Theater Review: Extra! Extra! Great Wall of China Torn Down!

By Philip Doyle

As I sat down in my cozy seat in the Ricketson Theatre, shortly before the house lights dimmed, I grabbed my iPhone to turn it off.  I see a “news notification” on the home screen.  “Yikes!” I say to myself.  Thinking it was important I read the headline: “Teabow Says He’s Taking It One Day At A Time.”  I turn my phone off wondering who in the world thought that was important news?
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Back in late 1899, a period of time when Denver was slowly evolving into a more modern city, some news reporters decided to fabricate their own news.  They met at the Oxford Hotel, had a few drinks, and came up with one doozy of a headline:  "OLD WALL MUST GO!  The Great Wall of China" is being torn down.

Thus begins Great Wall Story, a play that is based upon actual events.  Set in time just prior to the turn of the twentieth century, this production mirrors current day news hype and media scandals.  It begs the question, “What is news?”

Written by Lloyd Suh, Great Wall Story is set in old Denver.  Scenes are presented with projected pictures of what our city used to look like.  The Capital building.  Union Station.  An old saloon.  As a Denverite, I recognized some locations, and sometimes the projections were ghosts of places that no longer stand.

Great Wall Story is at its best when it didn’t pander to my personal nostalgic connections to the city.  This play shines when its century old events mirror our current headlines.  For example, a character describes a time when his father shot and killed a man he had perceived as a potential threat.  Sound familiar?

Finding themselves at a loss of reportable events, three newspaper writers devise a plan to spice up a slow news day.  Mike Hartman plays news writer John King, a man of a certain age who enjoys a stiff drink and a good story.  Jacob Knoll is newsman Al Stevens, a co-conspirator of the Great Wall hoax.  Christopher Kelly portrays Jack Tournay, who discovers that his son Charles (Gabe Koskinen-Sansone) is whittling away at his father’s fraudulent news reporting.

The idea that The Great Wall is being demolished is significant enough to gain attention, and since China is such a distant and closed off place, the story is difficult for others to verify.  The concocted news eventually travels to Chicago and New York, where it comes to the attention of Joseph Pulitzer, a news magnate of his day, (played with great charm and wit by John Hutton).

Amongst the competitive company of publishing moguls like William Randolph Hearst; Joseph Pulitzer wastes little time sending some of his people to Denver, including Harriet Sparrow to investigate.  Merritt Janson, who is a formidable and charismatic actor, plays Harriet Sparrow.  Janson is the only woman in this show, and she really grabs the bull by the horns with great confidence while maintaining her womanly ways.  She is the strength behind this “one-woman show”.

Actor Larry Paulsen provides this production with a joyful momentum.  He takes on six different roles in Great Wall Story, and he does each part in an independent and amiable fashion.  My favorite moment was when Paulsen declares, “There ain’t no clear way to mark the past from the future!”  It is a moment that invokes an existential question of life’s journey from generation to generation.

Great Wall Story would be great fun for proud Denver natives.  My mother, for example would adore every second of it.  But for me, if not for the competence of its charismatic cast, this play would become fodder for school field trips to a Denver history lesson.  

I suggest that Great Wall Story is at its best when it provokes questions of time, place, and events.  The idea that, we mark our lives from event to event, and that reading the news places markers in the slippery slope of our lives.

Great Wall Story plays through April 22nd at The Ricketson Theatre, Denver Center for the Performing Arts. For tickets or more information visit www.denvercenter.org/buy-tickets/shows/greatwall/home.aspx.

Things to do in Denver when you're gay: The Busy World Is Hushed

Ignite Theatre will present the Regional Premiere of Keith Bunin’s The Busy World is Hushed (directed by Bernie Cardell) from March 23 through April 15, 2012 in the Aurora Fox Studio Theatre.

Mari

 A skillful mix of comedy and drama, The Busy World is Hushed  is a regional premier of an exciting new gay drama by Keith Bunin.

