Dark Wood

Playwright:  Peter McGarry.

Venue:  Denver's Dangerous Theatre, 2620 W. 2nd Avenue, Denver, CO  80219.

Company:  Denver's Dangerous Theatre

Date of Performance:  Friday, February 8, 2013

Running Time:  90 minutes (no intermission)

If you venture to a venue named "Denver's Dangerous Theatre" (DDT), you are entitled to expect some edginess, some risk taking, and perhaps some mold breaking.  With Dark Wood, DDT breaks the mainstream entertainment mold and smashes some theatrical "china" as well. 

Fair warning: Dark Wood is not another night at the theater.  The all male cast is naked for the entire performance.  While the nudity is decidedly not erotic, it is nevertheless an element that the audience must deal with immediately.  I should mention that, for good measure, the script is also laced with profanity.  

The pertinent question for a production like "Dark Wood" is whether the risks taken are a) gratuitous or b) justified.  The answer, at least for me, is that the nudity and street language are both justified by the premise of the play.

Patrick Call.  Photo:  DDT

The characters in the play are three undefined primates on display at a zoo.  I see them as orangutans or bonobos, both of which are very intelligent creatures, but the exact species is not necessary to the plot.  

Two of the primates ("Rico," portrayed by Patrick Call, and "Strong Arm," played by Ben Pelayo) were born in captivity; the third (Mbwane, aka Brainard Starling) was captured in the forest.  The play revolves around the comfort of captivity for Rico and Strong Arm and the contrast to Mbwane's lost freedom.

Ben Pelayo.  Photo:  DDT

As the two zoo primates get to know Mbwane, their understanding of their existence is challenged.  They are confronted with difficult questions:  do they simply exist in captivity, or do they live in a different "freedom" from creatures of the forest?  Are they prisoners?  Can they escape?  Should they escape?  Could they live without the "feeders" who feed and care for them?

Brainard Starling.  Photo:  DDT

Mcgarry's script draws its themes from 20th century existentialist philosophers.  Writers like Jean-Paul Sartre explored these same themes; what does it mean to exist, what is our purpose, are we free, and indeed, can we ever be free?  

The beauty of Dark Wood is that it forces the audience to confront their own existence, to ask if their lives have meaning, or whether they are simply captives in a zoo of their own making.  Which side of the cage are we on...the inside or the outside?  The answers are not simple, but the inquiry is valuable.  

The cast here is a strong ensemble, each contributing a different and very distinct "monkey" personality.  Nudity, for actors, is akin to circus performers working without a net.  It is totally honest; one cannot hide any physical or theatrical flaw.  This cast has the courage to expose themselves to ridicule; playing naked monkeys is to potentially turn oneself into the butt of obvious jokes (puns intended).  They take that challenge seriously, even eagerly, and turn those jokes into serious theater.

Dark Wood is certainly not for everybody.  It is for those who are not afraid to give at least as much consideration to their own existential purpose as they do to planning their next vacation.  As Sartre would say, we have freedom, but not everyone takes advantage of it.  

“A human being who wakened in the morning with a queezy stomach, with fifteen hours to kill before next bedtime, had not much use for freedom.” 

Jean-Paul Sartre

DDT and Dark Wood deliver on the promise of "dangerous" theater.  If you have the courage of this cast, and if you care to examine your purpose in life instead of killing the 15 hours before bedtime, Dark Wood is your show.

NOTES:  

This show runs through April 26, 2013.  

This show is not suitable for children; recommended only for 18 years and up.  This show has extensive nudity. The nudity is natural, rather than erotic or sexual.  Recommended only for mature audiences who can see absorb the message without squirming over the raw, naked delivery.  Remember:  it's not called Denver's Dangerous Theatre for nothing.

Purchase tickets here.

Director:  Winnie Wenglewick

Cast:

Rico:  Patrick Call

Strong Arm:  Ben Pelayo

Mbwane:  Brainard Starling

Over the Tavern

Playwright:  Tom Dudzick.

Venue:  Longmont Performing Arts Center, 513 Main Street, Longmont, CO  80501.

Company:  Longmont Theatre Company

Date of Performance:  Saturday, February 2, 2013

Running Time:  2 hours, 30 minutes (includes 15 minute intermission)

For those of you who don't remember the 1950's, you probably think it was a time of innocence, simplicity, optimism, and prosperity.  That's partly true, but not completely.  There were conflicts, Communism, the Cold War, a nascent Civil Rights movement, and a host of other social issues.  LIke any time in our history, it was more complicated than we may remember.

