Vera Rubin: Bringing the Dark to Light

Playwright:  William C. Kovacsik

Company:  Boulder Ensemble Theatre Compamy

Venue:  The Fisk Planetarium, 2414 Regent Drive, Boulder.

Running Time:  1 hour 15 minutes (Varies:  includes talkback with actors and science information from the Fiske Planetarium staff) 

Date of Performance:  Saturday, January 23, 2016. 

To paraphrase a comment made to me by an English professor a long time ago, my ignorance of dark matter is extensive.  

I’m still in the dark many years later about William Butler Yeats, but I'm feeling slightly more comfortable with dark matter today.  Vera Rubin:  Bringing the Dark to Light (hereafter Vera Rubin) has the potential to bring a LOT of light to a LOT of people about dark matter.

For those who are not familiar with Vera Rubin, the astronomer, fear not.  Few of us are familiar with her.  While not completely unknown, she has been a critical part of astronomy since she discovered evidence of dark matter in the 1960's and 1970's.  While her evidence was controversial when introduced, dark matter in general, is now widely accepted by the scientific community.

Stephen Weitz, BETC Artistic Director, at The Fiske Planetarium.

Boulder Ensemble (BETC) has collaborated with the Fiske Planetarium for Vera Rubin, staging all the performances in the Planetarium.  It’s the ultimate venue for a theatrical lighting designer.  He or she has access to the most advanced lighting and projection equipment anywhere.  The Fiske can put 180 degree projections/lights on the 70 foot domed ceiling, complete with 8K resolution and surround sound.  Immersive is not an adequate adjective to describe the experience.

The Vera Rubin experience is twofold:  a compelling and inspiring story of an eminent but largely unknown woman scientist, and a powerful visual trip through deep space in search of dark matter.  Taken together, the story and the visuals are an immensely compelling theater experience.

The story of Vera Rubin is one of a pioneer overcoming ingrained discrimination.  Rubin was a complete outlier in the 1960’s; women scientists were rare, women astronomers rarer still.  Despite the resistance, Rubin kept proving herself capable and durable.  Vera Rubin is a true story.  In flashbacks, Rubin (portrayed by MacKenzie Sherburne), is rejected repeatedly (“Dr. No” is portrayed on video flashbacks by Justin Walvoord) simply because she is a woman.

MacKenzie Sherburne (Vera Rubin), Chip Persons (Isaac Newton).

The plot is pretty simple.  Vera has a dream, in which Sir Isaac Newton (Chip Persons) shows up.  Vera brings him up to date on more than 200 of years of science that has happened since he died. She shows him some amazing photos and animations explaining concepts that Newton could never have imagined.

The collaboration with the Fiske Planetarium is targeted for school children, with approximately 700 kids scheduled for field trips to the planetarium.  Those kids will see a superbly executed story that will unquestionably inspire some to go on to great things.  For that, the Fiske Planetarium and BETC deserve abundant credit.

For those of us who are not school kids (and very far from it in my case), Vera Rubin is still marvelous entertainment.  I’m assuming we’ve all seen spectacular photos from the Hubble Telescope at some point.  Frankly, though, that did not adequately prepare me for the Fiske Planetarium experience.

When the Hubble images are projected in 180 degrees on the domed ceiling, it’s jaw dropping.  The images seem to pop out off the dome and surround the audience in a stunning rainbow of color, light, and the deep black of space.  This is a light show that can stand alone, without the Vera Rubin story.  But as the backdrop to the story, the images are, well, stellar.  Pun intended.

The Fiske Planetarium and BETC have combined an inspirational story with universal appeal and stunning images of the actual universe.  If you have kids, taken them to Vera Rubin.  Not only with you have a great time, but your kids may find the inspiration to punch through the barriers they will inevitably encounter in life.

I neglected to explain here what dark matter is.  Doing so would be far beyond the scope of a theatrical review (and far beyond my understanding).  However, for the curious, here’s a link to a fairly coherent explanation.

