By Susan Froyd
By Byron Graham
By Robin Edwards
By Bree Davies
By Josiah M. Hesse
By Bree Davies
By Susan Froyd
By Kate Gibbons
Girls Only. The trouble with Girls Only, a two-woman evening of conversation, skits, singing, improvisation and audience participation, is that it's so relentlessly nice. Creator-performers Barbara Gehring and Linda Klein have worked together for many years; at some point, they read their early diaries to each other and were transfixed by the similarities and differences they found in them, as well as the insights they gained into their own psyches and the travails of puberty. This theater piece was developed from that material — but not all of that material. "I purposely don't read every diary entry in the show, because it turns out I was kind of mean, and I don't want to be mean," Klein told an interviewer. But mean is funny, and when you cut it out entirely, what do you have to joke about? Girly pink bedrooms, purses, bras, skinny models in glossy magazines. Every time they tell a story with the tiniest bite to it, Gehring and Klein — both talented and appealing stage performers — move instantly to reassure us that they don't mean it. At one point Klein relates an interesting tale about how she came to possess the badly taxidermied body of an electrocuted squirrel as a child; the minute she's completed this funny, freaky moment in an otherwise highly predictable evening, she gives a pouty, don't-get-me-wrong grin and sweetly caresses the squirrel's head. There's enough good material here for a tight, funny, one-hour-long show, but this one stretches on and on, as if Klein and Gehring had been determined to throw every single joke and piece of shtick that occurred to them in the script. Presented by Denver Center Attractions through June, Garner Galleria Theatre in the Denver Performing Arts Complex, 303-893-4100, www.denvercenter.org. Reviewed September 18.
The Miracle Worker. William Gibson's The Miracle Worker, about the way a young Irishwoman, Annie Sullivan, rescued the blind and deaf Helen Keller from her prison of rage and isolation, shows its age in spots. Still, what Gibson did get right was the intensity of Sullivan's struggle to lead her charge out of darkness and into the light of language. He showed Keller, revered American icon, as an almost feral child, who hurls objects and can attack without provocation, kicking, pinching and biting. The miracle is that the twenty-year-old Sullivan, schooled by her own partial-sightedness and hard upbringing, is the one person on earth who can understand and deal with her. This Denver Center Theatre Company production is skillfully done and very pleasing to look at, and all of the acting is good. Kate Hurster is a strong and appealing Sullivan, and Daria LeGrand a game and gutsy little Helen Keller. But overall, the show is too pretty, too much of a nineteenth-century Southern set piece, lacking a sense of danger and the primal currents that run through the script. Presented by the Denver Center Theatre Company through December 20, Space Theatre, Denver Performing Arts Complex, 303-893-4100, www.denvercenter.org. Reviewed December 4.
The Producers. How on earth can Boulder's Dinner Theatre, which does not have hundreds of thousands of dollars at its disposal, compete with the big, glitzy Broadway version of The Producers? Not with tech and design, obviously, nor the slickness of the big showstoppers. But this production has something that's missing from the big touring production: sheer exuberance, an exuberance that in many ways is closer to Mel Brooks's original impulse. The Producers tells the story of a Broadway producer who realized he could make more money from a flop than a hit and immediately sought out the worst script he could find: a tribute to Adolf Hitler. The idea first saw life as a 1968 movie, a movie in which Brooks stuck a fat, garlicky, Jewish thumb right into Hitler's eye. With the irrepressible Wayne Kennedy playing producer Max Bialystock and Scott Beyette as his bewildered but eventually ecstatic sidekick, Leo Bloom, the BDT cast puts the raucous, iconoclastic jump right back into the show. Presented by Boulder's Dinner Theatre through March 7, 5501 Arapahoe Avenue, Boulder, 303-449-6000, www.theatreinboulder.com. Reviewed December 4.
Speech & Debate. Three misfit high-school students get together for the debate society. Solomon longs to be a professional reporter and wants to print the lowdown on the right-wing mayor's pederast activities in the school newspaper; Howie is a transfer student anxious to create a gay-straight alliance, and frustrated by his inability to get a teacher to sponsor it; and Diwata, the would-be diva, can't get a role in the school musical, so she's looking to bring down the drama teacher who failed to cast her. You may think you've seen something like this before — geeky, outsider high-schoolers, tormented by questions of identity, setting up their own eccentric little world, but whiz-kid playwright Stephen Karam has a humorous and original take on the situation. Speech & Debate is peppered with spurts of original humor and pierced by little darts of surprise, and the teens are interesting characters — spiky and self-obsessed as only teenagers can be, as ignorant about life's realities as they are technologically sophisticated and skilled at yanking each other's chains. Curious was smart to get in early on this sparky, original script, though there's an awful lot of over-acting. Presented by Curious Theatre Company through December 20, Acoma Center, 1080 Acoma Street, 303-623-0524, www.curioustheatre.org. Reviewed November 13.
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