Over the Tavern takes us back to those days, and does so with a focus on the innocence and the fun of the period, but also with a revealing take on the forgotten realities of that period.  

The play takes place in the Pazinski home, "over the tavern" the father operates.  With four kids, and a resident alcoholic grandfather, the budget is tight.  Chet Pazinski (portrayed at high volume by Greg Winkler) runs the tavern but is only marginally present as a father.  He suffers from "bad moods" which routinely terrorize the dinner table.  Chet's wife, Ellen (Krystal Jakosky) does her best to protect the family from Chet's rants.

The Pazinski family is Catholic, and the children attend Catholic schools.  That puts them in direct contact with Sister Clarissa (Marian Bennett), the stereotypical mean spirited nun who will rap your knuckles if you don't know your Catechism.

Marian Bennett/Peter Cabrera.  Photo credit:  LTC

The four children are a motley but engaging crew.  Georgie (Ben Neufeld), who is "retarded," is endearing with a simple but adorable personality.  Annie (Montana Lewis), the overweight teen girl with no self esteem, is struggling with her transition in becoming an adult woman.  Eddie (Beau Wilcox) is the teen boy whose primary focus is magazines with naked women. 

And that leaves us, finally, with Rudy (Peter Cabrera), the youngest Pazinski.  

Cabrera is perfect in the "Rudy" role, giving us a mischievous, charming, and articulate foil to Sister Clarissa.  Rudy, it turns out, is not sure he wants to be confirmed as a "soldier for God."  Instead, he's shopping around for a more "fun" religion.  Rudy so confounds and frustrates Sister Clarissa that she actually has a heart attack.

Over the Tavern is a lot of fun; the laughs fly fast and furious throughout the show.  Despite those laughs, you never forget that there are serious issues here, including faith, abuse, and borderline poverty.  It's a serious message delivered with a big helping of humor.

There are four child actors here; all four are outstanding in their roles.  That said, though, it is Peter Cabrera's Rudy who nearly steals the show.  His performance alone is worth the price of a ticket.  He may be only eleven years old, but he's a pro when he walks on the stage.

The show is well done, although a flickering light on the set was distracting.  Those things happen, but that doesn't change the fact that Over the Tavern is a good time for the whole family.  It's a reminder for all of the us that the myths of the 1950s gloss over the unpleasant realities.  Raising kids is very hard work.  It doesn't matter what decade you do it in.

NOTES:  

This show runs through February 9, 2013.  Suitable for the whole family.  

Rudy/Peter:  Please keep looking for the "fun" in your life.  Too often we adults neglect to follow your example.

Purchase tickets here.

Director:  James Carver

Lighting Designer:  Brian Curtiss

Scenic Design:  James Carver

Sound Design:  James Carver, Chris Parr

Costume Designer:  Judy Ernst

Co-Producers:  Judy Ernst, Tracey Cravens

Cast:

Sister Clarissa:  Marian Bennett

Rudy Pazinski:  Peter Cabrera

Ellen Pazinski:  Krystal Jakosky

Annie Pazinski:  Montana Lewis

Georgie Pazinski:  Ben Neufeld

Eddie Pazinski:  Beau Wilcox

Chet Pazinski:  Greg Winkler

Ghost-Writer

Playwright:  Michael Hollinger.

Venue:  Dairy Center for the Arts, 2590 Walnut Street, Boulder, CO  80301.

Company:  Boulder Ensemble Theatre Company

Date of Performance:  Sunday, February 3, 2013

Running Time:  90 minutes (no intermission)

The premise of Ghost-Writer is simple but engaging:  set in 1919, novelist Franklin Woolsey dies in mid sentence while dictating a new novel to Myra, his typist.  She continues to type, and finishes the book months after his death.  From this premise comes a marvelous drama about the process of writing, a forbidden love, and the source of artistic inspiration.

Hollinger's script is a work of rare beauty.  His novelist, Woolsey, is a writer who dotes on the details, the punctuation, and the tone of his work.  Fittingly, so does Hollinger.  He gives us a focused, polished story; every line is essential, not a word is wasted.  The quality of Hollinger's writing is impressive; he has a gift for using an extensive vocabulary without making the actors seem pretentious. 