 It examines the contradictions we find in our faith, our families and ourselves and how we all search for a way to love each other and create a safe home, despite diverging ideologies.

 Never preachy and claiming no answer to the age-old challenge of reconciling a benevolent god with human suffering, this show encompasses an engaging mix of human interest, religious debate, and complex relationships.

Tim

 We meet a widowed Episcopal minister (Mari Geasair) in the process of translating a long-lost gospel,  her long-absent gay son (Tim McGrath) who returns in an effort to understand the circumstances of his father’s death, and the man who may be able to heal the breach between them (Chris Silberman).

The play takes an unexpected turn and veers away from the expected "gay vs. god" themes into more a more convoluted landscape, exploring the risks we are willing and unwilling to take for the people we love.  

Chris

 The Busy World Is Hushed (the title drawn from an Episcopal prayer) is  also about the intricacies of love and dogma-- what one believes, and why we need to believe what we do. It also tackles issues of sexuality, love, loss, predestination vs. free will, and why religion, faith and the human heart can’t always be reconciled.

 “Rooting through the intricate tangle of motivations that undergird personal faith, Bunin offers an empathetic and fair-minded view of religion: not as some derisory opiate of the people but as morphine for someone in possibly mortal pain." —Time Out NY.

The Busy World Is Hushed plays Fridays and Saturdays at 7:30pm; Sundays at 6pm.

Theater Review: Six Degrees of Separation

By Susan Hennessey
 

How fortunate is Denver that the Vintage Theatre is not going away? It is simply moving to its new location on Colfax and Dayton, just five miles from its current home on 17th Avenue.

Their swan song in this tidy and intimate space is the deliciously delightful “Six Degrees of Separation” by John Guare and directed by the visionary Len Matheo. The script is spicy with racial tension, class discrimination, with a dash of humor. The audience is immediately pulled into the story by the underlying tension between the main couple, Flan and Ouisa Kittredge, skillfully portrayed by Josh Hartwell and Lisa DeCaro. A flashy, Upper East Side New York couple busy racing to the top in their perfect clothes, living in their perfect homes and with perfect appearances, which include the perfect Ivy League schools for their perfect children, they’re so impressed with themselves, what they live for is just one more opportunity to best themselves.

What they are not is genuine. They collect and broker genuine art for a living, a subtle juxtaposition. The piece of art by Wassily Kandinsky in the Kittridge’s home is a centerpiece in their living room which is celebrated for featuring a painting on either side of the canvas. The Kittridges change the painting around from time to time, an excellent detail into the lives of its owners.

The most pathetic vacancy in their lives is relationships, especially true and meaningful relationships with their own children. The insensitivity to this reality is the perfect void that can be quickly filled by a Paul, (Theo Wilson) a visitor posing as a friend of their children’s from school. Paul quickly navigates his way into their insecure world. The exchanges in this opening scene are suffocating on this intimate stage suggesting a knowingness, but each character is carefully strutting their colors to look the most stunning to this stranger.

However, there is a most surprising connection between Paul and a central character as they discover a part of themselves that can give; they are each in need, and recognize a desire to help the other. It’s a tragic discovery, but this scene is staged cleverly as if each character occupies a frame of a comic overlapping with the other in a different location in the city. The audience sees a yearning that is real and you want this to work. It’s new to both characters; they are connected. Against all odds. An unlikely connection, which may result in honesty.

It’s a treat to have such an outstanding cast, each vibrantly portraying their individuality in this complex and competitive world. Each character is fully themselves as they interact with each other, but alone, they are being stripped of their confidence, the victim of their own undoing.

The outstanding cast includes Theo Wilson (Paul), Josh Hartwell (Flan), Lisa DeCaro (Ouisa), Cindy Laudadio Hill (Kitty), Charles Wingerter (Larkin), Sonia Justl (Elizabeth), Stephen Swofford (Rick), David Blumenstock (Dr. Fein), Matt Sheahan (Geoffrey), Jose Zuniga (Trent), Joe LaFollette (Woody), Caitlin Tomlinson (Tess), Zachary Page (Ben), Loren Cogswell (Doug), Erik Siegling (The Hustler), Addison Parker (Doorman/Policeman) and Rich Beall as the Detective.

