Bill's Best of 2104: Playlist for awards...

It’s the most wonderful time of the year…the time for my annual year-end recognition of the best plays I saw in 2014.  My first post to theatercolorado.com was in March, 2012, and the first awards were announced in December, 2012.

I saw and reviewed 60 plays this year.  They are listed below (in no particular order), along with the producing company.  I will post a list of nominations for “Bill’s Best” in the next few days.

I’ll be breaking the nominees into two groups this year:  Large Companies, and Small Companies.  It’s a fairly arbitrary division.  I don’t know any theater’s budget, but some clearly have many more resources than others.  To be fair, I thought competition should be between those with similar resources.  

Please keep in mind that I did NOT see every show in Colorado this year (and I doubt anyone else did either).  I can only pick winners from the shows I saw.  I have no doubt missed many outstanding productions/performances.  Your personal list of winners may vary greatly from mine.

Since this is a hobby, the “Bill’s Best” awards have been web only awards.  I have not figured out how to print, frame, and deliver hard copy awards to all the different theaters and actors who deserve a trophy to display.  

This year, for the first time, I will print and frame a certificate for any award winners who contact me and request the framed version.  Details will follow when the awards are announced.

So here are all the shows I reviewed this year, also know as the candidates for “Bill’s Best, 2014.”

DRAMA:

Large Companies:

1.  Ludlow, 1914, Theatreworks.

2.  The Weir, Theatreworks.

3.  Venus in Fur, Theatreworks.

4.  The Last Romance, Arvada Center.

5.  Shadowlands, Denver Center Theatre Company.

6.  The Whipping Man, Curious Theatre Company.

Small Companies:

  

7.  The Lion in Winter, Thunder River Theatre Company.

8.  All My Sons, Thunder River Theatre Company.

9.  Grounded, Boulder Ensemble Theatre Company.

10.  Ambition Facing West, Boulder Ensemble Theatre Company.

11.  And the Sun Stood Still, Boulder Ensemble Theatre Company.

12.  Annapurna, Boulder Ensemble Theatre Company.

13.  A Steady Rain, The Edge Theatre Company.

14.  Orphans, The Edge Theatre Company.

15.  Buried Child, The Edge Theatre Company.

16.  The Beauty Queen of Leenane, The Edge Theatre Company.

17.  Frozen, Equinox Theatre Company.

18.  Bug, Equinox Theatre Company.

19.  Dead Man’s Cell Phone, Lafayette Theatre Company.

20.  The Well of Happiness, Lafayette Theatre Company.

21.  Sherlock Holmes and the Masters of Crime, Lafayette Theatre Company.

22.  Rattlesnakes, Springs Ensemble Theatre Company.

23.  The Goat or Who is Sylvia?, Springs Ensemble Theatre Company.

24.  Desdemona:  A Play About a Handkerchief, Springs Ensemble Theatre Company.

25.  Awaiting the Apocalypse, Denver’s Dangerous Theatre.

26.  The Outgoing Tide, Firehouse Theatre Company.

27.  Master Class, Goddess Here Productions.

28.  Gruesome Playground Injuries, Triptych Theatre Company.

29.  A Few Good Men, Spotlight Theatre Company

30.  The Women of Lockerbie, Coal Creek Theatre of Louisville.

31.  The Glass Menagerie, PHAMALY.

32.  The 10th, Breckenridge Backstage Theatre Company

33.  Miracle on 34th Street, Spark Theatre Company.

34.  Gideon’s Knot, Square Product Theatre Company and Goddess Here Productions.

COMEDY:

Large Companies:

1.  Girls Only:  The Secret Comedy of Women, Denver Center Attractions.

2.  The Lying Kind, Theatreworks.

3.  The Servant of Two Masters, Theatreworks.

4.  Psycho Beach Party, Theatreworks.

Small Companies:

5.  The Butler Did It, Black Box Theatre Company.

6.  Sylvia, Ashton & Abster Productions.

7.  5 Lesbians Eating a Quiche, Square Product Theatre Company.