NOTES:

This show is suitable for all ages, and highly recommended for children. 

The Fiske Planetarium is on the Boulder Campus of the University of Colorado.  The parking lots have restrictions.  You can get parking information here.  

For weekend and evening performances, parking is free in nearby Lot 308 (unless there is a special event).  Parking in a restricted area on campus is not recommended.  For those unfamiliar with the campus and the Fiske Planetarium, there are maps here.  Full explanation of campus parking options can be found here.  

As information, it appears that Vera Rubin is not the only person who has been overlooked regarding dark matter theory.  As is often the case in astronomy, she collaborated with another person:  Kent Ford.  Neither Rubin nor Ford are household names.  It might be advisable for Vera Rubin:  Bringing the Dark to Light to at least mention Ford and his collaboration when crediting the Rubin for her work on dark matter.

Photo Credit:  Boulder Ensemble Theatre Company, Michael Ensminger

TICKETS HERE:

This show closes on February 6, 2016.

Pre/Post Show Dining Recommendation:

We had a quick dinner and a beer at Conor O’Neill’s Irish Pub, just off the Pearl Street Mall at 1922 13th Street in Boulder.  Parking can be difficult, but because we were there on a Saturday we were able to get a free spot in one of the city parking structures.  

The food is definitely Irish, and tasty.  Beers include Guiness, Smithwick’s, and Harp.  

BETC CREATIVE TEAM:

BETC Producing Ensemble Director/Stage Director:  Stephen Weitz

Sound Design/Composer/BETC Production Manager:  Andrew Metzroth

Costume Design:  Brenda King

BETC Director of Programs and Grants, Star Power Series Coordinator:  Heather Beasley

FISKE PLANETARIUM TEAM:

Fiske Education Programs Manager:  Matt Benjamin

Fiske Director:  Doug Duncan

Fisk Video Producer/Educational Programs:  Thor Metzinger

CAST:

Sir Isaac Newton:  Chip Persons

Vera’s Father:  Brian Gregory Shea

Vera Rubin:  MacKenzie Sherburne

Dr. “NO”:  Justin Walvoord

Italy

Playwright:  Michele Berdinis

   

Venue:  Funky Little Theatre, 2109 Templeton Gap, Colorado Springs.

Running Time:  2 hours (includes 15 minute intermission) 

Date of Performance:  Friday, January 22, 2016. (World Premiere production).

If you’ve ever wondered whether it takes a huge budget and a boatload of fancy technical effects to make great theater, your problem is solved.  The answer is no.  Funky Little Theater has a tiny budget, a small space, and minimal resources.  Despite their limitations, Funky’s current show, Italy, is proof positive that excellent theater exists in unexpected places.

I’ll start with Michele Berdinis’ script.  It’s a love story, and frankly, it would make a pretty good “chick flick.”  The lovers here are not new to the game; they’ve been around the block; they have loved and lost.  This love story is one for the older folks.  (Full disclosure.  I’m one of them.)  Berdinis “adult” characters, Angela (Tracy Hunziger) and William (Steve Sladaritz) are not just likable mature people.  They are smart, talented, and rich in life experience.  Most of all, they are genuine.  These are real people we can relate to.  

When Berdinis puts them together, the chemistry of their dialog is smart, witty, and compelling.  We can sense their mutual attraction long before they admit it.  It’s not often that the “late in life” love story is well told.  Berdinis nails it.

Berdinis’ script is supported by outstanding performances from both Hunziger and Sladaritz.  Tracy Hunziger makes Angela a woman who is both cautious and excited about reaching out for love.  Hunziger perfectly captures both the danger of high expectations and the reluctance to commit to a new relationship.  Sladaritz, for his part, could charm any woman with his British accent and wit.  He’s low key, but he’s determined to convince Angela that they belong together.

