Porgy and Bess

Porgy and Bess
Aurora Fox Theater
Aurora, CO
November 25, 2016 - January 1, 2017

Porgy and Bess is an icon in American musical theater. George and Ira Gershwin’s 1934 opera was the first to feature and entirely African American cast. It was an important step in theater as well as in American society. Despite the importance of the piece, it is rarely performed.

The script the Fox team used is a 2011 adaptation by Suzan-Lori Parks, which transformed the opera into a musical and widened the scope of characters. Despite the adaptation, the story is full of stereotype characters: crippled beggar, drug addicted floozy, criminal kingpin, religious zealot, bossy wife, flashy drug dealer. However, the performances from this incredibly talented cast bring a realism to these roles that overcomes the caricature roots.

In the hands of the Fox creative team, Porgy and Bess is not a racial story. It's a human story. Race does have a place in the story in a few places when the white police officers show up. In those few scenes a real tension is on display. But for the rest of the show, the characters are just people living their lives.

The costumes only enhance the realism of these characters. They could wear the same outfits for the entire show, but they don’t. At the community picnic everyone wears their Sunday best, and it’s a delight to see. And after the picnic they returned to everyday clothes, but not the ones from the day before – just as real people do.

The set is more suggestive than realistic, but it takes the audience into Catfish Row – a simple community. Porgy’s home is completely closed to us – highlighting this private man. The lighting and sound crew are able to transport us to the ocean.

In the center of all this phenomenal staging is the music. The Gershwin score is amazing to begin with. But in the hands of the Fox’ music director it soars to heights even the composers would love. Each performers voice was strong and up to the challenging music. The harmonies created by this team were beautiful. The duets between Porgy and Bess are not traditional – they usually end up singing separately in time and those parts were in perfect balance.

Porgy and Bess will likely never escape the controversy that has always surrounded it. Some audience members may be bothered by the stereotypical nature of the characters, the drug use or the violence. Despite these concerns, the Fox has created a valuable theatrical experience – both socially and artistically.

Godspell

Godspell
Jester's Dinner Theater
Longmont, CO
October 7, 2016 - January 29, 2017

Jester’s Dinner Theatre is an intimate theater nestled on Main Street in Longmont. It has been around for 17 years but it is likely unfamiliar to most residents of the Denver Metro area. The space is small, the menu is simple and the staff is incredibly friendly.

Godspell was a good fit for the intimate space. The set was very simple – on stage were a piano, a ladder and an array of props and costume pieces used throughout the show. The costumes were modern. The Hawaiian shirt on John the Baptist and the smiley face t-shirt on Jesus were fun.

The script for Godspell is a loose one with plenty of openings for improv. The cast made great use of these moments to represent them as millennials. The show didn’t feel like a relic from the early 1970’s – if came across as a modern telling of the Christian Gospels. Godspell is more like a series of sermons and hymns than a musical. The cast didn’t shy away from this concept.

Overall the show was well staged. The occasional use of the aisles gave it a sense of unpredictability. While much of it was humorous, the treatment of the Last Supper and Crucifixion scenes were given the seriousness they deserve. Godspell was widely criticized for featuring the Crucifixion without the Resurrection. The cast cleverly addressed this by suggesting it during the curtain call.

The biggest flaw in the production was the acoustics. Many of the female actors’ voices were not strong enough to carry without amplification. Their voices would occasionally be drowned out by the chorus or even the piano. Despite that, the cast seemed to enjoy performing and it was contagious.

As a side note, after the show my daughter asked a group of actors to have her photo taken with them. They responded by gathering the entire cast for the photo. We all left feeling appreciated as new audience members. The hometown feel of this theater will certainly bring us back!

Jersey Boys

Jersey Boys
National Tour
Buell Theater
Denver, CO
November 9-13, 2016

Broadway has been filled with autobiographical musicals over the years. So Jersey Boys, the story of the Four Seasons, doesn’t seem to be much different. However, the way that the story is told is what makes it special. That is why after eleven years it is still playing on Broadway and touring the US.


The story started in “Spring,” a chapter narrated by bad boy member Tommy De Vito. It got off to a fast start and kept a breathtaking pace throughout. The simple set changed from city streets, restaurants, jail houses and stages quickly thanks to the effective lighting and screen displays.