8.  William Shakespeare’s Land of the Dead, Lafayette Theatre Company.

9. The WYNOT Radio Theatre Show, Mutual Consent Radio Theatre Company.

10.  Art, Springs Ensemble Theatre Company.

MUSICALS:

Large Companies:

1.  Mary Poppins, Colorado Springs Fine Arts Center.

2.  Dracula, Colorado Springs Fine Arts Center.

3.  Floyd and Clea Under the Western Sky, Colorado Springs Fine Arts Center.

4.  Forever Plaid, Colorado Springs Fine Arts Center.

5.  Tarzan, the Stage Musical, Arvada Center.

6.  Memphis, Arvada Center.

7.  She Loves Me, Arvada Center.

8.  Sisters of Swing, BDT Stage.

9.  Church Basement Ladies:  A Second Helping, BDT Stage.

10.  1940s Radio Hour, Lake Dillon Theatre Company.

11.  Ring of Fire, Lake Dillon Theatre Company.

Small Companies:

12.  Thoroughly Modern Millie, First Company.

13.  The Full Monty, Aspen Theatre Company.

14.  Company, Equinox Theatre Company.

15.  35MM:  A Musical Exhibition, Ignite Theatre Company.

16.  Love, Marriage, and Other Natural Disasters, produced by Gastineau/Friedland).


Nominations from this list to follow soon...

About theatrecolorado.blogspot.com...

Photo credit:  Dan Wheeler Photography.

I thought that this might be a good time to provide some background information to readers at theatercolorado.blogspot.com as I work on recognizing the best shows I saw in 2014.  With that in mind, here’s some points that I think are worth putting in writing for all.

Theater Colorado started in 2012 as an outlet for my thoughts about plays I was seeing with my late wife Linda.  She was a Henry judge for the Colorado Theater Guild, and she got 2 complimentary tickets for the shows she was assigned to judge.  She was a theater major at Minot (ND) State University, and she was passionate about theater.  I have always been a “fan” of theater, and Linda encouraged me to write my thoughts about the shows we saw.  I shared them with a couple of our Henry judge friends (thanks, Brent & Rowena), who encouraged me to keep writing and to put my reviews online for all.

Readers at theatercolorado.blogspot.com may have wondered what expertise I have to judge their work.  My background includes living with a passionate theater person (Linda) for 22.5 years.  She schooled me on many technical and fairly obscure facts about putting a show together.  That doesn’t make me an expert.  It just gives me some insight into the process as well as the product.

What I consider my “expertise” for reviewing plays is that I am sitting in the audience, taking in the production.  I write from that point of view, which is, after all, the point of view that is perhaps the most important.  If a show doesn’t work for the audience, it doesn’t really work.

I do bring some basic skills to theatercolorado.blogspot.com, including a fairly extensive background in writing.  Before I retired in 2009, writing was a daily, and a critical, part of my work.  

My other strength (at least in my opinion), is my focus on details during a performance.  I don’t take notes, at least not on paper.  It’s too distracting; I would miss important lines while writing notes.  Rather, I focus on the performance, making mental notes of the details that define the show.  Sometimes those notes are related to the script (I try to remember a few of the most important lines), but mostly they are mental notes about the set, the acting, the singing, the lighting, the sound, the blocking, and sometimes the intangibles that can make or break a performance.

Linda and I disagreed somewhat on script issues; she was adamant that a good performance of a flawed script could still be a worthwhile experience.  For me, if the script is flawed, it’s very hard for me to appreciate the technical excellence on the stage.  

Linda passed away on May 6, 2013 from a recurrence of breast cancer.  The last show we saw together was Always, Patsy Cline...on April 20, 2013.  As she was admitted to hospice, she was complaining that she had tickets for Sense & Sensibility the Musical at the Denver Center for the Performing Arts on Friday, May 10.  She wanted to be released in time to see it.  She was THAT passionate about theater.

In December, 2013, I replaced Linda as a Henry judge at the Colorado Theater Guild. Being a Henry judge and writing at Theater Colorado helps me keep Linda's passion alive.

I remarried in May, 2014, and Roxie and I now both embrace Linda's love of theater.  Roxie works full time, so there are scheduling challenges for us to get to some shows.  Because we often are driving from Colorado Springs to some destination to the north or west after she finishes her shift at the FedEx data center, we have to stop somewhere for dinner before the show.  For others in a similar situation, I added a pre/post show dinner suggestion with each post.

