By Mona Lott
“Come stoned to this show,” Krystal Jackson yells out as the cast enthusiastically discusses what makes Psycho Beach Party worth coming to and responds to my question about how to sell it. The answers leading up to that comic outburst were more practical, telling me that the show is a “great laugh” and full of wonderful characters and “gender bender fun.” Admittedly that’s enough to get this drag queen to buy a ticket, but as I got to chat more with the director Stephen Tangedal and his lively, charming cast I was impressed at just how many other reasons there are to go see this show when it opens at The Crossroads Theater on Thursday, July 9.
Psycho Beach Party is a play by Charles Busch that spoofs those Gidget-led movies of the 1960’s and then tosses in some Hitchcock type thrills on top. Chicklet as played by Anthony Adu in this production is the leader of this romp on the beach and sports a very blonde wig as if to say "Barbie has arrived!" Of course this Barbie has multiple personalities and issues that Gidget never had to face. Tangedal, with a wink, remarks that every one of the cast members was typecast in this show even though that remark was followed by several, “not me” utterances from the cast. Truth be told though, when I walked into the room and was asked by Adu, “What character do you think I’m playing?” I immediately answered, “I’m guessing Chicklet.”
I can spot a drag performer from a mile away!
I’m assuming anyone could spot Hektor Munoz who plays Chicklet’s mother, Mrs. Forrest. Munoz stands (and I’m guessing) at six feet five inches and is desperately trying to get his hands on a pair of women’s size 18 pumps! When asked about how the drag roles have influenced this show, the cast was quick to reply that it’s just like playing any other character. Adu made a point of explaining that he has tried to find the truth in the character and is playing her as a real woman and working at not just being a boy in drag.
I knew after that answer that this cast is not just having fun, but are truly putting a lot of heart into the show. It was easy to see that they have a love for the characters and for each other with an assortment of answers to the question of who they would like to play if they weren’t playing the character that they are cast as. In true “Show Girls” fashion Daniel Wheeler who plays Yo Yo pointed a rigid finger at Adu and blurted out how he wanted to play Chicklet and had previously auditioned for the role several times. I warned Wheeler not to take the stairs when Adu is around. Ironically, the only male member of the cast who has never tried drag, Todd Moore, who is cast as Star Cat, was at ease with the honesty of admitting that he would like to play Mrs. Forrest. With a list of characters as diverse as the actual cast of this show, I could imagine them all spinning a wheel to determine just who they would play each night and an audience that would come back every time to see the mix.
Tangedal previously directed this show over twenty years ago and in his cast then was Shelly Bordas. Bordas, as Tangedal fondly remembers, was a much-loved member of the Denver theater community who lost her battle with breast cancer last January. Bordas’ young son will benefit from two added performances on July 24th and 25th with proceeds going towards his college fund. When asked why he decided to direct this show again, Tangedal mentioned Bordas and stated that he thought it was time to laugh again and to just have fun. It was obvious that this show holds a special memory of Bordas for Tangedal and her presence is sure to be felt during these added performances.
The remaining performances benefit the The Denver Element a part of Mile High Behaviorial Healthcare. The Denver Element states on their webpage that, “Our work, while building community, is to reduce the transmission of HIV through education of the gay and bi men in Denver on HIV stigma, Status Disclosure and Intimacy.”
Cast member Anthony Fay spoke very eloquently detailing all the added services that The Denver Element includes, like social events and assistance for gay men with drug habits. Fay is doing double duty in the show as the assistant director and the character, Provoloney and was quick to add to the discussion of why people should come to this show, “It’s only ten bucks!”
Considering all the people who will benefit from this campy delight and the sheer evening of summertime joy and laughter that Tangedal and his cast are sure to deliver, the reasonable price point is only a small part of why people should come to this show. A bigger part of why to see this show is the camp and fun of reliving those beach blanket romps and the over the top, bigger than life characters being played out in gender bender style and the opportunity to try and figure out the mystery of “whodunnit.” And it that doesn’t influence you, there is an Opening Night luau on Friday July 10th with food and the possibility of getting lei’d!
Psycho Beach Party runs Thursday, Friday, Saturday at Crossroads Theatre, 2590 Washington Street July 9th through the 25th with a special Cast Benefit Night on Tuesday July 21st. Tickets can be purchased in advance at here or at the box office.
Showing posts with label Theater Review. Show all posts
Showing posts with label Theater Review. Show all posts
Tuesday, July 7, 2015
You're Invited to a Party, a Psycho Beach Party!
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Denver Element,
Mona Lott,
Psycho Beach Party,
Theater Review
Monday, June 1, 2015
Urinetown: The Musical - Pee Before You Go
By Mona Lott
Why didn't you go before we left? That's going to be the question of the night if you attend Urinetown: The Musical at The Bug Theater. Not because there aren't toilets, but because you have to pay to use them and the attendants can be a little surly, if you know what I mean.
Luckily, Equinox Theater provides you with your own bathroom token at the box office, knowing that the joke will only go so far, even though that very joke sustains a full two act show with infectious music and toilet humor that kept me smiling to the very finale!
Urinetown was the brainchild of Greg Kotis who was inspired upon encountering a pay toilet during his European travels as a student on a budget in the late nineties. He went on to write the book and the lyrics with Mark Hollmann, who also wrote the music. The show hit Broadway at The Henry Miller Theater in September of 2001.
A musical about a drought that makes peeing in private a luxury that no one is allowed due to corporate greed and laws that require the poor and downtrodden to pay at public toilets was definitely a hard sell for Kotis, but thanks to the New York Fringe Festival, Urinetown got it's break and went on to be nominated for a Best Musical Tony in 2002.
Equinox's production is tiny, crammed onto the small stage at The Bug Theater, but it doesn't stop the rather large cast from making the most of every inch on the stage. Especially striking is some very clever choreography created by Colin Roybal who also directs this exuberant production. The ensemble is excellent, especially when they join together in harmony on "Look At The Sky." Most notable is Tim Luoma as Hot Blades Harry, who brings great conviction and energy to the second act in "Snuff That Girl."
Bobby Strong, the young protagonist who becomes a rebel leading a free pee uprising, is played by Kalond Irlanda.Though he brings a great deal of energy and enthusiasm to the part of Bobby, he is almost swallowed up by the sheer magnificence of the character; a character named by the New York Theater Monthly as one of the 100 greatest roles in musical theater. Also on the list is the role of Hope Cladwell, the daughter of the evil corporate mastermind controlling the public urinals and the girl who steals Bobby's heart. Carolyn Lohr plays Hope with a keen sense of comedy, making sure every note of humor is played with reckless abandonment, though it is obviously very well controlled by a competent actress.
Officer Lockstock, in the hands of Dave Gordon, is the narrator of the story doing double duty as the policeman on the prowl for felony urinaters who he sends to the sinister sounding Urinetown. Gordon, who possesses a gorgeous deep bass of a voice, is accomplished in the role though he didn't quite make the sly, winking connection with the audience that the character demands.
The veterans in the show are Jim Hitzke as the corporate creep, Caldwell B. Cladwell, and Shahara Ray as the hapless, hard-as-nails Penelope Pennywise who is relegated to managing Public Amenity #9 in a sort of self preservation. Hitzke is sleazy in all the right ways, making you love to hate him and Ray commands the stage from the instant she appears. Both bring grit and antagonistic goodness to the show with excellent voices and strong characterizations.
