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…
An old woman lies dying as her son sits by the bedside. Tension vibrates between them. Each character offers a poetic monologue that feels a bit forced; when a playwright has someone gaze out above the heads of the audience and wistfully emote, the writing needs to be more powerful…
There are many, many ways for a production to be awful, and The Yiddish Are Coming, at the New Denver Civic Theatre, hits on just about all of them. It’s a cheap little venture — small cast, easy set and costumes, empty-headed concept — put together for the sole purpose…
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…
The Tennessee Williams one-acts at Germinal Stage are tone poems, mood pieces, as much about language as they are about character and action. They are also about love, loss and despair. Couples reach for each other but are unable to connect; each play ends in stasis. Like all great writers,…
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…
The scene is Deola’s dog-grooming salon, where Deola is also setting herself up as a psychic. Three of her friends meet here weekly to play bid whist, and on this occasion they are joined by a fourth, Edna, a newly divorced friend of Deola’s from Texas. Much of the first…
When Rosencrantz & Guildenstern Are Dead was first produced in 1966, the idea of telling the story of Hamlet from the perspective of two minor players seemed truly daring. It’s less surprising now, but OpenStage’s production of Tom Stoppard’s play still yields intriguing moments. Rosencrantz and Guildenstern, school friends of…
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…
Before the action begins, you contemplate set designer David Lafont’s rendering of a grimy one-room flat, filled with papers, boxes and mismatched bric-a-brac. There’s a rolled-up carpet, an unusable gas stove, a toilet seat hanging below the ceiling and a porcelain toilet back leaning against a wall. A tennis racket…
Andrew Jorgenson — whom everyone calls “Jorgy” — has been running his New England Wire and Cable Company with integrity for decades, avoiding debt, providing decent jobs and helping keep his community vital and solvent. He’s supported in this by his loving longtime companion, Bea. Enter the vulgar, doughnut-craving Lawrence…
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,…
I enjoyed Crowns most when I closed my eyes and just listened. The music — gospel songs and spirituals, church music with just 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…
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…
The first scene of Fiction pulls off a telling bit of trickery. Two people argue and banter over espressos in a Paris cafe. Playful, self-conscious and hyperliterate, they seem a long-married couple. But as they rise to leave the cafe, the woman extends her hand in farewell, and we realize…
A dreary scene confronts us on the small, square stage: a counter with knives and a cleaver, a dirty bucket, blood splashed against the back wall, on the floor. It’s 1990, the first Intifada is in process, and a pair of Palestinian brothers, Chaled and Na’im, are arguing in a…
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,…
A collection of monologues about the Iraq War based on the experiences of men who fought there, Sand Storm is raw and upsetting, but it also tells an old, old story. Hundreds of accounts like these followed the war in Vietnam, and they echo the observations in Chris Hedges’s seminal…
To be buried while alive is, beyond question, the most terrific of these extremes which has ever fallen to the lot of mere mortality. That it has frequently, very frequently, so fallen will scarcely be denied by those who think. The boundaries which divide Life from Death are at best…
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,…
Dear God, but I am sick of Death of a Salesman, which I’ve now had to see three times in the past year. Despite the play’s ahead-of-its-time dramatic devices and portentous poeticizing, it continues to strike me as an endlessly protracted whine. And a verbose and dated whine, at that…
I’m sitting at a small table at Boulder’s Dinner Theatre with my friend Robin Haig. A one-time dancer with the Royal Ballet, Robin has just retired from the University of Colorado Dance Department and is talking about Margot Fonteyn and the Bumptious Colonial, a one-woman show she plans to take…