My blog is a hobby.  I don’t get paid for it, but it does have significant costs for travel from Colorado Springs to wherever the shows are, and frequent overnight stays in motels.  Shows in Aspen, Carbondale, and northern Colorado theaters require an overnight stay.  Since most of the shows are in the Denver/Boulder area, a lot of productions are a 2 hour round trip, plus about 2 hours in the theater.  If we have 2 shows in the Denver/Boulder area in a single weekend, we often stay overnight at a hotel.  

Each review runs approximately 1,000 words, and takes about 4 hours to draft, edit, format, and post.  I am currently getting 200-300 hits per day on Theater Colorado, with approximately 300 hits on each post by the end of its run.  Some posts get a great deal more traffic than the average; one post this year exceeded 5,000 hits.  Since theatercolorado.blogspot.com went live in March, 2012, the posts have received a combined total of more than 160,000 hits.

If you have specific questions about theatercolorado.blogspot.com, or about my background or writing process, please feel free to leave me a comment below.

Mary Poppins

Based on: the stories of P.L. Travers and the Walt Disney film.

Original Music and Lyrics by:  Richard M. Sherman and Robert B. Sherman.

New songs and additional music and lyrics by:  George Stiles and Anthony Drewe.

Book by:  Julian Fellowes

Co-Created by:  Cameron Mackintosh

Venue:  Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, CO, 80903.

Running Time:  3 hours, 5 minutes (includes 15 minute intermission).

Date of Performance:  Friday, December 19, 2014. 

You probably already know some of the music:  

Supercalifragilisticexpialidocious. 

A Spoonful of Sugar. 

Chim Chim Cher-ee.  

If you've seen the film, you can't forget the songs.  If you haven't seen the stage version, here's your chance...don't waste it.

Mary Poppins is a musical we have probably all encountered in some small way since the Julie Andrews/Dick Van Dyke film version in 1964.  That film garnered 13 Academy Award Nominations (still the most ever for any film), and won 5, including Best Actress for Andrews.  More importantly, the film won the hearts and minds of millions of fans worldwide.

Colorado Springs is no exception; the fans seem to be legion.  The Fine Arts Center run has been breaking attendance records, and has been extended by one week.  It is now scheduled to close on January,11, 2015, but even with the extension, you may not be able to get a ticket.  It's easy to see why.  Mary Poppins is a marvelous musical, with catchy tunes, colorful characters, and a charm that works magic on kids of all ages.

The Fine Arts Center (FAC) production is a rare gem in a resume full of winners.  The FAC has put it all together here, starting with Erik D. Diaz' beautiful set that serves as both exteriors and interiors, and includes a bedroom, a parlor, a park, a bank, and a London street.  The music, under the careful and skillful direction of Jay Hahn, is a flawless sound track for the talented actors, singers, and dancers who bring the fantasy to life before our eyes.

L-R:  Mallory Hybl (Jane), Jennifer DeDominici (Mary Poppins), Nate Patrick Siebert (Michael)

Mary Poppins (Jennifer DeDominici) is no easy role, and it's not made any easier playing against two charming and very talented kids:  Mallory Hybl (Jane Banks) and Nate Patrick Siebert (Michael Banks).  Hybl and Siebert hit every mark, deliver every line, and dance like pros, all while appearing to totally enjoy every minute they are on stage.  At the outset, they are a pair of spoiled brats, throwing nanny after nanny under the bus.  What kid wouldn't totally enjoy THAT role?  They are challenged, though, to act their way through a transition from hellions to darlings. It turns out that they are just as convincing and charming in either role, which is no small acting feat.

Jennifer DeDominici (Mary Poppins)

DeDominici has a voice like a song bird; she lights up the stage with each of the three hits mentioned above and a number of lesser known tunes like Practically Perfect and Feed the Birds.  DeDominici wins over the kids and the adults alike with her singing, dancing, flying, and charisma, always the nanny, teacher, and role model for her Jane and Michael.

Mary Poppins at FAC is a family show in more ways than one; Sally Hybl (Winifred Banks) is Mallory's mother, both onstage and offstage.  That probably accounts for a good deal of the chemistry between the two; they don't have to act like mother and daughter.  They are mother and daughter.  The senior Hybl is an arresting Winifred; she may have the strongest voice in a cast of approximately 25 including the ensemble.  When she sings, you can't help but cherish every note.  

