Monday, April 28, 2014

35mm: A Musical Exhibition

Based on: The photography of Matthew Murphy
Music & Lyrics by:  Ryan Scott Oliver
VenueAurora Fox Arts Center, 9900 E Colfax Ave, Aurora, CO 80010.
Running Time:  1 hours, 35 minutes (includes 15 minute intermission)
Date of Performance:  Saturday, April 26, 2014 
In case there was any doubt, Ignite Theatre's Executive Artistic Director Keith Rabin, Jr. is not risk averse:
"I'll never be able to convince everyone to love all of the fresh new productions we will continue to bring to our stage.  But I guarantee that you will be moved, your thoughts will be provoked and that you will go away feeling refreshed that you saw something that very few in our region have seen."  
Program notes for 35mm:  A Musical Exhibition.

Ignite Theatre's current production of 35mm:  A Musical Exhibition (35mm) is certainly what one would call risky.  It's not traditional theater; there's no plot or story line.  The show is a musical exhibition, as described in the title, based on Matthew Murphy's photography.  Murphy is a creative, talented photographer whose photos are primarily related to theater and dance.
Think of 35mm as performance art, similar to a concept album.  The songs in Pink Floyd's Dark Side of the Moon concept album are related by several common themes; likewise, the music in 35mm is generated from Murphy's photos.  Both Dark Side of the Moon and 35mm are creative extensions of their traditional formats.  Both have musical peaks and valleys.  Neither will please all viewers or listeners. Murphy's photos are frozen moments in time; each is telling a story.  35mm tells a story, if not the story, of Murphy's photos.
Perhaps the best description of 35mm is that it is more of a rock concert than a theater production.  It's a high energy musical with a marvelous multimedia component and spectacular singing voices.  If you've seen a Trans Siberian Orchestra performance, you have an idea of what to expect.  (OK, 35 mm has neither flame throwers nor the landing lights for a 747.  But apart from that....)  The story here is secondary to the music, the lights, and the special effects.
Ladies of the Ensemble:  Shahara Ray, Olivia James, Lindsey Falduto
The six member ensemble is phenomenal; each is a highly talented actor, dancer, and singer.   Alejandro Roldan blows up the stage with Crazytown early in the first act.  His performance is inspired and and infectious; "crazy" doesn't begin to describe it.  Zach Stailey is marvelous in Caralee; and he teams up with Shahara Ray on a perfectly delivered Hemming and Hawing.  Olivia James is smoking for The Party Goes with You.  Lindsey Falduto and Evan Sauvage sparkle on On Monday.
Individually, each cast member is remarkable; when they team up at the end of the second act for The Ballad of Sara Berry, the result is a smoking hot musical feast.  
Guys of the Ensemble:  Evan Sauvage, Alejandro Roldan, Zach Stailey
Just as the onstage cast is marvelous, so is the music in the background.  The band is excellent; the band members are all musicians of the first order.  The sound mix here is critical.  The band is only feet away from the cast, but they never overpower the vocals.  
Director Keith Rabin, Jr keeps the pace at the appropriate level for a rock musical:  feverish and frenetic, with occasional pauses for emotional impact.
Great risk has great rewards, and Ignite Theatre is reaping those rewards from 35mm.  The Denver community is also rewarded when theater companies are willing to take the risks of producing unusual scripts.  All theater companies have to fill the seats to exist, and for some that means always producing reliable hits.  It's no small irony that Spamalot, which has been produced several times on the front range recently, is playing in the main room next door at the Aurora Fox.
Ignite has chosen a decidedly different path.  And for that reason, Ignite Theatre Company should be justifiably proud of 35 mm.

This show is suitable for teens and up, although there is some adult content.  Free parking is available behind the theater and on the surrounding streets. This production is not in the main building, but in the small theater just east of the main building.
Just for those who are too young to remember, the title of 35mm refers to an ancient photography format, pre smart phones.  

This show closes on May 4, 2014. 
Pre or post show dining suggestion:  
Have you tried Casey's Bistro & Pub?  You should, and 35mm is a great opportunity to do so.  It's about a 10-12 minute drive to or from the theater, and has great Irish/British pub fare.  Happy Hour is 3-6:00 PM and 10:00-midnight, seven days a week.  Daily specials are priced from $10-$14.  Draft beers include Guinness and Smithwicks.  Located at 7301 E 29th Avenue, Denver, CO 80238 (in the Stapleton Town Center).
Tickets HERE.
Photo Credits:  Ignite Theatre Company.

