Sisters of Swing

Conceived & Written by:  Beth Gilleland & Bob Beverage  

Company:  Boulder's Dinner Theatre

Venue:  Boulder's Dinner Theatre, 5501 Arapahoe, Avenue, Boulder CO

Running Time:  2 hours, 25 minutes (includes 20 minute intermission)

Date of Performance:  Saturday, March 29, 2014 

The Andrews Sisters sold 90 million records and had more Top 10 hits than Elvis or The Beatles.  Sisters of Swing is the story of Laverne, Maxene, and Patty Andrews as they charmed and entertained America from the 1930s, through World War II, and on into the 50s-60s.  It was a simpler, but special, time in American history, and The Andrews Sisters were a crucial musical part of that time, mood, and culture.

The story follows them from their Minneapolis roots to clawing their way to the top of the music charts, working with Glenn Miller, Bing Crosby, and nearly every other big name of that era.  

It's a familiar story; they were very young when they went on the road, accompanied by their parents/managers.  There were the usual sibling rivalries, the boyfriends/lovers/husbands, the artistic conflicts, and the inevitable deterioration of their sisterhood.  The arc of the story is not quite as dramatic as say, Justin Bieber or Lindsay Lohan, but the "kids as celebrities" story was as difficult then as it is now.  It's not a normal life for youths, and the routine can be grueling.

The story here, though, is really secondary to the music.  Simply put, the music is fabulous.  Fifty, sixty, even seventy years later, we still know this music.  Sisters of Swing brings us an Andrews Sisters "Greatest Hits" concert done by a fabulous cover group.  If you're a fan, you'll recognize the tunes:

• Boogie Woogie Bugle Boy. 
• Don't Sit Under the Apple Tree.  
• All I Want for Christmas Is My Two Front Teeth.  
• Near You.  
• Beer Barrel Polka.  
• I'll Be With You In Apple Blossom Time.  
• Accentuate the Positive.  
• Three Little Fishes
• Six Jerks in a Jeep
• Count Your Blessings

The music, the mood, the costumes, and this hugely talented cast will take you back in time while you sing along, laugh, and maybe even cry a few tears.

"Six Jerks in a Jeep." Front, L-R:  Scott Beyette, Joey Revier, Wayne Kennedy.  Rear, L-R:  Tracy Warren, Norell Moore, Joanie Brousseau.  

The cast (Norell Moore as Patty, Joanie Brousseau as Laverne, and Tracy Warren as Maxene) is superb.  Their voices blend into pitch perfect harmonies that do justice to the original Andrews voices.  Each is a true triple threat; they 1) act, they 2) sing, and they 3) dance, and the result is as entertaining as Patty, Laverne, and Maxene were at their peak. 

While the three part harmony is The Andrews Sisters signature, Norell Moore is the lead singer in many of the songs.  Early in the second act, she belts out Corns for My Country.  Moore gets a chance to step up to the plate, and she knocks it out of the park.  If you haven't seen Sisters of Swing, get a ticket, if only to see Moore sing this one.  She ROCKS the house when she does a solo; when she's joined by Tracy Warren and Joanie Brousseau, the combination is pure Andrews Sisters magic.

Tracy Warren does double duty as both Maxene Andrews and as the Director.  Her direction is tight and focused, and her pacing is frenetic.  There's not a wasted moment on the stage, and every note, every dance move, and every costume change is seamless.  

Audio Designer Wayne Kennedy mixes the orchestra with the harmonies well; the former never overpowers the latter.  Kennedy has filled the room with the sounds of what seems to be B-52s landing next door.  In the second act, the audio news clips from World War II had the audience hushed, focused.  It was a moment to listen, a moment to remember.  

For most musicals, the BDT orchestra is backstage somewhere, heard but not seen.  That's a shame; they're a very accomplished group.  For Sisters of Swing, they take center stage and never leave it.  Music is, after all, a pretty important part of a "musical," and it's great to see the band in action for a change.

As you can see from the photo above, the costumes, wigs, and hair designs are all spot on. Linda Morken and Debbie Spaur have dressed the cast in period appropriate beautiful outfits.   How they got the hats to stay on through all the dance moves is a mystery to me, but the look and mood of the cast was perfect.  

Speaking of dance moves, the choreography is beautiful, and it is beautifully executed by the cast.  The physical demands for the ladies of Sisters of Swing are formidable.  This cast is up to the challenge.  They deliver the dance moves just like they deliver the music.  In other words, you will see very talented actors sing and dance with boundless harmony, synchronicity, and energy.

Sisters of Swing is top notch, first rate musical theater.  Whether you're a fan of the Andrew Sisters or not, you'll be thoroughly entertained by this show.

NOTES:  

There is ample free parking is ample at the theater.  

This show closes on May 11, 2014.  

This show is suitable for all ages, and there were a few young (6-10 years old) children in the audience.