Jennifer DeDominici, Kevin Pierce

Kevin Pierce (Bert) is Mary Poppins' platonic male friend, and also the narrator when needed.  Pierce makes a dashing chimney sweep; his turn on the rooftop in Act 2 is one of the most memorable of the show.

Tom Auclair (George Banks) is the onstage father to the young punks, and he's great as a tough, rules oriented, but altogether remote parent.  His onstage transformation, though, is a joy to watch.  He's a banker who learns to reward good people instead of good profits, which spills over into his parenting skills.  

Director Scott RC Levy has done yeoman's work here, managing a huge cast, multiple moving set pieces, a magic, bottomless carpetbag, an excellent orchestra, and a seemingly endless script, all to wondrous effect.  (With one caveat:  at just over 3 hours, even the cushy FAC seats test even the most patient in the audience).  Choreographer Mary Ripper Baker makes even the tap dancers look and sound spectacular.  Lex Liang's costumes are colorful and fun, mixing well with Jonathan Eberhardt's hair designs for a great period look.  It's also worth noting that the FAC has wisely spent the money to bring in ZFX to help Mary Poppins fly; it's always a wise decision to put the actors' safety in the hands of professionals.

There's a lot to like at the FAC production of Mary Poppins.  If your credit card is nearing its limit with Christmas shopping, fear not.  Invest whatever credit you have left in tickets to Mary Poppins for the family.  It will be one of the best gifts they get this holiday season.

In fact, it's so good that I can't resist borrowing the superlative invented just for Mary Poppins:  this show is 

Supercalifragilisticexpialidocious!

And that says it all.

NOTES:  

Mary Poppins is suitable for all ages.  For younger kids, prepare them in advance.  At just over three hours, Mary Poppins is a challenge for adults.  Kids have a somewhat shorter attention span.

There is free parking on the streets around the theater.

This show closes on January 11, 2015. 

Pre or post show dining suggestion:  

Phantom Canyon Brewing Company at 2 E. Pikes Peak Avenue, is a short, five minute drive to or from the theater.  It's a microbrewery, with an impressive list of handcrafted beers.  The menu includes Bison burgers as well as ground beef, and entrees from fish & chips to Grilled Scottish Salmon.  Happy hour is 3-6:00 PM and 10 PM to close, featuring pints for $2.75 and $3.00 house wines.  Be prepared, though.  It can be busy at peak times, and on street parking is metered but hard to find.  

Photo Credits: Colorado Springs Fine Arts Center, unless credited otherwise.

Tickets HERE.

Creative Team:

Director:  Scott RC Levy

Musical Direction:  Jay Hahn

Choreography:  Mary Ripper Baker

Production Stage Manager:  Katy McGlaughlin

Scenic Design:  Erik D. Diaz

Lighting Design:  Jonathan Spencer

Sound Design:  Alex Ruhlin

Costume Design:  Lex Liang

Properties Design:  Katelyn Springer

Hair & Make-Up Design:  Jonathan Eberhardt

Flying Effects:  ZFX, Inc.

Cast  (Principals):

Bert:  Kevin Pierce

Mary Poppins:  Jennifer DeDominici

George Banks:  Tom Auclair

Winifred Banks:  Sally Hybl

Jane Banks:  Mallory Hybl

Michael Banks:  Nate Patrick Siebert

The Lion in Winter

Playwright:  James Goldman

Venue:  Thunder River Theatre, 67 Promenade, Carbondale, CO, 81623.

Company:  Thunder River Theatre Company

Running Time:  2 hours 20 minutes (includes 15 minute intermission).

Date of Performance:  Sunday, December 14, 2014. 

The Lion in Winter, for those who have not seen the play or the 1968 film starring Peter O'Toole, Katherine Hepburn, and Anthony Hopkins, is a historical drama set in medieval England in 1183.  It would be easy to dismiss a subject so remote in time and place as no longer relevant and probably boring.  

Such a dismissal would be regrettable; The Lion in Winter is neither irrelevant nor boring.  In fact, the intra family struggles of King Henry II of England are not unlike the struggles of parents everywhere today.  It turns out that raising children hasn't become any easier in the last 831 years.

