REVIEW: 'The Elephant Man'

Daniel Traylor gives a stellar performance in PHAMALY'S outstanding production of The Elephant Man. Photo Credit: Michael Ensminger/Kyle Malone

 

The Physically Handicapped Actors & Musical Artists League (PHAMALY) presentation of Bernard Pomerance's brilliant historical drama The Elephant Man is a perfect storm of everything it takes to make a "must-see" production, and then some.

The Elephant Man chronicles the true story of John Merrick, who was born in 19th century England with a rare disorder that resulted in extreme physical deformation. After a childhood of beatings in a public institution, he became a sideshow oddity and eventually found more comfortable lodging as a "cash cow" in a London hospital. A gifted artist with a rare intellect, poetic temperament and beautiful soul trapped in a hideous body, Merrick became an attraction for upper class voyeurs until his death at age 27.

Not only is the direction by Steve Wilson and Bryce Alexander creative and insightful, the performances are all around excellent. Daniel Traylor offers a totally-committed, heart-wrenchingly sympathetic performance as Merrick, and is well supported by Mark Dissette as a conscience-stricken doctor, Lucy Roucis as a charming actress, Edward Blackshere as an exploitative manager, Don Mauck as a caring bishop who is more impressed by Merrick's soul than his appearance, and others.

The production design is likewise outstanding, with a fully accessible set of ramps and platforms, and Brechtian-style projections. 

The central theme, of what it means to be human is explored in a variety of ways. Some suggest that Merrick brought his disability on himself. Another claims "we do not make ourselves." The Psalms and Book of Job play important parts in the script, and the balance between mercy and compassion versus exploitation and quality of life are constantly in play. The script does not shy away from a Christian world view and hope in heaven where all things are made new.

Most interesting of all, is that each person who gets close to Merrick sees something of who they wish they could be in him. He becomes a mirror to all.

The Elephant Man is a celebration of humanness, praising inner beauty in an ugly world. That the cast of PHAMALY are flourishing artistically despite a range of their own physical disabilities adds to the the production's relevance.

PHAMALY (The Physically Handicapped Actors and Musical Artists League) presents “The Elephant Man” through February 4, 2012 at the Aurora Fox Arts Center, 9900 E. Colfax Ave, Aurora. Performances are Fridays and Saturdays at 7:30 p.m., Sundays at 2 p.m. Encore performances will be held at the Arvada Center for the Arts and Humanities Friday, February 24 and Saturday, February 25 at 7:30 p.m.; Sunday, February 26 at 2 p.m. Tickets are $26-$29. Call 303-739-1970 or go online at www.phamaly.org for additional details.

REVIEW: 'Remaining in Orbit'

Left to right: Rachel Graham, John Samson, Megan Heffernan in the Evergreen Players' world premiere production of Colorado playwright Scott Gibson's tender comic-drama 'Remaining in Orbit.' Photo Credit: Sandra Abel

Remaining in Orbit is a small, not particularly ambitious play that is simple and charming, with well-crafted characters, and a capable plot. It's not ostentatious or pretentious enough to win a lot of awards, but Evergreen Players' lovingly executed production does make for an engaging and emotionally rewarding evening out.

Henry "Hen" Loudin (John Samson), a self-absorbed middle-aged man has shut himself off from the distractions and annoyances of the outside world, aided by his opinionated assistant Ginnie (Megan Heffernan) who runs errands--and interference--on his behalf. One day, Hen's neighbor, the free-spirited Lissie (Rachel Graham) bursts into his life, creating havoc with his well-ordered existence. 

The play is billed as a serio-comic examination of co-dependence between three slightly dysfunctional people each seeking a chance at happily-ever-after. And while that's an accurate summary, it doesn't begin to describe the warmth and compassion director Len Matheo brings out in the cast's subtle and delicate performances. 


Playwright Scott Gibson is a Colorado native and an Evergreen resident for the past 39 years, with numerous plays and novels to his credit.

There's nothing forced in this production. The characters, their longings, conflicting personalities and ultimately their disappointments, unfold naturally and believably. None of them are "heavy hitters," likely to make much of a difference in the world, but as one character opines: "We're never as invisible as we might think."

Some questions are left unanswered. Why are both young, attractive and gifted women so drawn to a middle-aged recluse who sabotages his own livelihood by doggedly remaining computer illiterate? He actually gets more worked up by a misplaced apostrophe than someone having an acute appendicitis attack on his sofa. But, as Russian playwright Anton Chekhov might have said, "Who can truly know the human heart?"