Director & Multimedia Concept: Keith Rabin, Jr.
Set Design: Mike Uhlenkamp
Lighting Design:  Stevie Calderola
Sound & Media Integration:  Tom Quinn  
Costume Design:  Keith Rabin, Jr.
Music Direction:  Jason Tyler Vaugn

Lindsey Falduto
Olivia James
Shahara Ray
Alajandro Roldan
Evan Sauvage
Zach Stailey

The Band:
Keyboards:  Heather Holt Hall
Guitar:  Jason Tyler Vaughn
Percussion:  Dustin Arndt
Bass:  Eli Acosta
Cello:  Josh Vann

Violin/Viola:  Kira Engle

Tuesday, April 15, 2014


Playwright: William Nicholson
Company:  Denver Center Theatre Company
Venue:  Stage Theatre, Denver Center for the Performing Arts (DCPA), 1101 13th Street, Denver, CO  80204
Running Time:  2 hours, 30 minutes (includes 15 minute intermission)
Date of Performance:  Sunday, April 13, 2014 
It is overwhelmingly humbling, and exceedingly rare, to be in the presence of excellence.  I was in the presence of excellence at Shadowlands, and the experience is transforming.  
To be clear, this is not just a matter of excellent performances, although that's part of the experience.  There's more, much more, to Shadowlands.  There's the high quality script, the magic of the set, and the beauty of the lighting.  But most importantly, the excellence of Shadowlands is the power of its intelligent handling of some basic human experiences:  love, loss, faith, and grief.
Shadowlands tells the story of author C.S. Lewis (best known for his children's books The Chronicles of Narnia) and his American wife, Joy Davidman.  Lewis was in his fifties when he met Davidman.  He was seventeen years older than her.  Their love affair is an exquisite thing to watch on the DCPA stage.  Davidman's death from bone cancer in the second act is devastating to Lewis, whose faith in God is challenged by the enormity of his loss.
The play opens with Lewis giving a lecture on faith, love, and suffering at Oxford; he's clearly a brilliant speaker with a brilliant mind.  
Men are like blocks of stone out of which the sculptor carves the forms of men.  The blows of His chisel, which hurt so much, are what makes us perfect.
Lewis' words come back to haunt him; they have catastrophic impact when he suffers those chisel blows himself.  
Lewis, and by extension, all of us, are called to question our faith in the face of unbearable suffering.  Who among us has not, or will not someday,  lose a loved one?  Who among us won't suffer profound grief as a result?  Who among us can understand or explain how an all powerful deity could tolerate such cruelty?

Graeme Malcolm (C.S. Lewis)
Graeme Malcolm plays Jack (C.S.) Lewis here.  His performance is masterful, intelligent, emotional, and highly effective.  Malcolm shows us Lewis as a proper English gentleman, and as an intellectual curmudgeon who devolves into an emotional, broken man.   And he is pitch perfect conveying Lewis with every line and with every gesture.  Malcolm is a highly talented actor at the top of his game.  You are in the presence of excellence every moment he appears on the stage.
The same can be said about Kathleen McCall, who plays Lewis' wife Joy.  You are in the
Kathleen McCall (Joy) & Charlie Korman (Douglas)
presence of excellence every moment she is on the stage.  McCall and Malcolm, together, delivered such an impact that there were tears and audible sobs in the audience in the second act.  Yes.  It's really that powerful. 
I said earlier that the set is "magic."  I meant it.  The set morphs, on its own, right before your eyes.  It is stunning just to see set pieces come and go.  
With all the marvelous actors, the high tech lights, sound and set, Shadowlands gets first class treatment from Director Christy Montour-Larson and the Denver Center Theater Company.  Somehow, though, the real star here is William Nicholson and his script.  It is as intelligent as Lewis himself, and as serious and weighty as a cage match for philosophers.  Nicholson gives us the raw C.S. Lewis; the intellectual who was brilliant enough to realize that he didn't have all the answers.
To hear important ideas expressed in the most intelligent terms is an extremely rare experience.  Shadowlands is theatrical excellence, from start to finish.  You will be in the presence of excellence when you see this cast, this production, and this script.  You will not soon forget Shadowlands.

Opening night standing ovation for Shadowlands.