Set on Christmas Eve and Christmas day in 1183, Henry II and his wife, Eleanor of Aquitaine, are in a quandary:  which of their three sons should inherit the throne after Henry is gone?  Despite their best efforts, none of the three sons seems worthy or even capable of ruling the Kingdom.  

The ensuing treachery and betrayal turns the stage into a Christmas nightmare.  It reminds me a bit of some of the less memorable family holidays in my own household.  The holidays are stressful, but in the royal castle, misbehavior may (and does) get one thrown into the dungeon.

Pre-show shot of "The Lion in Winter" set.  Photo credit:  Bill Wheeler

Thunder River's production is an accessible, personal one; staging it "in the round" brings a three dimensional feel to the characters and the action.  Lon Winston's set design is simple but very effective; the checkerboard floor sets the stage for the intricate chess moves as the characters jockey for any advantage in the succession plan.  The minimalist set pieces permit excellent sight lines from every seat surrounding the stage.

Winston is also King Henry II, and he's a formidable ruler.  Both regal and paternal, he projects power and sensitivity in equal measure.  Henry's struggle to find a capable successor is difficult, and Winston beautifully embodies that difficulty.  He is determined to preserve his Kingdom after he's gone, even though his decision may destroy his family.  Winston visibly struggles with his problem, and cleverly reveals the pain of knowing he can only choose from bad options.

Tracy Madeline (Eleanor), Lon Winston (Henry), Jamie Sklavos (Alais).

Trary Maddelone as Eleanor of Aquitaine seems a thoroughly modern woman.  She gets what she needs from Henry, and tolerates his mistresses in return.  Maddelone is marvelous, making Eleanor an equal to Henry in many ways, taking no back seat to him.  She brings a feminine touch to the cast, but with a brash, bold attitude that makes her as much a player as the King.  

Jaime Sklavos (Alais), plays Henry's young lover (and perhaps his true love) with gusto; one never doubts her attraction to the King.  Sklavos also brings innocence and charm to her role, and there is no problem understanding Henry's infatuation with her.  She's a gem, and he knows it.  Sklavos, though, is also a thoroughly modern woman.  She understands her role, and she understands the danger she will face when she no longer has Henry to protect her.  Sklavos' performance is nuanced enough to make us sympathize with her predicament.  That's a substantial achievement, as Alais might be a lot less sympathetic in other hands.

Henry's sons John (Emery Major), Geoffrey (Adam Solomon), and Richard (David Pulliam) show us a realistic array of qualities and faults that any contemporary parent might find in his or her own offspring.  John is naive.  Geoffrey's talents are for bureaucracy, not leadership.  Richard can be a leader, but he lacks people skills.  Major, Solomon, and Pulliam carefully pull off these characters, making Henry's choice difficult.

Nick Garay (King Philip of France) completes the scheming crowd on the Thunder River stage, and he's got a bit of secret.  He and Richard have a special relationship, making them potential conspirators in the intrigue.  Garay portrays King Philip as a quiet but capable opponent, but his interest in Richard may cloud his judgment.  Garay has a scene with his shirt unbuttoned, and he struts about casually exposing his beautifully sculpted abs.  Richard has good taste in men, and I'm sure there wasn't a woman in the audience who wasn't also eyeing Garay in that scene.

Mike Monroney's direction is spot on.  His characters are not historical, they are contemporary.  The audience is never forgotten; the actors are blocked so as to give everyone a great view of the action.  

Thunder River's The Lion in Winter is a crackerjack show.  It's an excellent production of an exquisitely written script.  Carbondale is a 170 mile drive from the Front Range, but if you're a theater buff, this is well worth the trip.  This is professional theater with a view of Mount Sopris.  

Does it get any better than that?

NOTES:  

The Lion in Winter is suitable for all ages.  That said, though, those under 16 may find the story to much talk and too little action.

There is free parking on the streets around the theater.

This show closes on December 21, 2014. 

Mount Sopris from Highway 82 near Carbondale.  Photo Credit: Wikipedia.  

Pre or post show dining suggestion:  

The White House Pizza restaurant is literally in a white house.  With multiple big screen TVs, excellent pizza, a local brew (Freestone Extra Pale Ale) on tap, and daily specials, it's no wonder the White House has been voted the Best Carbondale Restaurant seven (7) times, including 2014.

