The Playwright Priest

PROMO: 'I Never Saw Another Butterfly'

2012-01-31T07:20:00.002-07:00

Colorado ACTS presents:

I Never Saw Another Butterfly

Over 15,000 Jewish children passed through Terezin, and only about a hundred were still alive when Terezin was liberated at the end of the Second World War. One of the survivors, Raja, having lived through it all, teaching the children when there was nothing to teach with, helping to give them hope when there was little enough reason for hope, creating a little world of laughter, of flowers and butterflies behind the barbed wire, tells the true story of the children. It's her play and it's theirs. There were no butterflies at Terezin, of course, but for the children, butterflies became a symbol of defiance, making it possible for them to live on and play happily while waiting to be transported. Come enjoy this emotional and powerful production commemorating these precious lives lost.

Performances February 24, 25, March 2, 3, 2012, all shows at 7 pm.

At our new location- 9460 West 58th Street (Ralston Road) Arvada CO

Call 303-456-6772 for more information

REVIEW: 'The Elephant Man'

2012-01-24T07:41:00.001-07:00

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'

2012-01-21T10:17:00.000-07:00

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

2012-01-14T19:13:00.000-07:00

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

2011-12-31T15:38:00.000-07:00

PROMO: Bring it On (The Musical)

2011-12-31T10:00:00.000-07:00

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

2011-12-23T15:20:00.001-07:00

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

2011-12-19T19:51:00.001-07:00

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

2011-11-11T22:14:00.000-07:00

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'

2011-11-11T05:09:00.001-07:00

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

2011-11-01T06:26:00.000-06:00

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.

REVIEW: Brighton Beach Memoirs

2011-10-29T06:24:00.000-06:00

Jackson Garke stars as an impressionable and irrepressible pre-teen in Evergreen Players' poignant production of Neil Simon's "Brighton Beach Memoirs." Photo Credit: Rachel D. Graham

Neil Simon is arguably the most successful writer of comedies for the stage in the last half of the 20th century. He will be remembered for such still popular works as "Barefoot in the Park," "The Odd Couple," "The Sunshine Boys," and "Laughter on the 23rd Floor." They will be remembered because they are funny.

But there's another side to Neil Simon's prolific talent, an introspective, dramatic and purposefully cathartic side which draws on his own pain and through which he seems to be exorcising personal demons. Inspired by the styles of various and more respected "dramatic" playwrights, he works out his own "stuff" on the stage, perhaps hoping that we can benefit vicariously from his sometimes fiercely unflinching self-examination.

"Brighton Beach Memoirs," which is being presented by Evergreen Players at Center Stage through November 6, takes us into the chaos and misery of a crowded home filled with dysfunctional characters, as seen through the eyes of an impressionable and irrepressible pre-teen boy. It's sort of like Eugene O'Neill's "Long Days Journey Into Night" with twice the number of suffering souls, and, because this is still Neil Simon after all, punctuated by gag lines.

Pubescent Gene (energetically played by Jackson Garke) is growing up in a pressure cooker of a home in 1937 Brooklyn. Least afflicted in the family, his biggest concerns are a growing fascination with female nudity, masturbation, and getting blamed for everything that goes wrong in the house.

Meanwhile, world war looms on the horizon, and his Polish-Jewish family is legitimately concerned about an influx of refugee relations when there's already precious little food to go around. Dad (Ken Paul) carries the weight of the world on his weary shoulders as he schlepps through multiple jobs. Mom (Michele Wright) is a world-class worrier and a terrible cook. Gene's guilty and tormented brother (Joe LaFollette) tries not to bring shame to his family and fails. Also sharing the cramped space are Gene's squinting, lonely aunt and two cousins: one wants to quit school and become a chorus girl, and the other exploits her heart defect to avoid helping around the house.

Each character has his or her own personal crisis, which more or less overlaps the others' and adds exponentially to the overall atmosphere of dreadful malaise. The second act ups the ante of everyone's angst, adding complications to existing problems, and introducing new, insurmountable obstacles to happiness, peace, and even survival. Finally, Simon has to jam together a bunch of confrontation and reconciliation scenes to give the play satisfactory closure, even though almost none of the problems have actually been solved.

But, we are reassured, family is family, and family sticks together. That sentiment alone, twisted as it may be, still seems somehow better than what is happening to American families today, who seem to lack commitment and staying power.

Under the direction of Tony Catanese, the cast maintains a consistent tone of repressed suffering, leading convincingly to hurtful outbursts and inevitable blowouts of frustration. The play is such a downer -- and perhaps in a good way -- that Gene's wise-cracking aloofness is the only energy available to carry the audience through the pathos. But Simon's/Gene's one-liners become less and less amusing, as they devolve from a kind of cocky coping mechanism to a desperate expression of emotional detachment.

Neil Simon managed to escape the dehumanizing whirlpool of failure, at least professionally, and has earned his place in history. Abraham Lincoln is quoted as saying, "I laugh because I must not cry. That is all. That is all." But I can't imagine Simon writing this play without weeping over every page.

"Brighton Beach Memoirs plays at 7:30 p.m. Friday-Saturday, and 2 p.m. Sunday, through November 6. Tickets are $18, with discounts for groups, seniors and students. I do not recommend this play for children under age 12 due to mature themes and frank sexual dialogue. Call 303-674-4934 or visit online at www.evergreenplayers.org.

PROMO: Cannibal - The Musical

2011-10-21T22:08:00.000-06:00

This time of year, I'm eagerly on the lookout for a funny, freaky Halloween theatrical treat. Twice I've been thrilled by the Bug Theatre and PaperCat Films' live and undead production of Night of the Living Dead. It's great fun. Check it out at http://www.bugtheatre.org/.

But this year, my appetite for haunting Halloween hilarity is leading me up to Breckenridge to see the outrageously funny stage version of the cult classic film Cannibal - the Musical, which performs at the Breckenridge Theatre through October 30.

Before creating the South Park phenomenon, and long before taking Broadway by storm with The Book of Mormon, prolific satirist Trey Parker cut his creative teeth writing and starring in Cannibal - the Musical, a low-budget film inspired by actual events relating to Colorado's own man-eating monster Alferd Packer.

Parker's warped and whimsical view of Packer's ill-fated journey from Utah to Colorado Territory (on the way to Breckenridge!) that resulted in his consumption of the gold prospectors he was supposed to be leading, produces belly laughs and comic gold. Some of the songs are just way too funny, including "Shpadoinkle Day," "Let's Build a Snowman," and Packer's ballad to his horse, "When I Was On Top Of You."

The show is directed by Christopher Willard, a major talent in the region, and returning for the Breckenridge Theatre's third staging of the show is the production's original Alferd Packer, Charlie Schmidt. The musical is uproariously optimistic, even when the events are over-the-top horrific. Be warned, there is adult humor, language, and brief nudity. No mention of gore, but I'm guessing audiences will get a belly full.

Cannibal - the Musical plays at the Breckenridge Theatre, 121 South Ridge street, Breckenridge, CO. Performances are at 7:30 p.m. Friday-Saturday Oct. 21-22, 7:30 p.m. Thursday-Saturday, Oct. 27-29, and 6:30 p.m. Sundays, Oct. 23 and Oct. 30. Tickets are $23. Call 970-453-0199 to make a reservation or purchase tickets online at http://www.backstagetheatre.org.

REVIEW: 'To Kill a Mockingbird'

2011-10-15T07:26:00.000-06:00

Caroline Rosenblum and Kathleen McCall in the Denver Center Theatre Company’s production of To Kill a Mockingbird. Photo by Terry Shapiro

Harper Lee's "To Kill a Mockingbird" is a better novel than Christopher Sergel's stage adaptation, but only because the conventions and point of view of the novel don't always translate well to a fixed space and a two and a half hour time span. Even so, the play, presented by the Denver Center Theatre Company and directed by Sabin Epstein, communicates effectively as drama, and adds a few surprising twists.

The novel relates seemingly unrelated events during ten-year-old Scout's summer, involving small town life in the south: a reclusive neighbor, a rabid dog on the loose, a new boy in the neighborhood, and the story's crowning sequence: Scout's attorney father Atticus' doomed attempt to protect and defend an innocent black man accused of raping a white woman.

The Gregory Peck film version of "To Kill a Mockingbird" came out in 1962, just two years after the novel was published, so both were ideally situated to become influential statements during the civil rights movement. So much so, that many people think of this story as a tragic but inspiring courtroom drama centered around a progressive, heroic, crusading lawyer.

The DCTC's production takes a different approach. My impression of the directorial choices made by Epstein, is that Scout's summer was memorable not because it was so meaningful and socially significant, but because the trauma each character suffered warped or deformed them in some way. In my opinion, this production emphasizes not the nobility of the characters and struggle for respect and dignity, but the long-lasting damage caused to the people who suffered through an ugly time.

No real, larger good prevails. It's an essentially sad and pessimistic interpretation, a bitter but valid pill, true to the material. There's more Tennessee Williams in this production than Arthur Miller.

John Hutton looks and sounds a lot like Gregory Peck, and has the heroic stature, but this Atticus is ashamed of his military service, fails to defend his children from a verbally abusive neighbor or hateful townfolk, is reluctant to take up arms even as a rabid dog threatens his children, and accepts the appointment to defend an innocent man with reluctant resignation. On several occasions he places himself as a sacrificial shield in front of angry and violent people, but offers no resistance. In fact, his daughter has to use her own wits to rescue him from being overrun by a lynch mob. His reputation with the white community is perhaps permanently ruined, and the black preacher's qualified praise for him is that "no one else could keep a jury out that long."

The three children in the story are severely damaged by their experiences. Scout's brother's arm is broken so badly that it becomes stunted. The new boy (who in real life was Truman Capote) develops a morbid fascination with deviant and criminal personalities, and Scout suffers a broken leg and psychological trauma that sets her on course toward a mental breakdown.

The disintegration of Scout's sanity is especially evident in the emphasis given on the narrator, Jean Louise Finch (ably played by Kathleen McCall), who is the adult Scout remembering the events of her childhood. Jean Louise doesn't just relate the past events, as in most memory plays. She relives the painful experiences as if they are happening to her again and again. The narrator is not allowed any aesthetic distance. During the climactic trial scene, the young Scout is tucked way upstage, on a balcony and behind a tree, but Jean Louise is right beside her father, helpless and agonized.

In a brilliantly insightful but desperately sad moment, Jean Louise can't even tell the audience what eventually happened to her father. She breaks down and is unable to continue to catharsis. She can't work through the experience, and becomes stuck in her pain. But then her childhood self takes her by the hand and leads her into the home of her memory. She becomes a recluse, like Boo Radley, incapacitated, unable to step out into the light, or move on with her life.

In the healing ministry, we understand that people who have suffered severe emotional wounds continue to feel the pain of years past -- even if the abuser is long dead -- as if it's happening right now. This is the case of Jean Louise.Telling the story over again for the audience doesn't make it any better for her. Then I realized that the cast will repeat this performance many times, and with each repetition they will have to go through the pain as if for the first time. What a profoundly sad way for art to imitate life.

Harper Lee described herself as inherently shy and never comfortable in the limelight. She never completed another novel. Many of the characters and scenes in "To Kill a Mockingbird" are based on or adapted from actual people and events in her life. It doesn't take much of a leap to imagine that this powerful production strikes closer to the unbearable truth than the book and film's heroic, noble reputation.

The Denver Center Theatre Company's production of "To Kill a Mockingbird" plays at the Stage Theatre through October 30. Call 303-893-4100 for tickets, or visit www.denvercenter.org.

PROMO: 'Secret of Skull Island' dinner show

2011-10-08T19:09:00.003-06:00

Colorado ACTS presents an Alumni Production of
The Secret of Skull Island
Letters from a respected New Jersey bank lure seven doomed "guests" to the eerie and fog-bound Skull Island on Cape Cod. Each hopes for a financial windfall. What each gets is — murder! The unraveling of the bizarre plot involves a brash young writer and the details of a murder trial where a startling revelation comes too late.
Thurs Oct 27, 7:30 $2.00
Fri. Oct. 28, 10:00 p.m. $5.00
Sat. Oct. 29 Dinner Theatre Dinner Served at 7:00, Show at 7:30, $12.00 for both dinner and Show
Sun. Oct. 30 Dinner Theatre Dinner served at 1:30, Show at 2:00,
$12.00 for both dinner and Show.
Call for Dinner Reservations 303 456-6772
Two Roads Charter School
72nd and Oak, Arvada, CO

REVIEW: 'The Liar'

2011-10-01T17:55:00.001-06:00

Drew Cortese in the Denver Center Theatre Company production of The Liar. Photo by Terry Shapiro.

Among theatre history aficionados, an opportunity to see a production of a Pierre Corneille play is a rare treat. I've been involved in theatre for nearly 40 years, and never before have I had the opportunity to even read, much less see an English version of Corneille's classic 1643 French comedy "The Liar."

While Corneille doesn't quite rate as highly as Moliere in terms of modern translations, David Ives' "transladaptation," of "The Liar," playing through October 16 at the Denver Center Theatre Company's Space Theatre, is bright, light, loaded with laughs and amazingly accessible to contemporary audiences.