L-R Front:  Steven Sladaritz, Tracy Hunziker, Nicole Goeke, Chip MacEnulty.  Back, L-R:  Matt Alvarado, Justin Anderson.

As some basic plot background, Angela’s film production company has cast William as the lead in their current slasher film project.  As William’s role is winding down, he makes a play for Angela.  Angela’s daughter Diana (played with enthusiasm by Nicole Goeke) is going through a difficult breakup from her boyfriend Tony (Matt Alvarado as the cold cad).  Diana’s emotional distress makes it difficult for Angela to share her own new relationship with her daughter.  She keeps it a secret and predictably, disaster ensues.  Diana blows up when she walks in on William in her mother’s home, and incidentally, in bunny slippers, shorts and a bathrobe.  

Italian Family Discussion.  L-R  Tracy Hunziker, Nicole Goeke, Matt Alvarado.

That makes two things Berdinis’ script gets right; 1) the late in life love story, and 2) the ugly reality of justifying that relationship to angry adult children.  It’s a fairly common conflict; adult kids reject relationships that conflict with their memories of their natural parents.  Berdinis plays out both the love story and the family conflict with a confidence that suggests she has been down this road herself.

Chip MacEnulty (George) and Justin Anderson (Sam/TV Director) capably prop up the story in secondary roles.  MacEnulty, however, is charmingly intoxicated as he attempts to bring some peace to the chaos with a kitchen knife.  Not to worry.  No actors have been harmed in bringing Italy to life on the Funky stage.

Italy is a place in Europe.  Italy is also a state of mind.  It’s where Angela and William find love, and where precious moments are created to last forever.   Italy is smart, funny, and compelling in the hands of Michele Berdinis and Director Chris Medina create a corner of the world a continent away.  To classify it as the live theater equivalent of a chick flick would be unfair, as Italy appeals to nearly everyone.  

Italy closes on January 30, so you still have time to get a ticket.  You don’t want to miss this one.  Even if you don’t like lasagna or spaghetti, Italy will remind you that sometimes love happens when, and where, you least expect it.

NOTES:

There is adult language and some adult situations  in Italy.  Exercise discretion with preteens.

There is ample free parking at the Funky Little Theater strip mall, and on surrounding streets. Concessions are available and can be consumed in the theater. 

Berdinis’ British references are “spot on,” including one to Tesco’s.  I suspect she has either spent some time in the UK, or knows someone else who has.

On a personal note:

1.  Here’s an observation.  It’s personal, not universal.  My sense, however, is that despite what they will tell you, most guys like “chick flicks.”  My wife Roxie asked me to watch one her favorites recently: Love, Actually.  She has followed me all over Colorado to see all manner of theater productions, so I couldn’t say “no thanks” to a chick flick.  I had low expectations, which were wildly exceeded in the first five minutes of the film.  I loved it, actually.  Pun intended.

All of which is to say that you ladies should drag your husband, boyfriend, date, or any significant other to Italy.  The appeal is universal.  Trust me.

2.  Like the character Angela, both Roxie and I have lost spouses.  Those losses are devastating; the grief never goes away.  Still, we have both found love again.  Thanks, Ms. Berdinis and Funky for telling a story that has a great deal of personal meaning to both of us.

Photo Credit:  Funky Little Theater Company

TICKETS HERE:

PRE/POST SHOW DINING RECOMMENDATION:

Looking for some good Italian food to enhance your experience at Italy?  Try Rocco’s.

We didn’t actually eat at Rocco’s before or after the show (we had leftover Chinese from China Village).  But we have eaten there before, and recommend it.  It’s at the northeast corner of Maizeland and Academy (3802 Maizeland for your GPS), in the structure that used to be Steaksmith.  Menu here.  We have theater friends from Denver, and when they’re in the area, this is one of their favorite pre show spots.