Pre or post show dining suggestion:  

Dinner is included in your ticket price.  Seating for evening performances begins at 6:15; the lobby bar opens at 5:30.  We had 1) the cod and 2) the prime rib ($9.00 up charge).  Both were excellent.  The BDT kitchen is very efficient.  Service begins almost immediately after you are seated.  Drink and desert orders are taken just before the opening curtain.  

Here's the important thing about dinner. The cast doubles as your waiters and waitresses.  Norell Moore (Patty Andrews) was our beverage waitress, so she was responsible for keeping my Diet Coke refilled as well as belting out marvelous music for the whole house.  These are hardworking, talented actors working your table for tips.  Yes.  That's right.  They are working FOR TIPS.  Chat with them, joke around with them, but do NOT forget to tip them before you leave.  They have earned your tip, onstage, in the kitchen, and at your table.  It's your chance to "support the arts."

Tickets HERE.

Photo Credits: Boulder's Dinner Theatre

Producer:  Michael J. Duran

Director:  Tracy Warren

Music Conductor:  Neal Dunfee

Scenic Artist:  Amy Campion

Audio Design:  Wayne Kennedy

Lighting Design:  Brett Maughan

Choreographer/Dance Captain:  Jessica Hindsley

Costume Designer:  Linda Morken

Hair & Wig Design:  Debbie Spaur

Cast:

Patty Andrews:  Norell Moore

Laverne Andrews:  Joanie Brousseau

Maxene Andrews:  Tracy Warren

Vic:  Joey Revier

Utility Guy:  Scott Severtson

Lou, Male Swing:  Scott Beyette

Lou, Male Swing:  Wayne Kennedy

Female Swing:  Chaundra Nelms

The Beauty Queen of Leenane

Playwright:  Martin McDonagh

Company:  The Edge Theatre Company

Venue:  The Edge Theatre, 1560 Teller Street, Lakewood CO  80214

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

Date of Performance:  Saturday, March 22, 2014 

Leenane is a small village in County Galway, on the rocky west coast of Ireland.  Martin McDonaugh's Tony Award winning black comedy is set in Leenane, an isolated, harsh environment that McDonaugh has populated with bleak and cynical characters.

The Beauty Queen of Leenane debuted in Galway in 1996, and won four Tony Awards on Broadway in 1998.  Billed as a dark comedy, the script is both funny and tragic.  

The plot revolves around Maureen Folan (Emily Paton Davies), a decidedly plain woman in her 40's whose main task in life is to care for her prickly and ungrateful mother, Mag Folan (Emma Messenger).  Maureen's caregiving skills are borderline, and she teeters somewhere between tolerating her mother and hating her.  Her life is very lonely; she is unmarried and probably destined to stay that way forever.  Despite her history of mental illness, Maureen seems to cope well with the grim reality of her daily life.

The Dooley boys (Ray, played by Michael Bouchard and Pato, played by Mark Collins) are neighbors.  There is a romantic spark between Maureen and Pato in the first act, and that spark drives the plot through its tragic conclusion.  

One way to measure the power of a performance is to pay attention to the audience reaction.  Based on those reactions, Beauty Queen at The Edge is one very powerful production.  The audience was laughing out loud at the comedy, but also reacting viscerally to the tragedy.  There were audible gasps at the brutality on stage, and whispers of disbelief at the complete depravity of the tragic turns.

Cast L-R:  Michael Bouchard, Mark Collins, Emily Paton Davies.  Front:  Emma Messenger.

Emma Messenger's performance as Mag is, as the Irish might say, "bang on."  She whines.  She squints.  She stares.  She glares.  She moans.  She shuffles.  She dumps her bedpan in the kitchen sink.  She commands the stage every moment she is on it.  

Emily Paton Davies sparkles as Maureen, the lonely, semi-dedicated caregiver on a doomed quest for love.  She is the disturbed, dysfunctional "beauty queen" who is ultimately incapable of love.  Paton Davies heats up the stage with her passion for Pato, but dashes her own dreams with her sociopathic descent into madness.  The chemistry between Paton Davies and Pato (Mark Collins) is palpable; she boldly seduces him and brags about it to her mother.  Paton Davies takes us on an emotional roller coaster ride, playing the audience like a violin.

Mark Collins and Michael Bouchard are compelling as the Dooleys; both are talented, capable actors with credible Irish brogues.  Collins is endearing as the lovable Pato with a dismal but predictable future.  His monologue at the beginning of the second act is touching and heartfelt.  Bouchard brings his considerable comic chops to his role as  Ray.

The Edge puts its talented cast on Christopher Waller's gorgeously detailed set; an Irish farmhouse complete with a functional sink and a wood burning stove.  

Director Michael Stricker deftly shows us a nearly normal Maureen who struggles with flashes of insanity.  Stricker emphasizes the love starved but lovable Maureen, saving the evil Maureen for maximum shock value.  At times, the direction is also tender.  When Maureen wants Pato to touch her, it is done in a mature, delicate manner.  What could have been vulgar comes off as delicate and tasteful.

