By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
After Ashley. We first meet Ashley while she's watching one of those smarmy television shrinks with her teenage son, Justin. The shrink, Dr. Bob, is giving advice to a sexually incompatible couple, and this leads Ashley to reveal far more than Justin wants to know about her relationship with his father, Alden. Ashley is bored, frustrated and unhappy. By conventional standards, she's also a rotten mother. Her saving grace is that she adores her son. And it's her son who finds her body after she's been murdered by a schizophrenic homeless man -- whom her liberal, do-gooder husband insisted she hire to take care of the yard -- and makes a frantic 911 call that gets him in the news. Three years later, Alden has written a book called After Ashley, and -- over Justin's furious objections -- is participating wholeheartedly in the falsification and kitschification of his wife's memory. The play skewers the media's fascination with violence and grief and explores the boundary between private and public emotion. But there's more to it than that, particularly once a young goth girl called Julie picks up Justin in a Florida bar. Presented by the Denver Center Theatre Company through June 3, Ricketson Theatre, Denver Performing Arts Complex, 303-893-4100, www.denvercenter.org. Reviewed April 27.
Impulse Theater. Basements and comedy go together like beer and nuts or toddlers and sandboxes. The basement of the Wynkoop Brewing Co., 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., 1634 18th Street, 303-297-2111 or www.impulsetheater.com.
Insignificance. Terry Johnson's play is set in 1953, and Marilyn Monroe is in New York filming the scene from The Seven Year Itch in which she stands over a subway grating with the skirt of her white halter-top dress flying around her. Nearby, Albert Einstein, in town for a conference on world peace, putters around his hotel room. The play imagines a meeting between the two icons. The other characters in this strange little tale are Joe DiMaggio -- who doesn't recognize Einstein, but is incensed to discover his wife in another man's hotel room -- and Senator Joe McCarthy, come to remind Einstein of his obligation to testify before the House Un-American Activities Committee. The text is intelligent and hugely entertaining, but despite all the talk about history, politics, science, war and peace, and the shape of the universe, you won't find a coherent message here. Once you've accepted that, though, you can simply sit back and enjoy John Ashton's well-cast production. Presented by the Mizel Theatre Company through May 20, Pluss Theatre, Mizel Center for Arts and Culture, 350 South Dahlia Street, 303-316-6360, www.mizelcenter.org. Reviewed April 27.
Man of La Mancha. Creaking and shuddering, a ladder descends, admitting the sixteenth-century author Cervantes and his manservant into what looks like one of the lower circles of hell. There he will remain at the pleasure of the Spanish Inquisition, he's told, for perhaps an hour, perhaps a lifetime. To mollify his fellow prisoners, Cervantes tells them the story of his novel, which concerns Don Quixote, a country gentleman infatuated with the age of chivalry who imagines himself a knight errant, and who sets out on a quest with his servant, Sancho Panza. Quixote sees a small country inn as a castle, a barber's bowl as a helmet, a brutalized prostitute, Aldonza, as his fair lady, Dulcinea. Periodically, however, his fantasies desert him, and he's forced to deal with the wretched world that everyone else around him sees only too clearly. Some of the songs in this musical edge toward sentimentality, but the script does not downplay the horrors of Cervantes's time -- the casual brutality, the miserable lives of the poor, the terror of the Inquisition. This Country Dinner Playhouse production of the musical is full of fine performances and good voices, and though there's hope at the end, it feels as insubstantial as Quixote's dreams -- but perhaps also as enduring. Presented through May 14 at Country Dinner Playhouse, 6875 South Clinton Street, Greenwood Village, 303-799-1410, www.countrydinnerplayhouse.com. Reviewed March 30.
Party of 1. This is a good play to go to with a date, or to attend in hopes of finding one. The show is a sequence of cabaret songs dedicated to the joys and pains of singlehood, slightly reminiscent of I Love You, You're Perfect, Now Change, though without the monologues; fizzier and more light-hearted than Sex and the City, but less weighted with ego and pretension. Four appealing people spin through songs with topics ranging from the insecurities raised by meet-and-mingle functions to the intense ambivalence you feel when someone with whom you're having a great relationship actually takes the next step and moves into your apartment. Party of 1 ran forever in the Bay Area, where writer-composer Morris Bobrow is famed for his clever lyrics and bright, listenable tunes. Good-natured and enjoyable, with just an edge of grown-up irony, the show deserves its popularity. Presented by the Playwright Theatre in an open-ended run, 2119 East 17th Avenue, 303-499-0383, www.playwrighttheatre.com. Reviewed November 17.