A compulsive liar concocts elaborate fibs, not for personal gain, to hurt others, or for self-protection, but because of an otherwise commendable and irresistible artistic desire to embellish real life with his gift for descriptive language and an impressively rich and colorful imagination. His colossal fantasies create all kinds of complications for the people around him, but no real harm is done.

Dorante (Drew Cortese) arrives in town and falls in love at first sight with Clarice (Amelia Pedlow), who is secretly engaged to Dorante's friend, and whose lonely companion Lucrece (Jeanine Serrales) thinks SHE'S the object of his affection. Dorante's dad wants to marry him off to one or the other, and Dorante is well served by an honest yet gullible manservant (Matt Zambrano), who advises the audience to "turn off their brains with their cell phones" and simply enjoy the play.

And that's very easy to do. The show is completely unconcerned with the moral consequences of breaking one of the ten commandments. It's not so much about telling the truth, as fabricating outlandish fantasies that we never really believe anyway, but enjoy simply because they are so preposterous.

The plot is extremely light and simple, involving mistaken identity, mis-delivered love letters, identical twin servants and the like, but the show exists primarily to provide a showcase for a series of spectacular monologues and set piece "bits," including a show-stopping "air duel," and instruction on how to lie. The costumes are gorgeous, the acting is terrific, but the real stars of the show are David Ives' brilliant script, and Kent Thompson's direction, which is nothing short of genius.

Ives has done far more than translate the original into rhymed pentameter, which would be a huge accomplishment in its own right. The script is witty, clever, knowing and filled with surprises, in-jokes and delights. Thompson's direction is extraordinary, not just in the performances he elicits from the talented cast, but in the shaping, blocking and business, and timing of the performances. "The Liar" is not just a masterpiece, DCTC's production is a masterwork.

"The Liar" was definitely worth the 40 year wait. This is one "classical" comedy I could see again and again.

'The Liar' plays at the Denver Center Theatre Company's Space Theatre through October 16. Performances are 6:30 p.m. Tuesday-Thursday, 7:30 p.m. Friday-Saturday, with matinees 1:30 p.m. Saturday-Sunday. Tickets start at $35. For information and tickets call 303-893-4100 or visit online at www.denvercenter.org.

REVIEW: 'Night of the Iguana'

2011-09-24T10:51:00.000-06:00

Among mid-20th century American "realistic" playwrights, Tennessee Williams is right up there with Arthur Miller, Eugene O'Neill and William Inge. Williams' best plays present a person on the precipice of a complete mental and emotional collapse, surrounding them with characters who alternately push and pull the protagonist over or back from the edge. Most of the time, the protagonist falls.

"The Night of the Iguana" isn't "top-tier" Williams, compared with "The Glass Menagerie," "A Streetcar Named Desire" and "Cat on a Hot Tin Roof." But it is a worthy play, and deserves to be performed more frequently, just so long as you have a director who "gets" Williams, and can find a leading man who is able to present a carefully graduated total breakdown for a little more than two hours.

Director Rick Bernstein clearly understands and appreciates Williams', and he's brought in union guest artist Cajardo Lindsey for the Miners Alley Playhouse production of "Iguana." The result is a commanding success, a powerful, cathartic drama that, unlike some of Williams' plays, has more than a hint of personal redemption.

T. Lawrence Shannon (Lindsey), a disgraced Episcopal priest who crashed and burned less than a year after graduating from the notoriously liberal seminary in Sewanee, has a weakness for pubescent girls, a fondness for drinking himself blotto, and a flawed theology that recognizes God only in storms, or as a senile delinquent. Establishing a new career as a tour guide for groups of women traveling through Mexico, he's reached total burnout, finding dubious sanctuary at a run-down resort owned by a lusty, red-headed widow (Rhonda Lee Brown).

Having succumbed to the advances of a clingy, underage "Lolita" (Kenzie Kilroy), and subjected to the wrath of an emasculating harpy (Kellie Rae Rockey), he's facing permanent blacklisting in the tourism industry. Shannon exhausts himself trying to salvage both ruined careers, and resisting the obvious alternative: helping the widow run the resort.

In addition to some delightfully annoying German tourists and an amiable Mexican "handyman," the resort shelters two other hangers-on: a frail, elderly poet (Roger L. Simon) hoping to finish one last poem before he dies, and his artist granddaughter Hannah (Paige L. Larson) who has faced loneliness and grown through it.

All but Hannah are satellite characters, existing primarily to orbit around Shannon, bringing out the best and the worst in this deeply wounded man, urging him to an existential crisis and beyond. Only the angelic Hannah can offer true compassion, deftly maneuvering Shannon toward acceptance and peace. I'm not even sure he ever realizes what a gift from God she truly is.

Lindsey's performance as Shannon is electrifying. He finds seemingly limitless ways to depict a man drowning in his own brokenness, with only his desperate need for dignity to keep him going. Larson is rock solid yet ethereal as the self-sacrificing artist who has accepted her vocation of living to serve others. Brown is wonderfully loud and lascivious, a perfect expression of unashamed carnality, while Simon is touchingly poignant as the feeble poet, living entirely in an interior world. Rockey is terribly intimidating as the formidable church lady who has her own secret attraction to the young temptress, ably played by Kilroy, though Kilroy's role is much smaller than in the Richard Burton film version of this play.

Bernstein, an accomplished director, has a special sensitivity to Williams, and it shows. This is a particularly tricky work, with lots of characters moving through the action, but he keeps the focus exactly where it needs to be. Special mention must be given to Richard H. Pegg, whose scenic design is extraordinarily detailed, and who even manages to create a tropical storm on the small stage.

I love plays that take the audience through the "valley of the shadow of death of the ego," and bring us through to a greater appreciation of the human condition, of the frailty of fallen man, the need for meaningful relationships and the hope of redemption. Miners Alley Playhouse's excellent production of "The Night of the Iguana" does this beautifully.

Miners Alley presents Tennessee Williams' classic drama "The Night of the Iguana" 7:30 p.m. Friday-Saturday, 6 p.m. Sundays through October 23. (Note the October 23 performance is at 2 p.m., with no 6 p.m. performance that day.) Tickets are $19-$26.50, with senior, student and group rates available. The playhouse is located at 1224 Washington Avenue, Golden. Call 303-935-3044 or visit online at www.minersalley.com.

REVIEW: 9/11 Firefighters eulogized in 'The Guys'

2011-09-09T20:47:00.001-06:00

Michael Ingram and Rita Broderick in The Guys.Photo Credit: Michael Ensminger

Ten years after THE terrorist attack, 9/11 has become a kind of national holiday. Citizens are encouraged to fly their flags, attend community events, concerts, picnics, even remembrance runs. On the flip side, conspiracy theories persist, t-shirts are sold, TSA thugs fondle our children and our infirm elderly at airports in the illusory name of "security," and all of it is based on the realization that our identity as Americans changed forever that fateful day. An event like that brings out the best and worst in people.

"The Guys," one of the very first plays to emerge after this tragedy, reminds us that approximately one tenth of the fatalities on 9/11 were firefighters and other first responders who willingly but unwittingly went to their deaths in the hope of saving the lives of others, and that our duty, first and foremost, is to honor their sacrifice and grieve.

The premise is simple, and based on a true-life encounter. A fire department captain (Michael Ingram) who was off duty that shift, is required to give eight eulogies in two weeks, and can't think of what to say. A former journalist (Rita Broderick) agrees to write the eulogies for him. They sit in chairs facing each other. He describes four unique and memorable individuals. She writes the eulogies. Not a lot of external action, but inside, there is a strange and compelling transfer of grief. He feels better, because now he can express his loss while affirming the lives and work of his men. She pays a terrible and heart-wrenching price, writing intimately and authentically about guys she never met, and never will.

This kind of play is an actor's tour de force opportunity, and the great danger would be to just let the actors direct themselves, which could lead to all kinds of self-indulgence. Thankfully, Firehouse Theater Company's production, playing at the John Hand Theater through September 17, has brought in Don DeVeux, an accomplished actor AND director, to guide the actors into the deep places of their psyches required to transform this from a performance into an experience. DeVeux also provides a bigger picture, a concept and context through which the audience, a decade later, can enter into this intimate conversation. Our response rightfully falls somewhere between those of the two characters.

"The Guys" runs 75 minutes and is performed without intermission. Each performance is followed by readings of first-hand accounts of the events on 9/11.

There is no shortage of 9/11 themed programming available as the anniversary approaches. But if you want to get up close and personal, check out Firehouse Theater Company's production of Anne Nelson's "The Guys."

"The Guys" plays through September 17 at the John Hand Theatre/Colorado Free University, 7653 East First Place, Denver. Call 303-562-3232 or visit www.firehousetheatercompany.com for information.

REVIEW: "Reefer Madness"

2011-09-09T16:41:00.001-06:00

Natasha Gleichmann, James O'Hagan Murphy and Whitney Fisher in Equinox Theatre Company's "high" and mighty production of the musical "Reefer Madness."

The principal difference between "Reefer Madness," the 1938 cautionary film and "Reefer Madness," the "hit" musical presented by Equinox Theatre Company at the Bug Theatre, is that the first takes the "high" road, and the latter aims very, very low. The first was unintentionally amusing because of it's deadly earnestness in presenting a grossly fictionalized account of small town teens brought to destruction and despair by the demon weed marijuana. The musical delights in its over the top, below the belt depiction of the slippery slope from loss of innocence into degeneration and depravity precipitated by experimentation with the forbidden "fruit."

Naive high school student Jimmy (in a stellar performance by James O'Hagan Murphy), abandons the sweet girl next door Mary (Ariel Cagan) and the "square" life when he falls under the influence of several seedy characters who get him hooked on a kind of pot that is so potent it seems to have been laced with a combination of PCP, Meth, crack cocaine and Satan himself. Jimmy's freefall from grace leads to lying, theft, sexual deviance, violence, futile attempts to turn over a new "leaf," and eventually to a seat in the electric chair.

In a pivotal scene, a goofy, grinning "Jesus" (Robert Harbour) urges Jimmy to renounce marijuana and embrace the greater pleasures that God offers, but Jimmy cries out "I have a different god, now." Too true, and he reaps the whirlwind. Later, the drug-fueled hallucination of Jesus, the great "High" King returns, not to save the repentant Jimmy, but to gloat at the sinner's comeuppance. Ouch.

The frequently semi- and often cross-dressed cast are clearly having so much fun celebrating the aberrant behavior depicted in "Reefer Madness," it's possible they have no idea how effective this satire can be in actually discouraging drug abuse. But the extremely bright director, Colin Roybal obviously "gets it," and makes the most of Kevin Murphy and Dan Studney's brilliant book, lyrics and music. The show is uproariously funny, the musical numbers are show-stoppers, and the cast over-acts (if that's possible with this material) with total abandon. Despite numerous heavily eroticized situations, the show is far from titillating. It's hysterically funny and repugnant at the same time.

The only sour note in the whole show is a last minute indictment against the "government" for telling us lies about the true properties of marijuana, in an effort to scare its citizens into avoiding the pitfalls of drug use. It's true that marijuana is more likely to render people stupid and useless than turn them into drooling lunatics, rapists and murderers. But the "evils" of weed are so demonized, it becomes a metaphor for other threats to human dignity, and so actually and compellingly makes the very point the show seeks to ridicule.

Equinox Theatre Company's three most recent big hits: "Night of the Living Dead," "Little Shop of Horrors" and "Reefer Madness," are all horror comedies in which the laws of society and personal integrity are seriously eroded by an irresistible and irreversible external force. All three shows present the post-modern deterioration of human dignity and collapse of moral boundaries into a fatalistic orgy of excess. Damnation has never seemed like so much fun. But it does give one pause to recognize a pattern.

"Reefer Madness" is absolutely "adults only." It's not going to poison their minds or destroy their morals, but it would simply be too hard to explain to children why adults who should know better are acting so stupid. Ah, the innocence of youth.

Equinox Theatre Company's "Reefer Madness" plays at the Bug Theatre, 3654 Navajo St. in Denver, through September 17. All tickets are $15, and performances are Fridays-Saturdays only, at 7:30 p.m. Visit www.equinoxtheatredenver.com for tickets and information.

PROMO: American premiere of Israeli play "Apples From the Desert"

2011-08-30T11:45:00.000-06:00

Reuven (Albert Banker) is unimpressed with Dooby's (Michael Boyer) offer of an apple in Theatre Or's production of "Apples From the Desert." Photo Credit: Sarah Roshan/Trulife Photography

THEATRE OR* AND MACC PRESENT THE AMERICAN PREMIERE

OF THE ISRAELI PLAY "APPLES FROM THE DESERT"

Theatre Or and MACC (Mizel Arts and Culture Center) present the American premiere of Savyon Liebrecht’s "Apples from the Desert," 2006 winner of Israel’s best play, opening Thursday, September 8, and running through November 6. "Apples from the Desert" will also be performed in conjunction with JAAMM Fest (Jewish Arts, Authors, Movies, and Music Festival) – a festival featuring multiple art, music, literary, film and educational events.