In the intimate space at The Edge, any flaw is magnified.  That said, Emma Messenger's makeup is flawless.  The staff has aged her to perfection, from the wig to her slippers and socks.  It's more than makeup and costumes though.  Her face includes prosthetic cheeks and jowls, giving her the appearance of a 70 year old.  Caroline Smith (prosthetics) and Brynn Starr Coplan (costumes) have done a marvelous job of totally changing Messenger's appearance.

McDonagh's script turns the traditional love story upside down.  Instead of showing us the power of love, we see the consequences when love is lost, absent, and unattainable.  It's a powerful if bleak reminder of how we all need someone to love in our lives.

The Beauty Queen of Leenane in the hands of The Edge Theatre is unquestionably a complete joy to watch.  It is one of those rare theater experiences that engages, teaches, and stays with you long after you leave the parking lot.  The Edge has delivered some sparkling shows recently (Bengal Tiger at the Baghdad Zoo, Orphans).  The Beauty Queen of Leenane continues the string, and I think it's the best of the three.  In fact, it is safe to say that The Edge is in an elite group of the best theaters in Colorado.  Based on The Beauty Queen, it is arguably the very best.

If you haven't bought a ticket yet, you should get one.  Now.  Before they're gone.

NOTES:  

The dialog comes with a heavy Irish accent.  It will take most in the audience a few minutes to get used to the accent and cadence.  A few hints:  "Kimberlys" are cookies (or biscuits, in Ireland).  Mag Folan eats "porridge."  "Wee" doesn't always refer to something small.

This show closes on March 30, 2014.  This show is recommended for adults.

Pre or post show dining suggestion:  

One of my favorites is within 10-15 minutes of The Edge Theatre:  The Yardhouse, 14500 West Colfax Ave., Lakewood, CO 80401 (in the Colorado Mills Mall).  You will not find a better selection of draft (and mostly craft) beers anywhere.  The food is very good, and the background music is always classic rock and roll.   Happy Hour (3-6:00 PM) includes half price appetizers.  It does get busy, though, so add 15 minutes minimum wait time to your plans if you don't use call ahead seating.

Tickets HERE.

Photo Credits:  The Edge Theatre Company.

Director: Michael Stricker

Set/Lighting Design: Christopher Waller

Master Carpenter Emeritus: Rich Munoz

Sound Design:  Kenny Storms

Costume Design:  Brynn Starr Coplan

Prosthetics:  Caroline Smith

Dialog Coach:  Scott Bellot

Cast:

Maureen Folan:  Emily Paton Davies

Mag Folan:  Emma Messenger

Pato Dooley:  Mark Collins

Ray Dooley:  Michael Bouchard

"5 Lesbians Eating a Quiche" 2014 version.

Playwrights:  Evan Linder & Andrew Hobgood

Company:  Square Product Theatre Company

Venue:  First Divine Science Church of Denver, 1400 Williams Street, Denver, CO 80218.

Running Time:  1 hours, 15 minutes (no intermission)

Date of Performance:  Friday, March 14, 2014 

I saw Square Product's production of 5 Lesbians in 2012; it was a hoot.  Their current remount has nearly all of the original cast, and all of the same silly fun, witty dialog, and feminine charm of the original production.  

5 Lesbians is set in 1956 at a meeting of the officers and members of The Susan B. Anthony Society for the Sisters of Gertrude Stein.  The membership demographics skew heavily towards widows.  There are no men in the crowd, by design.

It's the annual Quiche Contest meeting, and the anticipation of finding the perfect quiche made from the perfect egg with the perfect combination of vegetables is at a fever pitch.  (The perfect quiche cannot contain any meat.  You have to see the show to figure out why.)  

As the thespians/lesbians open the contest by sampling the first quiche, you'll be treated to what has to be the best (and only) onstage demonstration of a food fetish I've ever seen.  Adjectives fail me here, so I'll just describe that scene as a memorable and "tasty" aphrodisiac.

L-R:  Jessica Robblee, Laurie Lynch, Michelle McHugh Moore, Emily K. Harrison, Lindsey Pierce.

As in the 2012 production, the ensemble is over the top, preening and posing at every opportunity.  They are truly "sisters" onstage, each playing off the other caricatures and characters.  Emily K. Harrison reprises her role as Dale, a lesbian with father issues who hasn't spoken to a man since she was three years old.  Her poignant story of her older sister's demise is one of the few tender moments in the script.  Harrison has the dramatic range and the comedic chops to be a character in the midst of four other caricatures.

Laurie Lynch (Vern) is the "Girl Scout" in the group.  She's out, she's butch, and she's full of bluster.  Lindsey Pierce (Wren) is feminine, dignified, and full of mischief.  Pierce's costume and hair were perfect for her role.  Michelle McHugh Moore (Lulie) is the President of the "Sisters," and she struggles constantly to maintain control of the chaos.  

