The Goat, or Who Is Sylvia?

Playwright:  Edward Albee 

Company:  Springs Ensemble Theatre Company (SET)

Venue:  Springs Ensemble Theatre, 1903 East Cache La Poudre Street, Colorado Springs, CO 80909.

Running Time:  95 minutes (no intermission).

Date of Performance:  Sunday, June 22, 2014 

Never having seen Albee's The Goat, or Who Is Sylvia (hereafter referred to as The Goat), I wasn't sure what to expect.  

Now I know.  

For those who may be similarly unfamiliar with The Goat, be forewarned.  It is very INTENSE.  Springs Ensemble Theater (hereafter referred to as SET) may want to consider providing seat belts and crash helmets to the audience. It should come with a WARNING to sit down, buckle up, and keep your arms inside the ride at all times.  The Goat is disturbing, challenging, frightening, repulsive, and unquestionably the very best theater I have seen in a very long time.

Continuing with the warning theme, the script contains abundant adult language and adult content, including references to incest, bestiality, and pedophilia.  Many would find the themes in The Goat repugnant.  If you might be one of those troubled by these topics, read no further. 

I won't give away the details of the plot, as those details are crucial to the intensity of the performance.  For the details, I suggest that you buy a ticket as soon as possible and discover them just as I did, sitting in a small room with four very talented actors doing a "bang up" job with a strange, but wonderful, script. 

What I can say is that there is love, loss, and heartbreak of a most unusual type.  The married couple, Martin and his wife Stevie, are happy and successful until Martin is outed by his friend Ross; it turns out he's having an affair.  An affair with a goat.  And Martin is in love with Sylvia...his goat friend.  

If you've ever had a relationship go bad on you, The Goat might make you feel better.  No doubt, the circumstances of your breakup were better than those visited upon Stevie.  After all, if your competition is another woman, it doesn't seem so bad.  But a goat?  A GOAT?

L-R Amy Brooks (Stevie), Steve Emily (Martin), Christian O'Shaughnessy (Billy)

As I mentioned, there are four fine actors here at the top of their game.  Steve Emily (Martin) is central, locked in, and a joy to watch.  He may not want The Goat on his resume, since he's a very credible practitioner of bestiality, incest, and perhaps pedophilia here.  Regardless, he veers from dementia to barnyard lust to a full on mouth kiss with his teenage son, all with a "why is everybody picking on me" attitude.  It truly is a masterful performance.

Amy Brooks' performance (Stevie) is dazzling, as is every costume Emory John Collinson puts on her, including the blood splattered one at the end.  She lets go of a long, deep primal scream as she tries, in vain, to process what is happening to her husband and her marriage.  

Billy (Christian O'Shaughnessy), Stevie and Martin's gay son, is understandably distressed about the events.  Still, he loves his parents, despite their flaws.  O'Shaughnessy (who bears a striking resemblance to Green Day lead singer Billie Joe Armstrong) is a convincing gay teenager.  He also rocks Emory John Collinson's costumes, looking like he just stepped off a photo shoot set for GQ magazine.

Ross (Tom Auclair) has the smallest role in terms of lines, but he has a very critical role as the one who betrays Martin and spills the dirty secrets.  Auclair wants us to believe he had no choice, and we almost do believe that...but not quite.  Which is exactly what Albee wants.

Director Max Ferguson has assembled a marvelous cast on a marvelous set that he uses and abuses in every possible way.  He takes the characters and the audience on a roller coaster ride while watching a script driven train wreck on the stage.  

The Goat at SET is unforgettable theater.  It is the best production I have seen yet at SET.  Anyone who enjoys the edgiest, the gutsiest, and the most provocative and challenging drama in Colorado should try to get a ticket.  If you can.  

You won't regret it, and you'll not forget it.

NOTES:  

This show is suitable for adults only, and even then it is not for ALL adults.  The content is strictly for open minded persons who are willing to have their sensitivities challenged.  

This show closes on June 29, 2014. 

Pre or post show dining suggestion:  

Phantom Canyon Brewing Company, 2 E. Pikes Peak, Colorado Springs.  Happy Hour 3:00-600 PM, and 10:00 PM to close (pints for $2.75, pitchers $10.00).  Full selection of handcrafted beers brewed on premises.  It's a fifteen minute drive to/from the theater, so plan accordingly.  Street parking (meters and pay lots).  Menus here.

Tickets HERE.

