Humble Boy. Although Humble Boy is literate, with eccentric characters, some absorbing scenes and occasional unexpected moments, somehow the structure doesn't hang together. And all the esoteric talk about space and time and the habits of bees seems more an attempt by playwright Charlotte Jones to impress the viewer than a means of adding resonance. Felix Humble, a brilliant young scientist, returns home from the university; his father has just died, and his mother is planning a rapid remarriage. If this sounds familiar, there's a reason: Jones is evoking the plot of Hamlet. Flora Humble is the queen bee who detaches her suitors' genitalia in the act of love. She's selfish, rude and easily the most entertaining character in the play. Her boyfriend is George Pye, a loud, vulgar Aussie, as different from her deceased husband -- who was a keeper of bees -- as humanly possible. The Hamlet connection is a mixed blessing: If it does sometimes stir up an interesting association, it also serves as a constant reminder of a play with a power and scope that dwarf Humble Boy. Presented by Firehouse Theater Company through July 16, John Hand Theater, 7653 East First Place, 303-562-3232. Reviewed June 23.
Impulse Theater. Basements and comedy go together like beer and nuts or toddlers and sandboxes. The basement of the Wynkoop Brewery where Impulse Theater performs is crowded, loud and energetic. Impulse does no prepared skits, nothing but pure improv -- which means that what you see changes every night, and so does the team of actors. These actors set up and follow certain rules and frameworks; they rely on audience suggestions to get these scenes going or to vary the action. Your level of enjoyment depends a lot on whether or not you like the players. Charm is a factor, and so is the ability to take risks. Fortunately, the performers are clever and fast on their feet, willing to throw themselves into the action but never betraying tension or anxiety, perfectly content to shrug off a piece that isn't coming together. The show is funny when the actors hit a groove, but equally funny when they get stymied. So, in a way, the improvisers -- and the audience -- can't lose. Presented by Impulse Theater in an open-ended run, Wynkoop Brewing Co., 18th and Wynkoop streets, 303-297-2111 or www.impulsetheater.com. Reviewed June 3.
Independence. Independence is a story about three very different young women and their terrifyingly possessive, half-mad mother, Evelyn. Kess, the oldest daughter, hadn't been in touch with her mother for four years. At the beginning of the play, she returns to the family fold because of a frantic phone call from her younger sister Jo, who says Evelyn tried to kill her. Sherry, the youngest of the three sisters, is nineteen and about to graduate from high school, but she behaves like an angry, promiscuous thirteen-year-old. Independence is very absorbing to watch; it's smart and the rhythm of the dialogue is compelling. On one level, it provides the same kind of pleasure you get from watching Jerry Springer or reality TV, the feeling of superiority engendered by seeing other people behaving very, very badly. What makes the play credible is our knowledge that people like Evelyn -- people whose greedy self-absorption is so intertwined with their madness that no one can tell which is which -- do exist. The characters also possess enough psychological complexity to keep you riveted. Ed Baierlein directs with unobtrusive skill, and he has assembled a cast that makes each character vital and specific. Presented by Germinal Stage Denver through July 10, 2450 West 44th Avenue, 303-455-7108, www.germinalstage.com. Reviewed June 23.
The Mercy Seat. What kind of person would seize on a disaster of the magnitude of September 11 to further an extramarital affair? With New York in chaos around him, Ben Harcourt has seen an opportunity to leave his wife, who will assume he has died, and start a new life with his lover, Abby. He refers to the attack, without irony, as an opportunity that "fell right into our laps." Playwright Neil LaBute is best known for the film In the Company of Men, which depicts the amoral behavior of young men in the corporate world. He is famed for the savagery with which he explores the squirmier and more equivocal parts of the human psyche. In The Mercy Seat, he has created a couple of contemptible people; his genius is to have made them comprehensible, even intermittently likable. The play brilliantly catches the rhythms of a failing relationship, the words misinterpreted, the moments of compromise shattered by a clumsy observation or flash of malice. The usual jostling for power between lovers is exacerbated here by the fact that Abby is older than Ben, and is his boss. Paragon Theatre director Warren Sherrill has mounted a first-rate production of this refreshingly abrasive play. Presented by Paragon Theatre Company through July 2, Phoenix Theatre, 1124 Santa Fe Drive, 303-300-2210, www.paragontheatre.com. Reviewed June 9.
My Way: A Musical Tribute to Frank Sinatra. The Denver Center production of My Way features four attractive, energetic performers with strong and differing voices; 53 of the best twentieth-century songs; a set that's beautifully designed both to please the contemporary eye and to evoke the period, with softened Formica colors flowing into each other and elegant forms; witty, attractive costumes; and three excellent musicians. So if you're entertaining a business client or out on a date, this is the show for you. But it's essentially a commercial enterprise rather than an evening of theater. The performers don't just sing the songs, they sell them. They're full of energy. They bounce. They emote. They never allow a moment of reflection or understatement. Sinatra was the guy sitting alone on a barstool in a pool of light, shadows pressing in on him, the rakish angle of his hat belying the world-weariness of his soul. This seems an odd way to pay him homage. Presented by Denver Center Attractions in an open-ended run, Galleria Theatre, Denver Performing Arts Complex, 303-893-4100, www.denvercenter.org. Reviewed June 9.