Director Josh Hartwell is working with an extremely accomplished cast, and he has made the most of their talents.  He mixes dialog with extended pauses, making the creative writing process both visible and credible.  Hartwell's skill with his actors is on full display in two striking scenes:  his staging and lighting of the dance and the last scene are both exquisite.

Laura Norman.  Photo Credit:  BETC

In a sense, this could be considered a one woman show.  Laura Norman is not just the typist; she is the focus and the force on the stage.  She doesn't portray Myra Babbage; she IS Myra Babbage for 90 minutes.  Her gestures and her facial expressions are the visual punctuation for Hollinger's prose.  Her low key delivery deftly reveals Myra's loyalty to Woolsey and her thinly disguised sexual attraction to him.  Norman's final scene is powerful; you will not soon forget the simultaneous grief and relief she displays as the lights go down.

While Babbage/Norman is the focus, both Jim Hunt and Anne Sandoe shine as the Woolsey couple.  Hunt is the stodgy curmudgeon novelist who has a complicated relationship with his typist.  Sandoe is the jealous wife who knows that she is losing her spouse to a rival with whom she cannot compete.  Both bring their A games to their roles.

If you haven't yet figured out how I feel about this performance, let me make it clear.  Ghost-Writer is extraordinary.  Everything here works; lights, sound, set, costumes, actors, director, and script are flawless.  When all these elements come together, the whole is much greater than the sum of the parts.  To say that the experience is rewarding does not begin to convey the power of the performance.  Ghost-Writer is a must see.  Although it's early, I feel I can begin compiling my "Best of" list for 2013.   Ghost-Writer will be competing for a top spot on that list.

If you haven't noticed, the Boulder Ensemble Theatre Company is having an outstanding season.  Ghost-Writer has a short run (it closes on February 16).  If you can't make it by then, try to get to one of the coming attractions.  They look very promising.

In conclusion, if you've seen the play, you know that Ghost-Writer has given me a suitable phrase to conclude my thoughts here:  

"Well, I suppose that's about it..."

NOTES:  

This show runs through February 16, 2013.  There's nothing here that would be objectionable for children, but the subject matter would not interest most kids.  The discussion of whether an apostrophe is correctly used would probably send them running to the parking lot.  

One of the unintended benefits of Ghost-Writer is the effect it had on composing this post.  I can assure all readers that I have very carefully reviewed my spelling, punctuation, and grammar before posting.  If anyone would like to dispute the use of an apostrophe or a semi-colon, please leave me a comment.  I'd love to have that discussion...

Photo Credits:  BETC

Purchase tickets here.

Director:  Josh Hartwell

Set Design:  Megan Chaney

Lighting Design:  Kerry Cripe

Sound Design:  Andrew Metzroth

Costume Designer:  Brenda King

Cast:

Myra Babbage:  Laura Norman

Franklin Woolsey:  Jim Hunt

Vivian Woolsey:  Anne Sandoe

"Noises Off"

Photo Credit:  Lone Tree Arts Center

Playwright:  Michael Frayn.

Venue:  Lone Tree Arts Center, 10075 Commons Street, Lone Tree, CO  80124

Company:  Co-produced by Lone Tree Arts Center and Starkey Theatrix

Date of Performance:  Wednesday, January 30, 2013

Running Time:  2 hours, 15 minutes (includes one 10 minute one 5 minute intermission)

Although I’ve seen a lot of theater over the years, I’ve never been backstage at a dress rehearsal hours before the opening performance.  Of course, I’ve never seen how sausage is made either.  The difference is that sausage making is not fun to watch, while the dress rehearsal in Noises Off is hilarious.  I think I can say, without spoiling any of the fun, that Noises Off successfully demonstrates how a production can go off the rails and descend into insanity and hilarity.

A “play within a play,” Noises Off is a complex, layered, frenetic script offering substantial challenges to the director (Nick Sugar) and the cast.  The actors are playing dual roles here, first as “actors” and second as the characters they portray in “Nothing On,” a play that is always near collapse both on and offstage. 