Equinox has a hit on it's hands with Urinetown, masterfully directed and choreographed by Colin Roybal. It runs Fridays and Saturdays at 7:30 through June 6th. The songs are full of joy and the show contains enough jokes to keep you laughing till you have to pee, though you'll need a token to do so!
Why didn't you go before we left? That's going to be the question of the night if you attend Urinetown: The Musical at The Bug Theater. Not because there aren't toilets, but because you have to pay to use them and the attendants can be a little surly, if you know what I mean.
Luckily, Equinox Theater provides you with your own bathroom token at the box office, knowing that the joke will only go so far, even though that very joke sustains a full two act show with infectious music and toilet humor that kept me smiling to the very finale!
Urinetown was the brainchild of Greg Kotis who was inspired upon encountering a pay toilet during his European travels as a student on a budget in the late nineties. He went on to write the book and the lyrics with Mark Hollmann, who also wrote the music. The show hit Broadway at The Henry Miller Theater in September of 2001.
A musical about a drought that makes peeing in private a luxury that no one is allowed due to corporate greed and laws that require the poor and downtrodden to pay at public toilets was definitely a hard sell for Kotis, but thanks to the New York Fringe Festival, Urinetown got it's break and went on to be nominated for a Best Musical Tony in 2002.
Equinox's production is tiny, crammed onto the small stage at The Bug Theater, but it doesn't stop the rather large cast from making the most of every inch on the stage. Especially striking is some very clever choreography created by Colin Roybal who also directs this exuberant production. The ensemble is excellent, especially when they join together in harmony on "Look At The Sky." Most notable is Tim Luoma as Hot Blades Harry, who brings great conviction and energy to the second act in "Snuff That Girl."
Bobby Strong, the young protagonist who becomes a rebel leading a free pee uprising, is played by Kalond Irlanda.Though he brings a great deal of energy and enthusiasm to the part of Bobby, he is almost swallowed up by the sheer magnificence of the character; a character named by the New York Theater Monthly as one of the 100 greatest roles in musical theater. Also on the list is the role of Hope Cladwell, the daughter of the evil corporate mastermind controlling the public urinals and the girl who steals Bobby's heart. Carolyn Lohr plays Hope with a keen sense of comedy, making sure every note of humor is played with reckless abandonment, though it is obviously very well controlled by a competent actress.
Officer Lockstock, in the hands of Dave Gordon, is the narrator of the story doing double duty as the policeman on the prowl for felony urinaters who he sends to the sinister sounding Urinetown. Gordon, who possesses a gorgeous deep bass of a voice, is accomplished in the role though he didn't quite make the sly, winking connection with the audience that the character demands.
The veterans in the show are Jim Hitzke as the corporate creep, Caldwell B. Cladwell, and Shahara Ray as the hapless, hard-as-nails Penelope Pennywise who is relegated to managing Public Amenity #9 in a sort of self preservation. Hitzke is sleazy in all the right ways, making you love to hate him and Ray commands the stage from the instant she appears. Both bring grit and antagonistic goodness to the show with excellent voices and strong characterizations.
Equinox has a hit on it's hands with Urinetown, masterfully directed and choreographed by Colin Roybal. It runs Fridays and Saturdays at 7:30 through June 6th. The songs are full of joy and the show contains enough jokes to keep you laughing till you have to pee, though you'll need a token to do so!
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Mona Lott,
Theater Review
Tuesday, May 21, 2013
Theatre Review: 'HAIR' Is A Trip Worth Taking

Before the show began, I listened to two older ladies talk about what a “happening” is. Was it something that hippies did? Is it an art thing? Is it like a flash mob? They decided to just wait and watch the show, and see what happens.
Here is what is happening at Littleton’s Town Hall Arts Center- A perfect storm of talent, direction and technical creativity that is Hair: The American Tribal Love-RockMusical.

In its day Hair was, and still is, a revolutionary expression of peace, love, freedom and happiness. More than a hippie musical, it transcends from an anti-war protest into a frolicking, hallucinogenic challenge to reach beyond ourselves.
Hair is scattered with music that we grew up listening to. Most notibly “Aquarius” and “Good Morning Starshine” have earwormed their way into our collective musical lexicon. But for me, the heart of this show is the way the lyrics bring up race and sexuality in numbers like “I’m Black”, “Colored Spade”, “Sodomy”, “Black Boys”, and “White Boys”. It does more than just address themes of free love and racism- Hair celebrates them.
Hair relies on the strength of its cast, and in this case the cast, or “tribe” is pretty damn flawless. From the start, as they weave rhythmically on to the stage, this tribe is an all encompassing kaleidoscope of talent.

From the dawn of the first act, Dionne played by the gorgeous and exceedingly gifted Ashilie-Amber Harris, plants a spectacular seed from which the rest of the play grows.
Matt LaFontaine throws down an attention grabbing performance as Berger, a free-loving, psychedelic, teddy bear of a man. LaFontaine is brimming with a jubilant energy, and has the full attention of the audience until curtain call.
Tyrell D. Rae as Hud flows around the stage with a confident strut. Rae has an innate stage presence that is smart and beautiful to behold. (If you want to see Nick Sugar’s inspired choreography manifest itself brilliantly on the stage, watch Rae.)
Casey Andree is endearing as Claude. He possesses a gentle innocence that is sweet and vulnerable. Like a little brother that you want to shield and protect, Andree’s performance garners the audiences love.

I could go on singing praises to the gifted cast. Burke Walton is fantastic as Woof. Norrell Moore is great as Sheila, as is Rebekah Ortiz as Jeanie. Do you see where this is going? They are all very, very good. I could ramble on, but you get my point. Talent abounds.
The intimate space transforms with the use of vibrant color, projections, and visual effects. Thanks to the efforts of skilled designers and technicians, and helmed by stage manager Steven Neal, the stage comes alive. (This show has got a lot of life.)
Music director Donna Kolpan Debreceni fills the production with the essential vibe that only a live band can provide.
Director/Choreographer Nick Sugar is a blessing. I could toss a myriad of praises his way. The love and joy that embodies Hair flows from Sugar’s creative soul. Within a span of minutes he can present a musical number with the bouncing frivolity and spectacle of a Muppet’s musical; groove you into a Motown doo-wop; take you on a magical mystery tour; and shake things up with the heart-breaking reality of war. Sugar gathers the abundant talent that surrounds him, and coalesces the elements into a fantastic happening.
It would be very difficult for me to conjure up anything critical to say about this production. I could probably mention a few little things, a few nit-picky minor details, but to do so would be a lie. I loved this show.

Hair plays May 17-June 16 at the Town Hall Arts Center. The Town Hall Arts Center in Littleton is a short 20-25 minute drive from central Denver. If you have never been there, or if you’re looking for a reason to go again- this is your chance. Hair is a trip worth taking.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Philip Doyle,
Theater Review,
Town Hall Arts Center
Monday, March 11, 2013
Theater Review: The Doyle & Debbie Show

Sheltered under the
glass arches of the Denver Center for Performing Arts, the Garner Galleria
Theatre is presenting the knee slapping, original sensation that is The Doyle & Debbie Show.