Photo Credits:  Springs Ensemble Theatre.

Director:  Max Ferguson

Set Design: June Scott Barfield

Lighting Design:  Jeremiah Miller

Costume Design:  Emory John Collinson

Sound Design:  Pat Collins

Cast:

Martin:  Steve Emily

Stevie:  Amy Brooks

Ross:  Tom Auclair

Billy:  Christian O'Shaughnessy

The Well of Happiness

Playwright:  Stuart Ostfeld

Company:  Theatre Company of Lafayette (TCL)

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

Running Time:  1 hour 50 minutes (includes 15 minute intermission)

Date of Performance:  Friday, June 20, 2014 (This production is a Colorado Premiere.)

First things first; The Well of Happiness is not for everybody.  It's a serious drama, with serious issues (teenagers, violence, and guns), and provocative and sometimes disturbing content.  Warnings aside, however, The Well of Happiness is an exceptional theater experience.  If you can handle the subject matter, you will definitely be glad you saw this production.

The story line is difficult to describe without spoiling the show, but here's a minimal outline.  Melanie, or "Mel," (Beth Davis) is a freelance advertising agent with a great track record.  We learn that she has just done a brilliant advertising campaign for a clothing line, bringing a female perspective to her clients.   She's a bit obsessive/compulsive; she obviously thoroughly researches and analyzes how to successfully sell her client's products.

Her boss, Nathan (Artemus Martin), asks her to take on a difficult (perhaps impossible) task:  design an advertising campaign for a handgun made specifically for women.  She reluctantly accepts.

Mel (Beth Davis)

Handguns are a product that would be very difficult to sell unless you have a full understanding of both the product and the consumer.  Mel has neither, so she does her research.  She attends a gun safety class.  She does some target shooting at a range.  She reads up  on "state of the art" firearms.  In fact, she becomes so immersed in the gun culture that she becomes a gun owner.

Mel's teenage son Collin (Donny Petro) lives in an alternate world, one where he can live as a non-conforming, anti-social narcissist.  Oh.  And he has a fascination with guns.

Mel and her son are on a trajectory that can only end in tragedy, and so it does.

Beth Davis is adept in the central role of Mel in The Well of Happiness, convincingly moving from skeptic to true believer.  There is a scene at a shooting range, where Mel fires her weapon for the first time.  Her experience is as profound and as unforgettable as losing her virginity.  (The connection between sex and firearms is an interesting one, but somewhat off topic here.)  Mel's distaste for guns evaporates before our eyes as she embraces the power and control she can wield with the proper weapon.

L-R Troy (Michael Samarzia), Lisa Ann (Molly Bibeau), Collin (Donny Petro)

Donny Petro is creepy as Collin; he is as disconnected and dangerous as a teenager can be.  One sometimes wonders how parents failed to prevent the carnage their children inflicted at places like Columbine High School or Sandy Hook Elementary School.  Petro deftly demonstrates the problem; Collin a moderately lovable child with serious but mostly secret psychiatric issues.  We all know about kids like Collin, but we only know their names posthumously, after they have inflicted their mayhem on the innocent.  Petro puts a face on those kids, and it's a very scary face indeed.

Molly Bibeau shines as Lisa Ann, the naive victim of Collin's senseless mayhem. Bibeau embodies the recklessness of youth, oblivious to the danger she foolishly falls into.

Artemus Martin (as Nathan, Mel's advertising boss) knows Mel is the best shot he has at getting the gun account, but he fears she won't take the assignment.  To help her make a decision, he offers her a partnership in the firm.  Martin shows us a boss who is sensitive to the ethical issues, but still determined to get the client to sign a contract.  It works.  Mel takes the assignment despite her misgivings.

Madge Montgomery has directed The Well of Happiness before, and it shows.  Montgomery understands the gravity of the script, the sensitivity of the subjects, and the tragedy that plays out on stage.  She has inspired a small but dedicated group of volunteers, both on and off stage, to perform at their respective peaks.  The set, the props (including non-lethal firearms), the costumes, the lighting, and the sound were all at a level one rarely sees in community theater.

Ostfeld's script is at once intelligent and brutal.  The story is not preachy but personal.  It carefully avoids taking a position on the politics of gun ownership while demonstrating the painful reality of guns falling into the wrong hands.  It's a smart story that provokes both sides to question their positions.