Photo credit:  Lone Tree Arts Center

Sugar has assembled an experienced and talented cast that is more than equal to the challenges.  Precise comedic timing is an essential element for Noises Off, and the cast is consistently amazing for hitting their marks at exactly the right time.  Michael Bouchard (“Garry”) Anna Gibson (“Brooke) Evan Marquez (“Freddie”) and Lauren Bahlman (“Belinda”) are the center of gravity around which the other characters orbit.  Their timing, gestures, facial expressions, and delivery sell the action and entertain the audience at every turn. 

Anna Gibson (“Brooke”) stands out here as an airheaded actress who doesn’t realize she’s unintentionally hysterical.  She is not just endearingly ditzy, but she also heats up the stage with her costume (which appears to be lingerie from Fredericks of Hollywood).  She never seems to notice that she is usually the only one onstage in underwear, and acts as if it’s all perfectly normal.  At one point, in fact, she offers to take it all off (she doesn’t), as if that would somehow solve some problems.

Evan Marquez (“Freddie”) has mastered physical comedy, and even manages to climb a flight of stairs with his pants around his ankles. (His Union Jack boxers are a hoot.)  His facial gestures are deliciously exaggerated as he reacts with what appears to be genuine surprise at the developments.

The first act drags a little, but it’s essential to setting up the chaos of the second act.  There is a lot of physical comedy here…so much so that it’s exhausting just watching the actors. 

If I have a quibble with the production, it’s that the program does not credit the set designer.  Presumably, the credit goes to both the Lone Tree Arts Center and to Starkey Theatrix.  The 360 degree set is striking in its functionality and detail.  It sits on a turntable, and can display both the onstage action and the backstage chaos.  The set here is as important as the characters; I think the designer deserves a mention in the program.  In any event, a tip of my hat to whoever was responsible for putting that set together.

I had a great time watching this performance.  Noises Off is engaging, charming, entertaining, and hilarious.  It definitely gets my recommendation.  However, it’s a pretty short run (through February 10), so if you’re interested, you need to book tickets soon.   

NOTES: 

This show runs through February 10, 2013.  Noises Off may not be appropriate for young children due to some vulgar language in the first act. 

Purchase tickets here.

If you haven’t been to the Lone Tree Arts Center (west of I-25 at Lincoln), you haven’t seen one of the newest and finest theaters in the area.  The Main Stage Theater seats nearly 500, but feels much more intimate.  It’s a great venue, and the line up of coming attractions is impressive.

Director:  Nick Sugar

Lighting Designer:  Jacob Welch

Producers:  Starkey Theatrix & Lone Tree Arts Center

Costume Designer:  Linda Morkin

Cast:

Trina Magness, Michael Bouchard, Evan Marquez.  Photo credit: LTAC

Dotty:  Trina Magness

Brooke:  Anna Gibson

Garry:  Michael Bouchard

Poppy:  Rachel Bouchard

Belinda:  Lauren Bahlman

Freddie:  Evan Marquez

Selsdon:  Ron Welch

Tim:  Scott Cahoon

Lloyd:  Kurt Brighton

RFK: A Portrait of Robert Kennedy

Photo credit:  Vintage Theatre

Playwright:  Jack Holmes.

Venue:  Vintage Theatre, 1468 Dayton Street, Aurora, CO

Company:  Vintage Theatre

Date of Performance:  Friday, January 18, 2013

Running Time:  2 hours, 10 minutes (includes 15 minute intermission)

They say that everyone remembers where they were and what they were doing on November 22, 1963.  I know I do. 

I was in Mrs. Muckenhirn’s 5^th period sophomore English class at West High School in Madison, Wisconsin.  Just after 1:00, we got an announcement over the loudspeaker.  President Kennedy was shot and killed in Dallas.  Classes were dismissed.  I remember getting my coat and waiting at the bus stop a block away at the corner of Regent and Allen Streets.  A light rain fell as I waited for the bus, trying to process the unthinkable reality of that day.

We all bring some baggage to the table when the subject is the Kennedys.  Love them or hate them; few are neutral.  Consider the above information to be my full disclosure.  RFK:  A Portrait of Robert Kennedy is a history lesson for most, but for me, it’s reliving a reality.  My sophomore, but hopefully not sophomoric, reality may affect my review.  Take it for what its worth.

James O’Hagan-Murphy delivers an intense, personal RFK.  He walks about the small stage, recounting the learning experiences he endured from 1963 to 1968.  Many of those experiences were traumatic, including the assassination of his brother.  O’Hagan-Murphy’s one-man performance is inspired; he commands the stage as the Attorney General, as the junior Senator from New York, and as the candidate for President in 1968.  I knew RFK in these roles because I was a politically aware young adult at the time. 