Jessica Robblee (Ginny) thinks she's straight, but discovers her hidden attraction to women.  Robblee has a crucial role in the cast; not only must she convincingly discover her true nature, but she also has a central role as an enthusiastic quiche lover.  She handles both of these delicate situations like an intelligent but innocent character would.  In the hands of a lesser actor, 5 Lesbians would not be nearly as entertaining.

Entertaining, in fact, is exactly how to describe 5 Lesbians Eating a Quiche.  The show is fun for all who are open to the adult theme.  

I'm going to indulge myself now and get on my soap box.  Feel free to skip the rest of this review if you'd rather not hear the sermon.

I couldn't help but consider how much has changed since I saw 5 Lesbians in 2012.  There's a line in the show that hopefully states that in four years (1960), "we can probably get married."  Of course, that didn't happen.  

Nevertheless, since the last Square Product version of 5 Lesbians, nine (9) states have legalized same sex marriage (bringing the total to 17 states).  Court rulings currently on appeal would make marriage equality the law in five more states (Utah, Oklahoma, Kentucky, Virginia, and Texas).   In fact, it appears that marriage equality may run the table in courts all over the country, including Colorado.

Marriage equality is on the way to becoming the rule instead of the exception.  Is that because of Square Product and other media and entertainment options that show gay and lesbian characters as our fun, charming friends and neighbors?  Probably not, but it would be naive to say the arts have no impact at all.  Square Product, in fact, can take credit for reminding us that lesbians are our sisters, our daughters, our friends and our neighbors.  Not only are they people we know...they are also the people we love.  

Despite all the tragedies (9/11), disappointments (officially sanctioned torture), and hardships (Great Recession) we have known in the first decade of the 21st Century, marriage equality is a beacon of hope and inspiration.  Art, film, and theater, including Square Product, are part of that beacon.  

There were many couples in the audience who came to see a show that they can relate to, that entertains them, and that doesn't marginalize them.  Thank you, Square Product, for giving dignity and respect to all in your audience.  

As far as I know, there is no local "lesbian" theater company, catering to primarily to that niche audience.  Perhaps we need one.  Perhaps Square Product should be that company.  

Playing to a small slice of the potential audience is risky, but the rewards are huge.  I know a lot of theater fans who would not hesitate to see good theater, no matter the niche.  Consider PHAMALY.  It's focused on disability issues, but their high quality productions attract diverse audiences and show disabled individuals as performers with amazing talent.

The Square Product mission statement includes "change":

"The mission of square product theatre is to create and collaborate on original, honest and innovative works of theatre with local and national artists...(W)e dedicate ourselves fully to the beauty of simplicity and the importance of theatre and performance as a vehicle for communication, relation and change."

If I were writing this mission statement, it would be shorter and simpler.  But since I'm not writing it, I'll just suggest one revision.  Perhaps it's time to revise the last line to "equality and change."   

NOTES:  

The venue is a church basement, and given the setting for the play, it's a very appropriate location.  There was a church dinner event going on at the same time as the play.  While some may see an incongruity between church activities and dramatic lesbians, it was comforting to see each group's acceptance of the other.

Arrive early enough to find a parking place.  There is limited church activity parking available on the north side of the building.  Otherwise, expect an extensive tour of the nearby blocks searching for street parking.

This show closes on March 22, 2014.  

This show is suitable for adults of all ages.

Pre or post show dining suggestion:  

This theater is sandwiched between Cheesman Park and East Colfax.  In other words, it's not exactly in the middle of a lot of great restaurants.  

I traveled from Colorado Springs, stopping at The Rockyard American Grill & Brewing Company in Castle Rock.  Expect very good craft beers and typical brewpub grub.  Try the Firebird sandwich; it's one of the best buffalo chicken sandwiches I've found.

TICKETS HERE.

Photo Credits:  Square Product Theatre Company.

Director:  Joe Gill

Production Manager:  Rand Harmon  

Set/Costume/Properties Design: The Ensemble

Lighting Design:  Jess Buttery

Sound Design:  Rebecca Easton & Emily K. Harrison

Cast:

Wren Robin:  Lindsey Pierce

Vern Schultz:  Laurie Lynch

Dale Prist:  Emily K. Harrison

Ginny Cadbury:  Jessica Robblee

Lulie Stanwyck:  Michelle Moore

All My Sons

Playwright:  Arthur Miller

Company:  Thunder River Theatre Company

Venue:  Thunder River Theatre Company, 67 Promenade Court, Carbondale, CO 81623

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

Date of Performance:  Sunday, March 9, 2014 

There is little debate; Arthur Miller is a giant of 20th century American theater and a Pulitzer Prize winner in 1949 for Death of a Salesman.  He won a Tony Award for All My Sons in 1947, his first Broadway venture, establishing himself as a serious playwright.  His work is still produced regularly more than 60 years later, proof of the timelessness and universal themes in his work.