The central point here, though, is less about guns and more about our consumer culture.  Any product, of any kind, can be marketed successfully to virtually any group.  "Marketing ethics," if there is such a thing, must be solely focused on the clients, not on the consumers.  Advertising sells guns.  Advertising sells tobacco.  Advertising could probably sell heroin and nuclear weapons if they were legal.  Marketing executives have no moral or ethical problem selling any product, even if that product is harmful or unsafe for consumers.  Their interest is only that what increases their own bottom line.  Ostfeld's point is well made, and it's a sad reflection on both the corporate mindset and on consumers collective ignorance.

The Well of Happiness is one of the best shows I've seen at TCL.  If you're looking for a smart, provocative, and challenging night of theater, go to The Well.

Ron (Tom Doyle)

NOTES:

There is ample free street parking at the theater.

This show closes on June 28, 2014.

This show is suitable for mature teenagers; but it is not recommended for children under 12.  Gunshots (starter pistols) used during the performance.  Discretion is recommended, as the subject matter may be disturbing to both teenagers and adults.

Pre or post show dining suggestion:

Waterloo Restaurant, 809 Main Street, Louisville CO.  Waterloo is an interesting mix of British and classic country music influences ("God Bless Johnny Cash"), inspired by the Waterloo Record Store in Austin TX.  Happy Hour is 3:00-6:00 PM daily.  Draft beers include Guinness (of course), Boddington's, and Left Hand Sawtooth Ale.  Live music some nights, rock and roll always.  Menu here.  

Tickets HERE.

Photo Credits: Lafayette Theatre Company


Director:  Madge Montgomery

Scenic Design/Construction:  Chris Pash, Pam Bennett, Howard Lee Smith

Sound Design/Projections:  Madge Montgomery

Lighting Design:  Brian Miller

Production Manager:  Artemus Martin


Cast:

Melanie ("Mel"):  Beth Davis

Collin:  Donny Petro

Troy:  Michael Samarzia

Lisa Ann:  Molly Bibeau

Nathan:  Artemus Martin

Detective Dale:  Bill Graham

Dana:  Heather Murray-Price

Ron:  Tom Doyle

Pat:  Artemus Martin

Connie/A Woman:  Judy Wolf

Floyd and Clea Under the Western Sky

Book & Lyrics by:  David Cale 

Music by:  Jonathan Kreisberg & David Cale

Company:  Colorado Springs Fine Arts Center

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

Running Time:  1 hour 45 minutes (no intermission).

Date of Performance:  Thursday, June 19, 2014 (Colorado Premiere).

This performance of Floyd and Clea Under the Western Sky played to an enthusiastic audience and received a standing ovation.  There's a lot to like in Floyd and Clea, and for fans of country music, it's an audio and visual feast.  

Jordan Leigh (Floyd) and Chelsey Ringer (Clea)

Floyd (Jordan Leigh) is a somewhat successful, B list country music singer/songwriter who loses his way.  His career is over, he's spent all his money, he's drinking all day, he's living out of his dusty, rusty Studebaker, and he's running out of reasons to keep on living.  

Clea (Chelsea Ringer) is a young, beautiful, and talented woman who, fortunately for Floyd, stumbles into his life.  

The themes of the script are much like the stories told in thousands of country songs; hard liquor, hard times, loss, desperation, and ultimately, redemption from life's temptations.  When Floyd sings "I'm looking for a safety net," you know he means it; he's always about 30 seconds from ending it all.

Clea is stronger, smarter, and wiser than Floyd, or at least that's how she seems.  She is a force for good for Floyd; their friendship is pretty much all that he has going for him.  She has some serious issues with her deceased father, which explains her need for a surrogate father like Floyd.

The Fine Arts Center company always delivers a first rate production, and Floyd and Clea is no exception.  The acting, the singing, the set, the lighting, the band...all contribute to a beautifully staged performance.  

The lighting, in fact, is extraordinary.  Lighting Designer Holly Anne Rawls has flawlessly lit the stage perfectly, covering it with a marvelous "Western Sky." 

Costume designer Janson Fangio dresses the actors for a Montana winter, a homeless shelter, and honky tonk bar performances.  His costume for Clea's big concert is resplendently trashy, in complete character for Clea at that point.

Chelsea Ringer, Jordan Leigh.  Costumes by Janson Fangio

Leigh's performance is nuanced; he deadpans Floyd's desperation, never complaining.  At one point, Clea accuses him of being homeless; he disagrees.  Clea points out that he lives in his car, but he just shrugs his shoulders.  Leigh has the moves and the voice for country music, and he uses both to his advantage here.  He's a very credible Floyd, who is a very talented but seriously flawed character.