This show is safe for all ages, but the subject matter may not interest anyone under 16 (that's a fairly arbitrary guess).  The subjects are philosophical, religious, medical, and academic.  In other words, those whose ideas are best expressed in <120 character texts may not enjoy the show.
Parking is $12.00 at the Denver Center for the Performing Arts garage.  It's close, safe, and relatively inexpensive for the location.
This show closes on April 27, 2014. 
Pre or post show dining suggestion:  
The Denver Center provides a list of suggested restaurants on its web page.  I can't vouch for most of these, as I haven't tried many of them.  The list does seem to be on the pricey side, though, so you may want to do some research before getting a table.

Tickets HERE.
Photo Credits:  Denver Center Theater Company, John Moore and

Director: Christy Montour-Larson
Set Design: Lisa Orzolek
Lighting Design:  Charles R MacLeod
Sound Design:  Jason Ducat
Costume Design:  Angela Balogh Calin
Dramaturg:  Douglas Langworthy
Voice/Dialect Coach:  Kathryn G. Maes Ph.D

C.S. Lewis (Jack):  Graeme Malcolm
Joy Davidman:  Kathleen McCall
Warnie Lewis:  John Hutton
Christopher Riley:  Sam Gregory
Harrington:  Michael Santo
Douglas:  Charlie Korman
Alan Gregg/Doctor/Waiter:  Douglas Harmsen
Nurse/Registrar/Woman in Tea Room:  Stephanie Cozart

Priest/Waiter/Dr. Oakley/Clerk:  John Arp 

Monday, April 14, 2014

William Shakespeare's Land of the Dead

Playwright:  John Heimbuch  

Venue:  Mary Miller Public Library/Theater, 300 E. Simpson Street, Lafayette CO

Running Time:  1 hour 55 minutes (includes 15 minute intermission)

Date of Performance:  Saturday, April 12, 2014 

Sometimes its difficult to keep The Bard fresh and relevant after 400 years.  Sure, he was a pretty good playwright back in the day, but things have changed a lot since he wrote his last play.  Or have they?

Lafayette Theatre Company's current offering brings Shakespeare back, live and in person, at The Globe Theater.  He's dealing with Will Kemp, the clown, lawyer ("The first thing we do, let's kill all the lawyers") Francis Bacon, and a zombie horde.  Subtitled,"A true and accurate account of the 1599 Zombie Plague," some literary license has been taken in the script.  Given that the Plague was hardly a fertile subject for comedy, taking some liberties with the facts is both understandable and required.

The premise is that the Plague victims are perhaps not really dead, but "undead."  And they are bringing mayhem to The Globe, which turns into a sanctuary for the non-afflicted.  Set in Shakespeare's time 450 years ago, there's a lot of actors/actresses in drag, probably more than in any other show I've ever seen.  It's all in good fun, and more endearing if not as enduring as Shakespeare's more familiar works.

The script is funnier than one would expect by combining two very divergent ingredients (Shakespeare and zombies).  They mesh, or should I say mash, quite well.  It's not exactly Shakespeare, and it's not all out zombie mayhem.  Rather, William Shakespeare's Land of the Dead is quirky, campy, freaky, and always entertaining.

William Shakespeare's Land of the Dead (LOTD) starts off with a bang with skit called Happy Birthday Will.  It's the best, and frankly the longest, pre-show warning about using your "electronic communication devices" you will probably ever see.  It's a send up, and a perfect one, done in character. It's a welcome relief from the standard spiel about audience etiquette.

L-R: Artemis Martin, Kurt Keilbach, Ed Schoenradt. 
The acting is impressive.  Kurt Keilbach makes a great Shakespeare; he delivers abundant gravitas along with a "wink and smile" mischievousness as The Bard.  Keilbach effectively humanizes a literary icon without diminishing his genius.

Artemis Martin plays Will Kemp, one of Shakespeare's contemporaries and a famous clown.  Martin's comedic timing and naughty demeanor are a perfect foil for Shakespeare, and he truly seems to get under Keilbach's skin at every opportunity.  

John Rice (Phyl Park) is marvelous; he coyly blurs the line between male and female.  He is suitably feminine, with occasional flashes of his true masculine nature.  Vonalda Utterback (also in drag) gives us a shining Francis Bacon, strutting around like a wealthy lawyer did then...and still does now.  Madge Montgomery as Queen Elizabeth is as regal as she is fussy.  

With Pam Bennet and Chris Pash's functional and interesting set, Shannon Gurgens' exquisite period costumes, effective lighting and sound, and Heather Woodruff's outstanding makeup for the zombies, LOTD is a solid production on all the technical aspects.  

Double directors Dave Dahl & Don Thumim had a huge task from the outset:  directing traffic on a very small stage with a very large cast of eighteen actors.  It all works seamlessly; every actor, every prop, every entrance and exit went as planned.  Fight Director Jenn Zuko's scenes are very well done, adding credible chaos between the zombies and the zombie slayers.

