She lures him into her chamber and keeps him there like a big, hungry spider. First she seduces him, and then he can’t leave because he throws his back out. It’s Christmas Eve and there’s a blizzard raging outside–no cabs, no limos. All the while she works on him, because…
The lighthearted feminist musical review A…My Name Is Still Alice, a collection of songs and sketches now in its regional premiere at the Theatre on Broadway, is more about playful self-mockery than genuine social issues. It may not be a comic wonderland–there are some scratchy performances among the six-woman ensemble…
Something’s happenin’ here, and what it is ain’t exactly clear. But it’s exciting, funny and bugged-out. The Home Medical Shopping Network, an hour-long performance theater piece now playing at The Bug, takes on the business of medicine and the inanity of cable TV (and the culture that has produced them…
It’s great fun to see famous Broadway and Hollywood actors on a Denver stage–it seems to bring out the “golly gee” in all of us. Wendy Wasserstein’s slick, sophisticated and tepid comedy The Sisters Rosensweig, passing through Denver via the Auditorium Theatre’s “renovated” stage, boasts a fine professional cast–all established…
On the surface Nunsense II: The Second Coming may sound irreverent, anti-Catholic and irreligious. But like its predecessor Nunsense, it’s none of those things. The jokes are funniest to those most familiar with Catholicism–one former Catholic schoolboy informed me that the Latin motto on the floor of Mount Saint Helen’s…
Natalie Belcon is beautiful, funny and equipped with a luscious, rich voice. You can hear a long way down into the sound she makes, and in Robert Garner Center Attractions’ The World Goes ‘Round, she makes the world go around all by herself–almost. Belcon’s not really all by herself–there are…
Who is the real monster in the gothic tale of Dr. Frankenstein and his handmade man–the poor innocent creature born against his will at the hands of the scientist, or the scientist himself? Mary Shelley’s original story made it clear that those who presume to tinker with nature (or tread…
The villainous Iago makes everything happen in Othello. He pulls all the strings and pushes all the buttons to make others jump to his will. And since that will is evil, all his machinations lead as well to his own destruction. You’ve got to love it. Compass Theatre Company’s production…
Did you miss the road-show Phantom of the Opera? No problem: The Country Dinner Playhouse is presenting a far more spirited version of the classic horror tale, the excellent Arthur Kopit/Maury Yeston Phantom. For my money, it’s a better telling of the story than Andrew Lloyd Webber’s–or, for that matter,…
It will help if you like cruise-ship activities–conga lines, audience-participation skits and sing-alongs. Five Guys Named Moe, now at the Auditorium Theatre, is the kind of raucous musical designed to bring out the silliness in you. Jolly, extravagantly choreographed, riddled with jokes and sight gags, Moe is more music than…
Interesting, stimulating family entertainment is rare enough in Denver, so a sprightly show like Annie is welcome, indeed. Now playing at the Denver Civic Theatre, the musical revue offers local parents a breather from the inanities of television and a handy opportunity to introduce children to the excitement of live…
It’s all about power. The combination of skill, intelligence and soul-numbing, single-minded will that it takes to get rich in a capitalist society might propel one into the politburo in a communist society. So George Bernard Shaw speculated in his extravagant comedy of ideas The Millionairess, now in a hilarious…
Reinventing Japanese director Akira Kurosawa’s 1950 film Rashomon has become something of an American pastime. The movie was a huge international hit, a brilliantly acted, visionary retelling of two Ryunsuke Autagawa stories. It was first remade in America in 1964 as The Outrage, a pretentious but still engaging version of…
There is so much to Brian Friel’s Dancing at Lughnasa, it’s a pity there isn’t more. The Denver Center Theatre Company production is so rich in character, so well acted, so humane, so involving, it is difficult to say why it also just misses being completely satisfying. But then, the…
What a review of Love, Janis really needs is a rock critic, not a theater critic. The show at the Denver Center Theatre Company has plenty of hot moments, but works best as a re-creation of Joplin’s music, rather than her life. Nevertheless, Janis lives again. And all of us…
Singer-songwriter Tom Lehrer, an enemy of sentimentality in all its forms, built an interesting career thrashing middle-class pretensions and undermining “good taste” wherever it reared its ugly head. His black, satirical songs scorched many a prejudice and failing in American society during the Fifties and Sixties, and while some of…
It’s easy to pity someone dying of a painful disease. In the theater, it’s too easy. When disease is the subject of a play, it almost always becomes a substitute for dramatic structure–a built-in twister of heart-strings and manipulator of our personal and public fears. There are, of course, important…
Daniel is lonely. He misses the barrio, and a distant ‘burb with a goofball name like “Enchanted Acres” is a bleak wasteland in comparison to the warm feel of the old ‘hood. But Daniel is more than lonely: He’s in the midst of a mid-life crisis with cultural overtones. Tired…
Love may be hard to find, but trust is even harder. The regional premiere of Trust, a new play by expatriated Denverite Steven Dietz (he now lives in Seattle), dives into the shallows of contemporary lust and longing to prove just how tough trust is to come by. Funny, twisted…
Flowers spring from the stage. A miraculous healing frees a gruff old priest from blindness. A little girl dies by inches, trapped in mud after a volcanic eruption. Other extraordinary–incredible, even, to a mind trained in Western rationalism–events appear as natural occurrences. The impossible is made plausible, and the result…
Turning Nathaniel Hawthorne’s brilliant novel The Scarlet Letter into a contemporary drama is a doomed proposition. Phyllis Nagy’s torturous attempt, now playing at the Denver Center Theatre Company, is so full of error, so misguided, so utterly banal a reading of a great work of art, one can only wonder…
We all suffer, some more than others, some horribly. But we all suffer. And though drama is almost always about suffering, it seldom reminds us to consider the man on the street, the woman next to us in the theater, much less what we may do to help each other…
