on the Jewish and Russian culture. The performance of the songs was a perfect companion to the dance sequences. Since so many have iconic status, expectation were high and none were disappointing.

While Tevye seemed a bit young for the role, he was engaging. His relationships with family members were warm and believable. His daughters were difficult to tell apart throughout the show.

The sets were simple and effective. The use of the fly system at the Buell was fun to watch. It is rare to see so many pieces rising and falling through the performance. This technique allowed for quick set changes and a smooth flow of action.

The costumes were certainly appropriate for the period, however in many cases they were too similar to each other so identifying characters was difficult at times.

While the theme of family is one most audience members could relate to, the mindless persecution and religious rigidity were tougher to understand. Despite some audience members’ discomfort with the material, the message about refugees in Fiddler on the Roof is still relevant.

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.

Jack and the Beanstalk

Jack and the Beanstalk Arts in the Open
Chautauqua State Park
Boulder, CO
June 1-30, 2019

Summertime is when Arts in the Open offers fun, fantasy shows presented during a scenic hike at Chautauqua Park in Boulder.  The first show this season is Jack and the Beanstalk.

This show was darker than most done by Arts in the Open. It dealt with hunger, parental abandonment, kidnapping and isolation. And while it did feature a happy ending it was a rough road getting there.

Jack was played by a female actor, but the change seemed minor. She played the character as a person without drawing attention to gender. The other four actors portrayed many characters – each had at least one which was memorable. The cow and golden goose added humor to the dark story. The giant was loveably awkward.

The costume pieces to create the characters were fun and effective. A black shirt with holes and a floppy hat with ears created the diva-cow easily. The golden goose’s tail and bowler hat were especially well done.

While the story contained dark elements, the message of the importance of empathy shone through it. Jack represented the positive effect each of us can have on the lives of those around us.

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.