Ringer's first song starts out a capella.  With no accompaniment, she sings a song she "just wrote" for Floyd.  Ringer's first few notes were gorgeous; they brought me to the edge of my seat.  I was stunned by the clarity and the beauty of her voice.  If you're in the audience, I guarantee that you will not forget Ringer's first number.

Musical Director Jay Hahn has assembled a rocking band for Floyd and Clea.  They all have day jobs, but these guys could make a decent living as a country band.  Bobby McGuffin's percussion was particularly notable; he's a talented musician who was having as much fun as the audience.

For all the first rate performances and production values, though, the script is somewhat disappointing.  The main theme here is redemption, but the conclusion is ultimately ambiguous.  I had some misgivings about the script's abrupt and confusing reversal of Clea's character; she goes from saving Floyd from his demons to adopting those same demons for herself.  The script is also devoid of any significant chemistry between the two characters.  They are close friends, who care deeply about, and are attracted to, each other.  At one awkward point, they find themselves together in a motel room.  It was the perfect opportunity to demonstrate some chemistry between the two, but the script provided none.

My quibbles with the script aside, Floyd and Clea is excellent musical theater for both country music fans and theater fans alike.  The standing ovation was sincere, and I'm sure there are many more to follow for Floyd and Clea Under the Western Sky.

NOTES:  

This show is suitable for all ages, although parents should be aware that there is one "F" bomb in the script.  Free parking is available across from the Dale Street entrance and on the surrounding streets. 

The Fine Arts Center is featuring a major exhibition of art works by glassblower Dale Chihuly; you may want to consider making the exhibit part of your theater excursion.  There is an additional charge for the Chihuly exhibit, but this is a rare opportunity to see a beautiful collection of work by the most successful glass artist in the world.

This show closes on June 29, 2014. 

Pre or post show dining suggestion:  

The Dale Street Cafe at 115 East Dale Street is within walking distance of the Fine Arts Center, and has an excellent fine dining menu.  We tried the ribeye steak ($21.95), the mahi mahi ($15.95), and the French onion soup. All were delicious, as was the Key Lime Pie for dessert.  For fish fans, there is an extensive selection of sushi available.  With patio seating for al fresco dining, the Dale Street Cafe is a marvelous choice for dinner "Under the Western Sky" of Colorado Springs.

Tickets HERE.

Photo Credits:  Colorado Springs Fine Arts Center; Jeff Kearney, TDC Photography.

Director:  Scott RC Levy

Musical Director:  Jay Hahn

Set Design: Christopher L. Sheley

Lighting Design:  Holly Anne Rawls

Costume Design:  Janson Fangio

Cast:

Floyd:  Jordan Leigh

Clea:  Chelsea Ringer

Band:

Guitars:  Jim Christian & Jim Robertson

Percussion:  Bobby McGuffin

Bass:  Jay McGuffin

The Butler Did It

Playwright: Todd Wallinger

Company:  Black Box Theatre Company

Venue:  Black Box Theatre, 1367 Pecan Street, Colorado Springs, CO 80904.

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

Date of Performance:  Thursday, June 5, 2014 (opening night performance).

The Butler Did It is an mystery whodunnit drama/comedy by local playwright Todd Wallinger (The _urloined Letter, Kill the Critic).  Like all good mysteries, you'll be trying to guess who the culprit is as soon as ladies' man Trevor Barstow (Andrew Davis) is brutally stabbed to death in the kitchen before dinner. It turns out, though, that Barstow's demise is not a tragedy; everyone onstage had ample reason to see him take a permanent dirt nap.

That Barstow considers himself a fan of, and a gift to, women everywhere is not in dispute.  Two of his conquests, maid Sarah Jane (Maddy Sneckner) and Kat Covington (Megan Rieger) both had ample opportunity and motive to see Barstow meet a hideous fate.

The first rule of murder mysteries is that the obvious culprit is always innocent. The least likely suspect is usually culpable, but figuring out how and why he or she did it is the fun part.  As regular readers of this blog already know, I don't do spoilers, especially when the plot is as dependent on the final surprise as it is here.  If you want to know who did it, you'll have to buy a ticket.  

