The Sound of Music

The Sound of Music
National Touring Company
June 21-26, 2016
Buell Theater
Denver, CO

The Sound of Music is one of the most beloved movies of all time. In fact, it is more famous as a film than a stage musical. Most people are familiar with the songs and the storyline. However, the stage production is different and has a charm of its own.

This touring production was well cast. Maria practically sparkled with her enthusiasm and it was believable that she was a handful with the nuns at the convent where the story begins. The Von Trapp children were talented and interacted well with each other. Captain Von Trapp’s disciplined ways were not over the top.


The staging of the show was beautiful. The hills were often present in the background – almost becoming a character in their own right. The set smoothly changed from an ancient church to a luxurious mansion. Each set drew you in to the beauty of their beloved Austria homeland.

One exception to this would be the scene in the concert hall just after the German invasion. The backdrop was made of five huge red flags with swastikas emblazoned on them. The effect made the audience uncomfortable – sharing the feelings of Captain Von Trapp.

The name of the show is The Sound of Music for good reason. The music is beautiful. Of course, the score by Rodgers and Hammerstein is among the best ever written, but the way it was performed was worthy of the material. It was fun and playful and then serious and moving. Every song perfectly fit the mood of the scene.

But no song was more powerful than “Climb Ev’ry Mountain.” While the actress playing Mother Superior struggled a bit (it wouldn’t surprise me if the altitude was the culprit), but she was able bring the house down by the finale.

This production was so well staged that the many children in the audience stayed captivated by it.

Goldilocks

Goldilocks
Arts in the Open
Chautauqua State Park
Boulder, CO
June 4 - July 31, 2016

I’ve attended productions by Theatre-Hikes Colorado for several years now. This year, they announced they were splitting from the Theatre-Hikes brand and branching off on their own. They have been rebranded Arts in the Open. After seeing their first production Goldilocks, I’m happy to report that aside from the name, nothing else has changed.

The group still performs at Chautauqua Park in Boulder. It’s a gorgeous backdrop for the play. The subject matter mostly appealed to families with children and many of them were so excited by the play they hardly noticed the moderate hike we took along the way.

Goldilocks is a new play by Patty Murtha, who has written for the hikes in the past. The main narrator was Officer Owl, who related the story of Goldilocks “crime” while she constantly interrupted to tell he side of the story. It was a fun premise.

The three bears were entertaining on their own. Each had their own distinct personality – Papa Bear constantly told silly jokes, Baby Bear used her extensive vocabulary to describe each situation and Mama Bear tried to keep everyone in check. Adding Goldilocks to their carefully organized life could only result in chaos – and it did.

All the characters were likable and the silly story line was enough to keep everyone engaged. The result was a fun afternoon in the great outdoors.

Beauty and the Beast

Beauty and the Beast
National Touring Company
Buell Theater
Denver, CO
June 7-12, 2016

Presenting a story that an audience knows and loves is often a tough proposition. In the case of Disney’s Beauty and the Beast, most of the people in attendance know the songs and script by heart. It’s a difficult task to make the material seem fresh.

Somehow the cast of this current tour managed exactly that. The cast were enthusiastic and not afraid to put their own spin on this well-loved story.

The actors were well suited for their roles. Belle was spunky, Gaston was handsome and arrogant and Lumiere was charming. Their timing together was perfect and never seemed stale.

The songs were performed perfectly. We felt Belle’s hope and the despair of the Beast. The production numbers were particularly outstanding. While some of the staging has been updated, the cups sequence in the song “Gaston” remains and was still as delightful as it was when the show was originally stages. The spectacle of “Be Our Guest” nearly brought the house down.

A touring show like Beauty and the Beast is bound to sell tickets based on the familiarity of the show and the appeal to children. The quality of this production however will likely bring audiences back every time it comes around.

