Best Of :: Arts & Entertainment
After fifteen years as publicity director (and, briefly, head of patron relations) at the Denver Center Theatre Company, Chris Wiger left in February for a spiffy job as director of marketing and public relations at the new Lone Tree Arts Center. We started missing things about him even before he left. His extraordinary efficiency, for example: Wiger responded to requests for seats, photographs and information in record time ("Can you give me the name of that visiting actor twelve years ago who starred in ... ?"; "When did the Denver Center last do Romeo and Juliet, and who directed?"). His thoughtfulness: Get caught in a traffic jam, and you were likely to find Wiger standing in the middle of the lobby when you finally raced in, holding out your tickets; find yourself seated next to a loud drunk and he'd get you another seat, pronto. The interesting details he could pass on about each production — the concept, the costumes, the script. His regard for the actors and transparent love for the company itself: Knowing many actors don't like reading reviews while a show is running, Wiger collected albums of clippings and photographs to be distributed at the production's end. While we look forward to seeing him at Lone Tree, evenings at the Denver Center will never be the same.
After a long run, the 15th Street Tavern closed in 2007, leaving a big hole in the downtown punk scene. And almost immediately, the Tavern's Myke Martinez started looking for a place where he could resurrect that beloved venue. It took a few years of hunting, but Martinez and Kris Sieger, another former 15th Street owner, finally found what they were looking for in the spot previously occupied by the Triangle. The two teamed with 3 Kings Tavern owner Jim Norris to overhaul the space, adding a stage and putting a tiki bar in back. While the Rockaway isn't an entirely authentic resurrection of 15th Street, it borrows elements from both that venue and 3 Kings to add something entirely new, and much needed, to the scene.
Gary is determined to make his fortune by catching a home-run ball. In Ian Merrill Peakes's committed, intelligent performance in the premiere of The Catch at the Denver Center Theatre Company, we saw all the character's complexity, his brilliance in calculating the odds, his grandiosity and delusion — and also his very human attempts to connect with his estranged wife and emotionally pinched father.
Nick Sugar was born to play the raucous, all-stops-out part of Hedwig in Hedwig and the Angry Inch. In this Avenue Theater production, he got to strut, cross-dress, belt out numbers both sexy and forlorn, boast, whine, mock and beg — and all while he held the audience spellbound. And then he went further, reaching deep into his own soul to find a redemptive dignity amid the squalor.
In Reckless, Rachel is a crazy, farcical character, given to euphoria attacks and blindly ecstatic babble (only briefly interrupted by her husband's revelation that he's taken out a contract on her life). In the role, Julia Motyka sometimes bounded around the stage with an energy so manic you wanted to help those contract killers strangle her yourself. But at other times she was thoughtful and smart, and by the play's end, she'd deepened into someone you genuinely wanted to know. Motyka's smart performance in the Denver Center Theatre Company's production was anything but reckless.
In Mouse in a Jar, Ma is the ultimate female victim: a Polish immigrant married to a faceless man who regularly abuses her and stands symbolically for the brute power of dictatorship and oppression everywhere. Ma cooks. She awaits the nightly return of her oppressor. She does little to protect her two daughters, and when one of them attempts to protect her, the attempt itself is brutal. Yet Ma also possesses a twisted, burned-in-the-flame toughness and humor. Trina Magness gave a memorable, haunted performance as Ma in LIDA's production of Mouse in a Jar.