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
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.
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.
The Pillowman. The play takes place in an unnamed totalitarian society where the protagonist, Katurian, is being interrogated by two cops. Katurian's crime: He has written hundreds of stories in which children are killed, and someone has been imitating the methods in the stories and leaving little corpses around town. Katurian has a brother, Michal, brain-damaged because of the torture inflicted on him as a child by their parents. Violence is the primary focus of The Pillowman, but there's also a wistful, wavering undercurrent, a hope that children might somehow find sanctuary, even if it's in the arms of grotesque killer-cum-savior the Pillowman. One reason all of this is less upsetting than you'd expect is that the murder stories are narrated in the arch, unreal style of fairytales, and the brutality is also deliberately undercut by cynical jokes in the style of such movies as GoodFellas, Reservoir Dogs and Lock, Stock and Two Smoking Barrels. As in these films, there's no moral center, and we're encouraged to empathize not with the victims, but with the wisecracking style of their attackers. This is also a play about the provenance, power and necessity of stories, and all of the characters are motivated and sustained by the narratives they spin for themselves. There's real originality, energy, subtlety and surprise here, and the play would have a lot more impact if it weren't for the cast's lack of fire. Presented by the Denver Center Theatre Company through February 24, Ricketson Theatre, Denver Performing Arts Complex, 303-893-4100, www.denvercenter.org. Reviewed January 25.
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