What I didn’t know was RFK’s role as a husband, father, brother, and as a man.   It is those moments where O’Hagan-Murphy shines, reminding us that RFK was much more complex than the political images we remember.  He enjoyed football, his kids, meeting celebrities (yes…that includes Marilyn Monroe), and jumping into dangerous waters.  Literally.

O’Hagan-Murphy tells the story of RFK meeting a six year old girl in a dilapidated building in the Bronx.  He tries to connect with her, but she won’t meet his gaze.  O’Hagan-Murphy’s passionate portrayal of the incident elicits audible gasps from the audience as he tells the story.

Director Terry Dodd has used the small room to great advantage.  O’Hagan-Murphy moves constantly from stage left to stage right, telling stories, and making direct eye contact with each and every person in the audience.  You cannot avoid his eyes; he locks on to you.  Dodd and O’Hagan-Murphy have made the experience intensely intimate and personal. 

The blocking and lighting are magnificent; O’Hagan uses the entire stage, but every move appears natural.  Despite his apparent meandering about, he is never in the dark. 

The subtle but unmistakable truth sewn into the fabric of RFK:  A Portrait of Robert Kennedy is that not very much has changed since 1968.  We are still a divided country, we still fight unjustified wars, and we still tolerate poverty and racism in the most affluent country in the world.  Whoever said “those who don’t know history are destined to repeat it” was obviously right.  Unfortunately, it also seems true that knowing history does not cure our historical failures.

If I haven’t yet made myself clear, RFK:  A Portrait of Robert Kennedy is a total winner.  Perfectionists may quibble of the quality of O’Hagan-Murphy’s Boston accent, or over the somewhat humorless two hours of RFK as a ruthless practitioner of hardball politics.  I have no such reservations about this production.  It is engaging, enlightening, entertaining, emotional, and at times inspiring. 

Whatever your political persuasion, you will benefit from seeing RFK:  A Portrait of Robert Kennedy.  If you don’t care for Kennedy and his politics, you will still be impressed with his resilient personality and his undisputed accomplishments.  If you see the world as RFK did, you may be surprised to see his temper, his flaws, and his humanity.  He was not the idol on a pedestal that some mistook him for, nor was he a rich, isolated, liberal elite as his enemies believed.  The truth is somewhere in between.  

Vintage Theatre, James O’Hagan-Murphy, and Terry Dodd have given us a behind the scenes look at RFK, the ambitious but flawed man who didn’t get to finish his mission. 

We are left with the ultimately futile question of “what if RFK had not been cut down at the Ambassador Hotel in Los Angeles on June 6, 1968?”  Of course, we can’t know the answer.  “RFK:  A Portrait of Robert Kennedy” can only remind us of what might have been.  

That is an opportunity that no local theater fan should miss. 

Photo credit:  Wikimedia Commons

“Some men see things the way they are and say, 'Why?'  I dream things that never were and say, 'Why not?”

Robert F. Kennedy

NOTES: 

Originally scheduled to run through January 27, RFK:  A Portrait of Robert Kennedy has been extended through February 24, 2013.  Purchase tickets here.

Director:  Terry Dodd

Sound Designer:  Luke Terry

Lighting Designer:  Luke Slotwinski

Set Designer:  Terry Dodd/David LaFont

Cast:

Robert F. Kennedy:  James O’Hagan-Murphy

"Forever Plaid"

Book by:  Stuart Ross.

Venue:  Littleton Town Hall Arts Center, 2450 West Main Street, Littleton, CO

Company:  Town Hall Arts Center

Date of Performance:  Thursday, January 17, 2013

The 1950’s are generally remembered as the best of times.  It was a time of peace, innocence, relative prosperity, and “traditional” family values.  Whether those memories are accurate is subject to debate, but there’s no dispute that it was the Golden Age of musical harmonies.  Forever Plaid is living, breathing, singing proof of the musical magic of the 1950’s and 1960’s.

For those unfamiliar with the story, the Plaids were a 1950’s guy group, singing harmonies in bowling alleys and lounges in eastern Pennsylvania.  Unfortunately, they were all killed when they were slammed by a school bus full of parochial kids from Our Lady of Harrisburg on their way to see the Beatles on the Ed Sullivan Show.  In other words, the entire cast is dead for the entire show.