Doyle Mayfield is a
former country star trying to get his career going again. This time he has
a new singing partner, Debbie, who follows in a long line of previous Debbies.
Anxious to bring some attention to his long, and possibly washed-up career,
Doyle brings some extra baggage with him that when opened is pretty damn funny.
The D&D Show playfully lampoons country music, while respectfully tipping its hat to
classic Nashville. Songs like “Barefoot and Pregnant” and “Stock Car Love” may
get some folk’s necks redder than usual, but rest assured that the joy of this
show is that it doesn’t take itself seriously. There is magic happening on stage, and a good time
is had by all.
I was particularly fond
of “I Ain’t No Homo (But Man You Sure Look Good to Me)”, that had me laughing,
and admiring the proficient, well paced delivery of material.

Debbie is played by
Jennifer Blood, and throws down a performance that is enduring in its demure,
dimples for days, sweetness, coupled with a raucous, bouncing, sensuality.
Matthew Carlton plays
Buddy, who is one of those actors who can exude funny from every pore. In
fact, all three actors can simply stand there and not say a word, and have the
audience giggling and wanting more.
Now just as a heads-up
to true-blue fans of country music, The Doyle & Debbie Show is
a sharp, toe-tapping parody. It does not tread softly in its mockery of country music, but rather
two-steps boldly into a satirical world of country greatness. So you best bring
your sense of humor and expect a grand ol’ time.
The Doyle & Debbie Show
Plays
through July 14th at
The
Garner Galleria Theatre
www.denvercenter.org
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Philip Doyle,
Theater Review
Monday, February 25, 2013
Theater Review: Dangerous Theatre's 'Dark Wood' Transcendent, Captivating
By Philip Doyle
At
the Dangerous Theatre on Friday night, I had the pleasure to sit next to a
handsome, well spoken, and buck ass naked man. This guy, I’ll call him BJ, was
as friendly as he was exposed. BJ seemed to be an outgoing, seize the day kind
of guy. He had enjoyed the boundless freedom of nude horseback riding, twister,
and even bowling, and this was his chance to mark “attend the theatre nude” off
of his bucket list. I admire people like that, and BJ wasn’t the only member of
the audience who chose to attend Winnie Wenglewick’s inspired production of Dark Wood sans clothes.
I
was in the small minority of clothed theatregoers on the sold out, one night
only, clothing optional for everybody experience. Perhaps next time Winnie
offers a nude audience night, my sense of adventure will conquer my modesty. But
in the meantime, Dark Wood continues
its run and this time just the actors are going au natural.
Dark Wood tells a
rather brilliant tale of three apes in a cage that is a fresh and insightful foray
into the human psyche. Peter McGarry’s provocative script is layered with
existential themes that address concepts of free will, consciousness, and
identity. It grapples with confinement and quest to understand what lies beyond.
Reminiscent of Sartre’s No Exit, and Becket’s Godot, McGarry’s Dark Wood evokes meaningful thought
while keeping the audience thoroughly entertained.
Okay
now… Let’s talk about the… um… elephant
apes in the room. The actors are unabashedly
nude. While this could serve as an ever-present
distraction, the actors overcome the challenge of being upstaged by their junk
swinging to and fro with focused delivery and intent.
I
haven’t been around naked men in a rather long time, and frankly I was nervous
that I would not be able to focus on the script. So I give mad props to the
cast, and Winnie Wenglewick’s direction that never gave me the chance to giggle
like a nervous schoolgirl. Dark Wood transcends
the flesh.
The
cast includes some great performances that weave characteristics of human and
primate. Brainard Starling is Mbwane, the wisest and eldest ape. Mbwane is broken down by age and trial, and
is fueled by hope and longing. Starling
is controlled and reserved, delivering a cathartic revelation that had my full
attention.
Ben
Pelayo portrays the ape named Strong Arm, who challenges the pecking order of
the group with brute force. Pelayo is a tough guy, playing on levels that range
from violently aggressive to restrained empathy.
Patrick
Call plays Rico, the ever inquisitive and constantly horny ape. Now I have sung the praises of some fantastic
performances in the past, but Patrick Call drives this show. Please indulge me
while I crack my knuckles and type out an inch or so of accolades for Patrick
Call: He is an actor brimming with a joyful enthusiasm for his craft that will
engage you. Any actor blessed with the ability to deliver the lines of a script
with an authentic conversational grace, with an energy and timing that raises
the bar of his fellow cast members, is my flippin’ hero. Bravo, Mr. Call… Brav-f**king-o.
It
is no surprise that I’m a big fan of the Dangerous Theatre. Winnie Wenglewick provides
original works with the opportunity to be staged in Denver that would otherwise
go unseen. Her emphasis is on originality and not on costly high tech spectacle.
There is something inherently beautiful when a good script is presented without
the distraction of high polish sets and opulent velvet curtains. It’s a happening,
all about the art, low budget, and absolutely invaluable.
If
you’re looking to see an excellent example of what The Dangerous Theatre is all
about, or a great example of innovative existential theatre, this is your
ticket.
Just
remember that Dark Wood is not about
the nudity. The flesh is simply a cage that confines us all.
Dark Wood plays
through April 26 at The
Dangerous Theatre. For reservations call 720-233-4703.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
naked,
Philip Doyle,
Theater Review
Friday, January 25, 2013
Theater Review: Arvada Center's Blithe Spirit Sophisticated, Funny
By Philip Doyle
Oscar Wilde, Noël Coward,
Truman Copote. Three men graced with social super-powers of impeccable timing,
fine tuned vocabulary, and a keen sense of perception. These men hold a place in my gay history playbook
for two reasons:
1. They could really
keep a party going.
2. They no doubt
elevated the demand placed on everyone around them to simply keep up. When playing with the big boys of rapier wit
you better bring it, or don’t show up at all.
The Arvada Center steps up, and meets the challenge.
Blithe
Spirit is a fanciful comedy that was quite a sensation when it
premiered in London’s West End in 1941.
Written by Noël
Coward, it is a comedy that embraces a level of social discourse that rises
above today’s over simplified communication.
A sophisticated and funny foray into an endearing place and time.
The play begins with a round of martinis. Charles Condomine, a novelist looking for
material for his new book, has invited some friends over for drinks, dinner,
and a séance. More martinis are served, and soon the libation flows as freely as wit.
Things
go awry when medium Madame Arcati, breaches
the astral plane and summons the ghost of Charles's first wife, Elvira. Charles
is the only person who can see Elvira, and his second wife, Ruth, is none to
pleased. Ruth thinks her husband has lost his marbles, until she realizes the
haunting is for real.
What develops from that point is
clever and fun, as Ruth demands that Charles get rid of Elvira, but Elvira has
plans of her own.
Director Rod A. Lansberry has dutifully
constructed a production of Blithe
Spirit that really works. Scenic
designer Brian Mallgrave and costume designer Chris Campbell provide the play
with perfect atmosphere of time and place.
The entire cast should be
commended. Steven Cole Hughes is dashing
and has a voice that is a delight to listen to.