Jenkins, the butler (David Olson) and the title character, is the obvious suspect.  He reluctantly admits in the first act that Trevor Barstow is the one person he would dispatch to the next world, if he could get away with it.  His interest in hastening Barstow's appointment with the Grim Reaper results in him spending part of the first act and most of the second act tied to a chair.

David Olson delivers a credible performance of a proper British butler with a penchant for mocking his masters.  His British accent is very well done, and his comedic timing is "spot on" (as the British would say).  Acting while tied to a chair is not easy; it requires appropriate facial expressions and gestures to compensate for reduced mobility.  Olson's character is never compromised in the slightest while he's reduced to being a seated hostage.

Maddy Sneckner and Megan Rieger are both capable as scorned women.  For different reasons, both are relieved to learn of Barstow's gory passing.  Covington, the strongest female character in the cast (despite sometimes being confused with a "cat" when she's actually a "Kat"), seamlessly moves from an independent and liberated woman to a shrewd, calculating opportunist, consenting to an arranged marriage for purely monetary gain.  Rieger handles that transition with convincing sincerity.  Sneckner's British accent is delightfully low class, befitting her status as a domestic servant.

Father Timothy (Daniel Robbins) is a charming, engaging, and somewhat mischievous priest who invites himself to dinner.  Robbins has a delightful Irish accent that is perfect for Father Tim.  Robbins has both the gravitas to play the priest and the obligatory wink wink personality to make Father Tim a joy to watch. 

The set is well done, although it seems to be one door short.  The offstage murder in the kitchen requires the actors to enter and exit the kitchen through a curtain.  There are three physical doors onstage; the curtain for the kitchen seemed odd.

Wallinger's script delicately sets up the mystery and the final payoff.  His characters are decidedly typical of the genre, bringing both credibility and complexity to the story.  There is an elegant symmetry to the plot, as both the Barstows and the Covingtons have the illusion of wealth but a justified fear of poverty.  The British upper class is the butt of the biggest jokes Wallinger weaves into his story. 

The Butler Did It is a safe, entertaining, and a pleasant diversion for all ages.  It's a short run, so if you're thinking about seeing The Butler Did It, get your tickets soon.

NOTES:  

This show is suitable for all ages.  Free parking is available on the surrounding streets. 

The Black Box Theatre has been open at the current location for about a year.  It's in a fairly well hidden spot in an industrial area; I had stumbled upon it a few months ago when taking my Honda Civic to a body shop across the street.  However, don't let the external appearances fool you.  Once inside, you'll find an excellent venue with state of the art lighting, a fine sound system, and comfortable seating.

This show closes on June 14, 2014. 

Pre or post show dining suggestion:  

Carlos' Bistro is one of the best restaurants in Colorado Springs, and it's only minutes from the theater,.  If you're looking for fine dining to go with a good show, Carlos' is a natural.  They have an early bird special between 5:00-5:30 PM; 50% off somewhat smaller portions of their entrees.  That's a good deal; a full price meal at Carlos' can set you back $30-$50 per person.  I'm not sure if they have a happy hour, but they do have an extensive wine list and a full martini menu.

Tickets HERE.

Photo Credits:  Black Box Theatre Company

Director:  Nancy Holaday

Set Design: Kitty Robbins

Lighting/Sound Design:  David Atkinson

Cast:

Jenkins:  David Olson

Sarah Jane:  Maddy Sneckner

Trevor Barstow:  Andrew Davis

Gram:  Jenny Maloney

Colonel Nigel Covington:  Richard Buchanan

Lady Miranda Covington:  Teri McClintock

Kat Covington:  Megan Rieger

Father Timothy:  Daniel Robbins

Edwina Corry:  Karann Goettsch

Forever Plaid

Playwright: Stuart Ross

Company:  Fine Arts Center Theatre Company

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

Running Time:  1 hours, 55 minutes (includes 20 minute intermission)

Date of Performance:  Friday, May 9, 2014 

I don't normally do spoilers, but in Forever Plaid, the contrived story line is only a vehicle for the music.  Forever Plaid is about the music, not the story.  So, for the handful of folks who are still unfamiliar with the fictional Plaids, here's the "plot."

The Plaids were four high school guys in a harmony group in the early 1960s.  They were on the cusp of making the big time when their Mercury Monterrey was hit by a busload of Catholic school girls going to a Beatles concert.  The Plaids were killed instantly.  Through some hocus pocus stuff, they are given one chance to do a final concert.  And that, folks, pretty much sums up the story.

