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
Aphrodisiac. Playwright Rob Handel's inspiration is the affair between Congressman Gary Condit and intern Chandra Levy, which erupted into the media when Levy disappeared in 2001. Her body was discovered a year later; although suspicion clouded his career, Condit was never officially accused of murder. Aphrodisiacapproaches this story obliquely. Handel's congressman, Dan Ferris, and his mistress, Ilona Waxman, never appear on stage; instead, Ferris's son and daughter listen to the news, analyze the affair and speculate on who their father really is, role-playing in an attempt to heighten their understanding. Although this is to some extent a play of ideas -- and even more a play about play-acting -- Alma and Avery are real characters, products of a sadly dysfunctional family. Monica Lewinsky herself appears toward the end, as the siblings argue in a coffee shop; the fact that her presence doesn't remind us of a thousand snickering late-night jokes is a tribute both to Handel's playwriting and to Mare Trevathan's riveting performance in the role. When she describes how she wept on Clinton's chest after he refused to give himself fully by coming in her mouth -- and realized even as she wept that his attention was not on her but on his chair in the Oval Office -- we finally understand the tightness and intricacy of the sex-power knot. Under the hand of director Bonnie Metzgar, this is a wonderful evening of theater, an elegant, sure-footed production of a fascinating contemporary play. Presented by Curious Theatre Company through February 24, 1080 Acoma Street, 303-623-0524, www.curious theatre.org. Reviewed January 11.
The Big Bang. Sometimes it's nice not to have to think too much, to just settle back and watch a couple of frenetically energetic guys working really hard to earn your good will -- and your entertainment dollars. Oh, and to make you laugh. The Big Bang posits the following scenario: Composer Jed Feuer, played by Ted Keunz, and writer-lyricist Boyd Graham, played by Chris Bogert, are in an expensive penthouse apartment, pitching a musical called The Big Bang to a group of possible backers -- that is, the audience. The show will cost $83.5 million, run twelve hours and feature a cast of hundreds. The Big Bang is just as clever as it needs to be -- sometimes very, sometimes not so much -- but never clever enough to make you stretch your brain. It's never tedious, either, as we're whizzed through the history of the world in a set of musical numbers. Among the funniest: The Virgin Mary and Mrs. Gandhi bitch about the travails of motherhood -- because who but a mother cleans up after the miracle of the loaves and fishes? And what an embarrassment to have a grown son still in diapers! Presented by Playwright Theatre through January 27, 2119 East 17th Avenue, 303-499-0383, www.playwrighttheatre.com. Reviewed October 19.
Crazy for You. George and Ira Gershwin were, without question, two of the most brilliant tune-meisters of American musical comedy, and in the early 1990s, playwright Ken Ludwig got the bright idea of writing a "new" Gershwin musical. He took familiar 1930s plot elements and created a knowing, affectionate book that both satirizes and pays homage to the musical-comedy genre. And then he grabbed fistfuls of those bloodstream-quickening Gershwin songs and scattered them like jewels along the story's path. Artistic director Michael J. Duran danced in the critically praised 1992 Broadway production of Crazy for You, and he re-creates some of Susan Stroman's choreographic magic here, including the long number that ends the first act and features all kinds of inventive movement as well as axes, hammers and human bodies used as musical instruments. Scott Beyette is a lithe, leaping, tapping wonder as Bobby, whose mother wants him to enter the family business but whose own ambition is to dance. Alicia Dunfee is an unexpected ingenue, perhaps a bit too experienced for Polly and less light on her feet than partner Beyette, but she brings her customary warmth and presence to the role. The voices are fine, and the cast and musicians talented and so enthusiastic that they simply sweep you into the fun. Presented by Boulder's Dinner Theatre through March 3, 5501 Arapahoe Avenue, Boulder, 303-449-6000, www.theatreinboulder.com. Reviewed November 23.
Our Town. This is the first time the Physically Handicapped Actors and Musical Artists League has staged a non-musical, and they took a risk in doing so. Our Town takes place on an almost bare stage, and all of the focus is on the actors. They have to carry the action with their bodies and speaking voices; there's no scenery or costuming to distract from a wavering walk or a dropped line, no music to carry the emotion. The gamble pays off: Under the direction of Steve Wilson and Nick Sugar, PHAMALy not only honors the play's quiet depth, but adds shining new colors. This troupe's actors deal with loss on a much more intimate basis than most of the rest of us; when one of them playing a member of Our Town's community of the dead comments, "Live people don't understand," the line has a particular resonance. Several actors here are highly skilled, and all of the performances have honesty, grace and strength. The wise, all-knowing Stage Manager, played by Leonard Barrett, effortlessly embodies the crucial mix of melancholy and joy that characterizes the play. Presented by PHAMALy through February 4, Aurora Fox Theatre, 9900 East Colfax Avenue, Aurora, 303-739-1970, www.phamaly.org. Reviewed January 11.