Oded Kotler, the Israeli director of the 2006 world premiere, will participate in post-performance talkbacks Sept. 15-18 with the audience and artistic personnel. The Consulate General of Israel in Los Angeles is sponsoring his residency. Other talkbacks are planned for 9/8, 9/11, 10/30, and 11/5, with more to be added.

"Apples from the Desert" is a romantic comedy about a young, religious Israeli who flees her strict family to find freedom and love on a kibbutz in the southern desert. Her father wants to disown her, while her mother wants to support her, and the conflict’s resolution will surprise everyone.

Noted Denver director Terry Dodd will direct an ensemble cast featuring Albert Banker, Carol Bloom, Michael Boyer, Megan Hatch, and Judy Patterson.

When asked why he wanted to direct "Apples from the Desert", Dodd responded, “Because it’s extraordinary to bring different cultures together on stage, and by doing so, help us all to find common ground.” Liebrecht, an award-winning Israeli writer of short stories, novels, films, and plays, hopes the American audience will learn that Israel is a complex multi-cultural society. This is her first play to be produced in America.

Theatre Or aims to introduce works that the entire community would not ordinarily see anywhere else. “Our mission is to produce professional, provocative theatre with Jewish perspective and universal appeal,” according to Theatre Or’s founder and Producing Artistic Director, Diane Gilboa, “There is a wonderful bounty of Israeli plays that American audiences deserve to see, plays that by depicting a foreign culture, give us insight into our own lives.”

“We were delighted with the community’s overwhelming response to last year’s production of "The Chosen,” comments Steve Wilson, executive artistic director of MACC, “and we welcome Theatre Or’s return with a beautiful, heartwarming romantic comedy that also has depth and breadth as it explores the relationships and complexity of a modern religious family. We are very proud that it is an American premiere by amazing Israeli playwright/author Savyon Liebrecht. It is exciting to host mature theatre back on our stages at MACC.”

*Or is the Hebrew word for light.

Theatre Or and MACC present the American Premiere of

Apples from the Desert

By Savyon Liebrecht

A young, Israeli religious girl flees her strict religious family to find freedom and love on a kibbutz in the southern desert.

September 8-November 6

Wednesday, Sept. 7 (preview), 7:30 p.m., $12

Thurs. at 7:30 p.m. / Sat. at 8:00 p.m. / Sun. at 2 p.m. (No performances on 9/28, 10/8, 10/13, 10/20)

$20-25; $20 by 9/1

Post-performance talkbacks 9/8, 9/11, 9/15, 9/17, 9/18, 10/30, 11/5

www.maccjcc.org or 303-316-6360

Pluss Theater, MACC, 350 South Dahlia, Denver, Colorado 80246

For information about the production and Theatre Or, contact Diane Gilboa at theatreor@mindspring.com and/or visit www.theatreor.com.

Church of the Apostles has a new home!

2011-08-25T15:50:00.000-06:00

Church of the Apostles now meets at

Congregation Beth Evergreen Synagogue

10 a.m. Sundays (Holy Communion)

9 a.m. Thursdays (Morning Prayer)

Church of the Apostles, Evergreen's Anglo-Catholic Christian Church, has moved from the Buchanan Park Rec Center to Congregation Beth Evergreen Synagogue! Fr. Patrick is thrilled to be serving in a sacred space, and for the opportunity to be connected with the Congregation Beth Evergreen congregation. There is a preschool onsite, and the Rocky Mountain Academy and Life Care Center are right next door. Also sharing the site is Evergreen Christian Fellowship, which has its services at 5 p.m.

Our services are contemporary language yet traditional Anglican liturgies, with Morning Prayer at 9 a.m. on Thursdays, and Holy Communion at 10 a.m. on Sundays. We use the New King James Version of the Holy Bible, and a slightly tweaked liturgy from the Book of Divine Worship Anglican Rite prayer book. Our music is a mix of classic hymns, gospel greats and contemporary praise music. We are members of the Anglican Mission in America and associates of the Anglican Church of North America (ACNA).

Directions to the Congregation Beth Evergreen

How to find us:

From I-70: Evergreen Parkway exit (exit #252), south (straight) on Highway 74, go 4.5 miles, turn west (right) on Lewis Ridge Road/Bergen Peak Drive, curve with the road back south again, go 1/4 mile, take a right at the Life Care Center and follow the driveway to the back to reach the synagogue.

From Downtown Evergreen: North on Evergreen Parkway/Highway 74, turn west (left) on Lewis Ridge Road/Bergen Peak Drive, curve with the road back south again, go 1/4 mile, take a right at the Life Care Center and follow the driveway to the back to reach the synagogue.

Our physical address is now:
2981 Bergen Peak Drive
Evergreen, CO 80439
(please note, we only receive mail at our PO Box)

Our mailing address is still:
Church of the Apostles (Anglican)
P.O. Box 1556
Evergreen, CO 80437
Our phone number is still: 303-674-9674

For more information, visit our web site at http://apostles-evergreen.org/

Big picture map. Evergreen is in the bottom right corner. I-70 is in the upper right corner.

Close up map, just off Evergreen Parkway

PROMO: Heritage Square's interactive murder mystery dinner show 'Who Done It at the High School Reunion?'

2011-07-29T13:25:00.000-06:00

Murder Mystery
Dinner Theater!

— Special Sunday Evenings —
Performances:
All Summer

Who Done It At The High School Reunion

New to the Music Hall, is a comedy murder mystery dinner theater production, Who Done It At The High School Reunion, which has the cast doing what it does best... interacting with the audience.

The class of '76 has gathered in the cafeteria of Table Mountain High School for a reunion. Word spreads thru the crowd that Rhonda Bodacious (Most Popular Girl '76) has been found face down in the celebration cake. Perhaps she wasn't so popular after all!!!

We will require the audience's help to find the person responsible for this heinous crime.... the cake was so beautiful!!! Family-friendly. Tickets available thru our Box Office at 303-279-7800.

PROMO: Colorado ACTS presents 'Narnia'

2011-07-28T05:13:00.000-06:00

Colorado ACTS preesents our Summer Family and Friends production of...

Narnia

Based on C.S. Lewis' The Lion, the Witch and the Wardrobe Book by Jules Tasca. Music by Thomas Tierney. Lyrics by Ted Drachman.

The first and most famous story of The Chronicles of Narnia has become a musical presentation of this unique, enchanted world filled with creatures and spirits of myth and fable, both good and evil, demonic and transcendent. The principal inhabitants, however, are the intelligent talking animals ruled by the majestic King Aslan, the great lion of Narnia. Though Aslan is often absent from the land (so that his very existence is doubted by some), he returns when the need for him is greatest. And entering Narnia at a moment of high adventure are some children—plucked from our world in unexpected ways to help Narnia and to learn from their Narnia odyssey lessons of courage, unselfishness and wisdom that will help them grow. Narnia wants to sing, and from the excitement of the opening song, "Aslan's on the Move," to the joy of "Narnia (You Can't Imagine)," your spirits will soar with all those in Narnia.

Performances and Ticket Prices

Preview – Thursday, August 4th at 7:00pm – $2.00

Fridays August 5th & 12th, Saturdays Aug. 6th & 13th at 7:00pm – $7.00

Matinee – Saturday, August 13th at 2:00pm – $4.00

Children under 5 free

Narnia will be our final production at our present location, across from Safeway at Ralston (58th & Holland) Be sure to watch for our Fall season of shows at our new location at Two Roads HS, 7180 Oak Street in Arvada, Colorado, 80004!

REVIEW: Evergreen Players presents 'Spelling Bee' at Center Stage

2011-07-26T18:22:00.000-06:00

Ember Everett plays one of several hopefuls in Evergreen Players' funny yet subversive production of the musical "The 25th Annual Putnam County Spelling Bee" at Center/Stage.

There's something unsettling about shows in which adults play children. On the one hand, we are encouraged to accept the characters' innocence and childlike perspective of the world. On the other hand we recognize the adult themes and agendas put into the mouths of babes, whether benign, as in "You're a Good Man, Charlie Brown," or subversive and satirical, as in "The 25th Annual Putnam County Spelling Bee."

Evergreen Players' current production of "Spelling Bee," as directed by Rebecca Stone Thornberry, with musical direction by Travis Yamamoto, is funny and entertaining, but doesn't quite hide the material's anti-church, pro-gay agenda under enough layers of wide-eyed innocence and cuteness. Satire is most effective when we gladly swallow the bitter pill and only later realize its aftertaste.

The concept and setup, credited to Rebecca Feldman, are brilliant. What better platform could there be to parade a bunch of misfits and marginalized outsiders, than an elementary school spelling bee? The show is calculated to get us to relate to them by recalling our own somewhat painful and embarrassing memories of feeling awkward and alone, and then extend that sympathy toward the next generation of pariahs. They even bring up audience participants for an extended stay to reinforce the idea that we, too, never quite escape the spotlight.

Jacquie Jo Billings shines brightest as Olive, a girl whose parents abandon their responsibility, one as an angry workaholic, and the other through a passive aggressive spiritual quest. Olive copes by sitting on the toilet and reading the dictionary, cover to cover. Who could have known that her lonely self-consolation would transform her into a champion speller? If only one of her self-absorbed parents would bother to see it. Billing's performance is so sweet and winsome, everyone in the audience wants to take her home and give her a cookie. Her wishful "The I Love You Song" is the show's true heart and soul, rising above the satire, goofy moments and wise cracks, eloquently expressing the cry of every lonely heart for affirmation.

It takes a while for quiet, unassuming Olive to emerge as the true star of the show, because she is surrounded by several equally interesting characters, each with their own fascinating back story. Josh Holcomb is a riot as the sniffling, snarky uber-nerd William Barfee, whose "magic foot" helps him spell out the words. I remember thinking "I know just what that kid is going to be like when he grows up," forgetting entirely that the character was already being played by a grown-up.

Ember Everett plays a very strange child indeed, a lisping girl whose political activism for liberal causes and whose "two dads" seem perfectly congruous with her bizarre name, Logainne SchwartzandGrubenierre. Devon Moody is appropriately intimidating as the over-achieving girl from Catholic school who speaks six languages and requires divine intervention in order to embrace her true calling.

Josh Rigo plays the free-spirited, home-schooled and frighteningly unprepared Leaf Coneybear a little too "swishy," in my opinion. Sure, the character's sexual orientation may skew that direction in a few years, but Rigo portrays the elementary school kid as full blown gay, making it more difficult to see the him as an unselfconscious, naive child. Likewise, Brad Wagner's over the top portrayal of straight arrow and scout Chip Tolentino strikes a high note and never comes back down.

The bewildered and beleaguered adult characters in the show have problems of their own. Kristianne Seaton ably plays the neurotic former bee champion who sees the competition as a microcosm of the world (which is true) and the solution to all the world's problems (it isn't). Ken Paul is hilarious as the vice principal who is recovering from some kind of breakdown, and the versatile Patrick Thomas plays a tough but tender "comfort counselor" and various other cameos.

Much of the humor in "Spelling Bee" stems from the choice of words to spell, and who is supposed to spell them. But it doesn't take long to realize that most of the bizarrely antiquated or specialized terms are actually selected to take pot shots at religious practices or poke fun at other institutions. Less obvious is the fact that in this family show, there are no references to a healthy heterosexual relationship.

It doesn't take a prodigy to spell out for us that the original creative team (William Finn, music and lyrics and Rachel Sheinkin, book) have a few axes to grind, and use this show to hit back at their perceived persecutors.

Fortunately, "Spelling Bee" has enough wit, charm, and tuneful numbers to keep the audience happy as they listen to a musical about fragile self-esteem, abandonment, integrity, honesty, the weaknesses of the flesh, and the lessons to be learned from winning and losing.

Evergreen Players presents “The 25th Annual Putnam County Spelling Bee” through August 7 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 $18 Adults; $14 seniors (60+); Students; $8 for children under 12 and available by calling 303-674-4934 or online at www.evergreenplayers.org. Group discounts available.

PROMO: 25-year-old, newly-staged "Les Mis" returns to Denver next month!

2011-07-21T06:10:00.000-06:00

Barricades - Photo by Michael Le Poer Trench

CAMERON MACKINTOSH’S

NEW 25^TH ANNIVERSARY PRODUCTION OF THE WORLD’S LONGEST-RUNNING MUSICAL

BOUBLIL AND SCHÖNBERG’S

PREMIERES AT THE BUELL THEATRE

AUGUST 30 – SEPTEMBER 10

DENVER – The 25^th anniversary production of the world’s longest-running musical, LES MISÉRABLES, premieres at the Buell Theatre August 30 – September 10. Cameron Mackintosh’s production will feature glorious new staging and spectacular reimagined scenery inspired by the paintings of Victor Hugo. Single tickets for LES MISÉRABLES are now on sale at www.denvercenter.org.

Based on Victor Hugo’s classic novel, LES MISÉRABLES is an epic and uplifting story about the survival of the human spirit. The magnificent score of LES MISÉRABLES includes the classic songs “I Dreamed a Dream,” “On My Own,” “Stars,” “Bring Him Home,” “Do You Hear the People Sing?,” “One Day More,” “Empty Chairs at Empty Tables,” “Master Of The House” and many more.