Remaining in Orbit uses the classic Chekhovian "bittersweet love triangle" model, particularly in its depiction of the pangs of unrequited love, perhaps one of life's greatest, but least noisy tragedies.

With a 90 minute run time (including intermission), Remaining in Orbit is a tightly knit, lovingly wrapped theatrical package.

Evergreen Players presents Remaining in Orbit, through January 29, 2012 at Center/Stage, 27608 Fireweed Drive, Evergreen, CO. Performances are Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. Tickets are $20 Adults; $16 seniors (60+) and Students; $10 for children under 12 and available by calling 303-674-4934 or online at www.evergreenplayers.org. Group discounts available.

REVIEW: 'Present Laughter' at Miners Alley Playhouse

Photo Credit: Sarah Roshan/Trulife Photography

Playwright Noel Coward may be remembered as a brilliant wit, a bon vivant and gad about, a talent perhaps more akin to Liberace than Oscar Wilde. But if you see Miners Alley Playhouse's broadly comic production of Coward's Present Laughter, you might conclude that he was a master of farce as well. I'm more inclined to credit to director Richard H. Pegg for goosing this talk-fest into something more palatable for American tastes.

With two intermissions and clocking in at close to three hours, there had better be a lot of energy to sustain this comedy of bad manners, and the ensemble, most of whom have performed in Miners Alley Playhouse's up-close and personal theater space before, are more than up to the task.

Popular British actor Garry Essendine (Chris Bleau) is making the awkward transition from juvenile heart throb to leading man, and is preparing for a repertory tour of South Africa. His massive ego has carried him through countless affairs and one-night-stands, and he's growing just a little weary of too much frivolous female (and a lunatic male) attention.

This is more of a "bedroom" than a "backstage" comedy. The not-so-private life of a theatrical luminary allows for outrageous antics, because he's expected to be self-consciously superficial and badly behaved. In fact, Gary freely admits: "I'm always acting, watching myself go by. That's what's so horrible."

There are voices of sanity in Gary's pampered life, to help keep him anchored. His long-suffering and very pregnant secretary (Haley Johnson) and level-headed ex-wife and business partner (Adrian Egolf) do their best to keep him on task, but they are outmaneuvered by an irrepressibly nubile actress (Kelly Reeves) and the irresistibly seductive wife and lover (Rachel Bouchard) of his friends (Dave Blumenstock and Tim McGrath). A buoyant butler (Jack Wefso), mirthless maid (Erica Johnson) and wildly insane sexual predator playwright (Christian Mast) add to the confusion.

Ironically, the dissolute Garry seizes the dubiously high moral position, on the grounds that he is merely responding to his natural animal instincts, while the others are devious and duplicitous. Some Christians might agree, that sins of the flesh are not quite so egregious as calculated sins of the spirit. A couple of characters do set a good moral, though not religious example, but they don't seem to have nearly as much fun as those who misbehave.

Though a bit boyish in the face for a middle-aged role, Bleau capably handles reams of dialogue, and seems reminiscent of Colin Firth, while Mast is quite the scene stealer as the maniacal playwright. The costumes are modeled after  1980s "Dynasty" fashions. But the real star of this production is director/designer Pegg, who guides the cast through impeccable timing in the delivery of difficult, bantering dialogue, even while pushing the limits of physical and visual gags.

Miners Alley Playhouse kicks off the 2012 season with “Present Laughter” through February 12. Performance dates are Fridays and Saturdays at 7:30 p.m.; Sundays at 6 p.m. *(Sunday, February 12 is at 2 p.m.; no 6 p.m. performance that day) Tickets are $19.00 - $26.50 with senior, student and group rates available by calling 303-935-3044 or online at minersalley.com. Miners Alley Playhouse is located at 1224 Washington Avenue (13^th and Washington 2^nd floor entrance on 13^th).

PROMO: Dreams of an Autistic Playwright

PROMO: Bring it On (The Musical)

Bring It On The Musical.  Photo by Craig Schwartz.

The whole cheerleading phenomena has changed over the years, becoming one of the most dangerous and highly competitive pursuits available to high school students. What once was an innocent extension of the "pep squad," tasked with boosting school spirit through shaking pom pons and repeatedly chanting simplistic rhymes, now involves complex, acrobatic choreography that has grown from sideline and half-time amusement to highly coveted national championships.

Despite the perverted "jail bait" fantasies of some, and the complete apathy of others who would rather just watch the game, cheerleading has become the ultimate adolescent expression of "girl power," bringing out the best and worst in its adherents. Yes, there are a few boys on hand to do the heavy lifting, but cheerleading will always be about the girls, their beauty and grace, but also their ugly and sometimes destructive rivalries.