Even though the story is thin, the music is wonderful.  The set list includes Rags to Riches, Three Coins in a Fountain, Love Is a Many Splendored Thing, and a boatload of other marvelous songs done in exquisite four part harmony.  

Forever Plaid is a musical, and it depends heavily on talented actors with strong singing skills.  In that respect, the Colorado Springs Fine Arts Center (CSFAC) has hit the musical jackpot with its cast (Thadd Kreuger, Jesse Havea, Jason Lythgoe, and Kevin Pierce).  Each brings his part to the harmony, and the result is a wonderful blend of music and talent.  Given that many successful artists today perform with auto-tune software, it is a distinct pleasure to hear the Plaids' natural harmonies without any need whatsoever for electronic enhancement.

Not only are these guys masters of the four part harmony, they are great stand alone singers as well.  Kevin Pierce had to do the last verse of his solo Cry over thundering applause from the near capacity opening night crowd.  Not to be outdone, Jesse Havea followed Kreuger with Sixteen Tons, showcasing his honey dipped bass tones.

Erik K. Diaz' set design is spectacular; the art deco theme is a reminder of the Radio City Music Hall stage where the Plaids never got to play.  The set pieces double as light boxes, and lighting designer Jonathan Spencer has made full use of them.  He bathes the Plaids in a rainbow of colors.  The best lighting moment, though, happens the very end, as the Plaids leave the stage.  I've seen numerous productions of Forever Plaid, but that final moment has never been done better in my experience, and it's the dramatic lighting that makes the difference.

The CSFAC production is one of the best I've ever seen, and the opening night audience agreed.  The standing ovation started immediately, and continued through two curtain calls.  From start to finish, the set, the lights, the costumes, the harmonies, and the marvelous music, Forever Plaid is a total winner.  

As the Plaids sing in Moments to Remember, "January through December, We'll have Moments to Remember."  They give us a thousand moments to remember at the Fine Arts Center, and every one of those moments is a precious memory.

Four talented lads...crossing the musical road.

NOTES:  

This show is suitable for all ages.

Free parking is available at the theater, across from the front entrance on Dale Street.

While the singing is best left to the Plaids (this is not a karaoke show), there is one audience sing along.  Here's your lines:  "Matilda, Matilda, Matilda...she take my money and run Venezuela."  Sing your heart out...this could be the most fun you've had in a long time.

This show closes on June 1, 2014. 

Pre or post show dining suggestion:  

Cafe 36, in the Fine Arts Center, provides a pre-show dinner ($39 per person).  The menu changes with the performance, you can find the Forever Plaid menu here.

If you're celebrating a special occasion, The Famous in downtown Colorado Springs (31 North Tejon) is close enough for a pre-show dinner.  It's expensive, but it may be the best steakhouse in El Paso County.  It got the CS Indy award for Best Restaurant for Carnivores, 2013.

Tickets HERE.

Photo Credits:  Colorado Springs Fine Arts Center and Jeff Kearney.

Director/Choreographer: Nathan Halvorson

Musical Direction:  Jay Hahn

Scenic Design: Erik D. Diaz

Lighting Design:  Jonathan Spencer

Costume Design:  Janson Fangio

Cast:

Francis:  Thadd Krueger

Smudge:  Jesse Havea

Sparky:  Jason Lythgoe

Jinx:  Kevin Pierce

Musicians:

Musical Director/Piano:  Jay Hahn

Percussion:  Richard Clark

Bass:  Jay McGuffin

35mm: A Musical Exhibition

Based on: The photography of Matthew Murphy

Music & Lyrics by:  Ryan Scott Oliver

Company:  IgniteTheatre Company

Venue:  Aurora Fox Arts Center, 9900 E Colfax Ave, Aurora, CO 80010.

Running Time:  1 hours, 35 minutes (includes 15 minute intermission)

Date of Performance:  Saturday, April 26, 2014 

In case there was any doubt, Ignite Theatre's Executive Artistic Director Keith Rabin, Jr. is not risk averse:

"I'll never be able to convince everyone to love all of the fresh new productions we will continue to bring to our stage.  But I guarantee that you will be moved, your thoughts will be provoked and that you will go away feeling refreshed that you saw something that very few in our region have seen."  

Program notes for 35mm:  A Musical Exhibition.