Thunder River's production of All My Sons is a solid one.  Director Lon Winston obviously appreciates Miller's insight into some deep moral questions.  Winston's (and Miller's) characters hold up a mirror to each of us, challenging us to sift a meaningful message from the emotional debris we all have to deal with.

Miller's script sets up a complex moral dilemma:  are "family" values (providing financial and moral guidance to loved ones) more important than the "social" values we owe our fellow citizens?  It's a very real and relevant question, decades after Miller posed it.  

To make the moral point, Miller's protagonist, Joe Keller, is a successful businessman whose plant made pistons for P-40 fighter planes during the war.  Keller allegedly (although never convicted of the crime) covered up defects in the pistons.  Those defects led to a number of P-40s crashing and killing the pilots.  Keller sees his coverup as protecting his family from the potential ruin of his enterprise.  Indeed, he asks, what else could he have done?

Joe's son Chris is convinced that such a coverup is not only a criminal enterprise (one he naively believes his father would never participate in), but is the moral equivalent of murder.

  

This conflict between the father (played here by Kent Reed) and his son (David Pulliam) is compelling theater.  The father is supposedly the older, wiser, and savvy patriarch; Chris is the naive, good hearted kid who wants to be universally liked.  Reed and Pulliam both bring their A games to the Thunder River stage.  Their physical confrontation in the second act is the inevitable result of the clash between the father's corrupted morality and the son's innocent idealism.  Reed and Miller's performances do justice to the power of Miller's script.

To illustrate the contemporary relevance of Miller's script, one need only look as far as current events.  General Motors (GM) has known of a defect in their automobiles since 2004.  Rather than report the problem or recall the vehicles, they did nothing for a decade.  In the interim, at least thirteen (13) deaths resulted from the defect.  GM's choice to neither report nor recall their vehicles is exactly the kind of moral failure Miller was focused on in his All My Sons script.  One wonders how the responsible GM executives can sleep at night, knowing that 13 of their customers died at their hands.

Thunder River gets a lot right here.  Powerful performances from the lead actors, excellent sound and lighting design, perfect period costumes, and a functional as well as beautiful set all combine for an entertaining and thought provoking experience.  

NOTES:  

Parking is abundant behind the theater, but it's not paved.  Watch for mud.  You may not want to wear your best shoes.  There is also ample on street parking.

This was my first time at the Thunder River facility.  It's a magnificent venue.  The company won the 2012 Henry Award for Outstanding Regional Theatre.  

For those who are unfamiliar with Carbondale, it's a happening town at the base of Mount Sopris, on the road between two big Colorado tourist destinations:   Glenwood Springs and Aspen.  Think skiers, galleries, restaurants, and downtown townhouses as well as rural McMansions. 

The Thunder River Theatre Company has an excellent motto:  "Not Just A Place, But Where It Takes You."  I don't doubt for a second that they are taking their audiences to some marvelous places.

This show closes on March 15, 2014.  This show is suitable for all ages.

Pre or post show dining suggestion:

White House Pizza, 801 Main Court, Carbondale.  

It's not on the menu, but if you ask your server, you can get thin crust pizza as well as the standard thick version.  Their ingredient list includes one of my favorites that doesn't show up on very many pizza menus:  GREEN OLIVES!  They have about a half dozen beers on draft, and for St. Patrick's Day, you can get $3.00 shots of Jameson Irish Whiskey.  That, in my world, is a bargain.

Tickets HERE.

Photo Credits: Thunder River Theatre Company.

Director:  Lon Winston

Set Design: Brad Moore

Technical Director:  Kerek Swanson

Cast:

Joe Keller:  Kent Reed

Kate Keller:  Valerie Haugen

Chris Keller:  David Pulliam

Ann Deever:  Sarah Dale Payne

George Deever:  Corey Simpson

Dr. Jim Bayliss:  Lee Sullivan

Sue Bayliss:  Laurie Clemens

Frank Lubey:  Chris Walsh

Lydia Lubey:  Kelly Ish  

The Women of Lockerbie

Playwright:  Deborah Brevoort

Company:  Coal Creek Theater of Louisville

Venue:  Louisville Center for the Arts, 801 Grant Avenue, Louisville, CO 80027

Running Time:  90 minutes (no intermission)

Date of Performance:  Saturday, February 22, 2014 

I have readers who are probably too young to remember the December 21,  1988 terrorist attack on Pan Am flight 103.  Those who do remember the event may have forgotten some of the details.  We should all know about Pan Am flight 103, and it must not be forgotten.  Therefore, I have included links to web pages describing the attack and its aftermath in the NOTES after this review.