The press materials for Bring it On: The Musical, which plays January 10-21 at the Buell Theatre, avoid mentioning the reasonably successful series of films of the same name, and recent television shows devoted to exploring the cheerleading craze.

Bring it On: The Musical promotes a suitably moralistic theme: that winning isn't everything when it means losing something -- or someone -- you really care about, but says it in a "hilarious" way. The music promises to be fresh, and the gravity-defying choreography should indeed be thrilling, since the ensemble features some of the nation's most skilled competitive cheerleaders to add an element of authenticity.

Taken out of its sports-related, spirit-boosting context, it remains to be seen whether Bring it On: The Musical and cheerleading (a sport in itself) can hold its own as meaningful stand-alone entertainment. I'm guessing that the energy, spectacle and choreography, and the most likely lightly-addressed human conflict will carry the show, even if the ultimate purpose of all that jumping and screaming remains an adolescent mystery.

Bring it On: The Musical is part of the Denver Center Attractions 2012 season. Tickets for Bring it On: The Musical can be purchased at www.denvercenter.org or by calling 303-893-4100. Tickets start at just $25. For more information on the show itself, visit the Facebook page at Facebook.com/BringItOnTheMusical.

Colorado ACTS New Year's Eve fundraiser party

Colorado Actors Company and Theater School Present…

A Fundraiser Gala Dinner

to Benefit Colorado A.C.T.S.

Join us for New Year’s Eve EVE!

When: Friday, December 30^th, 7pm-9pm

Where: Two Roads Charter School (7180 Oak St. Arvada, CO 80004)

What: A Night of Food, Entertainment and Fun to Benefit Colorado A.C.T.S.

7pm-9pm: Dinner and Entertainment

9pm-12am: Glow-In-The-Dark Games in the gym for the Students & Board Games for the Parents who want to stay.

Cost: $15 per person for Adults OR $25 per Couple

$10 per person for Students (This price includes Glow-In-The-Dark Games in the gym after Dinner!)

$5 per person for Students who only want to come play Glow-In-The-Dark Games in the gym.

 

Dress-Up in Your New Year’s Finery!

Dinner will be provided by Santiago Miranda and consist of a Salad, Bread, Ham, Scalloped Potatoes and a Tasty Dessert.

Please RSVP By Thursday, December 29^th. Call 303-456-6772 to place your reservation

-All Proceeds from this event go to the Colorado ACTS Moving and Renovation Fund.-

REVIEW: 'Phantom' at BDT

 All roads may lead to Rome, but not all worthy musicals come from Broadway or London. The U.S. has numerous vibrant regional theaters that develop and produce original shows. Andrew Lloyd Webber's Phantom of the Opera hit the big time through its London and Broadway blockbuster productions, but Arthur Kopit and Maury Yeston's American version of Gaston Leroux's 19th century potboiler melodrama is smarter, and ultimately more satisfying.

Boulder's Dinner Theatre's outstanding current production of the American version of Phantom reveals strengths and weaknesses that prove the show is eminently stage worthy and entertaining, but probably wouldn't have done well in New York anyway.

First of all BDT's production of the Kopit/Yeston version MAKES SENSE. Unlike the Andrew Lloyd Webber spectacle, care has been given to telling a sensible story, developing its characters, and articulating a theme instead of merely creating a series of moments and moods. It should come as no surprise that this literate version effectively translated into a television mini-series, something the Webber version could never have done.

A beautiful young song seller (Maggie Sczekan) is "discovered" by a wealthy count (Brian Jackson), and sent to the Paris Opera House to begin an apprenticeship. But the new owners of the Opera House (Joanie Brosseau and Scott Beyette) have fired the longtime and sympathetic manager (Brian Norber), and the jealous diva puts the prodigy to work making costumes. A mysterious Phantom (Markus Warren) privately polishes her musical gift and pressures the company to let her perform. Conflict arises, pranks take place, but the body count is low, because the Phantom isn't a monster, just a misunderstood outcast.

This is more Gothic romance than horror fiction, so the Phantom turns out to be a tragic hero with serious mommy and abandonment issues. His facial deformity is the least of his worries.

There are no plunging chandeliers, fire balls or other empty and pointless spectacle, although there are some very nice effects. It's great to see a show that has enough depth that it doesn't need to hide behind six or seven-figure production budgets.