Performances are Fridays and Saturdays through April 1 at 7:30 p.m. and Sundays at 2:30 p.m. Tickets are $25 ($20 advance) on Fridays and Saturdays; $21 ($18 advance) on Sundays. Tickets are available by calling 303-839-1361 or online at www.vintagetheatre.com at Vintage Theatre, 2119 E 17th Ave, Denver, CO 80206.

Confessions of a Mormon Boy comes to Denver's Dangerous Theatre

An absolute hit in cities across the US as well as London’s West End and the Edinburgh Fringe Festival, 'Confessions of a Mormon Boy' has toured extensively all over the country and internationally. 

And Steven Fales has finally found his way to Denver to perform his controversial, critically acclaimed, award-winning off-Broadway hit. What better venue than at Denver’sDangerous Theatre?

This 90-minute solo play recounts how Steven went from being the perfect Mormon boy in Utah to a high-priced call boy in New York City and how he managed to find a middle ground. 

This provocative and inspiring true story takes the audience from his Mormon mission to Portugal and temple marriage, through reparative therapy, excommunication, divorce, prostitution and crystal meth addiction as he struggles to reclaim his self, his two children, and his ‘Donny Osmond smile.’ 

Says Fales, “This is my contribution to help end spiritual abuse and religious violence in churches, mosques, and synagogues.”

Confessions of a Mormon Boy

Written and performed by Steven Fales

Based on original direction by Tony Award Winner Jack Hofsiss

ONLY *5* Performances

March 29^th – April 1^st

Thursday, Friday & Saturday @ 7:30

Saturday & Sunday @ 2:00

Tickets:

$30 for evening performances

$25 for matinee performances

$5.00 discount available for students, seniors, military and members of the Colorado Theater Guild.

Online ticket purchase: http://dangeroustheatre.ticketleap.com/mormon-boy/

Theater Review: And Things That Go Bump in the Night

By Susan Hennessey

As the lights go down, three individuals enter with placards which hide each of their iconic white masks with its individual maddened expression. The placards are turned, revealing Equinox Theatre Company’s inaugural play for their 2012 Season, “And Things that Go Bump in the Night.” The masks are removed, but the madness in their characters remain.

On the set of what is seemingly a living room, you are introduced to a brother, Sigfried (played by Brandon Palmer) and a sister, Lakme (played by Rebecca Morphis), who have just come home from the festivities in the street before their nightly curfew. You learn that the family has dressed their cellar as a more inviting place to pass each evening as they wait for their apocalyptic end that is inevitable. The family is living as nocturnal animals settling in a nightly routine of antics and unpredictable ad hoc performances by their mother, Ruby. The children greatly desire her attention, but she needs quite a bit for herself, so they’ll have to wait. Sarah MacMillan as Ruby has her hands full with this whimsical character and gives a passionate performance. 

This black comedy by Terrence McNally has thrown this cast of characters in these tight quarters to expose the rawness of human nature. It’s a challenging script even today, 50 years after its debut in 1964. Act II offers some answers to the madness of Act I with the introduction of this evening’s nightly visitor lured by the children, and it is then that the audience gets to find out whether or not they have judged these characters correctly. The stranger, Clarence, sure-handedly played by Zak Wziontka, expresses the same questions the audience had earlier, but ultimately, the answers do not get settled, and at the end of the play, things are much more doomful than once perceived.
Or are they?




“And Things That Go Bump in the Night" plays through March 17. Performance dates are Fridays and Saturdays at 7:30 PM. With a pay-what-you-can Industry Night on March 8th. Tickets are $15 and are available online at www.EquinoxTheatreDenver.com. Performances will be at The Bug Theatre – 3654 Navajo Street in Denver. Reservations are accepted at 720-984-0781. This show is recommended for mature audiences.

Theater Review: Black Stockings

By Philip Doyle

I have a confession to make.  