We had a couple of issues with the service, but for price, convenience, and taste, the White House is a winner.  It's only about a 2 minute drive to the theatre, so before or after the show, stop in for a snack, a meal, or just a beer.  It's THE place to go in C'Dale.

Photo Credits:  Thunder River Theatre Company, unless credited otherwise.

Tickets HERE.

Creative Team:

Director:  Mike Monroney

Stage Manager:  Olivia Savard

Scenic Design:  Lon Winston

Sound/Lighting Design:  Brad Moore

Costume Design/Prop Coordinator:  Diane Johnson

Dramaturgy:  Mike Monroney, Lon Winston

Cast:

Henry II of England:  Lon Winston

Alais:  Jaime Sklavos

John:  Emery Major

Geoffrey:  Adam Solomon

Richard:  David Pulliam

Eleanor of Aquitaine:  Trary Maddelone

King Philip of France:  Nick Garay

The WYNOT Radio Theatre Show

Playwright:  Cory Moosman/Sammy Gleason

Company:  The Mutual Consent Radio Theatre Company

Venue:  Colorado Springs Fine Arts Center, 30 West Dale Street, Colorado Springs, CO, 80903.

Running Time:  1 hour, 30 minutes (includes 10 minute intermission).

Date of Performance:  Thursday, December 11, 2014. 

It's a Christmas show, and I guess that makes me Scrooge.  I'm rating this one "Bah.  Humbug."

If you think that the WYNOT Radio Theatre Show is an authentic 1940's radio theater show, let me set you straight now.  It's not.  Nor does it pretend to be authentic.

Rather, the WYNOT Radio Theatre Show is a mashup/sendup of the genre.  It is tethered to the 1940's format, but infused with a much edgier, much more contemporary take on entertainment.  Gone is the innocent charm of the 1940's, and in it's place WYNOT gives us the irreverent wisecracking radio humor that is commonplace today.  Creator Cory Moosman has redesigned the radio format of yesteryear and rebuilt it with nonstop sexual innuendo and politically incorrect characters.  

Whether Moosman has improved or dishonored the original format is a matter of taste.

Taste is a flexible concept, but a "Smoking Baby" is, for me, tasteless.  As a sponsor for the WYNOT Radio Show Theatre, "Hammer Cigarettes" are a fiction. I get that.  But the "Smoking Baby" part is just not funny.  In fact, I suspect that in the 1940's just as in the 21st century, a smoking baby could result in a visit from Child Protective Services.

That said, if a smoking baby doesn't offend your senses, maybe Black Falcon Whiskey will.  I just don't see the humor here.

I can't help but point out that mocking multiple ethnic groups in a single show is not very entertaining either.    

• German immigrants?  Hitler mustache?  Check.
• Mexicans?  Fake mustaches?  Check.
• Chinese immigrants?  Funny glasses and accent?  Check.

I realize that there's a market for politically incorrect humor, and perhaps even a rather large market.  I just don't count myself among the fans.

I'm not a prude; I enjoy a good joke as much as the next guy.  That said, though, the first time a detective is referred to as a "private dick" can be funny.  The second, third, and fourth time, though, it gets annoying.  In fact, the humor seems to reflect high school male attitudes.  The sexual references are, at best amusing, which is to say not very funny.  It's the difference between a smile and belly laugh; these jokes elicit the former, not the latter.

One of the most entertaining things about 1940's radio is how they created their own sound effects in the studio, giving the listener the impression of actually being in the middle of the stage action.  In a break with the original format, The WYNOT Radio Theatre Show uses a  number of prerecorded sound effects.  It's annoying to see a hand held vacuum with recorded sucking sounds, knowing that there were no hand held vacuums in the 1940's (nor much in the way of prerecorded sound effects).  

But even more annoying is the imaginary brass band ("The Horny Brass"), apparently inserted into the script for the sole purpose of getting to say "The Horny Brass" several times.  Cue the 30 seconds of prerecorded brass instruments to justify the pun.  To top off "The Horny Brass" joke, we are treated to signs (horns on a stick) representing "The "Horny Brass" as the brief prerecorded clip plays.

Remember.  This is radio.  We shouldn't need visual clues or musical instruments on a stick to get the message.