On the other hand, the MUSIC of the Kopit/Yeston version is no match for Webber's. There really aren't any hit songs, and some tunes sound deceptively simplistic, like variations on running through scales. Audiences aren't likely to flock to iTunes to download the soundtrack. It's enjoyable, serviceable, and at times emotionally engaging music, but not particularly memorable.

I've never seen a shabby, sloppy or lazy performance at Boulder's Dinner Theatre. These are consummate professionals, at the top of their game, and they give it their all. It's great to see a combination of long-time favorites and new faces in the tightly-knit ensemble.

Phantom is an odd choice for a holiday show, but it definitely works as a mid-winter musical offering. It's dark, deep, brooding and richly rewarding. But come Spring I'm going to be more than ready for a light-hearted, light-headed offering, like the delightfully dipsy The Drowsy Chaperone, which plays at Boulder's Dinner Theatre February 24-May 13, 2012.

Phantom performs at Boulder's Dinner Theatre through February 18. Prices start at just $35, and include both the performance and dinner served by the stars of the show. Call 303-449-6000 or log on to www.bouldersdinnertheatre.com  for information and reservations.

PROMO: Avenue Q

NAUGHTY PUPPETS: Keith Rabin and Carolyn Lohr star in the hit musical Avenue Q, the hilarious profane and delightfully vulgar, R-rated spoof of Sesame Street. Photo Credit: Ellen Nelson.

Vintage Theatre presents the Regional Premiere of

“Avenue Q”

Music and Lyrics by Robert Lopez and Jeff Marx; Book by Jeff Whitty
Based on an original concept by Robert Lopez and Jeff Marx
Orchestrations and Arrangements by Stephen Oremus
Music Direction by Marsha Whitaker; Choreography by Kelly Van Oosbree

Directed by Bernie Cardell

Puppets don't blush. But audiences will, at Vintage Theatre's production of Avenue Q, opening Nov. 11 and playing through January 8. It's hard to believe this show beat out Wicked on Broadway, but this intentionally shocking, push-the-envelope Sesame Street spoof is infectious and funny. The most politically incorrect, amoral and degenerate things are said and done, but they get away with it because, after all, it's "just a puppet show".

Since the hyper-violent Punch and Judy plays of medieval England, and even going back to when actors wore masks, disguised or objectified characters have been able to get away with unrestrained sex and murder. After all, there's no real harm done. Try it for yourself. Put a sock on each hand, add a couple of googly eyes, and let the puppets "talk" to each other. Most of the time, it only takes a few minutes before they are hitting each other and stuff around them, and they may even curse a blue streak. 

It takes real talent to take that impulse and channel it into a fiercely intelligent, challenging yet entertaining show. Then add songs that are even better than the book. It's harder than it looks. Social institutions, attitudes and behavior of urban America are skewered, roasted, and put on display in the charming, witty and gleefully naughty Avenue Q.

There is a boy-meets-girl love story, but chaos lurks all around. A recent college grad named Princeton  moves into a shabby New York apartment all the way out on Avenue Q. There, he meets Kate (the girl next door), Rod (the Republican), Trekkie (the internet sexpert), Lucy the Slut (need we say more?), and other colorful types who help Princeton finally discover his purpose in life! Avenue Q is the winner of the Tony® “Triple Crown” - Best Musical, Best Score and Best Book and is rated “WTF” for colorful language and full puppet nudity.

The outstanding cast includes Michael Bouchard as Rod, Patrick Brownson as Trekkie Monster, Leslie Randle Chapman as Female Puppeteer/Bad Idea Bear, Eric Fry as Brian, Anna High as Gary Coleman, Paul Jaquith as Male Puppeteer/Bad Idea Bear, Carolyn Lohr as Kate Monster/Lucy T. Slut, Keith Rabin as Princeton, Arlene Rapal as Christmas Eve, and Mark Shonsey as Nicky. 


Don't take your mother (and certainly NOT YOUR CHILDREN!) to see this one, but if there remains within you a rebellious streak, a secret delight in giving the finger to social propriety, you might want to "go slumming" and take a side trip to Avenue Q. Just wash your hands afterwards.

Vintage Theatre presents “Avenue Q” November 11 – January 8 at Vintage Theatre, 2119 E. 17th Ave. Performances are Fridays and Saturdays at 7:30 p.m. and Sundays at 2:30 p.m. Added performances begin with Thursdays on December 15, 22, 29, January 5, one Wednesday performance on December 21 at 7:30 p.m. and one Saturday matinee performance on December 31 at 2:30p.m. Tickets are $30 - $35 on Fridays and Saturdays; $25 -$30 all other performances. An Industry Night is offered on Tuesday, November 29 at 7:30 p.m. and all tickets are $20.  Tickets are available by calling 303-839-1361 or online at www.vintagetheatre.com.