There is a strong possibility that I’m in love … with Denver's Dangerous Theatre company.  I just got home after seeing my first show produced by them and I’m smitten.  It might be a long-term thing, or maybe just a hot one-night stand.  All I know is that my heart is filled with love for the work that the Dangerous Theatre is trying to do.   

For me it’s the stuff from which dreams are made. 

The Dangerous Theatre allows attention to be paid to original works, and plays that are new to Denver audiences. Because of the high cost of theatre production, their focus is not on technical spectacle.  It’s not about breathtaking sets and laser light shows. It’s not about the gloss - it’s about substance.  The Dangerous Theatre puts emphasis on script, and the actor-to-audience relationship. 

Black Stockings is Peter McGarry's comedy/drama featuring Trish and Donna, two bawdy female prostitutes from Manchester, England.  These seductively dressed ladies engage the audience in a friendly chat and a warning to expect plenty of expletives.  They ask if anyone is familiar with Bertolt Brecht (playwright) and Kurt Weill (music composer), creator of The Threepenny Opera.  (Note:  It is not important to be familiar with Brechtian themes to enjoy this show. But the mention of Bertolt Brecht had my inner-theatre geek champing at the bit. Trish and Donna are quick to justify the importance of the services they provide.  In their view prostitutes are pacifists who alleviate men from aggression.  Jokes are made, “Better laid than never!”  Sex toys are used as fun props.  Donna makes light of Trish’s complaints of the physical aches and pains that come with the profession. 

Then the play begins to challenge the audience with questions of what constitutes morality.  Trish shares her experiences that can only be judged as unbearably horrific.  She exposes the darkest side of human nature, parlaying cruelty upon cruelty into a brilliant didactic monologue. 

Brittany Lacour plays Trish.  There is no way to adequately express my sincerest praise for her performance. But I’ll try. Lacour is utterly captivating.  She possesses a commanding emotional intensity.  As Trish, she grabs you, straps you in, and shares her experience with you.  Let me put it this way, there is an anatomically correct sex doll standing up stage (I mean really, there is), and when Lacour was rocking my world with her performance, I forgot the doll was even there!  I hope that convinces you.  I mean honestly … Brittany Lacour is a phenom.

And Winnie Wenglewick is as bold and smart an asset to the play as Donna as she is in her role as director.  She should be commended for her brave contribution of this great theatre work that would otherwise go unrecognized. 

I hope my love affair with the Dangerous Theatre continues.  I can appreciate stripping the shiny commercial spectacle out of the theatre equation to expose the heart of the art form. 

Black Stockings plays at The Dangerous Theatre March 2 and 3 at 7pm.Tickets are $20.

Theater Review: Southern Baptist Sissies

By Philip Doyle

My fellow brothers and sisters… before I commence, give me the opportunity to drag my old soapbox out of the closet…  Allow me the opportunity to regale you with some high praise for two of our community’s essential institutions:

First, let us praise ELEMENT, Denver’s Gay Men’s Wellness Initiative.  The efforts of the good people of ELEMENT strengthen our community by inspiring all of us to lead healthy lives.  Through programs that include The Mile High Meth Project, Boyfriend University and the Volunteer Outreach Touch Team, they have empowered us with the tools to grow as a community and to love ourselves. 

Second, there has been a resurrection of gay theatre in Denver.  Guided by the divine hand of Steven Tangedal, we can all look to a future that celebrates our artistic diversity by the Theatre Out Denver production company. 

Let us raise our hands to your computer screen and recognize their love.  It is time to rise up and embrace their noble efforts and show our support for this worthy cause.  For goodness sake, go bare witness to Southern Baptist Sissies.

Southern Baptist Sissies written by Del Shores explores the emerging sexual awareness of four gay young men living in the zealous center of the Bible belt. Fans of Del Shores may remember his play “Sordid Lives” that was followed by a LOGO television series of the same name.  