Kate Berry plays the scorned second wife, Ruth. Berry approaches her character as a devoted and doting wife, who finds herself backed into an impossible otherworldly corner.
Leslie O’Carroll instills the clairvoyant
Madame Arcati with grand idiosyncratic zeal.
O’Carroll is a comedic force of nature, a perfect storm where an actor’s
ability is a perfect match for a character.
It’s always a great pleasure to see
the charming Mark Rubald and the talented Alex Ryer. Boni McIntyre as Edith the maid, makes her
character an audience favorite.
My highest praise for this
production goes to Heather Lacy as the ghostly Elvira, for possessing the stage
with enchanting presence and beauty.
Lacy’s performance is grand and graceful. She flutters about the stage as if she is
lighter than air.
I have had the opportunity to see
a few productions of Blithe Spirit,
and this current incarnation is the best yet.
If you believe in ghosts and the occult, you will sense the presence of Noël
Coward in the house; gratified that proper attention has been paid to his
work.
Supported with a sure hand by the
Arvada Center’s skilled directors, designers, actors and staff, Blithe Spirit will haunt you in the
spirit in which Coward intended.
Blithe Spirit at
The Arvada Center’s Black Box Theatre runs through February 17th
For tickets or information call 720-898-7200 or visit www.arvadacenter.org.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Arvada Center,
Philip Doyle,
Theater Review
Tuesday, October 16, 2012
Theater Review: 'Comfort in the Arms of the Damned' troubling but important
By Philip Doyle
"Comfort in the Arms of the Damned" is a hard show to like, but I sure want to. It delves into a man’s struggle with mental illness and it is troubling. He is taunted and bullied by voices in his head. He suffers. He explores suicide. That makes this show a bit of a rough ride.
It’s kind of like supporting a strung out friend through a manic episode of neurotic banter, patiently rooting for a solution, but being annoyed that it is happening in the first place. Is it fun? Nope. Is it important that you be there? You betcha.
Winnie Wenglewick is a driving force at Denver's Dangerous Theatre, which presents regional premieres and original works that would otherwise go unseen in Denver. Winnie has a knack for prioritizing a production budget, stripping away the technical shock and awe and focusing on originality, and the art of playwriting. The result, regardless of popularity, is a creative effort that scores in nobility. It may be a dangerous way to run a theatre, but it’s damn courageous as well.
Back to the task at hand, “Comfort in the Arms of the Damned” is a challenge. Anyone who has ever been touched by mental illness or has lost a friend to suicide will no doubt feel uneasy with this play. It will task you with emotional conflict. In fact, I’m still conflicted. On one side, this production is to be commended for presenting an intense and dark struggle in a uniquely provocative way. On the other side, “Comfort in the Arms of the Damned” battles itself with too much dialog and too many scenes.
Tobias is a young man haunted by demons. As a boy, the monster hiding in his closet manifests itself, becoming Xavier, who constantly reminds the lad that nothing is real, not even love. Twisting and distorting reality, the demon writhes in delight. Tobias grows up knowing nothing but dreams, and the possibility that reality is nothing but maggot-ridden flesh, covered up in carnival make-up.
Needless to say, Tobias is dark. Oh sure, on the outside he can seem like a nice guy, but on the inside, he is a tormented, suicidal, possibly a homicidal, mess. His challenge is to be free of his demon, and discover the real warmth of a loving embrace.
Five women surround the character of Tobias. In most cases, they are voices and manipulations within his dreams. His mother, Tessa (Teresa Champion), tries to maintain a sense of warm dignity. Savannah (Corinne Denny), Lisle (Allison Murray), and Maryssa (Stacia Gordon), all exist in Tobias’s world, a place thrown askew by the monster, Xavier (Brittany Lacour).
Brian McDonell (pictured), who portrays Tobias, is reserved and at times too restrained. McDonell has an interesting challenge, playing an innocent child thrown into a state of mania, so perhaps approaching the part on the timid side is a wise choice.
It was a pleasant surprise to find the part of Xavier being played by Brittany Lacour. I have grown to admire Lacour’s fearless commitment to a role. She plays a manipulative monster, but she’s still kind of fun to watch. I have thrown her some high praise in the past, so I’ll hold back a bit now.
“Comfort in the Arms of the Damned” was written by Jonathan M. Vick. I won’t kid you, it’s wordy. For my taste, some lines seemed to be overwrought with alliterative description and metaphor, which brought me out of the moment. The constant flow of dialog is no doubt a challenge for some of the actors.
It is difficult to watch “Comfort in the Arms of the Damned” and not be reminded of recent headlines. Of what happens when person surrenders to the taunting voices, and their distorted reality collides into the real world.
It’s the brave producer/director Winnie Wenglewick who deserves great accolades for having the brass and chutzpah to present this dark and conflicted play. Her raw technical approach and appreciation for playwrights and actors, becomes an art form on to its own.
After a brooding 97 minutes of “Comfort in the Arms of the Damned,” the proud director thanked her cast and the audience. She then invited everyone to attend “Mafia Macbeth”, an improv show that was starting in fifteen minutes. The lobby was bustling with energetic, beautiful people and Denver's Dangerous Theatre was serving tragedy and comedy, like a courageous theatre should.
Denver's Dangerous Theatre presents Comfort in the Arms of the Damned through November 17.
"Comfort in the Arms of the Damned" is a hard show to like, but I sure want to. It delves into a man’s struggle with mental illness and it is troubling. He is taunted and bullied by voices in his head. He suffers. He explores suicide. That makes this show a bit of a rough ride.
It’s kind of like supporting a strung out friend through a manic episode of neurotic banter, patiently rooting for a solution, but being annoyed that it is happening in the first place. Is it fun? Nope. Is it important that you be there? You betcha.
Winnie Wenglewick is a driving force at Denver's Dangerous Theatre, which presents regional premieres and original works that would otherwise go unseen in Denver. Winnie has a knack for prioritizing a production budget, stripping away the technical shock and awe and focusing on originality, and the art of playwriting. The result, regardless of popularity, is a creative effort that scores in nobility. It may be a dangerous way to run a theatre, but it’s damn courageous as well.

Tobias is a young man haunted by demons. As a boy, the monster hiding in his closet manifests itself, becoming Xavier, who constantly reminds the lad that nothing is real, not even love. Twisting and distorting reality, the demon writhes in delight. Tobias grows up knowing nothing but dreams, and the possibility that reality is nothing but maggot-ridden flesh, covered up in carnival make-up.
Needless to say, Tobias is dark. Oh sure, on the outside he can seem like a nice guy, but on the inside, he is a tormented, suicidal, possibly a homicidal, mess. His challenge is to be free of his demon, and discover the real warmth of a loving embrace.

Brian McDonell (pictured), who portrays Tobias, is reserved and at times too restrained. McDonell has an interesting challenge, playing an innocent child thrown into a state of mania, so perhaps approaching the part on the timid side is a wise choice.
It was a pleasant surprise to find the part of Xavier being played by Brittany Lacour. I have grown to admire Lacour’s fearless commitment to a role. She plays a manipulative monster, but she’s still kind of fun to watch. I have thrown her some high praise in the past, so I’ll hold back a bit now.