PROMO: Evergreen Players presents 'A Christmas Story'

Evergreen Players present

A Christmas Story- A Staged Reading

By Philip Grecian

Directed by Michele Wright

 

Evergreen Players presents a staged reading of the Christmas classic “A Christmas Story” December 16 through 18 at Center/Stage, 27608 Fireweed Drive in Evergreen, CO. Three performances only on Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m. Tickets are $10 and $8 for children under 12 and available by calling 303-674-4934 or online at www.evergreenplayers.org. Group discounts available.

 

Humorist Jean Shepherd's memoir of growing up in the Midwest in the 1940s follows 9-year-old Ralphie Parker in his quest to get a genuine Red Ryder BB gun under the tree for Christmas. Ralphie pleads his case before his mother, his teacher and even Santa Claus himself, at Goldblatt's Department Store. All the elements from the beloved motion picture are here, including the family's temperamental exploding furnace; Scut Farkas, the school bully; the boys' experiment with a wet tongue on a cold lamppost; the Little Orphan Annie decoder pin; Ralphie's father winning a lamp shaped like a woman's leg in a net stocking; Ralphie's fantasy scenarios and more.

 

The cast includes Matt Bachus, Brenda Billings, Kathleen Davis, Lisa DeCaro, Scott Gibson, and Len Matheo.

 

The performing home of The Evergreen Players is Center/Stage, 27608 Fireweed Drive, Evergreen, CO, 80439.   Directions to Center/Stage are at www.evergreenplayers.org. The Evergreen Players is a 501(c) 3 non-profit organization producing six shows per year in the foothills. Established in 1950, the Players’ mission is to create professional quality theater to inspire, engage, and entertain.  P.O. Box 1271, Evergreen, CO  80437. 

 

Evergreen Players present

“A Christmas Story”

A staged reading of the beloved holiday story.

Dec. 16 -Dec.18

Fri\Sat at 7:30 p.m.; Sun at 2 p.m.

$10; $8 for children under 12

303-674-4934 or on line at www.evergreenplayers.org

Center/Stage, 27608 Fireweed Drive, Evergreen, CO.

Recommended for all.

 

PROMO: 'The Lion King' at the Buell

The Tree of Life from The Lion King National Tour. (c)Disney. Photo Credit: Joan Marcus.

Disney's The Lion King is back on the prowl, and will arrive in Denver tomorrow! The "king" of Disney movie-to-stage musicals (although Beauty and the Beast gets my personal vote for "alpha"), will play at The Buell Theatre through December 4.

Remember when the North American tour launched in Denver back in April 2002 and sold out its 10-week run? Well, The Lion King has a bit of the Energizer Bunny in it, as it's still going strong, selling out again in September 2006 on its first return. This will be the show's third appearance in Denver.

The Lion King won six 1998 Tony® Awards: Best Musical, Best Scenic Design (Richard Hudson), Best Costume Design (Julie Taymor), Best Lighting Design (Donald Holder), Best Choreography (Garth Fagan) and Best Direction of a Musical, making Taymor the first woman in theatrical history bestowed with the honor. The Lion King has also earned more than 70 major arts awards including the 1998 NY Drama Critics Circle Award for Best Musical, the 1999 Grammy® for Best Musical Show Album, the 1999 Evening Standard Award for Theatrical Event of the Year and the 1999 Laurence Olivier Awards for Best Choreography and Best Costume Design.

The Broadway score features Elton John and Tim Rice’s music from The Lion King animated film along with three new songs by John and Rice; additional musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer; and music from "Rhythm of the Pride Lands," an album inspired by the original music in the film, written by Lebo M, Mark Mancina and Hans Zimmer.

The Lion King will play Tuesday through Friday evenings at 7:30pm, Saturdays at 2:00pm and 7:30pm and Sundays at 1pm and 6:30pm. There will also be 2pm matinees on Thursday, November 3, Wednesday, November 23, Friday, November 25 and Wednesday, November 30. There will be no performances on Thursday, November 24 in observance of Thanksgiving. There will not be 6:30pm performances on Sunday, November 27 and Sunday, December 4. 

Ticket prices start as low as $17.50. Tickets are available at the Denver Center Ticket office located in the Helen Bonfils Theatre Complex Lobby or by calling (303) 893-4100. Tickets may also be purchased and printed online at www.denvercenter.org. For more information on the show itself, visit www.lionking.com.