“I’m delighted that 25 years after LES MIZ originally opened in London the audience for this marvelous show is bigger and younger than ever before,” said producer Cameron Mackintosh. “Over the years I have seen many successful but visually different productions, so it has been exciting to draw inspiration from the brilliant drawings and paintings of Victor Hugo himself, integrated with spectacular projections. The new LES MIZ is a magnificent mix of dazzling images and epic staging, driving one of the greatest musical stories ever told.”

Cameron Mackintosh’s new production of Boublil and Schönberg’s LES MISÉRABLES has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer from the original French text by Alain Boublil and Jean-Marc Natel and additional material by James Fenton. The production is directed by Laurence Connor and James Powell, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou and additional costumes by Christine Rowlands, lighting by Paule Constable and sound by Mick Potter.

The New York Times calls this LES MISÉRABLES “an unquestionably spectacular production from start to finish.” The London Times hails the new show “a five star hit, astonishingly powerful and as good as the original.” The Star-Ledger says "a dynamically re-imagined hit. This LES MISÉRABLES has improved with age” and NY1-TV proclaims “this new production actually exceeds the original. The storytelling is clearer, the perspective grittier and the motivations more honest. Musical theatre fans can rejoice: LES MIZ is born again.”

Single tickets for LES MISÉRABLES start at just $15. To charge by phone, call Denver Center Ticket Services at 303.893.4100. TTY (for Deaf and hard-of-hearing patrons): 303.893.9582. Groups of 10 or more, please call 303.446.4829. Tickets may also be purchased at the Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex Lobby. Buy and print online at www.denvercenter.org.

For more information about LES MISÉRABLES visit www.lesmis.com.

PROMO: The Edge presents 'Murder at the Howard Johnson's'

2011-07-10T08:24:00.000-06:00

Sexy Wig: Michael Kane as Paul, Tom Auclair as Mitchell and Patty Ionoff as Arlene in The Edge Theater Company's production of the comedy "Murder at the Howard Johnson's." Photo credit: Rick Yaconis

The Edge Theater Company presents

“Murder at the Howard Johnson’s”
by Ron Clark and Sam Bobrick

Directed by Rick Yaconis

It’s late 70’s at The Edge Theater. Disco is King and The Howard Johnson’s is the premier hotel chain. Arlene is a desperate housewife in search of passion. Paul is her used car salesman husband. He wears a lot of gray. Mitchell is her dentist and lover. He has all of his hair and can get any woman he wants. One of them must die!

This play officially opened on Broadway on May 17, 1979 so…..Every Thursday and Sunday night is 70's costume night! Best costume gets an award, and anyone in costume gets $2.00 off their tickets!

Sam Bobrick began his career writing for television writing for Captain Kangaroo. He went on to write for the television programs The Andy Griffith Show, Bewitched, The Flintstones, Get Smart, and The Smothers Brothers Comedy Hour among others. Bobrick has just been awarded the 2011 Mystery Writers of America Edgar Allen Poe Award for Best Play for his title The Psychic.

Ron Clark is best known for co-writing screenplays for the films Silent Movie, High Anxiety, and Life Stinks with Mel Brooks. He began writing plays in the 1970s with fellow writer Sam Bobrick. Their plays include Norman, Is That You?, No Hard Feelings and Murder at the Howard Johnson's.

“Murder at The Howard Johnson’s” is one of three shows in the Edge Theatre’s Summer Series “Have an Affair This Summer. Fall in Love With Live Theater.” The series also includes “Five Women Wearing the Same Dress,” by Alan Ball and “Faithful” by Chazz Palminteri.

"Murder at the Howard Johnson's" plays through July 17, with performances on Thursdays, Fridays, and Saturdays at 7:30 p.m. and Sundays at 6:00 p.m. Tickets are $18.00 and $14.00 for seniors/students, with a $10 Industry Night performance on Thursday, July 14 at 7:30 p.m. Tickets are available by calling 303-232-0363 or online at www.theedgetheatre.com. Group rates are available. Free Parking.

PROMO: 'A Touch of Spring' opens at Miners Alley Playhouse

2011-07-10T08:08:00.000-06:00

L-R; Brian Landis Folkins and Rachel Bouchar in Miners Alley Playhouse's production of "A Touch of Spring." Photo Credit: Sarah Roshan

Miners Alley Playhouse presents the Regional Premier of

“A Touch of Spring”

by Samuel Taylor

Directed by Richard H. Pegg

Miners Alley Playhouse continues their 2011 season with “A Touch of Spring” through August 28.

When Diana leaves her husband Sandy in Rome to make arrangements for the transfer home of his father’s body, killed in Italy in a car crash, he meets Alison who is on a similar mission. It transpires that Alison’s mother was killed in the same accident and that they were more than just co-tourists.

Dealing with love and red tape and the magical atmosphere of Rome in the spring, this delightfully witty comedy went on to phenomenal success in London. The newly revised version is offered here.

"...it is warm and funny and, above all, civilized." -NY Newsday. "...delightful, romantic and adult..." -Women's Wear Daily. "This frolic is such fun! Samuel Taylor has written a joyous comedy." -London Evening News.

The cast includes husband and wife team of Rachel Bouchard and Michael Bouchard along with Brian Landis Folkins, Tyler Collins, Todd Sorensen, Bethany Lillis and Brock Benson.

On Saturday, July 16, Miners Alley holds its "Second Saturday Members Appreciation Night" and conversation with the cast and crew after the performance.

Performance dates are Fridays and Saturday at 7:30 p.m.; Sundays 6 p.m.; *(Sunday, August 28 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. Tickets are available by calling 303-935-3044 or online at minersalley.com.

REVIEW: 'Cats' at Boulder's Dinner Theatre

2011-07-08T14:55:00.000-06:00

Shelly Cox-Robie as Grizabella in Boulder's Dinner Theatre's high-octane production of Andrew Lloyd Webber's "Cats." Photo Credit: Glenn Ross Photography/www.glennross.ws.

Andrew Lloyd Webber's "Cats" is a tremendously enjoyable, family-friendly musical, whether you see it on Broadway, in a touring production, or when it's staged locally. But seeing "Cats" at Boulder's Dinner Theatre adds an extra special dimension, because many in the cast have been with the company so long, and have performed in such a wide variety of musicals, that we have come to know and love them as family. Seeing them here, in this especially demanding production, makes me wonder if there's anything they CAN'T do!

So for many of us long-time BDT fans, it's not just a matter of dressing up and going out to a first rate dinner theatre to enjoy T.S. Eliot's whimsical poetry set to more than a dozen delightful tunes, with extensive, intricate and innovative dance numbers, amazing sets, costumes and makeup. It's about wanting to see a whole theater full of familiar and beloved seasoned professionals, stars each and every one, pour their amazing talents into the mix to present the ultimate ensemble show.

I've seen "Cats" at least half a dozen times, but I came to BDT specifically looking forward to seeing the lyrical Shelly Cox-Robie play Grizabella and sing "Memory." I gleefully imagined how Scott Beyette (a fierce Che in "Evita" and snot-nosed nerd in "Spelling Bee") would strut and prance through the audience as Rum Tum Tugger, and couldn't wait to see Joanie Brosseau, who played a visceral Aldonza in "Man of La Mancha," tumble and giggle as the acrobatic kitten Rumpleteazer, as well as consummate showman Wayne Kennedy as the stately and venerable Old Deuteronomy.

Tracy Warren and Brian Norber

Alicia Dunfee, who rocked the rafters as Mama Rose in "Gypsy," Bob Hoppe who was a hoot as the irrepressible Tom Sawyer in "Big River," tall and tap-dancing crooner Brian Norber, Cindy Lawrence (in her 42nd BDT production) and many others in the cast have all enjoyed headlining roles in previous BDT productions. Here they are, together again, along with some fresh new faces, singing and dancing their hearts out and stretching once again their respective ranges as musical theatre performers.

Vocally, the ensemble is incredibly strong, and "Cats" has a disproportionate number of showcase solo numbers. The dancing is unbelievably tough, and very different from what this company is used to doing in more traditional musicals. It has a unique visual vocabulary of moves, gestures and postures. But they do a commendable job, and thankfully, this particular production is less eroticized than some other versions you might have seen.

If you've never seen "Cats," or if it's been a long time, or particularly if your children have never seen the show, Boulder's Dinner Theatre's version is a "must see" production. Then come back and enjoy another show, and soon you too will begin to follow the illustrious careers of a score of the region's top song and dance men and women.

"Cats" performs at Boulder's Dinner Theatre through September 4. Prices start at $35, which includes both the performance and dinner served by the stars of the show. For an extra $5 you can go up onstage after the performance and have your picture taken with the cats/cast! Call 303-449-6000 or visit www.bouldersdinnertheatre.com for reservations and information.

Then, consider purchasing season tickets for BDT's 34th season, which includes a world premiere musical opening at the end of September, "Phantom" (not the Andrew Lloyd Webber version...this one's actually better), giddy retro-spoof "The Drowsy Chaperone" and Rodgers and Hammerstein's lush "Cinderella."

PROMO: Lakewood Cultural Center 2011-2012 Season ticket packages now available

2011-07-02T12:23:00.001-06:00

Bringing the World to Our Stage: Lakewood Cultural Center Presents

Subscription Packages on Sale

Subscription packages for the 2011-2012 Lakewood Cultural Center Presents season are on sale now with discounts up to 20 percent off single ticket prices.

The Lakewood Cultural Center brings the world to our stage with 18 diverse programs available in two create-your-own package options. Theater, dance, acrobatics, musical theater, travel films and a variety of music programs offer something for everyone. With international highlights including the Golden Dragon Acrobats, Time for Three, Calmus, Soweto Gospel Choir and Ragamala Dance, you can travel the globe with no bag limits or security checks. Grab your carry-on bag and come on board!

Subscription packages provide additional benefits and are available through July 29. For more information and to purchase tickets, visit www.Lakewood.org/CulturalCenter, call (303) 987-7845 or stop by in person at the Lakewood Cultural Center , 470 S. Allison Parkway near Wadsworth and Alameda .

· American Place Theatre’s Literature to Life® stage presentation of “The Secret Life of Bees”

By Sue Monk Kidd

Performed by Denise Wilbanks

Adapted and Directed by Wynn Handman

Sunday, Sept. 25, 2011 at 2 p.m.

In Sue Monk Kidd's New York Times bestseller, set during the Civil Rights Movement, a young girl's search for the truth about her mother leads her to three beekeeping sisters and the discovery of the real meaning of family.

www.literaturetolife.org

· JazzReach presents Big Drum/Small World featuring the Metta Quintet

Friday, Oct. 21, 2011 at 7:30 p.m.

Though jazz began as a uniquely American music, it goes global in this immersive program that merges a broad range of musical ideas and celebrates artistic collaboration and stylistic fusion.

www.jazzreach.org

· Golden Dragon Acrobats

Sunday, Oct. 23, 2011 at 1 p.m. and 5 p.m.

Recognized throughout the United States and abroad as the premier Chinese acrobatic touring company, the Golden Dragon Acrobats juggle, leap, balance, and bend in a show of breathtaking skill and spellbinding beauty.

www.goldendragonacrobats.com

· Julie Fowlis: Music of the Scottish Isles

Saturday, Nov. 5, 2011 at 7:30 p.m.

The first person ever named by the Scottish Parliament as Scotland ’s Gaelic Ambassador, singer and multi-instrumentalist Julie Fowlis brings the music and culture of her native isle to the world.

www.juliefowlis.com

· The Cashore Marionettes presents “Life in Motion”

Sunday, Nov. 6, 2011 at 2 p.m.

Unmatched in artistry, grace and refinement of movement, the internationally acclaimed Cashore Marionettes redefine the art of puppetry. This full-length collection of scenes is taken from everyday life and set to the music of Beethoven, Vivaldi, Strauss and Copland. Recommended for adults and young adults.

www.cashoremarionettes.com

· Alfredo Rolando-Ortiz, South American harpist

Saturday, Nov. 19, 2011 at 7:30 p.m.

Born in Cuba , Ortiz moved to Venezuela and began studying the folk music of the region. Internationally acclaimed by critics, he performs on the Paraguayan harp, sharing his love of the varied music of the Southern Hemisphere.

www.alfredo-rolando-ortiz.com

· Time for Three

Thursday, Dec. 1, 2011 at 7:30 p.m.

With a sound crafted from elements of classical, country-western, gypsy and jazz, this groundbreaking string trio, known for its boundless enthusiasm and technical acuity, transcends traditional classifications.

www.tf3.com

· Calmus Vocal Ensemble

Saturday, Dec. 3, 2011 at 7:30 p.m.

These five singers from Leipzig , Germany , will kindle your holiday spirit with a program of traditional and original holiday compositions performed with flawless intonation, vocal homogeneity and a large and varied palette of sonic colors – from Baroque to jazz.

www.calmus.de

· Timothy P. & the Rocky Mountain Stocking Stuffers

Friday and Saturday, Dec. 9 & 10, 2011 at 7:30 p.m.

Saturday and Sunday, Dec. 10 & 11, 2011 at 2 p.m.