“Comfort in the Arms of the Damned” was written by Jonathan M. Vick. I won’t kid you, it’s wordy. For my taste, some lines seemed to be overwrought with alliterative description and metaphor, which brought me out of the moment. The constant flow of dialog is no doubt a challenge for some of the actors.
It is difficult to watch “Comfort in the Arms of the Damned” and not be reminded of recent headlines. Of what happens when person surrenders to the taunting voices, and their distorted reality collides into the real world.
It’s the brave producer/director Winnie Wenglewick who deserves great accolades for having the brass and chutzpah to present this dark and conflicted play. Her raw technical approach and appreciation for playwrights and actors, becomes an art form on to its own.
After a brooding 97 minutes of “Comfort in the Arms of the Damned,” the proud director thanked her cast and the audience. She then invited everyone to attend “Mafia Macbeth”, an improv show that was starting in fifteen minutes. The lobby was bustling with energetic, beautiful people and Denver's Dangerous Theatre was serving tragedy and comedy, like a courageous theatre should.
Denver's Dangerous Theatre presents Comfort in the Arms of the Damned through November 17.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Denver's Dangerous Theatre,
Philip Doyle,
Theater Review
Saturday, October 6, 2012
Theater Review: Dr. Jekyll and Mr. Hyde
By Philip Doyle
My only comfort this time of
year, before the brilliant fall colors decay into the dead gray and beige
pallor of winter, is Halloween.
There are few things better than to let go and surrender into the
haunted atmosphere of ghosts, ghouls, and stories of the macabre.
So
how do you get your goblin on? You could track down one of the local
haunted houses. That might be good. But for those of you who have
grown weary of standing in the cold for an
hour and handing over a Jackson to attend a fifteen-minute, hit-and-miss
creep show, here's better option - check out Dr. Jekyll and Mr. Hyde at the John Hand Theatre. Immerse yourself into this psycho (slash)
bad-boy love story that is cleverly presented with a dash of Victorian charm.
Originally published in
1886, the “Strange Case of Dr. Jekyll and Mr. Hyde” was written by Robert Louis
Stevenson. The story is often labeled a
kind of allegory; a morality tale of what happens when the devil wins over the
better angels of our nature. It has been
adapted numerous times, usually as kind of monster story about a doctor with a
split personality.
The
Firehouse Theatre Company's presentation of “Dr. Jekyll and Mr. Hyde”
embraces the original novella. Adapted by Jeffery Hatcher, this is a
dark exploration
of the human psyche.
Trying
to discover the aspects of consciousness that cannot be found by physical
empirical dissection, Jekyll is driven to madness by his use of potions and
tinctures. He is a protagonist who also serves as the
antagonist, from man into monster. It is
a classic horror story that is being served up at the perfect time of the year.
The utterly charming Nils Swanson portrays Dr. Henry Jekyll. He is
a suave and smart actor. Swanson is able
to convey the tenuous balance of the brilliant doctor’s quest for knowledge,
and collapse into madness and addiction.
This is a performance that grabbed my attention, and created a sense of
time and place that made the real world disappear.
This time around, one actor
plays the good doctor, and four actors play Mr. Edward Hyde. This adds many dynamic possibilities that
director Brian J. Brooks weaves on stage.
The various incarnations of Mr. Hyde range from tortured, seductive, and just plain sadistic.
The actors playing Mr. Hyde
run the gamut of the performance scale, from quietly confident, to borderline
manic. These actors also play other
supporting characters in the story. It’s
fun to watch an actor switch from one physical stature to the next, from proper
English dialect to a broken Scottish brogue.
One example to mention is Clint
Heyn, who throws down a diverse array of characters. He can play a snippy and comical professor
dissecting a corpes, and then play a version of Hyde that is downright
creepy. As Hyde, his offer to Dr. Jekyll
to go out on a “ramble” was delectable.
Kristen Mair has an
interesting challenge playing Elizabeth Jelkes, who falls in love with Edward
Hyde. Why would anyone fall in love with
such a fiend? Mair proves to be quite
capable at providing the answer to this question.
All of the actors seem to
enjoy putting order into Dr. Jekyll’s personality disorder. They are supported in their effort by Sarah Coughlin’s
original music, which seems to sneak its way into a scene, enhancing the moment
without being intrusive. I applaud
director Brian J. Brooks, who artfully put all of the pieces together.
If you’re looking for something to put you into the Halloween mood, this should
do the trick!
Firehouse Theatre Company presents Dr. Jekyll and Mr. Hyde at the John Hand Theatre, October 5th –November 3rd.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Halloween,
Philip Doyle,
Theater Review
Tuesday, October 2, 2012
Theater Review: The Three Musketeers
By Philip Doyle
A swashbuckling romantic adventure, I would argue that the live stage is the best way to present The Three Musketeers. And I can’t think of anyone better suited to the challenge than The Denver Center Theatre Company.
This is the story that exemplifies the bond of friendship that is forged by standing side-by-side, bravely defending the noble principles of dignity and honor. Alexandre Dumas’ widely popular novels were released serially in 1844, and his stories seem to be as relevant as ever.
The Musketeers have been represented in every conceivable format for decades. Novels, radio shows, countless movies (and sequels), television, and even comic books. Usually, these are a bastardization of Dumas’ most popular work. Watered down versions, hastily produced to sell children’s toys and collectible knickknacks. Film versions have been blessed with the likes of Douglass Fairbanks; while other versions seem cursed with the celebrity de jour, (Charlie Sheen springs to mind. Ugh).
Adapted by Linda Alper, Douglas Langworth, and Penny Metropulos, this incarnation of The Three Musketeers retains the flamboyant charm of the heroic swordsmen, and includes layers of political intrigue, sexual maneuvering, and unwavering camaraderie. Director Art Manke has staged and choreographed a production that will appeal to your fanciful sense of romantic adventure.
Initially, The Three Musketeers is a familiar adventure. The young and impetuous D’Artagnan wants to join the King’s Musketeers. D’Artagnan joins forces with Athos, Aramis and Porthos, and together they defend the honor of the King, Louis the Just, and his Queen, Anne of Austria. Along the way, D’Artagnan discovers love, loss, and the virtues of becoming a man.
There are raucous drunken brawls, charming sexual flirtations, battles of wit, and sword fights aplenty. There is the foppish King, who is easily influenced by his chief minister, Cardinal Richelieu. Acts of evil are disguised and masqueraded under a veil of religious righteousness. Hmm, that is still going on today. Touché, Monsieur Dumas. Touché.
It’s the production power that gives The Three Musketeers integrity. What could be a drab and predictable story is lifted high by outstanding technical design and support, which seems second nature to the Denver Center.
Dazzling costume design by B. Modern. Light and sound that saturates the stage with wonderful energy. Competent fight direction and staging that swiftly moves a large and talented cast from one scene to the next. This is top-notch theatre production.
As the audience enters The Stage Theatre, they are welcomed by an exquisite visual prologue to the play. The gorgeous set, designed by Tom Buderwitz, immediately engages the audience. With multiple levels, stairways, gates, nooks and crannies, that presents all sorts of dynamic possibilities of the adventure to come.
All of the elements join together, breathing new life to a familiar classic. The Three Musketeers shines because of competent direction and choreography, the skill of gifted actors, and a profound level of technical design and craftsmanship. All for one, and one for all.