Ignite Theatre's current production of 35mm:  A Musical Exhibition (35mm) is certainly what one would call risky.  It's not traditional theater; there's no plot or story line.  The show is a musical exhibition, as described in the title, based on Matthew Murphy's photography.  Murphy is a creative, talented photographer whose photos are primarily related to theater and dance.

Think of 35mm as performance art, similar to a concept album.  The songs in Pink Floyd's Dark Side of the Moon concept album are related by several common themes; likewise, the music in 35mm is generated from Murphy's photos.  Both Dark Side of the Moon and 35mm are creative extensions of their traditional formats.  Both have musical peaks and valleys.  Neither will please all viewers or listeners. Murphy's photos are frozen moments in time; each is telling a story.  35mm tells a story, if not the story, of Murphy's photos.

Perhaps the best description of 35mm is that it is more of a rock concert than a theater production.  It's a high energy musical with a marvelous multimedia component and spectacular singing voices.  If you've seen a Trans Siberian Orchestra performance, you have an idea of what to expect.  (OK, 35 mm has neither flame throwers nor the landing lights for a 747.  But apart from that....)  The story here is secondary to the music, the lights, and the special effects.

Ladies of the Ensemble:  Shahara Ray, Olivia James, Lindsey Falduto

The six member ensemble is phenomenal; each is a highly talented actor, dancer, and singer.   Alejandro Roldan blows up the stage with Crazytown early in the first act.  His performance is inspired and and infectious; "crazy" doesn't begin to describe it.  Zach Stailey is marvelous in Caralee; and he teams up with Shahara Ray on a perfectly delivered Hemming and Hawing.  Olivia James is smoking for The Party Goes with You.  Lindsey Falduto and Evan Sauvage sparkle on On Monday.

Individually, each cast member is remarkable; when they team up at the end of the second act for The Ballad of Sara Berry, the result is a smoking hot musical feast.  

Guys of the Ensemble:  Evan Sauvage, Alejandro Roldan, Zach Stailey

Just as the onstage cast is marvelous, so is the music in the background.  The band is excellent; the band members are all musicians of the first order.  The sound mix here is critical.  The band is only feet away from the cast, but they never overpower the vocals.  

Director Keith Rabin, Jr keeps the pace at the appropriate level for a rock musical:  feverish and frenetic, with occasional pauses for emotional impact.

Great risk has great rewards, and Ignite Theatre is reaping those rewards from 35mm.  The Denver community is also rewarded when theater companies are willing to take the risks of producing unusual scripts.  All theater companies have to fill the seats to exist, and for some that means always producing reliable hits.  It's no small irony that Spamalot, which has been produced several times on the front range recently, is playing in the main room next door at the Aurora Fox.

Ignite has chosen a decidedly different path.  And for that reason, Ignite Theatre Company should be justifiably proud of 35 mm.

NOTES:  

This show is suitable for teens and up, although there is some adult content.  Free parking is available behind the theater and on the surrounding streets. This production is not in the main building, but in the small theater just east of the main building.

Just for those who are too young to remember, the title of 35mm refers to an ancient photography format, pre smart phones.  

This show closes on May 4, 2014. 

Pre or post show dining suggestion:  

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

Tickets HERE.

Photo Credits:  Ignite Theatre Company.

Director & Multimedia Concept: Keith Rabin, Jr.

Set Design: Mike Uhlenkamp

Lighting Design:  Stevie Calderola

Sound & Media Integration:  Tom Quinn  

Costume Design:  Keith Rabin, Jr.

Music Direction:  Jason Tyler Vaugn

Cast/Ensemble:

Lindsey Falduto

Olivia James

Shahara Ray

Alajandro Roldan

Evan Sauvage

Zach Stailey

The Band:

Keyboards:  Heather Holt Hall

Guitar:  Jason Tyler Vaughn

Percussion:  Dustin Arndt

Bass:  Eli Acosta

Cello:  Josh Vann

Violin/Viola:  Kira Engle

Shadowlands

Playwright: William Nicholson

Company:  Denver Center Theatre Company

Venue:  Stage Theatre, Denver Center for the Performing Arts (DCPA), 1101 13th Street, Denver, CO  80204

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

Date of Performance:  Sunday, April 13, 2014 

It is overwhelmingly humbling, and exceedingly rare, to be in the presence of excellence.  I was in the presence of excellence at Shadowlands, and the experience is transforming.  