I can't dismiss the possibility that the WYNOT Radio Theatre Show is designed specifically to annoy people like me.  I already admitted to being a Scrooge; I'll also confess to being a bit of a curmudgeon.  If the target audience doesn't include curmudgeons, mission accomplished.

Even so, I'll take off my curmudgeon/Scrooge hat for a moment.  I've dwelled on my gripes here, but I should mention some positives as well.  The show is very fast paced.  The one liners come at you at blazing speed, usually with a credibly deadpan delivery.  They are actually doing three versions of the show ("Death Wore Elevator Shoes," "It Came Upon a Midnight Deadly," and "The Smoking Gun Affair").  The show I saw was "Death Wore Elevator Shoes."   Three different scripts in three weeks is a challenge few companies would take.  The actors are all capable and personable, and do a marvelous job of animating a show I don't much care for.  Said another way, the production is fine, but the script is off the mark, at least for me.

The WYNOT Radio Theatre Show could be consistent with your tastes, and if so, please get yourself a ticket (link below) and register your displeasure with my take on it.  Comments are always welcome.  

For my part, if I could only see one Christmas show this year with a 1940's theme, I would pass on the WYNOT Radio Theatre Show and see this one.

NOTES:  

The WYNOT Radio Theatre Show is suitable for teens and older.  There is parking across the street from the Fine Arts Center, and on the surrounding streets.

This show closes on December 28, 2014. 

Photo Credits:  WYNOT Radio Theatre.

Tickets HERE.

Creative Team:

WYNOT RADIO Created by:  Cory Moosman

Directors:  Cory Moosman, Sammy Gleason

Lily St. Boudoir's dress by:  Janson Fangio

Cast:

Hal Van Patten:  Cory Moosman

Jackie LaMont:  Sammy Gleason

Myron Powell:  Taylor Cardinal

Montgomery Lynde:  Jonathan Eberhardt

Lily St. Boudoir:  Casiena Raether

Miracle on 34th Street

Novel by Valentine Davies

Adapted by: Mountain Community Theater

Based on:  Miracle on 34th Street, 20th Century Fox films (1947).

Venue:  Spark Theater, 985 Santa Fe Drive, Denver CO, 80204.

Running Time:  2 hours (includes 15 minute intermission).

Date of Performance:  Sunday, December 7, 2014. 

"All dates have sold out for this show." 

That's the message that greets you when you go to the Spark Theater's webpage, looking for tickets to Miracle on 34th Street (hereafter abbreviated as Miracle).  That's right; sold out.  The entire run.  If you want to see Miracle on 34th Street at the Spark but don't yet have a ticket, you'll need a minor miracle of your own.

That's unfortunate; it's an excellent production that I highly recommend.  However, the Spark Theater is a very small (I estimate 30-40 seats) venue, so the capacity is very limited.  

It's a familiar story; the 1947 film with Edmund Gwynn and Maureen O'Hara is a Christmas classic.  For those who may have avoided the annual "Miracle" festival, it's about the guy Macy's hired to play Santa Claus (here, a jolly and wise Wade Livingston as Kris Kringle).  It turns out he actually believes he IS the man in the red suit with white fur trim.  His sanity is questioned, and ultimately resolved in his favor.

Miracle is an enduring Christmas classic not just because it evokes all the right emotions for the season, although it does exactly that extremely well.  It also provides a stark counterpoint to the overwhelming commercialism that has come to characterize our Christmas season.  Whether you want a new toy, a new doll, or a new bicycle has little to do with the real spirit of Christmas.  Christmas shouldn't be about sales, but about being the best people we can be.

The "miracle," if you will, of 34th Street, is that if you believe, you just might receive.  If you don't, you probably won't.  It is that recurring theme of having faith and trust in people, institutions and traditions that make Miracle a special script.  

While the Spark Theater is one of the smallest venues in Denver, the company does not take a back seat to any of the larger facilities.  They know how to use their tiny space to maximum effect, and for Miracle, Spark has put together a marvelous production of a much beloved script.

Wade Livingston as Kris Kringle.

If anyone could make an audience believe in Santa Claus, his name is Wade Livingston.  His Kris Kringle is approachable, logical, controlled, but also quietly defiant.  He IS the man, and he doesn't easily tolerate fools who doubt him.  He has a twinkle in his eye as he promises to deliver Christmas wishes for those who believe.  Livingston shines as Kris Kringle, bringing out the best in not just himself, but in all in his orbit.