The Denver Center Theatre Company presents The Three Musketeers through October 21, 2012.
For tickets call 303-893-4100 or visit www.denvercenter.org.
A swashbuckling romantic adventure, I would argue that the live stage is the best way to present The Three Musketeers. And I can’t think of anyone better suited to the challenge than The Denver Center Theatre Company.
This is the story that exemplifies the bond of friendship that is forged by standing side-by-side, bravely defending the noble principles of dignity and honor. Alexandre Dumas’ widely popular novels were released serially in 1844, and his stories seem to be as relevant as ever.
The Musketeers have been represented in every conceivable format for decades. Novels, radio shows, countless movies (and sequels), television, and even comic books. Usually, these are a bastardization of Dumas’ most popular work. Watered down versions, hastily produced to sell children’s toys and collectible knickknacks. Film versions have been blessed with the likes of Douglass Fairbanks; while other versions seem cursed with the celebrity de jour, (Charlie Sheen springs to mind. Ugh).
Adapted by Linda Alper, Douglas Langworth, and Penny Metropulos, this incarnation of The Three Musketeers retains the flamboyant charm of the heroic swordsmen, and includes layers of political intrigue, sexual maneuvering, and unwavering camaraderie. Director Art Manke has staged and choreographed a production that will appeal to your fanciful sense of romantic adventure.
Initially, The Three Musketeers is a familiar adventure. The young and impetuous D’Artagnan wants to join the King’s Musketeers. D’Artagnan joins forces with Athos, Aramis and Porthos, and together they defend the honor of the King, Louis the Just, and his Queen, Anne of Austria. Along the way, D’Artagnan discovers love, loss, and the virtues of becoming a man.
There are raucous drunken brawls, charming sexual flirtations, battles of wit, and sword fights aplenty. There is the foppish King, who is easily influenced by his chief minister, Cardinal Richelieu. Acts of evil are disguised and masqueraded under a veil of religious righteousness. Hmm, that is still going on today. Touché, Monsieur Dumas. Touché.
It’s the production power that gives The Three Musketeers integrity. What could be a drab and predictable story is lifted high by outstanding technical design and support, which seems second nature to the Denver Center.
Dazzling costume design by B. Modern. Light and sound that saturates the stage with wonderful energy. Competent fight direction and staging that swiftly moves a large and talented cast from one scene to the next. This is top-notch theatre production.
As the audience enters The Stage Theatre, they are welcomed by an exquisite visual prologue to the play. The gorgeous set, designed by Tom Buderwitz, immediately engages the audience. With multiple levels, stairways, gates, nooks and crannies, that presents all sorts of dynamic possibilities of the adventure to come.
All of the elements join together, breathing new life to a familiar classic. The Three Musketeers shines because of competent direction and choreography, the skill of gifted actors, and a profound level of technical design and craftsmanship. All for one, and one for all.
The Denver Center Theatre Company presents The Three Musketeers through October 21, 2012.
For tickets call 303-893-4100 or visit www.denvercenter.org.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Philip Doyle,
Theater Review
Thursday, September 27, 2012
Theater Review: STOMP
By Phil Doyle
I have a confession… As a person who claims to be a lover of all things creative, I have allowed assumptions to govern my patronage of the arts. Regretfully, for the past twenty years or so, I have avoided the worldwide sensation that is STOMP.
It is a shameful prejudice that I have held toward STOMP, and the productions that have followed in its lineage. Fortunately for me, I have found redemption, and I believe it’s my duty to make up for my years of blind misjudgment. It is time to testify to you, my brothers and sisters… Bare witness to the errors of my ways, and join the celebration of life called STOMP.
If you haven’t had the chance to see it live on stage, it is high time that you go. Here are the reasons why:
STOMP is a tribal affirmation. If you have ever danced at a club, been to a rave, or unabashedly rocked out to a favorite tune in the car, you will understand the blissful joy that music provides. There is something magical about surrendering to a percussive beat. An intense rhythmic expression of creative rage, that when shared with others, is like a big primal group hug.
STOMP is way more than people banging on things. Oh yes, make no mistake it gets pretty loud, but not like an auditory assault. Precisely orchestrated and artfully choreographed- a dazzling blend of the senses. There is a nuanced arrangement of light and sound using Zippo lighters. Performers dancing with 50 pound barrels strapped to their feet. Spectacular.
STOMP is fun for all. Like the clever, tongue-and-cheek, humor of a Charlie Chaplin film, this is a show that appeals to the young and old alike. The actors playfully engage the audience, and the audience returns the favor. With such wide appeal, this is the most financially successful show in Off-Broadway history.
STOMP is a big boost to the libido. If the idea of beautiful men and/or women, at the physical peak of their lives, sweat glistening from their muscular bodies doesn’t appeal to you... I suggest that you check your pulse and seek medical attention. Eight attractive performers, exuding assertive confidence and phenomenal skill, is just dayum sexy.
STOMP’s performers work their asses off. This show demands maximum effort, and the calories that are burned on the stage boggle the mind. These men and women are literally swinging from the rafters. I don’t know where they find people who have such boundless energy and ability in dance, percussion, and performance. The resulting standing ovation was well deserved.
After the show I noticed the heightened vigor of the crowd. A transfer of energy had taken place. People were smiling, tapping a rhythmic beat on their programs, and the steps exiting the Buell seemed easier to climb. Live theatre at its best. (I extend mad props to everyone involved in this production for giving me the inspiration to get off my lazy Irish ass, and clean my garage.)
To wrap things up, I would like to address the overbearing shmuck that was sitting directly behind me. (I have incredible disdain for theatre patrons who lack self-control and social decorum.) Anyway, this guy sat down and threw out a challenge to the decent, well-mannered people around him asking, “Yep, I’ve seen this show before, and if any of y'all know what it’s about, I’d like to know.” My response, other than a dirty look and some shade, is to please refer to the five points I have made above.
STOMP is a jumpin’ and thumpin’ party that appeals to the best parts of human nature. Go join the celebration.
I have a confession… As a person who claims to be a lover of all things creative, I have allowed assumptions to govern my patronage of the arts. Regretfully, for the past twenty years or so, I have avoided the worldwide sensation that is STOMP.
It is a shameful prejudice that I have held toward STOMP, and the productions that have followed in its lineage. Fortunately for me, I have found redemption, and I believe it’s my duty to make up for my years of blind misjudgment. It is time to testify to you, my brothers and sisters… Bare witness to the errors of my ways, and join the celebration of life called STOMP.

STOMP is a tribal affirmation. If you have ever danced at a club, been to a rave, or unabashedly rocked out to a favorite tune in the car, you will understand the blissful joy that music provides. There is something magical about surrendering to a percussive beat. An intense rhythmic expression of creative rage, that when shared with others, is like a big primal group hug.
STOMP is way more than people banging on things. Oh yes, make no mistake it gets pretty loud, but not like an auditory assault. Precisely orchestrated and artfully choreographed- a dazzling blend of the senses. There is a nuanced arrangement of light and sound using Zippo lighters. Performers dancing with 50 pound barrels strapped to their feet. Spectacular.