Lockerbie is a small town (population 4,009 in the 2001 census) in southwest Scotland.  It has been a sleepy place since approximately the year 900 AD.  That all changed on December 21, 1988 when Pan Am flight 103 crashed into the stunned community.  A total of 270 people perished that day, including 11 on the ground in Lockerbie.  The Women of Lockerbie tells the story of how that day changed everything for the survivors, and how they coped with the tragedy.

The play takes place on December 21, 1995, in the hills outside of Lockerbie.  It is seven years after the crash, and Bill (Steve Rausch) and Madeline (Mary Kay Irving) have come to Lockerbie from New Jersey, searching for their son.  He was on flight 103, but his remains were never located.  Madeline is obsessed; she needs some tangible evidence that her son died that day.  Bill is resigned to his loss, but supports his wife the best he can.

The script balances our most powerful emotions:  love and hate.  Love for those we lost, hatred for those responsible.  It's a delicate balance; harboring both emotions simultaneously can be destructive.  Olive (Anne Sandoe) and the other women of Lockerbie know this; convincing Madeline provides a profound emotional arc to the performance.  Her bottomless grief is logical and understandable, but it is also destructive.  Bill is on the verge of giving up on her.

To say the premise of The Women of Lockerbie makes for interesting drama is a pitiful understatement.  It is better to think of the script as a dramatic gold mine.  Director Larisa Netterlund and her cast skillfully mine that gold, making The Women of Lockerbie one of the best shows I've ever seen from the Coal Creek company.

Netterlund is working in a very small space, on a very tight budget, and with a cast and crew of volunteers, most of whom probably have day jobs.  That said, however, do NOT lower your expectations.  She has put together a crackerjack cast and a workable, if symbolic, set.  The result is a minor miracle of a theater experience.

Cast of "The Women of Lockerbie"

Steve Rausch and Mary Kay Irving deliver as the grieving couple.  Irving, in particular, acts as if she is very familiar with loss and grief.  Her emotions are genuine, and her quest for closure is the key plot element in the show.

Anne Sandoe (Olive) has resolved her internal battle between love and hate, and she helps Madeline resolves hers as well.  In such an intimate space, the audience has the benefit of seeing the gestures and facial expressions close up.  Sandoe is a joy to watch; she is completely immersed in her character.  Her facial expressions repeatedly exposed the profound loss and grief that all survivors endure.  

Mary Secor (Hattie) has a secondary/supporting role, but she plays it with a zealous charm.  She's a spark plug, and an inspiration to all of us.  The script gives her a chance to seize an opportunity and make a difference.  Secor makes a difference with her character as well, bringing a simple but powerful woman to life.

The Women of Lockerbie is meaningful theater done very well.  It puts Pan Am flight 103 back on my radar screen.  It turns terrorism into opportunities:  opportunities to grieve, and opportunities to confront and defeat hate.  It's a story of how a few strong, brave women can make a very big difference.  The Women of Lockerbie got a long, sincere standing ovation.  It was a well deserved but insufficient reward for such a powerful performance.

NOTES:  

Arrive early enough, or stay late enough, to view the photos in the lobby and the theater.  They are relevant to the performance, and to the memory of Pan Am flight 103.

This show closes on March 8, 2014.  

This show is suitable for all ages.  However, there are some gruesome descriptions of the victims of Pan Am flight 103.  Parental guidance is advised.

Relevant webites:

Victims of Pan Am Flight 103

Photos of the crash scene.

Wikipedia page for Pan Am Flight 103

Dark Elegy:  Remembering the Moment.

Disclaimer:

This show is about grief.  I have recently suffered my own great loss and profound grief.    I have done my best to be objective about The Women of Lockerbie, but my vision may be clouded somewhat for personal reasons.  Readers should be aware that this show evoked some painful emotional moments for me.

Pre or post show dining suggestion:  

Waterloo, 809 S. Main Street, Louisville.  Besides the good food, you'll find music memorabilia around the room.  "God Bless Johnny Cash" is the motto here.  Waterloo is casual, inexpensive, and just minutes from the theater.  The Harvest Spinach Salad (fresh spinach, apples, dried cranberries, gorgonzola crumbles & toasted almonds, tossed with house-made warm maple vinaigrette) is delicious.

Tickets HERE.

Photo Credits: Coal Creek Theater of Louisville.

Director:  Larisa Netterlund

Set Design: Chris Pash & Pam Bennett

Sound Design:  Larisa Netterlund

Lighting Design:  Dene Morrow

Costume Design:  Joy Robins

Cast:

Olive:  Anne Sandoe

Bill:  Steve Rausch

Madeline:  Mary Kay Irving

George:  Dan Shock

Hattie:  Mary Secor

Chorus:  Nanci Van Fleet, Brandy McGreer, Stephany Roscoe

The Glass Menagerie

Playwright:  Tennessee Williams

Company:  Phamaly

Venue:  Arvada Center, 6901 Wadsworth Boulevard, Arvada, CO 80003

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

Date of Performance:  Sunday, February 23, 2014 

The Glass Menagerie is one of Tennessee Williams' first and most famous scripts.  It debuted in 1944, making it 70 years old this year.  I can safely report that it is still as fresh and as relevant as it was 70 years ago.  Phamaly's current revival crackles with the energy, the wit, and the wisdom that made Williams one of America's most important writers.  