The young men in Southern Baptist Sissies follow a path of inspired comedy and heart breaking sorrow.  The play is presented within two diametrically opposed settings of a Baptist church and the local gay bar, one representing religious structure and the other sexual freedom.  We watch the characters journeying both worlds, searching for love and acceptance.

The conflicted and inevitable journeys of the four male leads are presented with a respectful emotional conviction under Steven Tangedal’s competent direction.

James O’Hagan-Murphy, Brock Benson, Preston Lee Britton, and Stefin Woolever, are perfectly cast as the plays four conflicted and likable heroes.  O’Hagan-Murphy never misses a beat and provides the momentum of the show.  Stefin Woolever, delivers a character with a beautifully honest innocence that impressed me.

Todd Black as the preacher approaches his character with a subdued realness, a wise choice for a character that could otherwise be an overbearing caricature.  Linda Suttle portrays a misguided and conflicted parent.

David Ballew and Samara Bridwell provide a welcome laugh as drunken gay bar pals.  They are exaggerated, boisterous and catty cliché’s that we all can relate to. 

Did I mention the hot strippers? Oh yes, there are cameos by Cisco Yocisco and Bobby Lindsay from Boylesque. 

So, my brothers, my sisters … as I step down off my soapbox let me remind you of this:  There are times in our lives, especially during the election year, when we are confronted with judgmental deprecating righteousness.  So, it is time to rise above!  Testify!  Love yourselves and each other.  

 Show your support and go see Southern Baptist Sissies!  Amen.

Southern Baptist Sissies is presented by ELEMENT and Theatre Out Denver. All proceeds will benefit The Denver ELEMENT that provides HIV education, prevention and outreach efforts to Denver's gay/bi male community.

Southern Baptists Sissies plays Friday and Saturday evenings between Feb. 24 – Mar. 24 at 8pm at Crossroads Theater, 2590 Washington at Welton in Five Points. For tickets visit http://www.brownpapertickets.com/event/218171.

Theater Review: I Love You, You're Perfect, Now Change

MileHighGayGuy's Way Gay Reviewer Takes on a Way Straight Show
By Philip Doyle

Before I begin, I would like to provide the following disclaimer: It should not come as a surprise to anyone that I am WAY gay. This is a review of a musical that happens to feature universal themes of straight relationships. It is a lighthearted cabaret musical that has appeal for everyone from the WAY gay, to the WAY straight. So chillax ... read what I have to say ... and if you’re feeling it, go and enjoy yourself.



I Love You, You’re Perfect, Now Change attempts to present the satirical and brutally honest quirks of the heterosexual mating ritual. The dreams and desires of the characters are relatable to all aspects of the interpersonal social gamut.

The book and lyrics written by Joe DiPietro are clever and cute if occasionally predictable. It is an amusing musical journey that explores dating, sex, marriage, and parenthood.

Some of the musical numbers, including “Always a Bridesmaid” are sharp-witted gems that build to a triumphant conclusion. “Why? Cause I’m a Guy” touts men filled with testosterone driven goofiness. “I Will Be Loved Tonight” is a beautiful and optimistic ballad that pops up contrary to other songs that border on tongue and cheek deprecation.

Each member of the cast of Love, Perfect, Change possesses a range of comedic and vocal talent. Daniel Langhoff is at his best when he immerses himself in character. Shannan Steele shines when she embraces a calm honest realness.

Robert Michael Sanders is great fun to watch. He has an amiable presence that is a rare delight. Lauren Shealy is also a unique and joyful talent, brimming with energy and the likeability of a young Mary Tyler Moore.

There are times when this production struggles to maintain a fresh approach, as each musical vignette repeatedly comes and goes. The short episodic nature of the song-to-song, lights up-to-lights down structure becomes a bit of a challenge to the audience’s patience.

At its best I Love You, You’re Perfect, Now Change celebrates the playful uniqueness of its cast.


I Love You, You’re Perfect, Now Change runs through June 24th at the Garner Galleria Theatre.
Tickets are available at www.denvercenter.org or by calling 303-893-4100.