STOMP is fun for all. Like the clever, tongue-and-cheek, humor of a Charlie Chaplin film, this is a show that appeals to the young and old alike. The actors playfully engage the audience, and the audience returns the favor. With such wide appeal, this is the most financially successful show in Off-Broadway history.
STOMP is a big boost to the libido. If the idea of beautiful men and/or women, at the physical peak of their lives, sweat glistening from their muscular bodies doesn’t appeal to you... I suggest that you check your pulse and seek medical attention. Eight attractive performers, exuding assertive confidence and phenomenal skill, is just dayum sexy.
STOMP’s performers work their asses off. This show demands maximum effort, and the calories that are burned on the stage boggle the mind. These men and women are literally swinging from the rafters. I don’t know where they find people who have such boundless energy and ability in dance, percussion, and performance. The resulting standing ovation was well deserved.
After the show I noticed the heightened vigor of the crowd. A transfer of energy had taken place. People were smiling, tapping a rhythmic beat on their programs, and the steps exiting the Buell seemed easier to climb. Live theatre at its best. (I extend mad props to everyone involved in this production for giving me the inspiration to get off my lazy Irish ass, and clean my garage.)
To wrap things up, I would like to address the overbearing shmuck that was sitting directly behind me. (I have incredible disdain for theatre patrons who lack self-control and social decorum.) Anyway, this guy sat down and threw out a challenge to the decent, well-mannered people around him asking, “Yep, I’ve seen this show before, and if any of y'all know what it’s about, I’d like to know.” My response, other than a dirty look and some shade, is to please refer to the five points I have made above.
STOMP is a jumpin’ and thumpin’ party that appeals to the best parts of human nature. Go join the celebration.
STOMP plays at The Buell Theatre through September 30. For tickets or more information visit www.DenverCenter.org.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Philip Doyle,
STOMP,
Theater Review,
Things to do in Denver when you're gay
Tuesday, September 25, 2012
Theater Review: The Threepenny Opera a delicious treat
By Phil Doyle
Bertolt Brecht's ground breaking influence is often
*gasp* forgotten by modern day lovers of traditional musical theatre. The Threepenny Opera exists in a
desperate, eat or be eaten, exploit or be exploited, corrupt world. This
is a show that stands in sharp contrast to the glossy notion of what the
musical became. Before Roger's and
Hammerstein wrote songs about surrey's with fringes on top. The Threepenny Opera is a brisk dip in
ice water, after wallowing in a hot tub for too long.

Brechtian theatre provides a didactic approach that
often demonstrates hypocritical and polarizing themes of society. For example, the
dichotomy of the rich and destitute is presented in such a way that may
shock and alienate the observer, and then provokes reaction.
YIKES! Listen
to me! Are you still with me? If you are, I bid you congratulation. You
have passed my test. Allow me to brush off all of this historical theatre gobbledygook …
So, to sum things up in a metaphorical nutshell: The works of Bertolt Brecht gleefully wallow
into hardcore filth and debauchery that makes the Tournament of Roses Parade
look like the Folsom Street Fair.
The
Threepenny Opera is a love story set amongst beggars and prostitutes.
Macheath, aka Mack the Knife, is a successful criminal who captures the
love of Polly Peachum, and they quickly decide to
marry. Polly's father, Jonathan Jeremiah Peachum, doesn't take
kindly to the engagement and sets a plan in motion to have Macheath arrested
and hanged.
We quickly discover
that all of the characters are corrupt and desperate opportunists. From the chief of police, to the women who
Macheath has manipulated to meet his own needs.
The
action comes to a
head with the hangman’s noose around Macheath’s neck. At that vital
moment, TA-DA! A miracle. The execution is called off, and Macheath is
awarded a lifetime of wealth (and thus power).
Perhaps this epic moment of financial salvation was originally made to
appeal to the poor patrons in the audience.
It is an act of a deus ex machina that would make Euripides
proud.
This version tends to lean on the safe side. Sure it tosses out the occasional four-letter
word, and social taboos are addressed, but it feels like it has been watered
down. Which brings me to an interesting
point. This production still works,
especially for Brecht newbies, or the more traditional theatre attendee.
Though not as stark and shocking as many fans of
Brecht would expect, this production is driven by the talents of gifted
actors.
The first reason to go see this show: Richard Cowden as Macheath (Mackie the
Knife). Cowden gives a powerful
performance that embodies the imposing presence of Macheath. He has a commanding vocal range, and an
exquisite ability to communicate his character’s intent.
The second reason to see this show: Mel Horton as Mrs. Peachum. Her skilled vocal talent raises the bar of
this production. Horton performance is a
delight to behold.

There are other reasons to see this show. There are other standouts. Personally, Cowden, Horton, and Van De Hey
are gems. The rest of the talented cast
sometimes fluctuate in ability and performance.
I applaud and give mad props to any theatre company
delivering Brecht. I am a proud theatre
geek, and loved some stand out performances in this incarnation of The Threepenny Opera. The rest of the show felt kind of safe. Brecht served a la mode, (albeit with vanilla
ice cream), is still a delicious treat.
Miners
Alley Playhouse presents "The
Three Penny Opera" through October 21. For more information visit www.MinersAlley.com or call 303-935-3044.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Philip Doyle,
Theater Review
Monday, September 24, 2012
Theater Review: boom
“boom” begins as a one-night stand situational comedy and evolves,
quite literally, into an apocalyptic survival tale.
Suzanna Wellens plays
Barbara, the bouncy facilitator of “boom”. Apparently her job is to run the show,
standing upstage, pulling levers and pushing buttons, stopping the action in
its tracks to interject narrative.
Barbara also acts as a Greek chorus of sorts, emphasizing key moments
with bells and punctuating important dialog with percussive timpani. She sets the scene and introduces us to the
play’s two characters.
Jules, played by Royce Wood,
is a post grad marine biologist. Driven
by a hunch, and a methodical scientific observation of coral fish, he knows that
the world is about to end. A comet is
going to strike, and cause a massive extinction event. So, in an attempt to save the human species,
he places an ad on Craigslist that promises “Sex to change the course of the
world!” Jules plan is to lure and keep a
woman in his bomb shelter/apartment/lab, where they will be safe, and become
the modern day Adam and Eve.
Enter Jo, played by Samara
Bridwell. Jo is an energetic undergrad
looking for a quick sexual tryst, and ends up an unwilling captive. She is also prone to mysterious episodes of
dropping dead, and then springing back to life.
Jules is bewildered by Jo’s
fatal narcoleptic fits and resurrections, but that isn’t the only obstacle in
his plan. It turns out that Jules is
gay. But he is still determined to do
what it takes to propagate the species. What
follows are moments of hilarity where all the actors shine. When asked how do you know that you’re really
gay? Jules replies, “The non-randomness of the
erections.” “boom”
is bejeweled
with moments of astute and witty dialog.
Suzanna Wellens is brimming
with spunk and enthusiasm as Barbara, the play’s cruise director of sorts. Wellens does a good job of focusing the
attention of the audience, particularly in the beginning. She expedites the
play’s action, addressing the audience from time to time, reminding us of the
remarkable importance of what we’re witnessing.
I would like to mention that
I have a qualm with plays that break the fourth wall. If an actor is actively
engaging the audience, address them directly.
