Best Slow-Moving Documentary 2012 | kART Across America | Best of Denver® | Best Restaurants, Bars, Clubs, Music and Stores in Denver | Westword

They admit the initial concept was, well, a little crackpot. For local filmmakers Andy Raney and Jeremy Make, the genesis of their movie was a Jäger-fueled discussion of how difficult it was to define American culture after a year of studying abroad. Cut to their bright idea: In order to capture the meaning of art in this country, the former roommates toured the United States in a decrepit, fussy red golf cart named Christine. During the hundred-day-plus trip, Christine broke down much more than a hundred times, but that just gave the two more time to ask the Americans they encountered along the way, "What is your art?" The answers to that question became the basis of the documentary kART Across America, which rated an NPR discussion with Michael Moore.

The University of Denver has featured important artists on its faculty since Vance Kirkland founded the department in the 1920s. Dan Jacobs, director of the Victoria H. Myhren Gallery at the school, is interested not only in DU's illustrious history but in its very vital present, and the latter provided the focus for Faculty Triennial. The university's most famous teacher currently is Lawrence Argent of "I See What you Mean" (Big Blue Bear) fame, but there are other well-known faculty members, including Susan Meyer, Jeffrey Keith, Mia Mulvey, Lauren Mayer and Rafael Fajardo, all of whom took part in the show. Since there was nothing linking the works of these various artists other than their connection to DU, the show wound up providing a glimpse not only of what's now happening on the campus, but also what's happening across Denver's art scene.

Boasting two Funktion-One systems — one on the main floor and the other on the second level, in the Beatport Lounge — Beta's sound is unrivaled by virtually any club in North America, much less Denver. With more than 100,000 watts of power being pumped into the main floor speakers and a constant tuning process that tweaks the sound system for maximum output, Beta and its Funktion-One system have been among the top five nominees for Best Club Sound System in America at the International Dance Music Awards since 2008. It's not hard to see — or hear — why.

For MCA Denver's Another Victory Over the Sun, put together by museum director Adam Lerner and assistant curator Nora Burnett Abrams, all of the exterior light sources were blocked, making the interior fairly dark, with the works only minimally lighted. But that was enough to make pieces by Denver artist David Zimmer stand out. A wall installation called "Chorus" was particularly impressive: On brackets, Zimmer had mounted thirteen apothecary jars with digital screens inside; on the screens were moving images of birds landing on and flying off a windowsill, where a camera had been mounted. This tour de force was both eye-dazzling and thought-provoking, no easy task for an artist — but Zimmer pulled it off.

A Touch of Spring is a romantic comedy of a fairly familiar kind — an American couple in Rome, a mild mystery needing to be solved, a charming young girl who rocks the stodgy American man's world — and the most original thing about it is the character of Baldo. Especially in the Miners Alley Playhouse production. Playing the elfin, charming, smart and ambiguously sexed Baldassare Pantaleone, or Baldo, Michael Bouchard scampered off with the evening. His performance was filled with bravado and at the same time rather waiflike, authoritative and accommodating, full of fakery and grand gesture — and still very appealingly human.

Elder Thomas is a nineteen-year-old Mormon missionary who visits the dying protagonist in The Whale, Samuel D. Hunter's play that premiered at the Denver Center Theatre Company this season. Through him, we learn a lot about the pull of Mormonism for some young people, and also quite a bit about how Mormonism operates. Elder Thomas returns several times to visit Charlie, both when he's welcome and when he's less so — and we discover that although he himself is brimful with concern and compassion, his faith remains punitive and judgmental. Cory Michael Smith showed both innocence and conviction in his performance, giving us a character who was no religious caricature, but a complex youngster with a troubled past.

Best Supporting Actor in a Shakespeare Comedy

Robert Sicular

In the Denver Center Theatre Company's production of The Taming of the Shrew, Robert Sicular played Katherine's much-put-upon father, Baptista, with silver-haired dignity. He showed us the man's blind fondness for prissy Bianca, and just how painful it was to have crazy, angry Katherine as a daughter. Baptista has to speak a lot of not-particularly-inspiring dialogue that does nothing much but carry the plot forward, but Sicular did so with clarity and insight — while still managing to be funny.

Best Supporting Actor in a Shakespeare Tragedy

Geoffrey Kent

Mercutio is one hell of a role, with some of the best speeches anywhere in Shakespeare. The trouble is that with all the productions of Romeo and Juliet, we've heard them all before. A lot. How does an actor make the long description of Queen Mab's nocturnal dream visits sound new? How does he approach the death scene, with its famous description of his wound — "not so deep as a well, nor so wide as a church door, but 'tis enough, 'twill serve: ask for me tomorrow, and you shall find me a grave man" — as if no one had ever done it before? In this Colorado Shakespeare Festival production, Geoffrey Kent's rendition of the former was a superb piece of playful invention, and rather than playing Mercutio's dying comments as a gallant attempt at humor, he forced the words out through progressively weakening bursts of rage and frustration. All in All, Kent's performance was a tour de force.

When Jessica Austgen is on stage, she's so full of life and originality that you can't take your eyes off her. In Collapse, produced by Curious Theatre Company, she played one of those neurotic, crazy, needy sisters who upends a shaky marriage. Clad in vivid rusts and oranges that perfectly accentuated her red hair and eccentric persona, Austgen squirmed on the sofa, practiced her stretches on a mat, spouted new-age truisms, wheedled, threatened and talked about her cat, Camille Paglia. She was as intensely narcissistic as she was utterly disarming.

Sam Shepard's A Lie of the Mind is bleak, fragmented and full of violence and rage. Just about every male in it is despicable, and it's up to the women to provide anything resembling a glimmer of redemption. We haven't seen much of Patty Mintz Figel on Denver stages this season, but every time she appears, we remember what a treasure she is — and she was certainly up to the challenge in the Paragon Theatre production of A Lie of the Mind. It may have been unclear how Meg, the long-suffering wife of a blindly brutal husband, put up with him, or what motivated some of her comments and actions, but what was crystal clear was the quality of truth and compassion that Mintz Figel brought to the role.

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