CREATIVE TEAM:

Director:  Chris Medina

Assistant Directors:  Dylan McClintock & Monica Erck

Sound Design:  Will Sobolik

Costume Design:  Delaney Hallauer

Stage Manager:  Luke Schoenemann

CAST:

Angela:  Tracy Hunziker

William:  Steve Sladaritz

George:  Chip MacEnulty

Diana:  Nicole Goeke

Sam/TV Director:  Justin Anderson

Tony/Billy:  Matt Alvarado

Waitress:  Monica Erck

The [Curious Case of] The Watson Intelligence

Playwright:  Madeleine George

   

Venue:  Springs Ensemble Theatre, 1903 E. Cache la Poudre Street, Colorado Springs.

Company:  Springs Ensemble Theatre Company.

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

Date of Performance:  Thursday, January 21, 2016. 

Madeleine George’s The [Curious Case of the] Watson Intelligence (hereafter Watson) reminds me of how some describe their relationships: “It’s complicated.”  Unfortunately, this story is ambitious and complicated to a fault.

Watson is a script that challenges audiences.  It’s non-linear; the events take place “simultaneously” over a period of 135 years.  The show opens in 2011, and then bounces around between March 1876, March 1891, and the present.  The characters named Watson (Jack Williamson) include a humanoid artificial intelligence (otherwise known as a robot), a computer nerd, and Sherlock Holmes’ loyal companion of the same name.  Add to that the Watson at the other end of the line when Alexander Graham Bell rang him up (“Watson, come here.  I want to see you.”) and you can appreciate how difficult this role (4 different Watsons) must be for Williamson.

Jack Williamson as Watson (Bell's assistant).

Williamson is highly flexible; his robotic Watson is just as convincing as his somewhat forgotten Watson in telephone history.  His best moments, though, come as the Watson of the “Dweeb Team.”  Williamson’s innocent charm comes through even while he spies on Eliza.  He’s not very good at being a spy; in fact, he’s more naive and bumbling than Inspector Clousseau.

For that matter, everyone in this cast of three accomplished actors (Jonathan Margheim as Merrick and Holly Haverkorn as Eliza round out the cast) seamlessly moves from century to century and from one character to another.  These are some inspired performances, making Watson an engaging adventure through time and technology.

Jonathan Margheim (Merrick).

Margheim is especially effective as the sleazy Merrick who hires his tech guy (Williamson as Watson of the "Dweeb Team") to spy on his ex-wife Eliza.  This Merrick is a particularly odious guy; a political bomb thrower running for office so he can dismantle the office he’s seeking.  (SET’s timing is exquisite here, as there are several politicians running for President with similar views on governing.)   Merrick’s compulsive obsession with his ex-wife borders on stalking, and Margheim’s performance is both scary and convincing.

Holly Haverkorn’s Eliza(s) are equally notable, as she travels through time trying to reconcile technology and with her troubled relationships.  She does a radio interview with Watson (the one that worked with Alexander G. Bell), and is frustrated by his obvious attempts to get some credit for Bell’s invention.  Haverkorn is bored but listens, responding with eye rolling skepticism.  As Watson splits grammatical hairs over Bell’s “Watson, come here” quote, Haverkorn responds a silent  but devastating dismissiveness.

   

Holly Haverkorn (Eliza), Jack Williamson (Watson).

Anna Faye Hunter’s marvelous set straddles the centuries, with circuit board images alongside Victorian touches.  Lighting Designer Brianna G. Pilon has strung Edison style bulbs around the audience and the stage, highlighting the dawn of the electronics age.  Director Sarah Shaver sets a pensive pace that allows some of the playwrights deep themes to simmer.  Shaver’s pace is accelerated, however, for every scene change; the stage hands are beautifully choreographed and coordinated to to minimize the time spent moving set pieces.  

All of which is to say that this is a brilliant production of a script that seems, at times, to collapse from its own weight.  The ideas presented are too numerous to fully develop in a single script:  

• History repeats itself.

• Technology burrows into our lives, making things better.