To be clear, this is not just a matter of excellent performances, although that's part of the experience.  There's more, much more, to Shadowlands.  There's the high quality script, the magic of the set, and the beauty of the lighting.  But most importantly, the excellence of Shadowlands is the power of its intelligent handling of some basic human experiences:  love, loss, faith, and grief.

Shadowlands tells the story of author C.S. Lewis (best known for his children's books The Chronicles of Narnia) and his American wife, Joy Davidman.  Lewis was in his fifties when he met Davidman.  He was seventeen years older than her.  Their love affair is an exquisite thing to watch on the DCPA stage.  Davidman's death from bone cancer in the second act is devastating to Lewis, whose faith in God is challenged by the enormity of his loss.

The play opens with Lewis giving a lecture on faith, love, and suffering at Oxford; he's clearly a brilliant speaker with a brilliant mind.  

Men are like blocks of stone out of which the sculptor carves the forms of men.  The blows of His chisel, which hurt so much, are what makes us perfect.

Lewis' words come back to haunt him; they have catastrophic impact when he suffers those chisel blows himself.  

Lewis, and by extension, all of us, are called to question our faith in the face of unbearable suffering.  Who among us has not, or will not someday,  lose a loved one?  Who among us won't suffer profound grief as a result?  Who among us can understand or explain how an all powerful deity could tolerate such cruelty?

Graeme Malcolm (C.S. Lewis)

Graeme Malcolm plays Jack (C.S.) Lewis here.  His performance is masterful, intelligent, emotional, and highly effective.  Malcolm shows us Lewis as a proper English gentleman, and as an intellectual curmudgeon who devolves into an emotional, broken man.   And he is pitch perfect conveying Lewis with every line and with every gesture.  Malcolm is a highly talented actor at the top of his game.  You are in the presence of excellence every moment he appears on the stage.

The same can be said about Kathleen McCall, who plays Lewis' wife Joy.  You are in the

Kathleen McCall (Joy) & Charlie Korman (Douglas)

presence of excellence every moment she is on the stage.  McCall and Malcolm, together, delivered such an impact that there were tears and audible sobs in the audience in the second act.  Yes.  It's really that powerful. 

I said earlier that the set is "magic."  I meant it.  The set morphs, on its own, right before your eyes.  It is stunning just to see set pieces come and go.  

With all the marvelous actors, the high tech lights, sound and set, Shadowlands gets first class treatment from Director Christy Montour-Larson and the Denver Center Theater Company.  Somehow, though, the real star here is William Nicholson and his script.  It is as intelligent as Lewis himself, and as serious and weighty as a cage match for philosophers.  Nicholson gives us the raw C.S. Lewis; the intellectual who was brilliant enough to realize that he didn't have all the answers.

To hear important ideas expressed in the most intelligent terms is an extremely rare experience.  Shadowlands is theatrical excellence, from start to finish.  You will be in the presence of excellence when you see this cast, this production, and this script.  You will not soon forget Shadowlands.

Opening night standing ovation for Shadowlands.

NOTES:  

This show is safe for all ages, but the subject matter may not interest anyone under 16 (that's a fairly arbitrary guess).  The subjects are philosophical, religious, medical, and academic.  In other words, those whose ideas are best expressed in <120 character texts may not enjoy the show.

Parking is $12.00 at the Denver Center for the Performing Arts garage.  It's close, safe, and relatively inexpensive for the location.

This show closes on April 27, 2014. 

Pre or post show dining suggestion:  

The Denver Center provides a list of suggested restaurants on its web page.  I can't vouch for most of these, as I haven't tried many of them.  The list does seem to be on the pricey side, though, so you may want to do some research before getting a table.

Tickets HERE.

Photo Credits:  Denver Center Theater Company, John Moore and examiner.com.

Director: Christy Montour-Larson

Set Design: Lisa Orzolek

Lighting Design:  Charles R MacLeod

Sound Design:  Jason Ducat

Costume Design:  Angela Balogh Calin

Dramaturg:  Douglas Langworthy

Voice/Dialect Coach:  Kathryn G. Maes Ph.D

Cast:

C.S. Lewis (Jack):  Graeme Malcolm

Joy Davidman:  Kathleen McCall

Warnie Lewis:  John Hutton

Christopher Riley:  Sam Gregory

Harrington:  Michael Santo

Douglas:  Charlie Korman

Alan Gregg/Doctor/Waiter:  Douglas Harmsen

Nurse/Registrar/Woman in Tea Room:  Stephanie Cozart

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