Williams won two Pulitzer Prizes for Drama, one for A Streetcar Named Desire (1947), and the second for Cat on a Hot Tin Roof (1955).  Williams may in fact be the most important American playwright of the 20th century.

Producing The Glass Menagerie is no small task, and there is a risk to any company that their production may not measure up to audience expectations for such classic scripts.  Phamaly has no fear of challenges and risks.  The members of this special company face more challenges and risks daily than most of us face in a lifetime.

For those unfamiliar with The Glass Menagerie, the title refers to Laura's collection of glass animals, including a glass unicorn.  They are delicate, beautiful, and extremely fragile.  When the unicorn breaks, Laura tells us "it's no tragedy.  Glass breaks so easily no matter how careful you are."  

In that poetic line, we realize we are all just as fragile as a glass figure.  We all get broken, no matter how careful we are.  The challenge in our lives is not to prevent the damage.  The challenge is to cope with the damage. 

Phamaly's mission is "to inspire people to re-envision disability through professional theatre."  Every script they select, every play they produce fulfills that mission, and The Glass Menagerie is no exception.

I could dwell here on the disability angle, but I won't.  These are talented, dedicated actors and performers.  They produce outstanding theater. It just happens to be outstanding theater with disabled performers.  Phamaly is fully capable of competing with any theater company anywhere.

Cast L-R:  Jenna Bainbridge, Eric Richerson, Ashley Kelashian, Daniel Traylor

Daniel Traylor plays Tom, a young warehouse worker in a dead end job.  He knows he has no future, and it is eating him up.  "I'm boiling on the inside" he says.  And he is.  Traylor brilliantly conveys Tom's internal struggle, and his decision to make a change.  He is in effect, Williams' stand in here, narrating the story and wrestling with Williams' own demons.  As his mother says, he smokes too much, he drinks too much, and he stays out late at night.  What she doesn't say is that he's broken, just like the glass unicorn.  Tom knows he's broken, but he doesn't know how to fix it.  

Jim (Eric Richerson) is the "gentleman caller" from hell.  He goes from a superior attitude, to flirt, to heartbreaker in a single scene.  Richerson's Jim is convincing, if ultimately annoying.

Jenna Bainbridge's Laura is perfect; shy, introverted, lost and without hope.  Bainbridge is no stranger to Phamaly audiences, and she has taken a star turn on the Boulder's Dinner Theater Stage.  Ms Bainbridge is one of Denver's top young actors in what is a very talented theater community.

It is, however, Ashley Kelashian (Amanda) who totally lights up the Phamaly stage here.  Amanda's kids, Laura and Tom, seem to be in tailspins; she does everything a mother would do to save them.  Kelashian is a constant force, a nagging but sincere mother, trying to keep Tom and Laura from crashing.  It's a lost cause, just as the glass unicorn is a lost cause.  Kelashian creates beauty out of Amanda's struggle, and it is her we are thinking about as we walk out of the theater.

The technical aspects of The Glass Menagerie are all superb.  The set is functional, but as

minimal as Williams would have wanted.  The sound is flawless; the lighting is as dark as the story Williams is telling.  Bryce Alexander's direction is superb.  Every line is memorable; every pause is important.  His characters are simultaneously real people and poetic symbols.

It's only February, but The Glass Menagerie may be the best play you will see in the Denver area this year.  Think about that.  Not the best play Phamaly does this year.  The best play in Denver this year.  

Yes.  It's THAT good.

NOTES:  

This show closes on March 9, 2014.  

PLEASE NOTE THAT THE ONLY REMAINING PERFORMANCES OF PHAMALY'S The Glass Menagerie will be at the Lone Tree Arts Center, 10075 Commons Street, Lone Tree, CO  80124.  Performance dates are March 7, 8, and 9.

Pre or post show dining suggestion:  There is a wealth of great dining spots in the Park Meadows area, less than 15 minutes from the theater at the Lone Tree Arts Center.  My favorite is the Rock Bottom Brewery, but there are a LOT of other choices.  

Tickets HERE.

Photo Credits: Phamaly.