• Technology burrows into our lives, making things worse.

• Relationships are important but difficult.

• Technology disrupts relationships.

• Genius needs the support of others.

• Supporting a genius does not in itself bestow the status of a genius.

Any of these themes in isolation would be fertile material for a script, but all in combination results in a muddled message.  While the script climaxes with some focus and clarity (which I will not spoil here), the message is by then diluted by the two hour investment made by the audience.  Saving the message of a script for the last 60 seconds of any show is risky.

SET has made a noble effort to present a difficult script, and that effort is much appreciated.  Watson is fully consistent with the SET mission statement, and this production is one to be be proud of, despite my criticism of the script.  

Theater is subjective and personal.  What I found lacking may be inspiring for others.  As for me, I can only agree with the robot Watson’s lament:

“I don’t think I understand what you mean, but I’d like to.  Can you give me a nudge in the right direction?”

NOTES:

There is adult language and there are adult situations  in Watson.  Exercise discretion with preteens and younger teens.

The program credits the running crew, and I have included that information below.  They zipped through the scene changes, quickly adjusting the set between scenes.  I suspect they may have rehearsed nearly as much as the cast.  

There is ample free parking in the lot across the street, and on surrounding streets. Concessions are available and can be consumed in the theater. 

Photo Credit:  Springs Ensemble Theatre Company

TICKETS HERE:

Pre/Post Show Dining Recommendation:

As is our habit for shows at SET, we had dinner at China Village, 203 N. Union, before the show.  We had the “family dinner,” which includes appetizers, soup, and an entree.  We had enough food for a second meal (Chinese take out in a sense), and it was all very good.  Service was quick and friendly; our waiter was one of the best we’ve had at this establishment.  China Village is conveniently located less than 5 minutes to/from the theater. 

CREATIVE TEAM:

Producers:  Sarah S. Shaver, Jenny Maloney & Matt Radcliff

Director:  Sarah S. Shaver

Technical Director/Set Build:  Crystal Carter

Sound Design:  Bob Morsch

Set Design:  Anna Faye Hunter

Lighting Design:  Brianna G. Pilon

Costume Design:  Sarah S. Shaver

Lead Wardrobe:  Hannah McCullough

Costume Construction:  Jillmarie Peterson

Hair/Wardrobe:  Ethan Gann

Stage Manager:  Gabriel Espinoza-Lira

Props Design: Charles Redding, Emory John Collinson

Lead Wardrobe:  Hannah McCullough

Hair/Wardrobe:  Ethan Gann

Dramaturg:  LeAnne Carrouth

Dialect Coach:  Alysabeth Clements Mosley

Running Crew:  Cheyenne York, Rebecca Savage, Brittani Janish & Brendan Foster.

Board Operation:  Gabriel Espinoza-Lira & Micha Spiers

Box Office:  Emory John Collinson

Graphic Designer:  Pat Collins

CAST:

Watson:  Jack Williamson

Eliza:  Holly Haverkorn

Merrick:  Jonathan Margheim

Bill's Best of 2015: DRAMA AWARDS

Bodiam Castle, Eas Sussex, UK.

Here's the last of the 2015 Bill's Best Awards, also known in some circles as the "Wheelies."  (Thank you, Emma Messenger!)  This post is for DRAMA awards, another category requiring some careful analysis and some very difficult decisions.

It's not difficult to see how hard these decisions were for me.  For the first time ever, I am posting a TIE.  You will see that two distinguished, talented, and hard working actresses have won the award for Best Actress, Drama, Small Companies.  They are NOT sharing this award.  They are both, individually, receiving a Best Actress Award in this category.  

I decided that a TIE was the only possible outcome here for a couple of reasons.  First, it's a two woman show; both are central, critical, and essential to the story being told.  Second, their onstage relationship (mother and daughter) cruelly ties each of them to the other's fate.    Most importantly, one cannot separate one from the other; both performances are intertwined, and both performances were off the charts.  Congratulations to both of you.  There is no question in my mind that you changed some lives.