Join Timothy P. Irvin, host of this annual fun-filled jamboree, featuring 11 of the region’s best folk, bluegrass and country-western musicians, as they delight with such favorites as “Run, Run, Run [Rudolph]” and “White Christmas” – bluegrass style.

· “Etched in Stone: From Scotland to Provence ”

Narrated by filmmaker Monty Brown

Saturday, Jan. 21, 2012 at 7:30 p.m.

Everywhere, stories and legends of the glorious past are written in stone. Experience the tales as you take a historic spiritual journey from Solway Firth in Scotland to the North Sea coast of England, south through the Midlands, the West Country, and across the Channel to France.

www.windoes.com

· The Harlem Quartet

Sunday, Jan. 22, 2012 at 2 p.m.

With an exciting repertoire ranging from Ravel and Hadyn to Marsalis and Corea, this string quartet, which has performed for the president, on NBC’s “Today Show” and with Itzhak Perlman, advances diversity and excellence in classical music.

www.harlemquartet.com

· Jan Lisiecki, pianist

Saturday, March 3, 2012 at 7:30 p.m.

A rapidly emerging international star, this 16-year-old Canadian is recognized for his poetic and mature playing. Having already won numerous prestigious awards, he has been featured in radio and television broadcasts and performed in many of the world’s great concert halls.

www.janlisiecki.com

· “The Silk Road: A Journey through Turkmenistan , Uzbekistan & Turkey ”

narrated by filmmaker Marlin Darrah

Thursday, March 22, 2012 at 7:30 p.m.

There was both magic and mayhem in a journey on the legendary Silk Road , where traders and warriors traveled by camel and foot to transport precious cargo, engage in battle and trade in their fascinating customs and cultures.

www.windoes.com

· Soweto Gospel Choir

Tuesday, April 3, 2012 at 7:30 p.m.

Direct from South Africa for one night only! Don't miss this compelling program of tribal, traditional and popular African and Western gospel music, that uplifts the soul and expresses South Africa 's great hopes for the future.

www.sowetogospelchoir.com

· ArtsPower presents “Are You My Mother?”

Saturday, April 7, 2012 at 11 a.m.

This original one-hour musical based on P.D. Eastman’s enduring children’s classic tells the story of Baby Bird’s adventure in search of her mother, a journey that overflows with courage, determination, and a bit of calculated silliness.

www.artspower.org

· Performance Now Theatre Company: “ West Side Story”

Friday and Saturday, April 13, 14, 20, 21, 27, 28, 2012 at 7:30 p.m.

Saturday and Sunday, April 14, 15, 21, 22, 28, 29, 2012 at 2 p.m.

The streets of old Verona become the streets of New York as the Jets and the Sharks vie for control of the neighborhood. Tony and Maria, star-crossed lovers, find passion and tenderness amid the fires of hatred and intolerance, before this tale of woe reaches its inevitable conclusion.

www.performancenow.org

· Takács Quartet with Ralph Kirshbaum, cellist

Tuesday, May 1, 2012 at 7:30 p.m.

Renowned as one of the world's great ensembles, the multi-award-winning Takács Quartet returns to Lakewood , accompanied by distinguished cellist Ralph Kirshbaum. Together they will present String Quintet in C, Franz Schubert’s masterpiece, written only weeks before his death.

www.takacsquartet.com and www.kirshdem.com

· Ragamala Dance: “Sacred Earth” featuring soloist Aparna Ramaswamy

Ranee & Aparna Ramaswamy, artistic directors

Thursday, May 3, 2012 at 7:30 p.m.

“Sacred Earth” brings together the rich and ancient Indian visual art traditions of Warli paintings and Kolam rice flour drawings into conversation with Bharatanatyam, the classical dance of southern India .

www.ragamala.net

Also part of the 2011-2012 Lakewood Cultural Center Presents season, but not available on subscription.

Tickets for these programs will be available after August 29, 2011.

· David Taylor Dance Theatre’s “The Nutcracker”

Saturday-Sunday, Tuesday-Thursday, Dec. 17-18, 20-22, 2011 at 2 p.m.

Saturday, Tuesday-Thursday, Dec. 17, 20-22, 2011 at 7:30 p.m.

These memories last a lifetime. Bring the kids and the grandkids and start your family holiday tradition this year at the Lakewood Cultural Center .

www.dtdt.org

· Missoula Children’s Theatre – “The Tortoise Versus the Hare”

Saturday, Jan. 28, 2012 at 2 p.m. and 4:30 p.m.

Somewhere in desert country, the inhabitants of West Sandy Bottoms are preparing for the highlight of their year – the annual race between the Reptiles and the Mammals. Join 50 area school children in this fully staged musical theater adaptation of the familiar family classic.

www.mctinc.org

The 2011-2012 Lakewood Cultural Center Presents Season is generously supported by the Scientific and Cultural Facilities District (SCFD), with appreciation to the citizens of the Scientific and Cultural Facilities District, Sheraton Denver West and The Denver Post Community, improving and enriching the lives of those in our community.

PROMO: 'Dancing in Combat Boots' ONE PERFORMANCE ONLY, 7/3!

2011-07-01T06:46:00.002-06:00

Dancing in Combat Boots

Colorado Actors Company and Theater School

9483 W. 58th Avenue Arvada

Time: 2:00pm-4:00pm

Date: 7/3/2011.

Cost for Adults: $12.00

Cost for Children: $10.00

Join us for a Salute to Unsung Heroines: Remembering the Women of World War II

It was a time when women took care of everything.

They had to. Their husbands, brothers and fathers were gone: fighting on many fronts in World War II. So the women did what women do. They rolled up their sleeves and got down to the business of keeping the country going stateside, and in some cases, overseas.

In honor of The Fourth of July, these stories are being recreated in a one-woman show presented by the author herself. The performance will be held at Colorado Actors Company and Theater School on July 3rd at 2pm. This event will support the Lions Club Recycle for Sight program. Audience members are asked to bring discarded eyeglasses for donation. This event will also benefit the Colorado Actors Company and Theater School located in Arvada, Colorado.

This performance will also include 1940's vocal, musical and dancing performances courtesy of the students, faculty and alumni of Colorado A.C.T.S. It will be an afternoon filled with history, entertainment and patriotism!

Marianne Henning

Colorado ACTS
303-456-6772
coloradoacts@yahoo.com

PROMO: 'Alice in Wonderland' at Heritage Square Music Hall Children's Theatre

2011-06-30T06:03:00.000-06:00

Annie Dwyer and T.J. Mullin in Heritage Square Music Hall Children's Theatre production of "Alice in Wonderland."

The Heritage Square Music Hall Children’s Theatre

presents

“Alice In Wonderland”

Written by Eric Weinstein

Directed by Annie Dwyer

Alice is arriving in July, with an amazing adventure! Go with her as she follows the White Rabbit to a Wonderland that must be seen to be believed! Have some tea with the Mad Hatter and play Flamingo Croquet with the Queen of Hearts. Don’t be late!

“Alice In Wonderland” runs July 2 through November 5 with performances every Saturday at 1:30 p.m.. Tickets: $6.00 for children and adults, $5.00 for seniors (62 and up). Special rates for groups of ten or more children apply. Weekday performances are available, but vary, so call for information. For reservations, call 303-279-7800. Heritage Square Music Hall Children’s Theatre is located at 18301 W. Colfax D-103, Golden, CO 80401. More information at www.hsmusichall.com

The Music Hall opened twenty years ago with a mission to bring laughter and fun to the theatre experience for children. Mission accomplished! In every bit of action on stage, every bit of interaction with the audience (before, during and after the show), this award-winning theatre truly brings the audience into the story.

The Music Hall’s performers treat younger guests to interactive entertainment each Saturday at 1:30 (& 3:00 during the holiday season), with a fun-packed hour of original plays based on favorite fairy tales, classic stories and original tales. Children from the audience are called on stage to help with each performance. Each play is written to include as many children as possible. Flash photography is allowed, so bring your camera to capture those special moments on stage.

Heritage Square also offers a Children’s Birthday Club. As a member, the birthday child’s admission is free, and several Heritage Square merchants offer a gift or discount for visiting their shops.

REVIEW: 'In Perfect Harmony' at Heritage Square Music Hall

2011-06-26T17:07:00.000-06:00

The multi-talented cast of "In Perfect Harmony" at Heritage Square Music Hall. Photo by Connie Helsley.

Pay no attention to the rock quarry hiding behind the other side of the alpine slide. The Music Hall at Heritage Square in Golden is built on a cozy, comfortable and reassuring foundation of nostalgia and a genuine love for the music of yesteryear. Heritage Square's latest musical revue, "In Perfect Harmony," doesn't have a mean-spirited bone in its body. It's a sweet, innocent, often funny and expertly performed ensemble show with dozens of nearly non-stop songs everyone wants to hear again and again.

Actually, the wholesome innocence and cockeyed optimism expressed by the seasoned cast is part of the joke, as they are all now in their "middle years." Even the kids from "Glee" (who are mostly in their late 20s) are far too jaded to pull this kind of show off. The Music Hall ensemble doesn't even wink as they gleefully play Perry, Cheri, Mary, Llarry, Barry, Terry and Gary, who ostensibly retired from performing absurdly upbeat and cheesy "Up With People" routines two decades ago, and have continued to tour backwater towns, entertaining at shopping malls and nursing homes.

Like the guys in "Forever Plaid," the Dysfunctional Family Singers are just too good for how goofy they look and act, and that's what makes it so much fun.

The material itself is all over the place, but it's safe to say that none of the songs are less than 30 years old. It runs the gamut, without much rhyme or reason, from ragtime, to Broadway, to a TV show medley, Depression-era ballad and 60's pop songs. What all the songs have in common is a sense of musicality, particularly in regard to harmony, thus the show's title: "In Perfect Harmony."

I get it. But the cast NAILS it. The vocal variety and nuances of longtime Music Hall regulars T.J. Mullin, Annie Dwyer, Johnette Toye, Rory Pierce, Alex Crawford, Randy Johnson and Eric Weinstein are awe inspiring. They know their business, and they know each other, so the whole thing clicks. Add in some choreography, and they STILL make it look easy.

Some of the schmaltz wears a little thin sometimes, but before you know it another classic number is underway. Still, MY cheeks ached for all the grinning they had to do. But I hope I never feel the need to apologize for so thoroughly enjoying a show that affirms joy in life, respects the dignity of its audience, and delivers so many great songs, so very well.

"In Perfect Harmony" performs through September 4 at Heritage Square Music Hall in Golden. The Music Hall is also a dinner theatre, so you can enjoy a buffet meal before the performance. The same cast also runs a children's theatre, performing "Alice in Wonderland" on Saturdays and select weekdays, and has just added a Sunday night interactive mystery dinner theatre production of "Who Done It at the High School Reunion." Call 303-279-7800 or visit www.hsmusichall .com for tickets and information.

REVIEW: Rock of Ages

2011-06-18T07:04:00.000-06:00

The Original Broadway cast of Rock of Ages © Joan Marcus

"Rock of Ages" is a loud and lewd arena-rock tribute to the late-80's Sunset Strip heavy metal culture, grafted into a Broadway "boy meets girl" storyline, that, despite its face melting musical onslaught, reminded me somehow of Rodgers and Hammerstein's "State Fair."

But we're not in Kansas anymore.

The requisite stock characters are there, just pimped out in late-80's rocker clothes, hair and aberrant behavior: a shy, hormonal rock star wanna be (American Idol Constantine Maroulis) meets a plucky small town girl who has dreams of becoming an actress in L.A. (Elicia MacKenzie), but she has a fling with the quintessential "heartless bad boy"(Peter Deiwick). There's also a host of quirky supporting characters to give the show some local color and comic relief: a sexy but objectified waitress, a former hippie saloon keeper, a satyr-like pervert narrator, and a host of groupies, strippers, as well as an awesome onstage band.

There's even an evil land developer who wants to turn the Strip into a strip mall, compelling the gang to "put on a show" to try and save their hangout.

"Rock of Ages," which was written by Chris D'Arienzo, earns zero points for originality. Perhaps aware of how workaday the plot and characters are, director Kristin Hanggi "sluts and sleazes" the show up with non-stop sexual innuendo (and outright simulation), tedious crotch and toilet gags, in-your-face bumps, grinds and bending over, with every bottom of the barrel schtick imaginable...and some that I'd prefer remain unimaginable. Rather than titillating, the carnal overkill is just revolting. Rather than root for these degenerate losers and their scummy saloon, I wanted to cheer for the bulldozers and urban renewal. Like "Rent," "Rock of Ages" makes the evil concept of "eminent domain" actually seem appealing.

What saves the show is its music, which consists of more than two dozen hit songs and power ballads from that era, by groups like Styx, Journey, Pat Benatar and lots more, with several iconic bands noticeably lacking, most likely because they didn't want their music associated with a Broadway production.

So if songs like "We're Not Gonna Take It," "Harden My Heart," "We Built this City," "I Wanna Rock," "I Wanna Know What Love Is," "Can't Fight This Feeling," "Too Much Time on My Hands," and others get your heart pumping and your head bobbing, "Rock of Ages" might be just the thing for you.

It wasn't for me.

