By Zoe Yabrove
By Bree Davies
By Byron Graham
By Susan Froyd
By Josiah M. Hesse
By Bree Davies
By Susan Froyd
By Kate Gibbons
Cats. This company does as good a job with Cats as one can imagine. The dancing, choreographed by Stephen Bertles, who also directed, is seamless. The cast is lithe and graceful. They slither like snakes. They leap high and land without a sound. They're wonderfully into character, batting at each other with kitty-cat paws, or hissing or rubbing a head lightly against a fellow actor's shoulder. The voices and performances are also fine, and there are a few good numbers, such as "Mungojerrie and Rumpleteazer" and "Gus the Theatre Cat." There's also the T.S. Eliot factor: Old Possum's Book of Practical Cats is the dour old poet's most playful work. But this is still Andrew Lloyd Webber, the composer-impresario who arrived on the musical-theater scene like a soggy gray blanket, snuffing out any sparks of wit or originality and leaving in their place a huge, throbbing, manipulative, faintly ecclesiastical and unfocusedly ecstatic swamp of sentimentality. It's a swamp that snares these dancing kitties' feet, no matter how high they try to leap. Presented by Boulder Dinner Theatre through May 1, 5501 Arapahoe Avenue, Boulder, 303-442-5671, www.theatreinboulder.com. Reviewed December 2.
Cyrano. The trouble with Heritage Square's Cyrano is that the company has abandoned the hybrid style that's all its own -- one that involves wild improvisation and lots of audience participation -- and decided instead to play the story of the long-nosed wit and fighter who's afraid to reveal his love to the beautiful Roxanne pretty straight. T.J. Mullin, who plays Cyrano, specializes in an understated on-stage humor that's the antithesis of Cyrano's swashbuckling. And Annie Dwyer can do that demure-heroine thing all right, but she's far more interesting when she's flashing baleful glances at the man in the audience who's been brash enough to question her beauty. For the second part of the evening, the cast tackles the songs of Stephen Sondheim -- whose works are notoriously difficult to play and sing -- and does well with them, giving us a medley of songs that's so charming and tuneful, you want the music never to stop. Presented by Heritage Square Music Hall through May 8, 18301West Colfax Avenue, D-103, Golden, 303-279-7800, www.hsmusichall.com. Reviewed March 10.
Impulse Theater. Basements and comedy go together like beer and nuts or toddlers and sandboxes. The basement of the Wynkoop Brewery where Impulse Theater performs is crowded, loud and energetic. Impulse does no prepared skits, nothing but pure improv -- which means that what you see changes every night, and so does the team of actors. These actors set up and follow certain rules and frameworks; they rely on audience suggestions to get these scenes going or to vary the action. Your level of enjoyment depends a lot on whether or not you like the players. Charm is a factor, and so is the ability to take risks. Fortunately, the performers are clever and fast on their feet, willing to throw themselves into the action but never betraying tension or anxiety, perfectly content to shrug off a piece that isn't coming together. The show is funny when the actors hit a groove, but equally funny when they get stymied. So, in a way, the improvisers -- and the audience -- can't lose. Presented by Impulse Theater in an open-ended run, Wynkoop Brewing Co., 18th and Wynkoop streets, 303-297-2111 or www.impulsetheater.com. Reviewed June 3.
Testosterone Monologues. Poet-performer Ed Ward tells three tales about maleness, each set in a very specific American time and place. The first is a silly-funny ghost story set in 1880s Denver, written to amuse Ward's six-year-old son. The second, set in 1976, provides a revealing flashback to Denver hipster street life post-Kerouac but before the greedy '80s and corporate '90s. But it's Ward's final monologue, "Jerry Judge," that really lifts the performance above the sphere of the mundane. He evokes his inner-city boyhood in early 1960s Philadelphia, the relationship he formed in college with an upper-middle-class Jewish anthropologist fascinated by his background and the atmosphere in a Philadelphia bar on the night when local tough guy Jerry Judge takes on heavyweight champ George Foreman. Presented through March, PS 1515, 1515 Madison Street, 303-322-9324. Reviewed March 17.
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