Newsical. This show is bright, clever and fun, with catchy song rhythms, witty lyrics and very talented performers, but it has absolutely no edge. How much guts and originality does it take to beat up on Michael Jackson and demonize Martha Stewart -- particularly with huge fat targets like John Bolton and Tom DeLay wandering the public arena? But, of course, the producers plan to make money in both red and blue states, and we all know how tetchy everyone is about politics these days. So here's a song about Botox, and another about a family addicted to prescription drugs. Here are three loopy, drooly guys who lose their fear of flying by booking with Hooters Air. Several of the skits and songs are enjoyable. "W. Rides Again" features the drunken Bush girls celebrating their dad's election victory. A trio of old ladies trills about the joys of being felt up at the airport. There's a hilarious imitation of Arnold Schwarzenegger, and another of the new pope wearing stylish lederhosen. Newsical is a taste tantalizer rather than a meal, but it goes down well with a couple of glasses of wine. Presented by the New Denver Civic Theatre in an open-ended run, Black Box Cabaret, 721 Santa Fe Drive, 303-309-3773. Reviewed May 19.
Ruthless! the Musical. Little Tina Denmark was born with talent. No one knows where it came from -- her mother is a perky, cookie-baking, '50s-style housewife, her father always away on unspecified business -- but dancing and singing are clearly in her blood. So when Tina loses the lead in the school musical, Pippi in Tahiti, to Louise Lerman it's clear that the poor poppet is justified in any steps she takes to remedy the situation -- including murder. Soon Louise is swinging from her own skip rope, and Tina is playing Pippi. Ruthless is an extended piece of camp, a funny, silly pastiche of moments from Gypsy, The Bad Seed, All About Eve and every pre-'60s musical with a larger-than-life female star you can remember. Nonesuch Theater has mounted a highly entertaining version of the show, full of madly hamming actors and great voices. Presented by Nonesuch Theatre Company through August 13, 216 Pine Street, Fort Collins, 1-970-224-0444, www.nonesuchtheater.com. Reviewed June 2.
Summer Lovin'. Summer Lovin' is a string of songs held together with a thin thread of plot. A traveling troupe arrives at an old theater planning to stage a play, only to discover that the place is closed while its board contemplates converting it into an art-movie house. The photographs on the walls and the props and wigs in an old trunk inspire the actors to an outpouring of tribute and impersonation. It's difficult to square the simplicity and straightforwardness of the concept with the depth of pleasure the performance provides. A high level of musical skill is offered: All the performers sing and move well, and some of them play an instrument or two. The band, too, is terrific. The show's premise allows the cast to hop around through time and pick almost any number in any genre that they wish -- from an old music-hall routine to The Rocky Horror Picture Show's "Time Warp." It's hard not to enjoy a cast that's having such a good time and is so eager share it with you. Heritage Square Music Hall is more than a performance venue: It's a Colorado community. Presented by Heritage Square Music Hall through September 11, 18301 West Colfax Avenue, D-103, Golden, 303-279-7800, www.hsmusichall.com. Reviewed June 16.
Take Me Out. In Richard Greenberg's multi-award-winning play, the language is full of wit and unexpected insight, and the action trembles between funny and tragic. The story explores what happens when an admired baseball player tells the world he's gay. Darren is aloof, dignified, godlike to his fans. The son of a black father and a white mother, handsome and athletically gifted, he has led a life of privilege. He seems blind to the fact that his announcement is likely to cause problems. His best friend is Kippy, who also serves as the narrator. Predictably, everything changes in the locker room once he's made his announcement, and the contradictions are thrown into stark relief when the team brings in a new pitcher, an overgrown infant filled with grief and rage named Shane. At his first encounter with the press, Shane spews out a series of racist and homophobic epithets. Eventually, the story takes a turn toward tragedy. The play lacks a strong sense of overall unity -- structural or thematic -- but the writing is smart, enjoyable and thought-provoking, there are some wonderful scenes, and the characters are memorable. Curious gives the play a strong production, featuring several fine performances. Presented by Curious Theatre Company through July 2, 1080 Acoma Street, 303-623-0524, www.curioustheatre.org. Reviewed May 1.
Topdog/Underdog. Topdog/Underdog features two brothers in a dingy inner-city room. Lincoln and Booth -- their names were given to them by their feckless father as a joke -- tell tall tales, spar and play tricks on each other. For a while their bickering seems lighthearted and affectionate. Lincoln is an expert at three-card monte who dropped the hustle when one of his associates was killed. Now, wearing white makeup, a stovepipe hat and a ridiculous round beard, he impersonates his presidential namesake at an arcade. Booth is determined to learn the three-card-monte spiel from his brother. There's little suspense about how things will turn out, given the protagonists' names and a persistently flourished gun. What you don't know is how ingeniously playwright Suzan-Lori Parks will work out the action. The acting is impressive, and the play stays with you after you've left the theater. Presented by Shadow Theatre Company through July 2, Ralph Waldo Emerson Center, 1420 Ogden Street, 303-837-9355, www.shadowtheatre.com. Reviewed June 16.
The Wizard of Oz. The Boulder's Dinner Theatre production of The Wizard of Oz, under artistic director Michael J. Duran, hews very closely to the 1939 movie version, but it's done with such élan that the show never feels old. With bright, inventive sets, clever costumes, lively choreography and hyper-energetic performances, it's like a carnival ride that whisks you away in a swirl of color, movement, sound and simple nostalgia. As Dorothy, Emily Van Fleet faithfully channels Judy Garland, though she lacks the latter's sense of wonder. Her voice is a marvel, however, shading richly through melting variations in tone and color, and her rendition of "Over the Rainbow" had the audience spellbound. Several BDT stalwarts turn in riveting performances in other roles. Add inventive bits of direction, an excellent small orchestra, an adorable small dog and an ensemble full of fine voices and interesting personalities, and you have an extended frolic that both kids and adults can enjoy. Best of all, the production does full justice to Harold Arlen's wonderful songs. Presented by Boulder's Dinner Theatre through September 4, 5501 Arapahoe Avenue, Boulder, 303-449-6000, www.theatreinboulder.com. Reviewed May 26.
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