The Caretaker. The setting is a grimy, one-room flat filled with papers, boxes and mismatched bric-a-brac. It's an appropriate mole hole for sad, befuddled Aston, who thinks he's good with his hands, tinkers constantly with a screwdriver and dreams about building a shed in the yard -- but it also serves as a metaphor for the inside of his disheveled mind. At the play's beginning, a leather-jacketed man stands dead center. This is Mick, Aston's brother and the owner of the building. He leaves and Aston enters with Davies, an old tramp he has rescued and brought home with him. Although the plot of The Caretaker doesn't entirely make linear sense -- all three characters engage in elaborate self-deceptions, and two of them use language more to confuse than to illuminate -- the play isn't really that opaque, and it involves a constant shifting of power. At the beginning, Davies seems grateful to Aston for taking him in, but he soon turns bullying and querulous. Both Aston and Mick offer him a job as caretaker, and he starts playing the brothers against each other. Under the direction of Terry Dodd, the actors give intense and absorbing performances that acknowledge the play's subtleties and subtext without stinting on its twisted passions. Presented by Paragon Theatre Company through July 1, Phoenix Theatre, 1124 Santa Fe Drive, 303-300-2210, www.paragontheatre.com. Reviewed June 8.
Crowns. The music in this piece-- gospel songs and spirituals, church music with a touch of rap -- includes such well-known pieces as "His Eye Is on the Sparrow" and "When the Saints Go Marchin' In," as well as several less familiar songs, and it is just as lively, moving, rousing and enjoyable as you'd expect. Director Kent Gash has assembled a group of performers with voices of extraordinary range, power and sweetness. All of them are also stylish and talented actors, capable of both humor and pathos. But there's no there here, no play. Crowns is about a concept. The African-American ritual of dressing up for church is a potent and evocative one. It carries a story about African tradition married to contemporary pride and vanity, about an oppressed people who found solace and spirit in church, about the hat as both an assertion of individuality and a humble tribute to God. But ideas alone can't sustain an evening of theater. They need to be married to plot and dialogue. The action begins when a young girl from Brooklyn, Yolanda, loses her brother to violence. Half mad with grief, she is shipped off to stay with her grandmother, Mother Shaw, in South Carolina. She also meets four women, all of whom have stories to share about life, faith and hats. Yolanda -- whose headgear is a sideways baseball cap -- comes to appreciate the women's strength, their work on behalf of civil rights, the community they form. The play's structure is based on a church service, but such services are very predictable in tone. The characters are symbols rather than people, and the dialogue never rises above the level of a Hallmark card. Presented by the Denver Center Theatre Company through June 18, Stage Theatre, Denver Performing Arts Complex, 303-893-4100, www.denvercenter.org. Reviewed June 1.
Fiction. Michael and Linda, both novelists, are long and happily married. But Linda has just been diagnosed with a brain tumor and told she has three weeks to live. She knows the kind of story almost everyone with a terminal diagnosis hears again and again -- the exciting new treatment for a disease hitherto seen as incurable, or the sudden, medically inexplicable remission -- but unfortunately, she's too damn smart to believe anything this cliched. Accepting the reality of her situation, she asks Michael to read her diaries after her death. And she also wants to read his. This request sets the theme and structure for Steven Dietz's well-designed play. Linda discovers that Michael had an affair with Abby, an enigmatic young woman at a writers' colony; rapturous passages about Abby fill Michael's diaries. But when confronted, Michael says the ongoing affair was pure invention. Dietz wrote Fiction long before the furor over James Frey's pseudo-memoir, A Million Little Pieces, but he anticipated much of the current discussion over the veracity of memoir as a literary form. He suggests that writing itself is a dishonest act: Michael sells out his idealistic younger self to become the kind of best-selling, blockbuster-a-year novelist he once despised; Linda's achievement is unquestionably literary, but she's famous because of the general belief that she herself endured the horrors her central character suffered, which may not be the case. These are not deep characters; they exist at the service of ideas. But they are also charming and fun to watch. The script and the action are fascinating, and director Jamie Horton has assembled a first-rate cast. Presented by Curious Theatre Company through June 24, 1080 Acoma Street, 303-623-0524, www.curioustheatre.org. Reviewed May 25.