Doris (Kaity Gray) and Fred (Matthew Davis) make a charming couple, working through the banter of friends becoming partners.  Gray is convincingly stand offish; Davis is just as convincing as the secret admirer who fumbles his way into a great relationship.  Cassie Kelso's dual roles as Ms Shellhammer and the attorney who has to prosecute Santa Claus are challenging, but Kelso pulls them both off with gusto.  Her time in court comes to an ignominious end as Kelso slinks off the stage in humiliation.  

Wade Livingston (Kris Kringle) and Kaity Gray (Doris) with the kids of Miracle.

Doris' daughter Susan (Francesca Hiatt) sparkles as the not so innocent girl she seems to be.  She wants a house and a dad, and she makes both happen, perhaps because she believes Santa can deliver on her request for both.  

I am going to make a leap of faith here, and assume that the other Hiatts in the cast, mother Joi (Sharon's mother), son Jerin (Johnny), and daughter Maria (Caroler) are all related as I've described.  If so, Joi has a very talented family.  Maria is the youngest (in kindergarten according to the program), and ideally suited to bring an innocence and a sense of wonder to the Spark stage.  Maria hits all her marks, is as cute as they come, and she makes eye contact with everyone in the room.

In fact, it's safe to say that the children in the cast are central in Miracle, and they are all charming, appealing, and focused on their roles.  There's not a weak character in the bunch (Francesca, Jerin, & Maria Hiatt, Paulina Eden Perez, Elle Marshall) which is a tribute to Lorraine Scott's direction and to the dedication of these kids and their families.

This is a bare bones production in a tiny venue, but it speaks volumes about how theater magic can happen on a low budget.  You will not see a better, more moving, more compelling Christmas performance this year.  It will remind you of why we have faith ("Faith is believing something when common sense tells you not to") at Christmas.  

And if you don't have "faith," Miracle might be just the medicine you need.

NOTES:  

Miracle on 34th Street is suitable for all ages.  

There is free parking on surrounding streets.  However, plan on walking the equivalent of at least one block unless you're lucky enough to snag a spot on Santa Fe Drive near the theater.  

This show closes on December 21, 2014. 

Pre or post show dining suggestion:  

Interstate Kitchen & Bar, 1001 Santa Fe Drive, Denver, CO 80204.  Located literally just steps from the theater, the Interstate is perhaps the only place I know of in Denver offering Genessee Cream Ale on draft.  Genny Cream is a multi award winning local brew from Rochester, New York, and for me (born in Rochester), a special treat.

We attended a Sunday matinee, so we we to brunch at the Interstate before the show.  We were seated immediately, and I had no problem subbing shoestring fries for the potato has included in my "Sportsman's Breakfast."  For a reasonable $10, I got the shoestring fries, 2 eggs, sausage, bacon, ham, and toast.  Oh.  And a Genny Cream Ale for $3.00.  This is a breakfast feast at a bargain price.

Photo Credits:  Spark Theater and Photos by Blu Hartkopp.

Tickets are sold out.

Creative Team:

Director:  Lorraine Scott

Assistant Director/Stage Manager:  Geri Crawley

Production Manager:  Lynn Cox

Sound Design:  Rick Reid

Cast:

Kris Kringle:  Wade Livingston

Doris Walker:  Kaity Gray

Susan Walker:  Francesca Hiatt

Fred Gayley:  Matthew Davis

Ms Shellhammer/Prosecutor Mara:  Cassie Kelso

Judge Harper/Bag Lady:  Darlene Grandy

Mr. Macy/Drunk Santa:  Michael Greening

Dr. Pierce:  David Cervera

Mr. Bloomingdale:  Cory Moore-Davis

Ms. Sawyer/Rich Lady:  Karen Betstadt

Jim Duncan/Caroler:  Logan Custer

Johnny/Caroler:  Jerin Hiatt.

Caroler:  Maria Hiatt

Sharon's Mother/Caroler:  Joi Hiatt

Sharon/Caroler:  Paulina Eden Perez

Ms. Halloran, Dutch Girl's Foster Mother:  Sydney Kenney

Dutch Girl/Janet Mara:  Elle Marshall