Director:  Bryce Alexander

Set Design:  M. Curtis Grittner

Sound/Projections Design:  El Armstrong

Lighting Design:  Stephen D. Mazzeno

Costume Design:  Linda Morken

Cast:

Amanda:  Ashley Kelashian

Tom:  Daniel Traylor

Laura:  Jenna Bainbridge

Jim:  Eric Richerson

The 10th

Playwright:  Christopher Willard

Company:  Breckenridge Backstage Theatre

Venue:  Breckenridge Backstage Theatre, 121 S. Ridge Street, Breckenridge, CO 80424

Running Time:  2 hours, 45 minutes (includes 15 minute intermission)

Date of Performance:  Friday, February 21, 2014 

The 10th brings the US Army's 10th Mountain Division to center stage, chronicling its Colorado connections and its impact on the Colorado ski industry.  That impact was substantial; the 10th Mountain Division left a huge footprint in the Colorado high country.

Camp Hale, known to the recruits as "Camp Hell," was at 9,300 feet, between Leadville and Red Cliff.  In 1943, it was the Army's training site for more than 14,000 recruits learning mountain warfare.  

Camp Hale had it's own special value as a mountain training site; it was remote, isolated, and featured harsh weather conditions on a regular basis.  Recruits learned to ski at what is now the Ski Cooper resort; at the time, it was about as far from a "resort" as it could possibly be.

Arguably, the 10th Mountain Division triggered the Colorado ski industry.  That  once remote, isolated, and harsh training environment is now a winter playground, providing about $1.5 billion annually in tourism receipts.

Christopher Willard, Artistic Director of Breckenridge Backstage Theatre, has worked overtime bringing The 10th to the stage.  He wrote it.  He directs it.  He designed the set and the sound.  If you think designing a set is easy (it's not), try to figure out how to portray skiing on a small stage.  Willard's work here is obviously a labor of love, bringing both skiing and performance art together in his salute to the military roots of our mountain communities.

The plot follows new recruits at Camp Hale through their training, and ultimately, through their combat in World War II.  It's an old story; young men in uniforms defending their country, looking for love in a lot of wrong places, fighting, and often dying, in wretched conditions thousands of miles from home.  Like every generation of soldiers, they are brave but flawed heroes.  

Willard's set is marvelous, with moving pieces, photo projections, and a distinctly military look and feel.  Directing a large cast (11 actors) on such a small stage is difficult; Willard kept everything moving, with set pieces and actors always in the right place at the right time.  

The script meanders somewhat, and occasionally seems to depart from its Colorado roots.  Finnish immigrant Elina Sallinen is beautifully portrayed by Jaimie Morgan (recently seen in "Metamorphoses") with tenderness and charm.  However, whether there was a Finnish immigrant community in 1943 Breckenridge seems unlikely, and an unnecessary script device.  (Disclaimer:  I'm no Colorado history expert, so I may be completely wrong about 20th century Finnish immigration to Breckenridge.)  At 2.5 hours, the script might also benefit from some careful editing. 

Willard assembled a talented and capable cast, and they did not disappoint.  Carter Edward

L-R:  Carter Edward Smith, Bryan Roberts, Jaimie Morgan

Smith (Teddy Pearson) is the central character.  Smith has a gift for playing the naive and shy...which is exactly the Teddy that the director/author was going for.  Jon Hans (Koons) sparkles as a bad tempered bully, and Brandon Landis Folkins (Sergeant Tully) is a natural as the "in your face" drill sergeant.  Hayden Winston (Valentine) shines as an expert Norwegian skier with an attitude.  Bryan Roberts as "Goose Goodman" turns in a somewhat shaky performance here, delivering his lines mechanically, with little emotion or conviction.

The 10th brings an important piece of Colorado history to light, and the Breckenridge venue, at the height of ski season, is a superb backdrop.  If you're a skier, a military buff, or interested in preserving Colorado history, don't miss The 10th.

NOTES:  

This show closes on March 1, 2014.  

Parking is at a premium in any Colorado ski town in the winter, and Breckenridge is no exception.  Plan accordingly.  

Pre or post show dining suggestion:  There are two excellent but casual dinner choices right across the street from the theater; Fatty's Pizza and Moe's Barbecue (I highly recommend the pulled pork sandwich).  The Breckenridge Brewpub is also nearby.  

Thanks to all who have served, and especially those in the 10th Mountain Division.  You did us all proud.  

Tickets HERE.

Photo Credits: Breckenridge Backstage Theatre Company.

Director/Set Design/Sound Design:  Christopher Willard

Lighting Design:  Jacob Welch

Costume Design:  Julie Vance

Cast:

Private Gene "Goose" Goodman:  Bryan Roberts

Ida Goodman:  Paige Lynn Larson

Private Theodore "Teddy" Pearson:  Carter Edward Smith

Alice Evans:  Hannah Overton

Private Michael Wick:  Brandon Palmer

Corporal Dale Hoffman:  Matt Block

Private Zacharia Koons:  Jon Hans

Sergeant Robert Tully:  Brian Landis Folkins

Private Frank Falcone:  Matthew Blood-Smyth

Sergeant "Valentine" Thorsen:  Haydn Winston

Elina Sallinen:  Jaimie Morgan