In death, the Plaids have one last opportunity to do the concert they never got to do in life.  They have come back to the Littleton Town Hall Arts Center for a truly final appearance.  They take advantage of the opportunity and deliver a triumphant show chock full of delicious musical memories.

The story, however, is secondary to the music.  This play is about the music, and the plot serves only as a way to string together great songs.  And the set list is indeed impressive:  Three Coins in the Fountain, Catch a Falling Star, and Heart and Soul…just to mention a few.

Tim Howard, Barret Harper, Mark Middlebrooks, Jacob Villareal

Forever Plaid requires a solid cast with perfectly matched singing voices.  Nick Sugar (Director) and Donna Debreceni (Music Director) have put together a highly talented group, and they belt out every number with precision, harmony, and a touch of comedy.  When the Plaids are not blending their voices in delicate harmonies, Barret Harper (“Cry”) and Jacob Villareal (Sixteen Tons/Chain Gang) deliver solid, soulful solos. 

The audience demographic skews to a fairly mature group, but that doesn’t mean that younger audiences won’t enjoy this show.  In fact, there’s a pretty good chance that those who don’t remember the 1950’s and 1960’s will be impressed with the music and energy of Forever Plaid.  The contrast between guy group harmonies of 50-60 years ago and the current crop of rap music is stark.  Exposing kids to the former may change their views of the latter.

Forever Plaid at the Littleton Town Hall Arts Center is a guaranteed good time for all.  If you’ve never seen this show, don’t miss this opportunity.  If you’ve seen it before, see it again.  It’s a two-hour trip back in time that will make you smile, sing and laugh. 

NOTES: 

This show runs until February 10, 2013.  This show is suitable for children.  You may want to arrive early, as the on street parking is limited.  There is an RTD park and ride lot nearby.  There are numerous restaurants and taverns nearby, so you may want to make Forever Plaid a dinner and show event.

Photo credits:  Littleton Town Hall Arts Center

Director:  Nick Sugar

Music Director:  Donna K. Debreceni

Sound Designer:  John Rivera

Lighting Designer:  Jacob Welch

Set Designer:  Tina Anderson

Costume Designer:  Linda Morken

Cast:

Francis:  Mark Middlebrooks

Jinx:  Barret Harper

Smudge:  Jacob Villareal

Sparky:  Tim Howard

Band:

Piano:  Donna Debreceni

Bass:  Austin Hein

"War Horse"

Photo Credit:  Denver Center for the Performing Arts

Based on a novel by:  Michael Morpurgo.

Adapted for the stage by Nick Stafford.

Venue:  Denver Center for the Performing Arts, Temple Hoyne Buell Theater, 1400 Curtis Street, Denver, CO.

Company:  National Theatre Company of Great Britain.

Date of Performance:  Tuesday, January 8, 2013 (opening night)

Running Time:  2 hours 45 minutes (includes 20 minute intermission and 12 minute stoppage in the second act).

Opening nights are risky; if something can go wrong, there’s a pretty good chance it will happen at the first performance.  War Horse opened at the Buell on Tuesday, January 8, and it was as memorable for a serious glitch as it was for its dramatic aspirations.

War Horse hit Denver shortly after winning five Tony awards in 2011.  It was a highly anticipated theater event; substantial print and TV press coverage preceded the opening performance.  The show features lifelike puppets to portray the title character.  

To be clear, those puppets do NOT disappoint.  The illusion is so good that one easily forgets that there is no horse on the stage.  The movements, the mannerisms, and frankly, the personality of the horse Joey are dead ringers for a real horse.  It’s no wonder that, in addition to the five Tony awards for the play, the Handspring Puppet Company also won a Special Tony Award in 2011 for War Horse.

Joey, like many of the human characters in War Horse, is “drafted” into World War I, to serve in the British cavalry.  That is a high-risk assignment for Joey; of the 1,000,000 horses that actually went to war, only 62,000 returned.  Albert Narracott (Andrew Veenstra), who raised Joey from a foal, lies about his age to enlist in the British cavalry so he can find Joey and bring him home.  Albert’s devotion to his horse is limitless, as is the carnage he sees on the battlefield.

