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Cats. There's not much of a plot to Cats. You meet the Jellicles, with their cheerful faces and bright black eyes, who dance "under the light of the Jellicle moon"; the Ming-vase-smashing cat burglars, Mungojerrie and Rumpelteazer; fat, elegant, gentleman's club-haunting Bustopher Jones; and contrary-minded Rum Tum Tugger. The show's emotional core resides with battered street cat Grizabella — once a beauty, now doddering and shunned by the others. When we're told at the beginning by wise Old Deuteronomy that tonight one of all the cats will be chosen to ascend to the Heaviside Layer — whatever that is — there's not a lot of suspense about who it will be. Along the way, you get insight into the naming of cats (turns out every cat needs three names), and also how to address a cat: "Before a Cat will condescend/To treat you as a trusted friend/Some little token of esteem/Is needed like a dish of cream." And the music and lyrics are as delicious as a saucer of cream, of course. This is Boulder's Dinner Theatre's second go at Cats, and though it's very like the 2004 production, it's been strengthened in a lot of small ways that make a very big difference. Perhaps most important, the cast features a few notable new dance talents, and there's something to catch and hold your attention at every moment as you confront a moving frieze of kitties cavorting, hissing, twitching and cleaning their own and each others' faces. The BDT's entire cast and crew approach this production with so much energy and enthusiasm that they've made it new again. Presented by Boulder's Dinner Theatre through September 24, 5501 Arapahoe Avenue, Boulder, 303-449-6000, www.bouldersdinnertheatre.com. Reviewed June 2.

Dixie's Tupperware Party. Dixie is a booze- and sex-addicted, trash-talking, child-neglecting ex-con from Alabama who holds Tupperware parties in her trailer, and she's invited you to this one. Dixie's Tupperware Party at the Galleria really is a Tupperware party — you get a name tag and raffle number when you come in, and there are pens and catalogues on all the tables. Dixie, your hostess, greets you in high white heels and a crotch-skimming skirt, earrings swinging, red hair piled high. Collapsible bowls, punch and party setups, plastic jugs and ribbed mugs (uh-huh) gleam in shades of lime, blue, orange and purple on a table behind her; by the time she's through, you won't be able to look at a plastic storage container without giggling. Just the words "collapsible bowl" will set you off. Dixie is also Kris Andersson, an actor who realized he could make an actual living selling Tupperware and began hosting parties. As he worked, the character of Dixie developed. Andersson brought his show to New York's Fringe Festival in 2004, and it caught fire from there. This production is seriously dirty, and it's also one terrific evening. Dixie is a great character: She doesn't give an inch, but she's as appealing as she is wicked. And Andersson not only loves Dixie, but he loves Tupperware, too — and he's not being snarky about it. So no matter how much Dixie screws up her spiel or how many lewd jokes she makes about the uses to which you can put "the best plastic crap on the planet," there's a reverential quality to the way she fondles the goods that makes you actually want to buy them. Presented by Denver Center Attractions through January 2, Garner Galleria Theatre, Denver Performing Arts Complex, 303-893-4100, www.denvercenter.org. Reviewed December 9.

Faithful. The opening scene is intriguing: a woman tied to a chair, a mobster with a gun preparing to finish her off. The tension is ready-made, and the dialogue comically and continually upends our expectations. The woman, Margaret, is feisty, scoffing at the very idea of a Mafia hit man with a name as stereotypical as Tony, and telling him she was suicidal to begin with and welcomes the idea of being done in — though she's less keen on the rape-murder scenario her husband, Jack, has set up. Tony's an insecure doofus, so it's not too hard for this quick-witted woman to con him, but he also has enough insight to set her back on her heels now and then. There's a lot in this first act that's funny, but there are also things that don't add up, and with the entrance of Jack in the second half, the play falls apart. We've admired the cunning, tough-minded Margaret of act one, but act-two Margaret is presented primarily as a victim and is far less interesting. After a while, you feel as if you've fallen into an episode of The Real Housewives of New Jersey. Eventually Tony comes back, and confusion ensues as he tries to figure out who he should kill — but by this time the comedy's pretty much drained out of the evening, with little in the way of pathos or insight to take its place. The show remains mildly entertaining, but there's no real revelation, and what you get in the end is less anti-climactic than a weak-kneed petering out. Presented by the Edge Theatre Company through August 28, 9797 West Colfax Avenue, Lakewood, 303-232-0363, www.theedgetheatre.com. Reviewed August 18.

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