Perhaps not very much has changed since Shakespeare's time.  We are still scared of the unknown, we often have too much drama in our lives, and we still love a good laugh.  The Theater Company of Lafayette honors the classics and here and gives us a lot of laughs in the process.  LOTD is a fun night out at the theater; I recommend it for fans of the classics and for fans of those afflicted but not quite dead yet.  


There is ample free street parking at the theater.  

This show closes on April 26, 2014.  

This show is suitable for all ages, although some youngsters could be disturbed by the zombies and/or confused by actors playing out of their assigned genders.

Pre or post show dining suggestion:  

If you haven't been there, try Proto's Pizza, 489 US Highway 287, Lafayette.  They specialize in thin crust pies, have cocktails and a fine selection of beers, and they offer gluten free pies.  

Tickets HERE.

Directors:  Don Thumim & Dave Dahl

Fight Director:  Jenn Zuko

Set Design:  Pam Bennet, Chris Pash

Audio Design:  Madge Montgomery

Lighting Design:  Brian Miller

Costume Design:  Shannon Gurgens

Makeup:  Heather Woodruff


Will Kemp:  Artemus Martin

Kate Braithwaite:  Shannon Gurgens

William Shakespeare:  Kurt Keilbach

Richard Burbage:  Ed Schoenradt

John Rice:  Phyl Park

John Sinklo:  Louanne Cartwright

Francis Bacon:  Vonalda Utterback

Soldiers:  Keenan O'Brien, Caroline O'Brien, Fred Finke, Marsha Morton

Robert Cecil:  Judy Wolf

Queen Elizabeth:  Madge Montgomery

Dr. John Dee:  Becca Job

Players:  Krisie Travis, Hannah Richards

Afflicted (zombies):  Michael Samarzia, Judy Carlson, Kieran Gurgens

Sunday, April 6, 2014


Playwright:  Bryony Lavery

Venue:  The Bug Theatre, 3654 Navajo Street, Denver, CO 80211

Running Time:  2 hours, 40 minutes (includes 15 minute intermission)

Date of Performance:  Friday, April 4, 2014 

"The difference between a crime of evil and a crime of illness is the difference between sin and a symptom."

Frozen, the latest Equinox production at the Bug Theatre, is a dark, disturbing but thoughtful probe into "the Arctic frozen sea that is the criminal mind."  It boldly asks a jolting question: 

Is murder, even mass/serial murder, a forgivable act?

If you don't have a knee jerk reaction to that question (to the effect you could never forgive someone who committed such a heinous act), don't worry.  You're (probably) normal.  Serial murder is so far beyond the bounds of civilized behavior that few would even consider forgiveness for a perpetrator.

Still, Frozen will ask you for forgiveness in the most repugnant circumstances, and make you question your initial reaction.

There are four characters here:

  •  a 10 year old girl, Rhona
  • her mother, Nancy
  • Agnetha, a criminal psychiatrist,
  • and Ralph, a pedophiliac who stalks, abducts, rapes, and murders little girls.  
Rhona never appears on stage, because Ralph murdered her as she was going to her grandmother's house on an errand.
Mehry Eslaminia (Agnetha)

Agnetha (Mehry Eslaminia) delivers cold, clinical monologues about the mind of a mass murderer.  Her clinical studies have determined that in most cases, mass murderers cannot control their deviant behavior.  That behavior is not a "sin" but a symptom of the damage caused by brain injuries, neglect and abuse.  

Eslaminia skillfully plays Agnetha the psychiatrist as a  confident, fearless professional, willing to stake out controversial positions to her peers and go toe to toe with dysfunctional, dangerous criminals.  Without skipping a beat, Eslaminia also plays Agnetha as an insecure, troubled woman whose personal relationships are far from optimal.  Eslaminia's delivery as the professional woman and the mucked up person are both gems.

Paige Larson (Nancy)
Nancy (Paige Larson) is the grieving mother; we are heartbroken as we learn of the murder of her daughter.  Larson's portrayal is at times delicate, at times angry, and always just how we imagine we would react in her situation.  She brought a tear to my eyes several times.  Her suffering is contagious; you cannot see her performance and without being moved by the catastrophic loss of a 10 year old daughter.