Sunset Boulevard

Sunset Boulevard
Vintage Theater
Aurora, CO
April 29 - May 29, 2016

Sunset Boulevard is an ambitious musical for any theater to take on – especially an intimate space like the Vintage Theatre. It is from an era where the spectacle was as important as the content. I saw the original touring production in 1996, so I was intrigued to see how two decades had effected the show.

Despite being a small theater, the sightlines aren’t the best at the Vintage. The staging area is small so the actors need to use every inch of it, but some of that area is not easily visible from the back seats. And when the upper level was used the ornate chandeliers obstructed the actors’ faces.

The car chase scene became somewhat comical in their attempt to stage it with actors on platforms, holding up the steering wheel in front of black and white street footage. Later on when a car actually did roll onto the set it the effect was undermined by the fact that it had to roll backward to leave.

The costumes were well done for the most part. Some of the “movie” costumes were a bit too cheap looking to believe they were a part of a Cecil B. DeMille film. But the rest were bright and indicative of the time. The quality of Joe’s suits was obvious as he moved through the show. And Norma Desmond was appropriately ostentatious throughout.

One aspect that was hard to overlook was the difficulty of the score. Each of the principals has a wide range to cover and at some point they all struggled a bit. At times it seemed that the complex music hindered the emotional output that should have gone along with the music.

Overall, it was an entertaining show but it seems to be a bit too big a production for this theater. It is a difficult production to stage and I admire Vintage for taking it on.

Catch Me If You Can

Catch Me If You Can
Aurora Fox Theater
Aurora, CO 
April 22 - May 15, 2016

Over the years many successful films have been reborn as musicals. One of those was Catch Me If You Can. By now most people are familiar with at least the story, if not the details.

The version the Aurora Fox presents is a bright, spangly musical. It stays very true to the era of the 1960’s – sometimes to the point of appearing sexist. The sleazy stewardesses and naughty nurses are not an image we are used to seeing anymore. The rest of the characters are likeable and more realistic.

It's not often you have two protagonists opposing each other. Both Frank and Hanratty were likeable. And when each was on stage the audience rooted for them to succeed against the other.

The story is not complex but it’s an enjoyable ride. The sets are colorful and adapt to many different scenarios. The costumes are equally bright. And the music fits this style perfectly.

The cast is strong and the relationships seem to grow organically before our eyes. And despite the fluffy appearance, a gritty core is revealed. The theme is clearly that things are not always as they appear.

This isn’t a show for someone who wants to see a strong message or a social commentary. But for sheer entertainment you won’t be disappointed.

South Pacific

South Pacific
Candlelight Dinner Playhouse
Johnstown, CO
March 17 - May 8, 2016

At the time it was written, South Pacific was controversial due to the storylines dealing with interracial relationships. It’s a recurring theme in the theater because it is important. To modern audiences, South Pacific may seem dated, but the message still rings true.

The music is what still stands out in South Pacific. Fans of musicals will recognize almost every song as it starts. “I’m Gonna Wash That Man Right Outta My Hair,” “There is Nothing Like a Dame” and “A Wonderful Guy” all stand the test of time. And, of course, “Some Enchanted Evening” is still a showstopper. It is performed in its entirety three times during each performance and still never gets old. 

The talented cast were up to the task of giving these classic songs the performance they deserve. The voices of Emil and Joe Cable in particular beautifully interpreted their songs. And Nellie gave each song the perky delivery you would expect from a “Cock-Eyed Optimist.”

The set was a beautiful beach scene and the indoor sets came out smoothly for changes. But the beautiful palm trees and waterline were always peeking out to remind us where we were.

The military costumes were expected but for many scenes the women sported swimwear to show it wasn’t all work on the island. The 1940’s civilian wear was well designed and served as a reminder of when we were in time.

The book somewhat weighed the production down. It seemed to follow a set formula of talk, musical interlude, song, repeat. The most exciting action sequences and the death of a major character were all offstage which definitely dated the show.

The timeless score and the universal themes all overcome the shortcomings in the script. South Pacific is an important show – not only to the history of theater but to today’s audiences as well.

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.