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Garage Sale Loud: This Is It. Almost every summer, the folks at Heritage Square stage what is essentially a musical review with a thin sustaining plot line and the word "loud" in the title. The conceit is that T.J. Mullin and Annie Dwyer are siblings, and they're reliving their youth: teenage band rehearsals, high-school reunions. This time, their mom is moving into a retirement home, and they're trying to sell off all the stuff left in the garage. They're joined by Rory Pierce, who says he bought the house over the Internet; Alex Crawford, who has apparently just wandered by; and the family's onetime lawn boy, Charlie Schmidt, wearing the same tiny shorts he must have worn at fifteen. It only takes a stray phrase or turn in the action for everyone to burst into song: "Blowin' in the Wind," "Blue Moon," "Help," "Big Girls Don't Cry," "I Get Around" — a promiscuous mishmash of hits from various decades, apparently picked because the performers happen to like them. Mullin does a hilarious impression of Mick Jagger singing "Jumping Jack Flash"; Crawford rocks on James Brown's "I Got You (I Feel Good)"; and Pierce's tongue gets a heavy workout as he impersonates Kiss. The most mind-blowing number is Beyoncé's "Single Ladies," with Pierce, Mullin and Schmidt as a leotard-clad chorus. Heritage Square has been hit hard by the economic downturn, and it's imperative that it attract new fans. So the troupe is mulling ways to convince Denverites that Golden really isn't so far away and wondering how to attract younger viewers without losing the essence of what they do —which, night after night, is to create community and share laughter. Presented by Heritage Square Music Hall through September 5, 18301 West Colfax Avenue, Golden, 303-279-7800, Reviewed June 17.

Hedwig and the Angry Inch. This show is an hour and a half of speech and rock songs woven together so seamlessly that later, looking back, you're not exactly sure what you heard spoken and what sung. The framework is provided by "The Origin of Love," a song that evokes Plato's vision of how sexual congress began. Once the world was filled with twinned creatures, both parts male, both female and androgynous, but they were severed by Zeus. Now, bloodied and butchered, these half-creatures search the world for their lost partners. Hedwig began as Hansel, born in East Berlin, a lost boy who gave blow jobs to GIs for candy and attention. When a soldier named Luther wanted to marry him and bring him to the United States, Hansel's mother lent the boy her name and passport and arranged for a sex-change operation. But the operation was botched, and Hansel, now Hedwig, was left with an inch-long stub, neither fully male nor fully female. A year later, Luther left her. Now she performs at the Avenue Theater, backed by her band, the Angry Inch, and Yitzak, the ambiguously sexed person she refers to as her husband, whom she met in Serbia while performing under the name Crystal Nacht. A reference to the Berlin Wall is in some ways a fairly straightforward metaphor for Hedwig's plight — she straddles countries and realities as well as gender. But, like the mention of Kristallnacht, it's more than that; it's a reminder of the casual brutality of a world where many children struggle for physical and emotional survival, begging, selling themselves, killing — whatever it takes. The music, by Stephen Trask, is varied and exhilarating, the dialogue dark, smart and funny, and the Avenue production purely terrific. But it's Nick Sugar who makes this performance one you'd be an idiot to miss. The role of Hedwig is one he was born to play, allowing not only irony, satire, sexiness and self-possession, but the kind of emotion for which an actor reaches into the depths of his being. Presented by the Avenue Theater through August 7, 417 East 17th Avenue, Reviewed July 1.

Peter Pan. The folks at Boulder's Dinner Theatre approach Peter Pan with such imagination, intelligence, respect and — above all — giddy exuberance that you can't help enjoying yourself. Little boys are sure to love Captain Hook and the ferocious crocodile with the clock ticking away inside him. And how could any little girl resist the idea of flying off into the night in search of adventure with a white-nightgowned Wendy, and being so loved and needed by the Lost Boys? Not to mention Nana, the fluffy white dog who serves as the children's caretaker. The only drawback is the depiction of Native Americans, who are shown as pure 1950s Disney figures, wearing long black wigs and fringed costumes, drumming, stomping, chanting and singing a ghastly song called "Ugh-a-Wug." Still, there are loads of good things about the production, and J.M. Barrie's words still cast a spell. Director Scott Beyette and his actors even respect the story's darker overtones: Captain Hook may be a pussycat and the battles staged to be comic, but the story's psychological ambiguities seep through. As played by Joanie Brosseau-Beyette, Peter Pan is a tough little customer who can wreak havoc if he wants, and who has very little loyalty or conscience. This is offset by Brosseau-Beyette's cheekiness and charm, as well as her terrific singing voice. Best of all is the flying. It doesn't matter that you know it's coming; it doesn't matter that you can see the lines attached to the actors' backs. When Peter Pan rises into the air and Wendy, John and Michael follow — startled, kicking and laughing — it's pure magic. Presented by Boulder's Dinner Theatre through September 4, 5501 Arapahoe Avenue, Boulder, 303-449-6000, Reviewed June 3.

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Juliet Wittman is an investigative reporter and critic with a passion for theater, literature, social justice and food. She has reviewed theater for Westword for over a decade; for many years, she also reviewed memoirs for the Washington Post. She has won several journalism awards and published essays and short stories in literary magazines. Her novel, Stocker's Kitchen, can be obtained at select local bookstores and on Amazon.
Contact: Juliet Wittman