When the season switched to “Summer,” and Bob Gaudio took over the narration the mood changed. And when the group broke into “Sherry” the energy in the building exploded. The band’s rise to the top was swift and the audience was transported to a 1960’s concert.

Just when we thought we knew everything, Nick Massey took over the “Fall” narration. Suddenly we got another side of the story. And in final season, “Winter” our hearts broke as we heard Frankie Valli’s tragedies behind the scenes.


Between the Jersey accents and the fast pace we really entered the world around the band as they evolved. The story was filled with intelligent humor and the music that everybody knows.

The performers told the story with impeccable timing and the songs were a walk down memory lane. At times the actor portraying Frankie was a bit shrill and "My Boyfriend's Back" didn't really sound anything like the original recording. But that didn't any of the joy out of hearing these classics live.

At curtain call I was amazed to see all the women in the show were played by three actresses - an impressive feat. All the characters were somewhat exaggerated and yet still believable. I see a lot of theater, but I have never been to a performance where the audience was on their feet before the first actors arrived for the curtain call. The standing ovation was well deserved. Jersey Boys was one of the most enjoyable nights of theater I have had.

Halloween Spooktacular

Halloween Spooktacular
Colorado Symphony
Boettcher Concert Hall
Denver, CO
October 29, 2016

For most kids, the idea of sitting through a concert of classical music isn’t an appealing thought. To encourage the attendance of children, the Colorado Symphony has its annual Halloween Spooktacular. All the musicians dress up (some more creatively than others!) and the audience is also encouraged to wear costumes. Many of the adults dress up as well. Before the show, kids had the option to make Halloween themed crafts.

The concert began with the conductor striding onstage dressed as Darth Vader and leading the musicians in The Imperial March from Star Wars. That immediately caught everyone’s attention. After a warm up of popular pieces, the concert added some classical pieces. The conductor patiently went over themes in The Noon Witch and instrumental characterizations in A Conversation Between Beauty and the Beast. He also gave an animated description of the action in Wagner’s Rise of the Valkyries. To aid in the fun of the music, he changed costumes often to complement the music.

The concert ended with The Raider’s March from the Indiana Jones films and three pieces from the Harry Potter movies. As the kids left the concert hall, each was handed a goodie bag with small treats and toys inside. With the annual Spooktacular concerts, the Colorado Symphony has created the perfect atmosphere to introduce children to classical music.

Dracula

Dracula
Aurora Fox Theater
Aurora, CO
October 7 - November 7, 2016

Dracula is a classic character and especially popular this time of year. Less familiar is the musical of the same name written by Frank Wilderhorn. The musical stays faithful to the original novel by Bram Stoker. The novel is surprisingly sexual considering the era it was written in. And the script and performance of the show doesn’t back away from that aspect at all. The female vampires constantly demonstrated the sexual hold Dracula had over them.

The music in this show will be entirely unfamiliar to most audiences. The songs have not been widely recorded and few are memorable after the curtain closed. The program did not contain a list of musical numbers either which didn’t help. The ensemble piece “Deep in the Darkest Night” was a soaring anthem and the most inspiring song in the show. Lucy’s song “How Do You Choose?” gave Act 1 some much needed comic relief.

Despite the unrecognizable score, the cast at the Aurora Fox performed each one beautifully. The voices of the performers were incredible and the harmonies were a pleasure to listen to.

The script doesn’t help the actors at all to help the audience understand Dracula’s motives. Dracula seems so content at the beginning to surround himself with beautiful, oversexed vampires of his own creation and yet when it comes to Mina Harker, his motives change with no reason why. And while he spends the entire story fighting for his survival and then suddenly gives up.

The costumes and scenery brought the Victorian era to life. The set was remarkably flexible. The walls which came in for intimate indoor scenes moved smoothly around the stage. Most scenes changed with very little visible to the audience – quite a feat considering how many changes were needed. The fog machine at the front of the stage added effect however at time the amount of fog actually obstructed the view of the action on stage.

Despite the lack of familiarity audiences may have with the material and the obvious flaws in the script, the performances in Dracula make it a show worth seeing.

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.