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
The Baseball Show. Evil, malaprop-prone Vincent Vascombe, owner of the Beloit Bulldogs, is determined to hold on to his star player, Bill "The Bomber" Dawson. But Dawson -- aided by his smart, competent fiancée, Helen -- has plans for the majors, and there's a talent scout hanging around. So Vascombe hatches a plot to kidnap Helen, hoping this will throw Dawson off his game. Vascombe can barely speak a word without mangling it -- "Let me induce myself"; "for a stifling fee"; "a talent for stating the oblivious" -- and T.J. Mullin delivers the dialogue with his usual low-key and unflappable aplomb. Most of the other characters find his speech impenetrable; the only person who can translate is the hired muscle, Sid -- as played by Alex Crawford, a wry, peaceful sort of fellow who prefers minding his own business to breaking bones for the boss. Annie Dwyer is irresistible as Vascombe's moll, Rose Louise Romberg; variously bewigged, a crazed amalgam of tough broad and breathy Marilyn Monroe, pouncing and preening, she owns the stage every time she sashays onto it. This show is one of Heritage's best -- for its good humor, flying Nerf balls and the fun, fast musical medley that concludes the evening. Presented by Heritage Square Music Hall through May 18, 18301 West Colfax Avenue, Golden, 303-279-7800, www.hsmusichall.com. Reviewed March 13.
The Last Five Years. This intimate two-person musical involves the breakup of a marriage. When Jamie and Cathy met in New York, he was an aspiring writer and she an actress. Success came for him fast, while she continued to inhabit the dreary, ego-pummeling world of auditions and summer stock — with predictable results for their relationship. The songs — solos, with one exception — reveal a triumphant Jamie noticing his effect on other women and fighting the desire to utilize it, with a sulky Cathy refusing to attend his publishing party. He resents her neediness and insecurity, she his arrogance and self-involvement. Playwright Jason Robert Brown has hit on an interesting device to make this relatively commonplace story more poignant and more complex: While Jamie relates events as they happened, Cathy reveals them backwards. At the very beginning, she weeps over Jamie's goodbye letter, and minutes later, he erupts onto the scene singing rapturously about the "shiksa goddess" he's just met. Chris Crouch and Shannan Steele are both terrific performers, brimming with energy, poised and charismatic, possessed of lovely, expressive voices. Crouch makes Jamie real and funny and quirky, and Steele is often touching as Cathy — though I wish both would avoid that awful, dissolving-into-self-pitying-tears style that's come to dominate singing in musicals these days. Still, this is an emotionally exuberant production, staged in a smooth, comfortable style, and enjoyable even though it's far from thought-provoking. Presented by Denver Center Attractions through June 29 at the Galleria Theatre, Denver Performing Arts Complex, 303-893-4100, www.denvercenter.org. Reviewed February 14.
The Lieutenant of Inishmore. The bloody action begins with a dead cat belonging to Padraic, a crazed killer who was kicked out of the IRA and formed a splinter group, the Irish National Liberation Army, in response. Terrified of Padraic's violent temper, his father, Donny, tries to persuade an epicene young neighbor, Davey, to admit he killed the animal. Even as they debate, Padraic is busy torturing a drug dealer; he interrupts his work to take their call on his mobile. Plot complications include the machinations of three other INLA members who have turned against Padraic, and the coming to sexual maturity of Davey's psychotic sister, Mairead, who likes to fondle guns and sing Republican songs, and who has been honing her revolutionary edge by shooting out the eyes of local cows. There's nothing scattershot about the way the script is constructed; it's tight and clean, and the dialogue startles you into open-throated laughter again and again. What makes the play so funny is the contrasts it presents -- between high-minded rants about a free Ireland and the pettiness of the men's violence, between Padraic's sadism and the blubbering sentimentality that has him seated on the ground weeping for his cat while his torture victim dangles beside him. Chip Walton's direction couldn't be better; all of the action is fully realized and meticulously timed, and he's assembled an excellent cast. Gene Gillette is mesmerizing as Padraic, as steely and scary as he is ridiculous. Anthony Powell and Matt Zambrano anchor the action as Donny and Davey, respectively, Powell with cringing resignation, Zambrano making Davey a gnome in a shiny, feminine wig. With her long-legged stride and red hair, Laura Jo Trexler is a striking Mairead, and there are stellar performances from Steven Cole Hughes, Geoffrey Kent and Michael Morgan. Thomas the Cat plays Wee Thomas the cat with a wide-eyed aplomb that brings down the house. Presented by Curious Theatre Company through April 19, 1080 Acoma Street, 303-623-0524, www.curioustheatre.org. Reviewed March 13.