Impulse Theater. Basements and comedy go together like beer and nuts or toddlers and sandboxes. The basement of the Wynkoop Brewing Co., 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., 1634 18th Street, 303-297-2111 or www.impulsetheater.com.
The Music Man. Artistic director Michael J. Duran has pulled out all the stops -- no pun intended -- for this production. In a program note, he explains that he was performing in The Music Man on Broadway in September 2001, and all the theaters closed for two nights after 9/11. When the musical reopened that Thursday, it was to an audience of fifty -- but those people needed what the show had to offer, Duran says. The Music Man follows Harold Hill, a huckster who comes into a small Iowa town and sells the townspeople on the idea of a boys' marching band, complete with music, instruments and uniforms. Before he can pull his usual disappearing act, Hill has fallen in love with Marian, the librarian, and -- despite his inability to read a note of music -- won over the town. In the lead, Brian Norber brings huge jolts of energy to the show, and he's abetted by a large, lively cast, a gaggle of charming children and a cheery seven-piece orchestra. The music is sharp, funny and sometimes meltingly lyrical, and you can feel the performers' electric enjoyment in what they're doing. Presented by Boulder's Dinner Theatre through August 19, 5501 Arapahoe Avenue, Boulder, 303-449-6000, www.theatreinboulder.com. Reviewed May 11.
Other People's Money. Andrew Jorgenson -- whom everyone calls Jorgy -- has been running his New England Wire and Cable Company with integrity for decades, supported by his loving longtime companion, Bea. Enter the vulgar, doughnut-craving Lawrence Garfinkle, a financial shark who's planning a hostile takeover. Jorgy enlists the services of Bea's daughter, Kate, a lawyer for Morgan Stanley, and the fight is on. Kate and Garfinkle joust sexily; Kate returns to Jorgy and suggests strategies to safeguard the company; Jorgy refuses to contemplate any unethical action; Kate and Garfinkle's jousting becomes sexier still. Jerry Sterner's play is occasionally talky, and the action comes to a screeching halt at the climax, as Jorgy and Garfinkle give long, long speeches on their differing economic philosophies. Jorgy evokes the homespun, humanistic values dear to traditional conservatives; Garfinkle, embodying the spirit of the Reagan years (the play is set in the 1980s), delivers an ode to financial Darwinism. Sterner never entirely tips his hand as to where he stands on the issue, but he has made Kate (Lisa Rosenhagen) and Garfinkle (Wade P. Wood) the liveliest and most interesting of the characters, while Bea and Jorgy seem subdued and a little moth-eaten. This is an interesting, though shallow, treatise on capitalism, and within the narrow framework that Sterner sets up, the play is entertaining. Presented by Denver Victorian Playhouse through June 24, 4201 Hooker Street, 303-433-4343, www.denvervic.com. Reviewed June 8.
Party of 1. This is a good play to go to with a date, or to attend in hopes of finding one. The show is a sequence of cabaret songs dedicated to the joys and pains of singlehood, slightly reminiscent of I Love You, You're Perfect, Now Change, though without the monologues; fizzier and more light-hearted than Sex and the City, but less weighted with ego and pretension. Four appealing people spin through songs with topics ranging from the insecurities raised by meet-and-mingle functions to the intense ambivalence you feel when someone with whom you're having a great relationship actually takes the next step and moves into your apartment. Party of 1 ran forever in the Bay Area, where writer-composer Morris Bobrow is famed for his clever lyrics and bright, listenable tunes. Good-natured and enjoyable, with just an edge of grown-up irony, the show deserves its popularity. Presented by the Playwright Theatre in an open-ended run, 2119 East 17th Avenue, 303-499-0383, www.playwrighttheatre.com. Reviewed November 17.
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