I really wanted to like, no, love, this play.  Alas, it fell short of the high expectations created by the Tony buzz and the media hype.  Lowlights include:

·      The story is fairly predictable, although the ending is unlikely and frustrating. 

·      Using a horse to show how cruel war can be tends to diminish the cruelty visited upon the human beings whose lives are changed or randomly destroyed. 

·      The horses are not the only puppets in War Horse.  They are, however, the only necessary puppets in the performance.  The other puppets distract.  If you haven’t seen War Horse, picture sparrows on a pole, flitting about the stage followed by a human pole handler.  It just does not work.

While the show fell short of expectations by intermission, the coup de grace was administered near the end of the second act.  In the middle of the battlefield, something went awry backstage, taking down all the sound and light cues.  The house lights came up, the actors left the stage, and the show stopped.   The public address announcer apologized to the audience for the “technical problem backstage.”  It took about 12 minutes to restart the performance.

The effect was that of letting the air out of a balloon.  The audience just sat there, waiting for further instructions. 

Shows that rely on high tech effects walk a tight rope.  If it all works, it’s magic.  However, if there is a small (or in this case, a large) glitch, the effect is calamitous.  It’s not magic.  The illusion is gone.  We think we are participating in an event, but when the magic is gone, we remember that we are watching a performance.  It’s the difference between experiencing an event and observing an event.  That difference is profound.

These things happen.  Computers crash, microphones fail, lights burn out…relying on these tools requires taking the risk that they will perform flawlessly.  They usually do, but not always, and not on opening night for War Horse. 

My experience with Broadway productions, both in New York and on tour, is that they are “state of the art.”  They employ the most talented performers, the best technicians, the most creative producers, directors, and technicians in the industry.  The tickets are expensive (up to $125 for War Horse) because the performances are the best in the world.  War Horse is the first such production where I felt the performance did not justify the ticket price.

I realize that it is unlikely War Horse will suffer another show stopping “technical problem” on this tour.  Unfortunately, I can only review the performance I saw, and that performance fell short of my high expectations.

NOTES: 

This show runs until January 20, 2013.  This show is suitable for children.  However, the subject is war, and some scenes may be too intense for some children.  Parental discretion advised.

Director for US Tour:  Bijan Sheibani

Cast (main characters):

Arthur Narracott:  Brian Keane

Billy Narracott:  Michael Wyatt Cox

Albert Narracott:  Andrew Veenstra

Emilie:  Lavita Shaurice

Rose Narracott:  Angela Reed

Private David Taylor:  Alex Morf

Cast (horses):

Joey as a foal:  Laurabeth Breya, Catherine Gowl, Nick Lamedica

Joey:  Danny Yoerges, Brian Robert Burns, Gregory Manley

Topthorn:  Jon Hoche, Danny Beiruti, Aaron Haskell

Coco:  Patrick Osteen, Jessica Krueger

Heine:  Grayson DeJesus, Jason Loughlin

Bill's Best...A Look Back at 2012

Bill’s Best of 2012.

I created my “Theater Colorado” blog in March 2012, so I’ve been writing reviews of Denver area theater productions for nearly a year.  I’ve posted 32 reviews, which is far short of all the available theater out there.  I’m shooting for 50 reviews in 2013, but even that number is only a sampling of the theater buffet in Colorado.

In any event, I thought (granted, not exactly an original thought) that I should summarize the best of the shows I actually saw and reviewed this year.  This should not be taken as the “best” of Denver theater this year; it’s the “best” of what I saw this year.  It’s one person’s opinion, hopefully as valid as the next person’s opinion.

So here it is…”Bill’s Best of 2012.”

Bill’s Best of 2012:  Best Dramas

A very difficult category; three productions touched me deeply.  It’s like picking your favorite child.  It can’t be done.  So here are the three outstanding productions that I’ll never forget.  They are in no particular order.  Each could stand alone at the top of the list.

1.  “A Small Fire.”  The Edge Theater Company.

The script is a powerful statement about love, loss, and facing our mortality and preserving our relationships.  Kirsten Brandt’s performance, as she literally loses her senses before our eyes, was stunning.  Paul Page played her perplexed, compassionate husband with unusual delicacy.  “A Small Fire” was an unforgettable evening of theater.

2.  “The Laramie Project.”  Evergreen Players.