Denver Center Attractions presents "Rock of Ages" at the Buell Theatre Tuesday-Saturday at 8 p.m., Saturday-Sunday at 2 p.m. and Sunday at 7:30 p.m. through June 26. For information or reservations call 303-893-4100 or visit the Denver Center Ticket Office, located at the Helen Bonfils Theatre Complex Lobby. Buy and print online at www.denvercenter.org. To get a sneak peek at the show, check out www.RockofAgesMusical.com

PROMO: Murder Mystery Dinner Theater at Heritage Square

2011-06-14T06:35:00.000-06:00

*New*

Murder Mystery
Dinner Theater!

— Special Sunday Evenings —
Performances:
June 16 - All Summer

Who Done It At The High School Reunion

New to the Music Hall, is murder/mystery dinner theater, starting Sunday night June 19.

This new production, "Who Done It At The High School Reunion," has the fabled Music Hall ensemble doing what it does best... interacting with the audience.

It's a comedy, and will run Sunday nights thru the summer. The class of '76 has gathered in the cafeteria of Table Mountain High School for a reunion. Word spreads thru the crowd that Rhonda Bodacious (Most Popular Girl '76) has been found face down in the celebration cake. Perhaps she wasn't so popular after all!!!

We will require the audience's help to find the person responsible for this heinous crime.... the cake was so beautiful!!! Family-friendly. Preview prices $30 for the first two weekends. Tickets available at the Box Office or call 303-279-7800.

REVIEW: Little Shop of Horrors

2011-06-05T07:53:00.000-06:00

FOOD FOR THOUGHT: Chachi Martin, Mark Shonsey, Celia Jones in Equinox Theatre Company's campy horror musical comedy "Little Shop of Horrors." Photo by Deb. Flomberg.

I like to think of "Little Shop of Horrors" as the "little musical that could." Like the Roger Corman movie on which it is based, this is a small cast, low budget, genuinely funny horror musical that shows no sign of slowing down. Alan Menkin's music and Howard Ashman's book and lyrics are unsurpassed in creativity, ingenuity and economy. Every moment is a delight.

Equinox Theatre Company's current production of "Little Shop," about a nerdy loser who sells his soul to a carnivorous demon plant from outer space to win self-esteem, a fortune and the girl of his dreams only to lose himself, gets it right from the "get go," and then tosses in a couple of twists that lives up to the production's tag line "as you've never seen it before."

In nearly every scene, hapless nebbish Seymour has to carry the action, and Mark Shonsey is more than up to the task. With brilliant physical humor and facial gymnastics, an expressive voice and a perfectly realized character Shonsey gives a star-caliber performance, setting the bar high for the rest of the performers. Lauren Cora Marsh is wonderfully sympathetic as the much-abused shop girl Audrey who dreams of suburban security, Shannon McCarthy has several great moments as the flower shop owner Mushnik, and Kurt Brighton is outrageously versatile as a sadistic dentist and "Everyone Else."

Chachi Martin, Kansas Lynn Battern and Celia Jones play very hip yet tacky street urchins right out of the cast of "Grease." But the most remarkable casting and directorial innovation of the production is ...

-- SPOILER ALERT -- SPOILER ALERT -- SPOILER ALERT --

...Ashley Menard as the diabolical, man-eating plant Audrey II. Yes, instead of a gigantic puppet voiced by a male R&B bass singer, the role is played live by an alluringly voluptuous cabaret singer in a mermaid-like, tendril enhanced fan foliage costume, complete with corset and vine-like boa. Though in retrospect, it occurred to me that the human race might have had a chance of survival if Seymour had been more of a "leg man."

Director Colin Roybal has made an extraordinary artistic choice here. After proving that this company is fully capable of mounting a high quality and comfortingly familiar production of a beloved and well-known musical, he takes the show's biggest "given," then turns it all around. And it works! Seymour's instinctive naming of the plant after his would-be girlfriend, the seductive slippery slope to moral compromise, the man-devouring femme fatale who gives a guy everything he wants only to take it all back and more, it's genius! Rather than bullying Seymour into submission with a commanding (and typically interpreted as "black" villain), Audrey II lures him in with feminine wiles and charms, the velvety touch of coaxing, whining and nagging, a bit of the dominatrix and a Siren's insistent voice. If you're going to take over a male-dominated planet, you don't need much more than that!

-- END SPOILER ALERT -- END SPOILER ALERT -- END SPOILER ALERT
This funny, exciting and innovative production of one my my favorite musicals may not have cost my soul, but it certainly stole my heart, captivated my mind, and had me practically dancing in the aisle.

Equinox Theatre Company's production of "Little Shop of Horrors" plays through June 18 at the historic and quirky Bug Theatre, 3654 Navajo Street, Denver. Tickets are $12-$15. Call 720-984-0781 or visit www.equinoxtheatredenver.com for information or to purchase tickets.

PROMO: Colorado ACTS presents interactive murder mystery dinner theatre

2011-05-26T21:15:00.000-06:00

An Interactive Dinner Theater

ACTS Alumni Production

Welcome to Castle Lugenheim, the ancestral home of the Baroness von Lugenheim, your unwilling hostess this evening. The ancient Castle is home to many legends and has a history of supernatural occurrences. The Baroness has been getting a little…strange in her advancing years and several family members have recently moved back into the Castle to keep an on eye on her and their chunk of the estate. Roderick, her scheming nephew, Clara, her niece with an eye on an unsuitable husband, Frida, the poor groveling cousin, a household staff of suspicious characters, a feud with neighbor Count Rottenhurst combined with the mysteries of the castle to make for an unusual evening. Roderick has opened the castle to tour groups in an effort to raise capital for his lamp shade business. A group of young detectives are among the guests who arrive for a delicious meal and an opportunity to experience the sinister Castle up close. In the course of the evening, with the help of the audience, they will uncover secrets as dark and forbidding as the Bavarian mountains.

This Interactive Murder Mystery Dinner Theater Performs:

Thursday June 2nd, Fridays June 3rd & 10th, and

Saturdays June 4th & 11th, all at 7:00pm

The Colorado ACTS Theater

58th (Ralston Rd.) & Holland

across from the Safeway

Tickets

$10 ticket price includes show and dinner

Reservations Required, call 303-456-6772

REVIEW: Billy Elliot

2011-05-22T18:54:00.000-06:00

Littleton native Susie McMonagle (Mrs. Wilkinson) and Daniel Russell (as one of four actor/dancers playing Billy) in "Billy Elliot the Musical." Photo by Doug Blemker.

Hans Christian Andersen's "The Ugly Duckling" is one of those archetypal tales that strikes a primal nerve and a resounding chord in nearly everyone who has experienced the awkward and embarrassing puberty years. Finding our true identity, our special gifting, our calling in life, doesn't come easily for most. And so when a movie like "Billy Elliot" comes along to put a fresh face on a universal story, there's not much that can go wrong. We WANT to identify with the protagonist.

In "Billy Elliot," fate takes a sensitive, awkward and gangly lad who lives in a rough and tumble but failing mining town in England, and gives him a natural talent for dance. And not just any dance, but classical ballet. As he struggles to find and express himself, the town itself suffers a crushing miner's strike and near-fascist oppression from Prime Minister Margaret Thatcher's jackbooted thugs. Will Billy dance his way out of a hopeless situation, and in doing so, bring a glimmer of hope to his beaten-down family and community?

The film emphasizes the clarion call to nurture potential, and honestly, Billy dances with passion, but he's at best a diamond in the very, very rough. Yet in "Billy Elliot: The Musical," playing through June 5 at the Buell Theatre, Billy is already a world-class talent. Forget auditioning for the Royal Ballet Academy, he's ready for the big time. And therein lies the musical version's Achilles heel. Any obstacles to his inevitable success are purely superficial. Also, Elton John's songs are mostly derivative and manipulative.

To be fair, many of the musical numbers are quite thrilling, but also serve to remind us that this is merely "Billy Elliot Lite." Rather than a scrappy tale rising from the struggling proletariat, the musical version seems to be put together by fabulous artistes who have a lark going slumming but can't resist dressing it up a bit, then a bit more, and then go over the top.

And though there are many supremely talented kids in the show, this is definitely NOT a musical suitable for children, and not just because of the complicated political backdrop. "Billy Elliot: The Musical" seems not just to endorse but actually celebrate drinking, smoking, domestic violence, swearing and cross dressing as legitimate ways to cope with stress. Also, in a couple of instances there seems to be an unhealthy man/boy dynamic going on. And rather than acknowledge the hard work, sacrifice and dedication required for training in classical dance, the show trivializes Billy's achievement by having the entire cast, miners, troopers, grandma, EVERYONE take their final bows wearing tutus and flouncing about in a vulgar display. What were they thinking?

"Billy Elliot: The Musical's" greatest contribution to the genre is Peter Darling's extraordinary and innovative choreography. Not since "Cats" have I seen such a fully conceived and successfully executed vision for movement on the stage. Most of the cast play types that could easily have been cut and pasted from any number of other shows (especially "Les Mis," "Oliver," "Footloose," and "Annie"), though the role of Billy, played alternately by four different actor/dancers, is uniquely challenging, making unbelievable demands on the young men.

Unlike "My Fair Lady," yet another ugly duckling musical based on a non-musical source, "Billy Elliot: The Musical" left me wanting to re-visit the original.

"Billy Elliot the Musical" was brought to the Buell Theatre at the Denver Performing Arts Complex by Denver Center Attractions and plays through June 5. For information and tickets, call 303-893-4100 or visit www.denvercenter.org. For more information on the touring production, check out www.billyelliotthemusical.com.

Despite "Judgment Day" false prophecy, we're still having church on Sunday!

2011-05-21T10:09:00.000-06:00

Founder of Family Radio and false prophet Harold Camping has gotten a lot of publicity lately predicting that Judgment Day would happen tonight, between 6-8 p.m. This has generated a lot of amusement from Christians and non-Christians alike. It has also sparked interest in the idea of of the End Times, giving hope to some that God would just hand us a quick fix to all our problems by answering our prayer of "just take me now!" Others have expressed anxiety and fear of impending doom, interpreting the message as "just wait 'til your father gets home!"

Rather than discredit Camping, who rebounded from a similar failed pronouncement that the Rapture would take place in 1994, I encourage you to look through your own Bible, particularly Matthew, chapters 24 and 25, (or Mark 13 for the shorter version), and Acts 1:7, then consider the following:

1. Yes, there WILL be a Judgment Day. Jesus has a LOT to say about it.
2. There will be signs and portents
3. But we are NOT to be troubled or deceived about it
3. No one knows the date or time, not even the angels in heaven
4. It's going to come as a surprise to some and a shock to others
5. Christians should live each day, each moment, in a state of readiness
6. When it comes, it will be too late for those who thought there was plenty of time to get right with God
7. Jesus, the living Lord and Son of God is the only one who can save us from having a really bad forever.
8. He's already done everything necessary on his side to save us, and offers it freely.
9. Now it's up to people to receive that salvation, grow in relationship with him, and share the good news with others, until he comes back

In the meantime, especially tonight, I encourage you to pray:
1. For the people who think that all Christians are crackpots or morons because of blind guides like Camping and his misguided followers, and are gleefully waiting for yet more ammunition to take pot shots at the very lifeboat that seeks to save them.
2. For the formerly faithful who have been troubled or deceived by false prophets, wolves in sheep's clothing, who mislead and do injury to the flock. (You have NO IDEA how many people have rejected God because of bad experiences with pastors or congregations. We all have a huge responsibility to offer healing and reconciliation to these wounded brothers and sisters.)
3. That people (especially and specifically people YOU KNOW) will turn to the Lord and be saved.

You have an opportunity to provide a helpful, sensible, biblical and compassionate response to this tempest in a teapot that has been stirred up. Let's make the most of it.

Then, I hope to see you at church on Sunday! (We're still celebrating Easter!)

Blessings and peace in our Lord Jesus Christ,
Fr. Patrick

REVIEW: 9 to 5: The Musical

2011-05-06T08:20:00.000-06:00

WORKING WOMEN: Diana DeGarmo, Dee Hoty and Mamie Parris star in Dolly Parton's fresh yet retro "girl power" show, '9 to 5: The Musical,' playing through May 8 at the Buell Theatre. Photo by Joan Marcus.

Leave it to the irrepressible and indomitable Dolly Parton to take a 30-year-old "girl power" movie about overcoming sexual harassment in the work place and parlay it into a fresh and uplifting musical comedy. "9 to 5: The Musical," based on the movie, plays through May 8 at the Buell Theatre.

It's just the kind of thing you'd expect from the legendary country singer: sassy but sweet, wide-eyed yet knowing, retro and hip, all at the same time.

In addition to the iconic title song, Parton has composed the tunes and lyrics for 15 additional numbers. Patricia Resnick, who wrote the original screenplay, has honed the story down to fit nicely into a flashy musical that offers plenty of fine moments for supporting and minor characters, as well as the chorus. Throw in snappy direction and choreography by Jeff Calhoun, and frequent video appearances by Parton herself as narrator, and "9 to 5: The Musical" becomes a triumph of light-weight, popular musical theater entertainment.