Little Shop of Horrors. This show began in 1960 as a seventy-minute black-and-white movie, featuring Jack Nicholson in a small role and shot by director Roger Corman in two days. In 1982, the musical Little Shop of Horrors opened off Broadway, where it ran for five years. In 1986 it was made into a second film, with Steve Martin giving a brilliant performance as Orin, the sadistic, black-leather-clad dentist. A big reason for Little Shop's success is Alan Menken's catchy, rhythmic music, much of it a takeoff on the hits of such 1950s girl groups as the Chiffons, Crystals and Ronettes — and in fact, the trio of vocalists who accompany much of the action are named Chiffon, Crystal and Ronnette. There's also the brilliantly spoofy central conceit: An alien embodied in a cannibalistic plant is determined to proliferate and consume the human race. To do this, he employs the unwitting services of Seymour, an innocent nerd employed in a skid-row florist shop. Seymour is in love with comely blond shop assistant Audrey, but she's been claimed by Orin and is afraid to leave him. As the tiny plant he discovered in an alley reveals its murderous nature to him, Seymour is confronted with a Faustian dilemma: The plant can help him win wealth, fame and Audrey — but only if he feeds its insatiable appetite for blood. Boulder's Dinner Theatre does a great job of capturing the show's lighthearted, capering energy. The costumes are witty, the set well designed and the orchestra's sound infectiously effervescent. But it's the actors who give a show its soul, and there are several good ones here, foremost among them strong-voiced Brandon Dill as Seymour. Presented by Boulder's Dinner Theatre through May 3, 5501 Arapahoe Avenue, Boulder, 303-449-6000, www.bouldersdinnertheatre.com. Reviewed February 21.
Nickel and Dimed. As the thousands of high-schoolers who have been assigned to read Nickel and Dimed in the past few years know, author Barbara Ehrenreich set out to re-create the lives of the poor by attempting to survive on minimum-wage jobs herself — hotel maid, cleaning woman, waitress, nursing-home aide and Wal-Mart associate — for three months in three different cities. Joan Holden of the San Francisco Mime Troupe turned this book into a play that asks several essential questions: How do people survive on minimum wage? Are there certain economies and contrivances poor people utilize that the rest of us don't know about? We learn that those on the lowest end of the pay scale live in cheap, dirty motel rooms, with friends or family, with partners who may be abusive but whom they can't afford to leave, in their cars. Their diet frequently consists of whatever foods yield the most calories for the buck: hot dog buns, for example, or corn chips. They suffer chronic ailments for which they can't get medical care, and many are in constant pain. This OpenStage production works best where it expresses the irony and humor that animate Ehrenreich's book; the rest of the time, the action is unconvincing, the observations about poverty feel a bit didactic, and the actors seem too inexperienced to give their characters authenticity and heft. Still, in presenting Ehrenreich's ideas with sincerity and some charm, director R. Todd Hoven and his cast are performing an important service. Presented by OpenStage Theatre and Company through March 22, Lincoln Center, 417 West Magnolia Street, Fort Collins, 1-970-221-6730, www.openstage.com. Reviewed March 6.
Starship Troy: Fame. By 8 p.m. the place is jammed. The audience looks young, some as young as high-schoolers, others in college; there are couples, gay and straight, and a scattering of older folk. Starship Troy is one of Buntport's informal efforts to create cheap, fun, accessible theater. It is a dramatized cartoon, each episode lasting about 45 minutes. The premise: A dump truck orbits space on a mission to clean things up. Its addled crew includes all the usual Buntport suspects: Erik Edborg, who for some reason has dryer-duct tubing sticking out of his front and who cuddles a white stuffed animal; cynical Hannah Duggan; Erin Rollman as an expressionless android (watching Rollman trying to remain expressionless is a comic feast); half-ape Brian Colonna; and Evan Weissman as something, well, something epicene and highly sexualized. An audience member volunteers as Ensign McCoy, who — in a tribute to South Park's Kenny, and perhaps to the Goon Show's Bluebottle before him ("You have deaded me again!") — gets killed in every show. This is throwaway theater in the best sense. If a line thuds to earth, no matter; it's gone as soon as it's said. If a piece of business is pure brilliance — too bad! It'll never be seen again, either. But what the hell, there's always another episode. Presented by Buntport Theater every Tuesday and Wednesday through May, 717 Lipan Street, 720-946-1388, www.buntport.com. Reviewed November 15.