As I have mentioned in my other posts, actors, actresses, production crew, companies, please feel free to reproduce the certificates below, with one restriction.  Please do not make any changes to the text.  If you need something corrected (misspelling, typos, etc), please contact me at bilweeler@gmail.com.  I will make those corrections and provide you with a new certificate.

For those who want a high resolution version to print on photo paper, please contact me.  I will need your email address to get you the hi res file.  I can get it to you using dropbox.com or via email.

I have had a couple of questions about the photos at the top of my Bill's Best posts.  I took them.  I thought I would share some of them, if only because there's little I can do to give back to all the people who make theater magic.  So the pix are all from 2015, and they are some of my favorites.  Today's photo is from Bodiam Castle, East Sussex, UK.

Finally, thank you to all (not just the nominees and winners) in the Colorado theater community for your hard work, dedication, and high quality productions.  Everywhere I go, I am constantly amazed by what you do.  You make your community a better place, and for that reason, you are all winners.

I.  DRAMA, LARGE COMPANIES

A.  The nominations for Best Play, Drama, Large Companies were:

1.  Stupid Fucking Bird, Boulder Ensemble Theatre Company 

2.  Cock, The Edge Theatre Company

3.  Jerusalem, The Edge Theatre Company

4.  The Archbishop’s Ceiling, Arvada Center

5.  Wait Until Dark, Colorado Springs Fine Arts Center

6.  Who's Afraid of Virginia Woolf?, The Edge Theatre Company

Winner, Bill's Best of 2015 Best Play, Drama, Large Companies is:

 Jerusalem, The Edge Theater Company.

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B.  The nominations for Best Actor, Drama, Large Companies were:

1.  Augustus Truhn as Johnny “Rooster” Byron in Jerusalem, The Edge Theater.

2.  Luke Sorge as Con, Stupid Fucking Bird, Boulder Ensemble Theatre Company.

3.  Michael Bouchard as John, Cock, The Edge Theatre. 

4.  Tad Cooley as Billy, Tribes, Denver Center Theater Company.

5.  Christian O'Shaughnessy as Oswald, Ghosts, Theatreworks.

6.  James O’Hagan-Murphy as Nick, Who’s Afraid of Virginia Woolf?, The Edge Theatre.

7.  Scott Bellot as George, Who’s Afraid of Virginia Woolfe?, The Edge Theatre.

Winner, Bill's Best of 2015 Best Actor, Drama, Large Companies is:

Michael Bouchard, Cock, The Edge Theater Company.

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C.  The nominations for Best Actress, Drama, Large Companies were:

1.  Jessica Weaver as Susan, Wait Until Dark, Colorado Springs Fine Arts Center.

2.  Lynne Hastings as Winnie, Happy Days, Theatreworks.

3.  Heather Lacy as Maya, The Archbishop’s Ceiling, Arvada Center

4.  Rachel Bouchard as W, Cock, The Edge Theatre

5.  Maggie Stacey as Honey, Who’s Afraid of Virginia Woolf?, The Edge Theatre Company.

6.  Emma Messenger as Martha, Who’s Afraid of Virginia Woolf?, The Edge Theatre.

7.  Emily Paton Davies, Rosemarie, Outside Mullingar, Boulder Ensemble Theatre Company.

Winner, Bill's Best of 2015 Best Actress, Drama, Large Companies is:

Lynn Hastings, Happy Days, Theatreworks.

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D.  The nominations for Best Supporting Actor, Drama, Large Companies were:

1.   Chris Kendall, Outside Mullingar, Boulder Ensemble Theatre Company.

2.  Brian Landis Folkins as M, Cock, The Edge Theatre.

3.  Joel Leffert as Ed Devery, Born Yesterday, Theatreworks.

4.  John Brown as Ginger, Jerusalem, The Edge Theatre.

5.  Timothy McCracken as Anthony, Outside Mullingar, Boulder Ensemble Theatre Company.

Winner, Bill's Best of 2015 Best Supporting Actor, Drama, Large Companies is:

Chris Kendall, Outside Mullingar, Boulder Ensemble Theatre Company.