The musical is primarily a showcase for the three heroines: the much-abused but highly competent Violet (Mamie Parris), backwoods Barbie Doralee (Diana DeGarmo) and nervous new girl Judy (Dee Hoty) as they unwittingly set into motion a chain of events that escalates into the kidnapping and humiliation of their outrageously chauvinistic boss (Joseph Mahowald). During his "absence," they initiate reforms in the office that boost productivity by meeting the needs of the workers, and boost their own self-esteem. Ironically, a lot of energy goes into running and improving the business, but I don't think we ever know what the company actually does. This is a musical that knows, like Jacob Marley of Dickens fame, that PEOPLE, and making opportunities for them to grow, are our true business.

Thirty years is long enough for the fashions and hairstyles of the period to become funny all on their own, and "9 to 5: The Musical" pays tribute to "the look," but interestingly, are not as extreme as the original! The songs are easy on the ears, and the whole spirit of the musical is one of good, wholesome, silly fun. Even the men (and in the show they are nearly all pigs) won't feel slighted, because we can imagine that we are so much more evolved now.

Broadway and the Tony's weren't as kind to this show as they might have been, and shame on them, especially now that YET ANOTHER revival of the far more cynical "How to Succeed in Business" is garnering their praise.

"9 to 5: The Musical" has all the infectious optimism you would hope for, but rarely find in musical comedies these days.

Brought to Colorado by Denver Center Attractions, "9 to 5: The Musical" plays at the Buell Theatre through April 8. Call 303-893-4100 for tickets and information, or visit www.denvercenter.org. For more information on the touring production, check out www.9to5themusical.com.

Drama Camp in Evergreen

2011-05-03T07:13:00.000-06:00

Evergreen Players Drama Camp

The premiere performing arts camp in the foothills

Online registration is now open!!

The curtain is going up on a summer filled with the excitement and magic of theater!

At DRAMA CAMP, performers of all levels -- beginner to advanced -- find expression and fulfillment on stage. Our program is for young performers ages 5-17.
Are you looking for a way to channel your child's energy in a creative and positive way? Does your child dream of standing in the spotlight on opening night or hearing the applause of an audience?

Drama Camp is sure to be the highlight of your summer!

Renye Ress Memorial
Scholarship Fund
Twelve years ago, Drama Camp was founded by Renye Ress. As a tribute to her vision and the contributions that she made to the Evergreen Players, there will be a scholarship fund dedicated in her name for which any camper may apply if they have a financial need. Please contact Mandi at dramacamp@evergreenplayers
.org to request an application.

Join Our Mailing List!

Be a part of our

11th Annual Drama Camp!

July 11-22, 2011

REGISTRATION IS ONLY OPEN UNTIL MAY 31ST!

Many of our sessions sell out, so sign up today!

www.evergreenplayers.org

See you this summer!

Ages 5-7

Scene Stealers!

A fun-filled week onstage! Kids jump into stories from children's literature and bring them to life in these wonderful sessions created for our youngest actors. This exciting week ends with a performance that puts your child in the spotlight! $150.00

Choose your session...

July 11-15 9:00 a.m. - 12:00 p.m. SOLD OUT!

July 18-22 9:00 a.m. - 12:00 p.m. Still available

Ages 8-12

Alice in Wonderland (non-musical version)

Two Week Session! July 11-22 2011

Kids will enter the world of this well-loved classic play complete with all the crazy characters we know from Alice's amazing encounters in Wonderland. They audition for, rehearse, memorize and perform this full-length production in only two-weeks! Campers favorite!!

$450.00 - ONLY A FEW SPOTS LEFT!

Project Imagination!

One week only - July 11-15: Ages 8-9

Kids will have a blast creating their very own show! In this session, our instructors will guide the campers as they develop plot, set and characters. At the end of the week the group will perform a show in which each child is both an actor and a playwright! $250.00

Mystery Theatre

One week only - July 18-22: Ages 10-12

In this session campers will use characters, clues and suspense to create and solve a mystery. Kids will be working as a team to write their own mystery play. At the end of the week the group will perform in a show in which each child is both an actor and a playwright! $250.00

Teen Triple Threat

July 11-22, 2011

Two Full Weeks!

IMPROV COMEDY, ACTING, SINGING, & DANCING

Do it all in this great session that is

wildly popular and sold out every summer!

Price for BOTH Weeks: $450.00

July 11-15

Improv Comedy & Acting

Taught by EPiC member Beau Augustin!

Become part of "The Tribe" as our eclectic and talented troupe of teen

actors has called itself for the last four summers! You'll play improvisational theatre games and learn acting skills through scenes and monologues in a week that will prove fun and challenging for all.

Week 1 only: $225.00

July 18-22

WEST SIDE STORY

A week of Singing, Dancing & Acting from the classic musical recently revived on Broadway and a 2009 Tony award winner. There will be solo opportunities to showcase both singers and dancers!

Week 2 only: $225.00

Sign-up Today!

1. Complete the registration form on the Drama Camp page at www.evergreenplayers.org/dramacamp.php

2. Enter your Email address. You will automatically receive a message to link you to our secure online registration.

3. Submit your secure credit card payment on our website.

4. You'll receive an email confirming your registration!

Questions??

Send us an email!: dramacamp@evergreenplayers.org

(720) 935-1136

We are excited to have your kids join us this summer at Center Stage! Please feel free to contact us anytime if you have questions or concerns.

Mandi McKibbin Ogle
Director

Mandi

PROMO: ACTS presents 'Singin' in the Rain'

2011-04-22T05:34:00.000-06:00

Colorado ACTS presents their 12-18 yr. old production of

Singin' In The Rain

You remember the plot. You love the characters. You know "the song." It's no less than the stage adaptation of one of the most celebrated and beloved films of all time.
1920s Hollywood is the setting for this zany, light-hearted romantic comedy about the early days of sound film, when many a movie studio found itself scrambling to salvage the career of its chipmunk-voiced silent picture star.

cast: Sarah Boggs, Than Christian, Hope Davis, Cody Harrison, Jordan Haywood, Emily & Raif Henning, Kendra Johnson, Chris & Nathan Lohr, Josiah & Lauriel Miranda-Troup, Clare Nowak, Christiyona Pierce, Lauren Pott, Rachel Salazar, Jonathan Shifrin, Catherine & Matthew Smaldone, Hannah Wiersma, Bonnie Wilhelm, Elizabeth Wilson & Madelyn Woolums

performances & ticket prices

Thursday May 5th at 7pm - $2 preview

Saturday May 7th at 2:00pm - $5

Friday Evenings May 6th & 13th at 7:00pm - $7

Sat. Evenings May 7th &14th at 7:00pm - $7

Students and Seniors $1 discount Children 4 & under free

Colorado ACTS

HOPE/Two Roads High School site

Ralston & Holland, across the parking lot from Safeway

call us at 303-456-6772 or visit our website www.coloradoacts.org

REVIEW: The Women of Lockerbie

2011-03-31T09:39:00.000-06:00

DARK VIGIL: Scott Gibson, Jennifer Condreay, Lisa Kraai, Marilyn Herrs, Jessica Butler, and Cathy Washburn in Evergreen Players' production of "The Women of Lockerbie." Photo Credit: Ellen Nelson

Deborah Brevoort's haunting, gripping drama "The Women of Lockerbie" doesn't want to be a political play. It tries very hard to avoid politics. But it just can't help itself, and current events in Libya aren't helping any.

A Libyan terrorist, released in exchange for a rumored oil deal with BP, returned last year to a hero's welcome and now acknowledges operating under direct orders from Moammar "spell-it-any way-you-like" Qaddafi, after planting a bomb on Pan Am flight 103. The jetliner blew up over Lockerbie, Scotland on December 21, 1988, the darkest night of the year. Two hundred seventy men, women and children were killed.

Based on true events, "The Women of Lockerbie" blends some of the structure and technique of ancient Greek tragedy with realistic drama and storytelling to relate how the people of a small village in Scotland responded when death and destruction rained down upon them three nights before Christmas. Seven years after the terrorist attack, they are trying to bring closure to their suffering by laundering and returning the clothing and belongings of the victims to their families, but an American aviation official stands in their way by choosing to incinerate the evidence. Meanwhile, an American couple, locked in unresolved grief over the loss of their 20-year-old son, search the hills for something, anything of their son's to help them move forward.

Really, this play is about collateral damage and how the innocent must bear the burden of hateful actions and their consequences. But practically, the American government and its foreign policies bear the brunt of hostility and blame, far much more so than Libya. After all, it was the bodies of 71 Americans, still strapped in their seats that fell through the roof of one cottage, scattering severed limbs in the well-kept garden And it was wreckage from an American jetliner that killed another woman's entire family, who just happened to be minding their own business at the time.

Nevertheless, the women of Lockerbie sacrificially move past the larger conflicts, and focus on the individuals who are affected by violence. Countries may be evil and insensitive, but individuals are worthy of dignity, respect and sympathetic care. And so, seven years after their lives were changed and their village became famous, the women light candles and keep vigil at a natural wellspring during the Winter Solstice, praying for a miracle that would bring healing to countless broken hearts.

As the grief stricken couple from New Jersey, Jennifer Condreay and Scott Gibson, along with Carol Meredith as a leading elder of Lockerbie, ably walk a perilous path between portraying intense and immediate emotional truth, narrating past events in monologue, and performing a play. Priscilla Young provides some much-needed comic relief as a rebellious cleaning woman, and Ken Paul has the thankless task of portraying the callous, bullying and misogynistic representative of the American government. A chorus of four Lockerbie women contribute to the emotional movements and ritualistic aspects of the production, which was directed with sensitivity and insight by Kathleen Davis and Michele Wright.

"The Women of Lockerbie" is not relentlessly sad, but it is a lament, a dirge. And yet, as dawn breaks and dark winter loses its grip, hope is rekindled. In this respect, "The Women of Lockerbie" is a sacred drama, no longer about assigning blame, but optimistic about humanity's ability to grieve, to love, to forgive: one person, one couple, one village at a time.

Evergreen Players' production of "The Women of Lockerbie" plays Fridays and Saturdays at 7:30 p.m., Sundays at 2 p.m., through April 10 at Center/Stage in Evergreen. Call 303-674-4934 or visit www.evergreenplayers.org.

REVIEW: 'Fiction' at Miners Alley Playhouse

2011-03-17T07:58:00.000-06:00

TRUTH OR DARE: Tom Borrillo, Kate Avallone and Rhonda Brown star in "Fiction," Steven Dietz's sad and cerebral drama about angst-ridden writers armed with words that cut to the quick. Photo Credit: Richard H. Pegg.

Writers, like many artists, enjoy a kind of mystique. People who don't understand the creative process assume pensmiths are a sensitive breed, apart somehow from regular folk. But writers have no monopoly on keeping secrets, lying to themselves and others, drinking too much, saying hurtful things, selfishly using people, and retreating into fantasy to avoid facing terrifying truths about themselves.

They're just more quotable.

Steven Dietz's "Fiction" takes a page from Albee's "Who's Afraid of Virginia Woolf," pitting a highly intelligent, desperately dysfunctional couple against one another when a catastrophic illness prompts them to read each others' journals.

Talk about opening up a can of worms.

Thomas Borrillo plays a dissolute, disillusioned writer who reluctantly allows his one-hit-wonder novelist wife, played by Rhonda Brown, to read his diaries, thereby exposing his innermost thoughts, infidelities, and gradual descent from snobbish ambition into hack mediocrity. Kate Avallone plays an equally damaged muse at a writer's colony, who inspires them both.

Success, fame and wealth offer no comfort to these desperately broken and barren people, who use biting repartee, intellectual bullying and unflinching guilt trips to flay one another alive. "Fiction" peels away layer after layer of deception to reveal the unadulterated truth: that deep down, we are all frauds, impostors, hypocrites. And maybe especially writers.

It's a painful and cathartic experience, but also dramatically rewarding. The characters manage to strip each other down to the raw, exposed, vulnerable, wounded essence of themselves. But it comes with a price, and perhaps too late to do any of them any good. After so much ink and energy is spilled and spent, without faith in anything, not even in humanity's capacity for self-redemption, the best they can hope for is tragic recognition of their brokenness and expressing a few choice words before the lights go out forever.

There's something essential and existential missing in modern tragedies like "Fiction," "Woolf," and their ilk. Greek tragedy was ALWAYS presented as part of a religious, healing festival. The most pathetic expressions of human weakness and moral failure were rooted inseparably in the context of personal and communal faith in a larger, life-affirming reality. "Fiction" has nearly all the elements of a great tragedy, but lacks an underlying and overarching faith system, except perhaps in the illusory virtue of literature. In that regard, powerful and affecting as it is, "Fiction" doesn't tell the whole story.

Richard H. Pegg, who is equally gifted in directing both silly bedroom farce and wrenching couples drama, takes this cast to extraordinarily deep areas of vulnerability and emotional pain, all for our edification. So much so, that it's obvious the actors haven't shaken it off at the curtain call. This kind of drama requires a price to be paid by the actors, and to their credit, they willingly abandon themselves to it.