Grab our attention, make eye contact with us, and do not focus on an
empty chair, or an imaginary balcony.
Samara Bridwell proves great
ability to shamelessly commit to a character’s extremes. She is a fearless actor. Bridewell’s Jo can move to and fro, from
ruthlessly horny to hopelessly disappointed, from bounding around stage to
passing out dead.

The
challenge of this play is maintaining energy and building momentum toward its
clever conclusion. “boom” begins with skillful purpose. It nabs the audience’s attention and promises
a rewarding reveal. But, the journey
becomes detoured and loses some speed along the way. My experience as an observer became challenged
by the predictable interruptions of the action.
The staccato stop and go’s labored my initial enthusiasm, instead of
building it up.
Still, this play
appeals to my inner-science nerd ... and as a lover of all things
theatre, I greatly appreciate Royce Wood's performance. “boom” is a witty apocalyptic comedy with an evolutionary twist.
"boom" plays The Edge Theatre in Lakewood, Colorado through October 21. For tickets or more information visit www.theedgetheatre.com or call 303-232-0363.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Philip Doyle,
Theater Review
Monday, July 2, 2012
Theatre Review: It's Just Sex
By Philip Doyle
I am in a
constant state of gratitude to the community of producers, directors, actors,
and crews, who work tirelessly to provide live theatre. The good people of the Denver metro area
should thank their lucky stars for companies like The Edge Theatre.
What happens when three domesticated
married couples surrender to their wild sexual desires? It’s
Just Sex is a fun and thought provoking exploration of trust, lust, and
fidelity.
Some friends gather for an
evening of drinks and social small talk.
What begins as a party game of “tell the truth” becomes a swinging
husband and wife swap. The ensuing uninhibited
sexual romp is cleverly staged and extremely funny to witness.
The post coitus action
grapples with some pretty deep questions.
What constitutes cheating? What
is trust? But not to worry, It’s Just Sex doesn’t get too bogged down
with the issues that pop up when the sex stops. This play is more fun than serious. The
sex is more playful than raw and raunchy.
And what could be an evening of couple therapy is an enjoyable, seductive
game of wit and reckoning. Seeing these
characters bargain to discover their goal is a good time.
The three couples come to
the party harboring personal resentments and neuroses that can challenge their marriage. Phil (Scott Bellot) has taken drastic
measures to rekindle the sexual spark with his wife Joan (Patty Ionoff).
Lisa (Kirsten Deane) is
frustrated by her husband’s failure to man-up.
Her husband Greg’s (James O’Hagan Murphy) assertiveness is crumbling
under Lisa’s critical nitpicking. I
threw some extra applause to Kirsten Deane for her confident and well
articulated performance.
Kelly (Smara Bridwell) has
been keeping a secret from her constantly horny husband Carl (Brock Benson). Benson has become one of my favorite Denver
actors. He embodies his characters with
sincerity and an appreciation that is a joy to watch.
In what could be a thankless
albeit brief role, I acknowledge Rebekah Shibao for bringing some class and
beauty as a hooker.
It’s Just Sex begins with three short scenes that had me surprised and a bit
perplexed. It was as though the show was
rewound ten minutes before the real action started. Part of me felt grateful to witness what
occurs before the party starts. The
other part of me felt a bit robbed, like I had been prematurely clued in. All is forgiven as the party starts, when the
quick episodic pace that started the play, shifts to a more comfortable
momentum.
Almost all of the action
takes place with six actors in one room.
Thanks to director Bill Smith, for his ability to keep the staging fresh
and focused throughout.
Playwright Jeff Gould has
constructed a play that is much more than its eye-catching title. It’s
Just Sex is a swinging party where the guests share drinks, laughs, and
themselves.
The
Regional Premiere of It’s Just Sex
by Jeff Gould
Presented
by The Edge Theatre
9797 W.
Colfax Ave, Lakewood, CO 80215
Runs June
29 – July 22
For tickets
and more information visit
www.theedgetheatre.com or call
303-232-0363
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Philip Doyle,
Theater Review
Friday, June 29, 2012
I Love You, You're Perfect, Now Change extended through October 14
Due to popular demand, Denver Center Attractions announces an additional extension of I LOVE YOU, YOU’RE PERFECT, NOW CHANGE to feature a new summer schedule and prices. For
performances July 3 – September 1 all tickets to the Tuesday,
Wednesday, Thursday, Saturday and Sunday matinee performances are $24.
The summer performance schedule begins July 17. Tickets are now on sale through October 14 at www.denvercenter.org or by calling 303.893.4100.
Click here to check out the MileHighGayGuy review of I Love You, You're Perfect, Now Change by Philip Doyle.
Click here to check out the MileHighGayGuy review of I Love You, You're Perfect, Now Change by Philip Doyle.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Philip Doyle,
Theater,
Theater Review
Tuesday, June 19, 2012
Theater Review: Tickled Pink by Legally Blonde, The Musical
By Susan Hennessy
The case at hand:
Do you want a blonde Delta Nu Fashion Merchandising major who performed
her way into Harvard Law dressed as a majorette backed by the UCLA marching
band representing you in a murder trial?
You do if her name is Woods, comma Elle. She has the stuff! Complete with a Greek Chorus, this girl who gets kicked to the curb by her corporate ladder climbing boyfriend, Warner, digs in, and after someone commits an indiscretion she ends up flying solo for their client. Elle is a tender and true friend who challenges those around her to embrace their own individuality, just like she did for her sorority sisters. And all the while, dressed in pink! OMG!
If you want to be stuck with a smile on your face and a
giggle in your throat for over two hours, then hurry to the Arvada Center to
see Legally Blonde, The Musical
directed by Gavin Mayer. This
ensemble cast fills the stage with high energy dance numbers and splendid
singing. The book, written by
Colorado’s own Tony nominated writer, Heather Hach, is humorous with the right
touch of pithy repartee that is highly entertaining with a touch of
naughty. Costumes by Project
Runway’s Mondo Guerra (fun lyrics added to this point) cleverly pump up the
volume for each character rather than their disappearing within the group. Pink is subtlety introduced in
costuming for the non believers of Elle’s gift for law, ultimately reflecting pink
as a color of power rather than cutesy.
This helps this seemingly “pink” story on the outside carry some sweet
meaning, especially for the teenagers in the audience.
You do if her name is Woods, comma Elle. She has the stuff! Complete with a Greek Chorus, this girl who gets kicked to the curb by her corporate ladder climbing boyfriend, Warner, digs in, and after someone commits an indiscretion she ends up flying solo for their client. Elle is a tender and true friend who challenges those around her to embrace their own individuality, just like she did for her sorority sisters. And all the while, dressed in pink! OMG!

During its first year on Broadway in 2007, Legally Blonde the Musical earned seven Tony Award nominations, 10 Drama Desk Award nominations and an Outer Critics Circle Award. Not to mention the Best Musical of 2011 Olivier Award. Don’t be a blonde about not taking this show seriously – the joke might be on you!
Legally Blonde, The Musical plays through July 1 at The Arvada Center. Click here for tickets or more information.
Labels: gay Denver, MileHighGayGuy, LGBT Denver
Legally Blonde,
Susan Hennessy,
Theater Review
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