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E.  The nominations for Best Supporting Actress, Drama, Large Companies were:

1.  Kate Finch, Tribes, Denver Center Theater Company.

2.  Rebecca Remaly as Mash, Stupid Fucking Bird, Boulder Ensemble Theatre Company.

3.  Billie McBride as Aoife, Outside Mullingar, Boulder Ensemble Theatre Company.

4.  Missy Moore as Myrtle Mae Simmons, Harvey, Arvada Center.

5.  Sharon Andrews as Helen, Ghosts, Theatreworks.

Winner, Bill's Best of 2015 Best Supporting Actress, Drama, Large Companies is:

Rebecca Remaly, Stupid Fucking Bird, Boulder Ensemble Theatre Company.

II.  DRAMA, SMALL COMPANIES

A.  The nominations for Best Play, Drama, Small Companies were:

1.  The Cripple of Inishmaan, Miner’s Alley Playhouse.

2.  My Name is Asher Lev, Miner’s Alley Playhouse.

3.  Hellcab, Funky Little Theater.

4.  A Public Reading of An Unproduced Screenplay about the Death of Walt Disney, The Catamounts.

5.  The Lion in Winter, Firehouse Theatre Company

6.  ‘Night Mother, Vintage Theatre Company.

7.  Killer Joe, Starbar Players.

Winner, Bill's Best of 2015 Best Play, Drama, Small Companies is:

'Night Mother, Vintage Theatre Company.

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B.  The nominations for Best Actor, Drama, Small Companies were:

1.  Emory John Collinson as Nye, Lonesome Hollow, Springs Ensemble Theatre Company.

2.  Curtis Johns as Asher Lev, My Name is Asher Lev, Miner’s Alley Playhouse.

3.  Andrew Uhlenhopp as King Henry II, The Lion in Winter, Firehouse Theatre Company.

4.  Cody Schuyler as Billy Claven, The Cripple of Inishmaan, Miner’s Alley Playhouse.

5.  Roy Ballard as The Cabbie, Hellcab, Funky Little Theater.

6.  Dylan Mosley as Killer Joe, Killer Joe, Starbar Players.  

Winner, Bill's Best of 2015 Best Actor, Drama, Small Companies is:

Cody Schulyer, The Cripple of Inishmaan, Miner's Alley Playhouse.

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C.  The nominations for Best Actress, Drama, Small Companies were:

1.  Billie McBride as Daisy Werthan, Driving Miss Daisy, Cherry Creek Theatre Company.

2.  Emma Messenger as Eleanor, The Lion in Winter, Firehouse Theatre Company.

3. Emma Messenger as Thelma, ‘Night Mother, Vintage Theater Company.

4.  Jacqueline Garcia as The Women, My Name is Asher Lev, Miner’s Alley Playhouse.

5.  Alysabeth Clements Mosley as Sharla, Killer Joe, Starbar Players.

6.  Haley Johnson as Jessie, ‘Night Mother, Vintage Theater Company.

Winners, Bill's Best of 2015 Best Actress, Drama, Small Companies are:

TIE

Haley Johnson and Emma Messenger, 'Night Mother, Vintage Theatre Company.

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D.  The nominations for Best Supporting Actor, Drama, Small Companies were:

1.  Mark Collins as Roy Disney, A Public Reading of An Unproduced Screenplay about the Death of Walt Disney, The Catamounts.