Ralph (Kenneth Stellingwerf) is the demon on the stage.  He's the insane degenerate who
Kenneth Stellinwerf (Ralph)
brutalizes children before murdering them.  Stellingwerf is not just convincing as Ralph; he's so good he is actually scary.  His speech, his gestures, his gait, everything about him is evil incarnate.  It is difficult to believe that he is an actor who is not actually insane.  Stellingwerf is a newcomer to Denver audiences, but he won't be for long.  He has arrived with a bang...a very loud, insane, and stunning bang. 

There's a very moving moment between Agnetha and Ralph in prison; it's a discussion of remorse.  Ralph doesn't understand it, and Agnetha tries to explain it to him.  Watch Stellingwerf closely during that discussion.  His eye contact, his gestures, his fidgeting are all convincing proof that he cannot understand, much less express, remorse.  Stellingwerf's performance here is central to the question whether he should be forgiven.  If he had a trace of remorse, he would be responsible for his crimes.  With no capacity for remorse, we understand that Ralph cannot control his repulsive impulses.

Colin Roybal (Director, Set, Light) and Deb Flomberg (Producer, Sound) have put together an explosive, disturbing, and triumphant production of Frozen.  The bottom line here is that this is a very powerful and very poignant production.  The subject matter is challenging, but you will be richly rewarded for enduring this serial killer and his unspeakable crimes.  

Before leaving the subject, though, one last thought on this script.  Can we forgive the most heinous acts imaginable?  If we can, should we?  

I don't know. 

Frozen may not change your mind, but it will certainly provoke you, inform you, and maybe transform you.  After all, if a mother can forgive her daughter's murderer, can we hold a grudge for lesser infractions when we leave the theater?  Do we want to be emotionally "frozen" over real or perceived injustices?

Forgiveness is very powerful...for the forgiver.  It allows us to move on with our lives.


The seats in this theater need some work; you may want to arrive early enough to try several and find one that suits you.  Park in the lot at the NW corner of Navajo & 37th.  

The Bug Theatre is one of the anchors for the Navajo Street Arts District.  There are a number of galleries within steps of the theater.  If you arrive 30-40 minutes before the curtain, you can browse some interesting new work before the show.

This show closes on April 19, 2014.  

This show has adult language and content.  It is recommended for mature audiences only.

Pre or post show dining suggestion:

Patsy's Italian Restaurant & Pizza Parlor, 3651 Navajo Street, Denver, 80211.  Established in 1921, Patsy's is Denver's oldest Italian restaurant, and it's right across the street from the theater.  Parking is available in the lot at the NW corner of Navajo and 37th.  They aren't open late (10:00 on Friday/Saturday), so it's be for a pre-show meal.  Pizza is NOT available in the main dining room; use the Pizza Parlor if that's what you're ordering.  Full Italian menu is available in the main dining room.

Tickets HERE.

Photo Credits: Equinox Theatre Company

Producer:  Deb Flomberg

Director:  Colin Roybal

Set Design: Colin Roybal

Sound Design:  Deb Flomberg

Lighting Design:  Colin Roybal

Costumes:  Ember Everett


Ralph:  Keneth Stelllingwerf

Nancy:  Paige Larson

Agnetha:  Mehry Eslaminia

Tuesday, April 1, 2014

And The Sun Stood Still

Playwright: Dava Sobel
VenueThe Dairy Center for the Arts, 2590 Walnut St, Boulder, CO 80302
Running Time:  2 hours, 10 minutes (includes 15 minute intermission)
Date of Performance:  Sunday, March 30, 2014 