The tragedy of Matthew Shepard’s brutal murder in 1998 is compelling; the Evergreen Players made it moving and heartbreaking.  Director Angela Astle put together a fabulous cast and made the most of their many talents.  Each actor seamlessly played multiple characters, using simple props and costume variations for each character.  They brought themselves, and the audience to tears as they told the story of an unforgettable hate crime.

3.  “9 Circles.”  Curious Theatre Company.

Bill Cain’s script takes us to the heart of darkness…the March, 2006 massacre at Mahmudiyah Iraq.  The horror of war is brought home in this dark look into the soul of each of us.  How can we endure, much less justify, the atrocities committed in our name?  We can’t.  And that is an ugly, repugnant reality we rarely have to acknowledge.  “9 Circles” delivered that repugnant reality to us.  And I, for one, was both horrified and grateful for the experience.

Bill’s Best of 2012:  Best Musical

“The Who’s Tommy.”  Littleton Town Hall Arts Center.

The perfect Pinball Wizard.  Where better to see a classic rock opera than in a small venue?  Think great music, played loudly, costumes ranging from flashy to trashy, and a talented cast of singers, dancers, and actors.  Mix in a smoking live band directed by Donna Debreceni, and you’ve got a rocking great evening of musical theater.

Honorable Mentions: 

“Avenue Q,” Boulder’s Dinner Theatre. 

“Spring Awakening,” Ignite Theatre.

Bill’s Best of 2012:  Best Comedy

“Five Lesbians Eating a Quiche.”  Square Product Theater Company.

Laugh out loud funny, “Five Lesbians” put on a comedy clinic at each performance.  Director Rebecca Easton managed to turn the tiny Wesley Chapel space into a 1950s era bomb shelter with pastries.  The cast not only played their roles to the “hilt,” but obviously had a great deal of fun doing so.  I’ll never look at quiche the same way again, and that’s a good thing.

Honorable Mention: 

“The Misanthrope,” Germinal Stage Denver.

Bill’s Best of 2012:  Best Actor

 

Sean Scrutchins, “9 Circles.”  Curious Theatre Company.

The script of “9 Circles” is a gem, and Sean Scrutchins role as Daniel Reeves is an actor’s dream.  Scrutchins put his entire being into the role. He became Daniel Reeves for an hour and half each night, and gave us an unforgettable, conflicted, and complicated character.  Reeves crimes were horrendous; the script is based on a true story.  Scrutchins gave us insight into why and how he went over to the dark side, and what it’s like to live with his reality.  This was a marvelous breakout performance for Scrutchins. 

Honorable Mention: 

Joey Wishnia, “Visiting Mr. Green.”  Cherry Creek Theater

Bill’s Best of 2012:  Best Actress

Rhonda Brown, “Red Hot Patriot:  The Kick Ass Wit of Molly Ivins.”  The LIDA Project.

Molly Ivins was a liberal Texas journalist with a razor sharp wit and a penchant for pot stirring.  She skewered Texas politicians with a wink and smile.  Rhonda Brown brought her back to life in a one woman show for the LIDA project.  Brown’s Ivins is brilliant, complicated, and tragic.  Brown delivered flawless performances (I saw it twice) that entertained, enlightened, and endeared her to audiences.  

Honorable Mention: 

Kirsten Deane, “Bug.”  Devil’s Thumb Theater Company.

Bill’s Best of 2012:  Best Ensemble Cast

“The Laramie Project.”  Evergreen Players.

Twelve actors took on multiple roles to tell the story of Matthew Shepard’s 1998 murder.  They created all the characters seamlessly, moving from one to the next with ease.  Their performances were heartfelt, and the effect was stunning.  No one left the theater without leaving some tears behind.

Honorable Mention:  

“Avenue Q.”  Boulder’s Dinner Theatre.

Bill’s Best of 2012:  Best Director.

Christy Montour Larson.  “9 Circles,” “Red” (Curious Theatre); “The Giver” (Denver Center Theater Company)

No contest.  No other director had a 2012 like Christy Montour Larson.  Many directors won’t have a career like Montour Larson’s 2012.  She challenged audiences and actors alike with her work at Curious Theatre.  She entertained and enlightened kids and adults alike with “The Giver.”  She had a truly marvelous 2012.

Honorable Mention: 

Angela Astle, “The Laramie Project.”  Evergreen Players.