This is not light entertainment, but it's worth the price of admission. And by admission I mean the willingness to go where Dietz takes us, and to ultimately acknowledge and admit our own fictions. Then perhaps, just perhaps, the truth shall set us free.

Miners Alley Playhouse continues their 2011 season with “Fiction,” playing through April 24. Performances are Fridays and Saturday at 7:30 p.m.; Sundays at 6 p.m.; *(Sunday, April 24 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. Tickets are available by calling 303-935-3044 or online at www.minersalley.com.

REVIEW: 'Traces" at the Denver Center

2011-03-14T12:20:00.000-06:00

CIRQUE DU GRUNGE: Seven superbly gifted athletes perform thrilling acrobatic feats in an intentionally drab environment in 'Traces,' an extraordinary, intimate and young adult-oriented show that turns the traditional circus upside down, then spins it and kicks it through a hoop. Photo by Michael Meseke

The circus pendulum has swung full tilt from the days of P.T. Barnum, and The 7 Fingers, the mostly Canadian acrobatic troupe responsible for "Traces," is balanced right on top of it.

Time was when a traveling circus set up its tents in farming communities and small towns, bringing exotic animals, pageantry, spectacle and feats of strength and daring to poor, simple folk, at a low price. "Traces," which performs at the Stage Theatre in the Denver Performing Arts Complex through May 14, has no animals whatsoever (though the skateboards are treated humanely), and goes out of its way to avoid any semblance of pageantry or spectacle. In fact, the production is intentionally colorless and drab. Even a piano, overstuffed chair and other furniture items are tricked out to look like they had been retrieved from a Dumpster.

All that's left are the feats of strength and daring, which are impressive, presented without frills, for a comparatively well-heeled audience in one of Denver's most prestigious theaters. Roles have been so thoroughly reversed that the traditional concourse "side show" entertainment is actually provided by the audience itself, as video images of patrons entering the theater are projected onto the main stage, to the amusement of fellow ticket-holders.

A few things are gained in this reactionary circus. We get to know the performers as actual people, or at least as the personas they choose to represent. They tell us their names, height, weight, and dominant traits. But it takes awhile for personalities to emerge naturally, as the stylized nature of the production requires them, for the first half hour, to glare somberly at the audience after performing a routine. It's a remedy for the phony smiles and poses of previous circuses, but is just as artificial. Eventually they relax a bit and we get a sense that they are actually having fun risking life and limb for our entertainment.

As to the actual acts, most of them are recognizable as variations from the canon of classical European and Chinese acrobatics: a teeter totter launches someone toward the rafters, an aerialist dangles precipitously from a strap, a balancing phenomenon twirls inside a large steel ring, others climb, leap and swing between two vertical poles, they take turns diving through hoops, a man balances on one hand atop a stack of chairs, and a woman does pretty much the same thing on the upraised hands of a strong man. More contemporary is a skateboard routine.

Transitions between the various acts reveal the true genius of "Tracers." Some of them appear to have been developed through improvisation, and bind the cast together as a tight, interdependent, and extraordinarily gifted ensemble. The mutual trust is obvious and inspiring, though I still don't like it when people plunge head first toward the floor, only to be stopped mere inches from injury.

"Tracers" is a "grunge" circus, aimed primarily at teens and young adults, who are too grown up for the "kids stuff" of traditional circuses, and unimpressed with the surreal and pretentious "Cirque" productions that are all the rage for middle-agers and the elderly in Las Vegas. The 7 Fingers is to the circus, what David Blaine is to illusionists.

Someday, some circus down the road will find a happy balance between gross excess and whittled-down simplicity. Until then, The 7 Fingers' "Traces" handily delivers the goods in a plain, gray wrapper.

"Traces" performs through May 14. Call 303-893-4100 for tickets, or visit www.denvercenter.org.

REVIEW: 'Buffalo Bill and Annie Oakley' at Heritage Square Music Hall

2011-03-12T18:15:00.000-07:00

Sharpshooters Annie Oakley (Annie Dwyer) and Frank Butler (Rory Pierce) strike a bargain with master showman Buffalo Bill Cody (T.J. Mullin) in Heritage Square Music Hall's fond and funny original play, "Buffalo Bill and Annie Oakley." Photo by Connie Helsley.

T.J. Mullin is undoubtedly the most prolific and successful playwright/director/producer/actor in the Rocky Mountain region. Also, he's assembled one of the most popular, versatile ensembles in town. Whether attending slap-happy melodramas, nostalgic musical revues, or audience participation children's theater, the crowds that flock to Heritage Square Music Hall in Golden invariably come away happy, particularly after an all-you-can-eat buffet meal and a wholesome, family friendly show.

Following great success spoofing 19th century classics like Sweeney Todd, Phantom of the Opera and Dracula, Mullin has turned his creative attention to biography, treating audiences to his unique take on western icons Buffalo Billy Cody and Annie Oakley. Buffalo Bill is an outstanding choice, considering the legend is buried on Lookout Mountain, spitting distance from the jewel box theater, with an excellent museum nearby. The City of Golden owes Mullin big time for the endorsement.

There are plenty of interesting facts -- Mullin has certainly done his homework -- but the show never seems burdened by the need for slavish adherence to historical accuracy. This is a musical hall, not a classroom, and though you can depend on Mullin getting the references right, the whole saga of Annie Oakley's (Annie Dwyer) rise from rags to riches and romance with fellow sharpshooter and manager Frank Butler (Rory Pierce) is punctuated with classic musical hall mirth and merriment.

Buffalo Bill (T.J. Mullin) serves as narrator, deftly stepping in and out of scenes and moving the whole production along like a master showman. The play is episodic, featuring dramatized events, usually involving a challenge of some sort to Annie, and her rising to meet that challenge. It's actually an empowering message as she triumphs again and again over egoists and bullies. Sometimes it takes a person of true character and good will to recognize another, regardless of social standing. There are several sly references to "Annie Get Your Gun," which has one of the best scores and most embarrassingly politically incorrect books to come out of Broadway. This show is much more respectful of the characters' dignity.

Buffalo Bill and Annie Oakley rubbed elbows with a fascinating cross section of American and European dignitaries as well as the lower classes. Audiences get to see Queen Victoria herself. Also Kaiser Wilhelm II, Sitting Bull, and in the hilarious climax to the comedy, in which Buffalo Bill's Wild West Show is recreated onstage, perhaps even the person sitting next to them!

Music Hall stalwarts Johnette Toye and Alex Crawford play a multitude of comical characters, along with the wily and wild A.K. Klimpke, who was born for this kind of performance, and returns to the Music Hall after 20 years at Boulder's Dinner Theatre. The cast returns after the 70-minute comedy to perform a wonderfully realized country music revue.

"Buffalo Bill and Annie Oakley" signals another new, yet fond and funny direction for Heritage Square Music Hall: biographical comedies. Bring the whole family to see this one, THEN check out the museum on Lookout Mountain. It will be an enriching, entertaining experience.

"Buffalo Bill and Annie Oakley" plays through May 22. Call 303-279-7800 for reservations, or visit www.hsmusichall.com. And for younger folk, check out the Music Hall's Children's Theatre, 1:30 p.m. Saturdays and selected weekdays, featuring "Billy the Kid" through June 25.

Shakespeare at Colorado ACTS

2011-03-12T17:33:00.002-07:00

Colorado ACTS Friday class of 12-18 year olds present...

A Midsummer Night’s Dream

A MIDSUMMER NIGHT’S DREAM is a feast of midsummer madness, mischievous fairies, mismatched lovers and musical merchants colliding hilariously in one of Shakespeare’s most madcap and accessible comedies. When two pairs of lovers find refuge in the forest, a misguided fairy unleashes comical chaos with a love potion. “The course of true love never did run smooth”; now everyone must untangle the mismatched relationships in pursuit of wedded bliss. This web of magic in the Athenian woods casts a powerful, pleasing spell on audiences of all ages.

ACTS cast of players: Andrew Asmus, Blaise, Bernadette, and Joe Buches, Rebecca Guilinger, Hannah and Rachel Keller, Emily Kincaid-Smith, Andrew Koltuniuk, Karissa Krebs, Chris and Nathan Lohr, Clare, Frank and Gemma Nowak, Amanda Orive-Phipps, John Ramstead, Jon Shifrin, Anne Wagner

Performances

March 11th@7pm

March 12th@2pm

March 18th@10am &7pm

March 19th@7pm

Ticket prices

Tickets are $3 with NO family limit, i.e. if you have 10 children you pay $30

Children under 5 are free!

Location

The ACTS Theater

58th (Ralston) Rd. & Holland

across the parking lot from Safeway

Make a plan to attend ACTS FREE!! Shakespeare Festival Saturday March 19th from 10am to 3pm (see below), then see the Midsummer in the evening

Shakespeare Festival

Now is the winter of our discontent, made glorious summer by these sons (and daughters) of ACTS. For if all the world’s a stage, and all the men and women merely players, and if music be the food of love, then we play on!

March 19th

10:00am-3:00pm

No entry fee

Marianne Henning

Colorado ACTS

coloradoacts@yahoo.com

PROMO: 'The Field' at the Denver Vic

2011-03-03T17:42:00.000-07:00

Jim Hunt as Bull McCabe in the Denver Victorian Playhouse production of "The Field." Photo Credit: Michael Ensminger. Promotional information by Gloria Shanstrom.

The Denver Victorian Playhouse continues its 2010-2011 Irish season with the regional premiere of “The Field” by Award-winning Irish playwright John B. Keane.

'Bull' McCabe is a tenant farmer with an obsession with the field he has been renting from a poor widow. After years of backbreaking toil, McCabe has transformed the field from three acres of rocky wasteland into a lush green pasture. But when the widow decides to put the property up for auction without considering his work, an outraged McCabe is determined to buy it at all costs. Unfortunately, there is another interested party, an American whose plans for the field include paving it over to provide access to the limestone-rich hills beyond.

Keane based the story on the 1959 murder of Moss Moore, a bachelor farmer living in Reamore, County Kerry . Dan Foley, a neighbor with whom Moore had a long-running dispute, was suspected of the murder, but the charges were denied by Foley's family.

The cast includes Jim Hunt (“Bull” McCabe), Abraham Willock (Tadgh McCabe), Josh Hartwell (Bird O’ Donnell), Kendra Crain (Mrs. McCabe), Tim Fishbaugh (Dandy McCabe), Steve Kramer (Mick Flanagan), Paige L. Larson (Maimie Flanagan), Cody Robinson (Leamy Flanagan), Chip Winn Wells (Maggie Butler), Brian Landis Folkins (William Dee), Tyler Collins (Father Murphy), Eric Ross (Sergeant Leahy), Ayden Armstrong (Aoife Flanagan) and Branwen Armstrong (Nelly Flanagan).

“The Field” plays Fridays and Saturdays at 7:30 p.m.; Sundays at 2 p.m. through April 2. Tickets are $19.00 and are available by calling 303-433-4343 or online at www.denvervic.com.

Evergreen Players Drama Camp info

2011-02-03T06:51:00.000-07:00

Evergreen Players Drama Camp

"The premiere performing arts camp in the foothills"

Be a part of our

11th Annual Drama Camp!

July 11-22, 2011

Pre-registration is now open ONLY to Evergreen Players patrons! Take advantage of our Pre-Registration February 1st-28th to guarantee you a spot for this summer and receive discounted tuition! Many of our sessions sell out, so sign up today!

www.evergreenplayers.org/dramacamp.php

See you this summer!

The curtain is going up on a summer filled with the excitement and magic of theater!

Are you looking for a way to channel your child's energy in a creative and positive way?
Does your child dream of standing in the spotlight on opening night or hearing the applause of an audience?

At DRAMA CAMP, performers of all levels -- beginner to advanced -- find expression and fulfillment on stage. Our program is for young performers ages 5-17.

Drama Camp is sure to be the highlight of your summer!

Ages 5-7

Scene Stealers!

A fun-filled week onstage! Kids jump into stories from children's literature and bring them to life in these wonderful sessions created for our youngest actors. This exciting week endswith a performance that puts your child in the spotlight!

Choose your session...

July 11-15 or July 18-22

9:00 a.m. - 12:00 p.m.

$140.00 Pre-registration Price / $150.00 after March 1st

Ages 8-12

Alice in Wonderland

Two Week Session! July 11-22 2011

Kids jump into this well-loved classic play complete with all the crazy characters we know from Alice's amazing encounters in Wonderland. They audition for, rehearse, memorize and perform this full-length production in only two-weeks!

Campers favorite!!

$435.00 Pre-registration price / $450.00 after March 1st

Project Imagination!

One week only - July 11-15: Ages 8-9

$235.00 Pre-registration Price / $250.00 after March 1st

Mystery Theatre

One week only - July 18-22: Ages 10-12

$235.00 Pre-registration Price / $250.00 after March 1st

Teen Triple Threat

July 11-22, 2011

Two Full Weeks!

IMPROV COMEDY, ACTING, SINGING, & DANCING

Do it all in this great session - wildly popular and sold out every summer!

Price for BOTH Weeks:

$425.00 Pre-registration Price / $450.00 after March 1st

July 11-15

Teen Improv Comedy & Acting

Taught by EPiC member Beau Augustin!