2.  Albert Banker as The Men, My Name Is Asher Lev, Miner’s Alley Playhouse.

3.  Cajardo Lindsey as Hoke, Driving Miss Daisy, Cherry Creek Theatre Company.

4.  Mark Collins as Johnnypateenmik, The Cripple of Inishmaan, Miner’s Alley Playhouse.

5.  Steve Emily as Glover, Lonesome Hollow, Springs Ensemble Theatre.

6.  Shayn Megilligan as Chris, Killer Joe, Starbar Players.

Winner, Bill's Best of 2015 Best Supporting Actor,

Drama, Small Companies is:

Mark Collins, A Public Reading of An Unproduced Screenplay about the Death of Walt Disney, The Catamounts.

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E.  The nominations for Best Supporting Actress, Drama, Small Companies were:

1.  Ellen Regina as Margo, A Late Snow, Springs Ensemble Theatre Company.

2.  Désirée Myers in multiple roles, Hellcab, Funky Little Theater.

3.  Ellen Regina in multiple roles, Hellcab, Funky Little Theater.

Winner, Bill's Best of 2015 Best Supporting Actress, 

Drama, Small Companies is:

Ellen Regina, Hellcab, Funky Little Theater Company.

III.  DRAMA, MICRO COMPANIES

A.  The nominations for Best Play, Drama, Micro Companies were:

1.  Gruesome Playground Injuries, Passage Theatre Company

2.  Silent Salzburg, Rocky Mountain Deaf Theatre

3.  The Twilight Zone, Theatre Company of Lafayette

Winner, Bill's Best of 2015 Best Play, 

Drama, Micro Companies is:

 Silent Salzburg, Rocky Mountain Deaf Theatre.

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B.  The nominations for Best Actor, Drama, Micro Companies were:

1.  Kevin Lowry as Doug, Gruesome Playground Injuries, Passage Theatre Company.

2.   Albert Tharpe III as Hans, Silent Salzburg, Rocky Mountain Deaf Theatre.

3.  Ian Gerber as Rod Serling, The Twilight Zone, Theatre Company of Lafayette.

Winner, Bill's Best of 2015 Best Actor, 

Drama, Micro Companies is:

Ian Gerber, The Twilight Zone, Theatre Company of Lafayette.

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C.  The nominations for Best Actress, Drama, Micro Companies were:

1.  Nicki Lepetit Runge as Shirley Valentine, Shirley Valentine, Funky Little Theatre Company

2.  MacKenzie Sherburne as Kaylene, Gruesome Playground Injuries,  Passage Theatre Company.

3. Lisel Viser as Marlena, Silent Salzburg, Rocky Mountain Deaf Theatre.

Winner, Bill's Best of 2015 Best Actress, 

Drama, Micro Companies is:

MacKenzie Sherburne, Gruesome Playground Injuries, Passage Theatre Company.

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D.  The nominations for Best Supporting Actor, Drama, Micro Companies were:

1.  Shawn Harmer as Gerhardt Klottmeier, Silent Salzburg, Rocky Mountain Deaf Theatre.

2.  Dan O’Brien as Uncle Otto, Silent Salzburg, Rocky Mountain Deaf Theatre.

3.  Aidan Stockrider, multiple roles, The Twilight Zone, Theatre Company of Lafayette.

Winner, Bill's Best of 2015 Best Supporting Actor, 

Drama, Micro Companies is:

Dan O'Brien, Silent Salzburg, Rocky Mountain Deaf Theatre Company.

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E.  The nominations for Best Supporting Actress, Drama, Micro Companies were:

1.  Kate Noonan Rickers as Lisa Klottmeier, Silent Salzburg, Rocky Mountain Deaf Theatre.

2.  Renee Malis as Jana, The Twilight Zone, Theatre Company of Lafayette.

3.  Sage Miller as Professor Farwell, The Twilight Zone, Theatre Company of Lafayette.

Winner, Bill's Best of 2015 Best Supporting Actress, 

Drama, Micro Companies is:

Renee Malis, The Twilight Zone, Theatre Company of Lafayette.