Hypothetical question:  how would you react to scientific proof that everything on earth is simply an elaborate illusion?  Humans, it turns out, are simply a foggy consciousness with no actual physical presence.   Rather, we have created a fantasy "world" to live in.
Science fiction?  Perhaps.  Absurd?  Definitely.  
Most of us would completely reject such a preposterous notion of our world.  That is precisely the situation the 16th century faced when Nicolaus Copernicus reported that the earth is not the center of the universe.
It seems simple now; the sun is stationary relative to the earth, and the earth revolves around the sun.  It's our basic understanding of our place in the universe.  But Copernicus brought bad news to his generation; their basic understanding of their place in the universe was wrong.  
Benjamin Bonenfant (Georg Joachim Rheticus)
It's difficult to imagine now how shocking that revelation was, but Benjamin Bonenfant, playing Georg Joachim Rheticus, gives an excellent interpretation of how crazy he thought Copernicus to be.  He's shocked.  He thinks Copernicus a fool.  He cannot agree that what appears to be solid ground below his feet is actually spinning at 1,000 miles per hour.  For Rheticus, it is such an absurd position that it can't possibly be true.
The Boulder Ensemble Theatre Company (BETC) knows a wonderful story when it sees one.  And The Sun Stood Still is indeed a wonderful story that blossomed from a partnership between author Dava Sobel and Stephen Weitz at BETC.  Lisa Kennedy at The Denver Post has more information on the creative process here.  BETC not only collaborated with Sobel on And The Sun Stood Still; the company has also produced the World Premier.
Sobel tells the story of Copernicus, the Polish Renaissance mathematician (he was also a physician, a canon lawyer, and an economist) whose scandalous theory changed astronomy, and perhaps religion, forever.
For those unfamiliar with Copernicus, his book On the Revolutions of the Celestial Spheres (1543) maintained, among other things, that the earth was not the center of the universe, and that, in fact, the earth revolved around the sun.  Copernicus' theory flew in the face of what was then common sense:  the sun obviously revolved around the earth.  Before publishing the book, Copernicus knew he was contradicting the contemporary Biblical view of the universe.
Sobel recreates the drama of Copernicus' decades of intermittent work on the book, and his decision to publish it just before his death.  It's a complicated and compelling story, none of which I will spoil for those who might see the show.  
What I can say about And The Sun Stood Still is this:
  • It's about ideas.  You can't avoid thinking long and hard about the ideas presented. 
  • It is excellent theater, done well by the entire ensemble.
  • It is a weighty look at what, at first, appears to be rather primitive16th century thinking.
  • It is as contemporary as any play I've seen in a long time.  That's right.  The action takes place in 1543, and it's all still relevant today.
  • This script challenges your basic understanding of the world, just as Copernicus challenged the basic concepts of his world.

When I say it's relevant today, I mean that science is still, for many people, viewed through a religious filter.  Despite scientific evidence to the contrary, something between 10% and 46% of adult Americans believe that God created humans in their present form in the last 10,000 years.  That a statistically significant portion of the American population disbelieves scientific evidence is disquieting.  There is even a theme park in Kentucky based on the Bible's version of creation, including a display of alleged dinosaurs and humans co-existing.
But to be clear, And The Sun Stood Still is not just relevant because science and the Bible are still often in conflict.  There is a vocal minority of climate change deniers who need no religion whatsoever to reject accepted science.  Any agenda-religious, political, or philosophical- that isn't open to new facts will always resist uncomfortable changes.  It was true in 1543, and it is still true in 2014.
I've spent a lot of ink here on the ideas in the script.  I should also mention that the production itself is superb.  The set (including 3 revolving set pieces) is engaging and functional.  The cast is top notch.  Direction here is crucial; the show is mostly talk and little action.  Director Stephen Weitz keeps the show moving, all while giving his actors the time and space they need to flesh out the meaty subjects in the script.
And The Sun Stood Still is a theatrical platform for big ideas.  It is challenging, thought provoking, dramatic brain food for the audience.  I fully recommend it for those whose brains need to be provoked, prodded, and fed on a regular basis.  You know who you are.  

This show is safe for all ages, but the subject matter may not interest anyone under 16 (that's a fairly arbitrary guess).  Unless you want to do a lot of explaining to your teenager, leave him or her at home.
There is free parking behind the theater and on Walnut Street.  
BETC publishes a Food For Thought handout.  Pick it up when showing your ticket at the door.  It's a good idea to arrive 10-15 minutes early so you can read up on the history, the religious environment, and the characters in And The Sun Stood Still.  It's a lot of information (six single spaced pages with several illustrations), but it is very helpful for understanding the play in the proper context.
This show closes on April 20, 2014. 
Pre or post show dining suggestion:  
Classic Colorado pizza a few minutes drive from the theater.  The Boulder Beaujo's, at 2690 Baseline Road, serves Mountain Pies and has been featured on the TV show Man versus Food.  The Boulder location offers dairy free cheese (not sure what that is), a gluten free crust, and free charging for your electric vehicle (don't you wish you had a Tesla?).  Happy Hour daily specials vary (Sunday's feature is a $3.00 Bloody Mary).  

Director: Stephen Weitz
Scenic Design: Tina Anderson
Lighting Design:  Richard Spomer
Sound Design:  Adrew Metzroth
Costume Design:  Katie Horney
Nicolaus Copernicus:  Jim Hunt
Bishop Johannes Dantiscus:  Bob Buckley
Georg Joachim Rheticus:  Benjamin Bonenfant
Anna Schilling:  Crystal Eisele

Bishop Tiedemann Giese:  Sam Sandoe