FUN HOME AT FAC

Fun Home, currently running at the FAC in Colorado Springs, is a funny, compelling, brilliant, and much-needed show that everyone should go see. Why? Well, first off, because it's a great production, a tony winning musical with a genius script, fascinating characters, a perfect cast, excellent direction, and fantastic music performed excellently. It's a sad but uplifting story of family, love, and desire. Secondly, we need more love in this world. And Understanding. And peace would be awesome as well. I think the way we find those things is by listening to each other, to finding the beauty and magic that goes with being a human being, no matter how different one human being is from another. And if you go to this show, I think you will find all those things, and more.

I don't want to make it sound like this is a show you should see because it's "good for you". It's a solid piece of theatre, entertaining, diverting, and fun. Yes, I do think it will also feed your soul, but don't let the fact that it is important sociologically scare you away. This is a whip smart, funny, engrossing family story that everyone can relate to on one level or another.

The story centers on Alison, who narrates the play from the present, an tells us of her life growing up in rural Pennsylvania in a funeral home run by her father, a strong, interesting, demanding man who has a problem: he is deeply in the closet. We see Alison at three different ages in the play: there is ten year old Alison, who is funny and smart, young enough to play airplane with her father, make up commercials for the funeral home with her brothers, and enjoy The Partridge Family on tv but also old enough to know life is becoming quite complicated; there is also college age Alison, coming to terms with the realization that she is a lesbian and entering her first fully realized relationship; and the grown up Alison who is working on a memoir and leading us through her memories. The ten year old Alison lives in very tense household. Her mother is in manic, tragic denial of her husband's not-so-hidden desire to be with other men. Her father, unable to fully realize himself, can be quite demanding on the rest of the family. It would be strange enough to live in a functioning funeral home, but to have so much tension between her mother and father is just insane. And, of course, a situation rife with drama perfect for the stage. College age Alison has come to realize she is gay, and has her first encounter with a woman, which grows into a full fledged romance. She also comes out to her parents, which leads to some of the of the most amazing moments in this show. I don't want to give too much away of the plot, but suffice to say things go from complicated to tragic to transcendent. (for more of the plot itself, you can go HERE)

The cast is uniformly excellent. As Alison's father Bruce, Patrick Oliver Jones is a revelation: he makes Bruce alternately tragic and comic, mystic and mercurial, and always magnetic. His voice is unbelievable, and his presence undeniable. As Alison's mother Helen, Megan Van De Hay is exquisite, portraying woman living in a world that is not quite what she thought it would be or hoped for, sadly in denial and trying desperately to maintain some form of dignity in a messed up situation. She is as complex a character as Bruce, and Ms. Van De Hay delivers a powerful performance. All three of the Alison's are amazing. As Small Alison, Kelly Tanberg is electric- she portrays a kid who is going on an extreme emotional roller coaster with aplomb. As medium Alison, Jessica Kahkoska is a joy to watch- full of excitement and curiosity. Her song "Changing My Major", is a stand out; and as Alison, Allison Mickelson is outstanding, going through the entire, agonizing experience of a person trying to reconcile herself to her past with equal parts compassion and comedy. The three Alison's are seamless, connected to each other on all levels and perfectly bouncing from one age to the other. As Alison's college lover Joan, Mackenzie Beyer is lovely, kind, and awesome. It is easy to see why Alison falls for her. Atticus Baker and Gabe Levy, as Alison's brothers Christian and John, are both outstanding, giving us two more lost souls in this dysfunctional home who are trying their best to enjoy their childhood. And as multiple objects of Bruce's attention, Parker Fowler rounds out this amazing cast. Each and every character he portrays is specific and unforgettable. This is such a strong cast, so talented, so full of life and empathy and humor. Truly one of the strongest ensembles I have seen on stage in years.

As for the direction and choregraphy by Nathan Halvorson, it is (as I have come to expect from this overly talented artist) exquisite. Always moving the story forward, finding the humor and tragedy in each moment. The shows feels like a memory, intense, connected to your bones, and evocative of so many emotions. Each character is given dignity, mystery, and love. And each song is a journey, a dream, and thrilling. Music director Stephanie McGuffin gets stunning performances out of each actor and each member of the orchestra. The sets and costumes by Lex Liang, are perfect- adding to the tone, theme, and mood in subtle but effective design. And the lighting, by Holly Anne Rawls, is beautiful.

I left the show moved, crying, happy, sad, and full of wonder. The play brings to mind ones own family, ones own memories of mistakes, miscommunications, and loves. I highly recommend it for anyone who has a family, a heart, and a soul.

THE GAME IS AFOOT AT FAC WITH KEN LUDWIG'S BASKERVILLE

There is a master class in hilarity, invention, and pure joy going on at the Fine Arts Center at Colorado College  right now, and it is called Ken Ludwig's Baskerville. The show is a tour-de-force of farce, satire, homage, performed with an intense amount of ability and talent by both cast and crew, with a team of designers and direction as brilliant as Sherlock Holmes himself.

The play is a comedy in the vein of The 39 Steps, with five actors portraying around 40 roles and giving a comedic version of Arthur Conan Doyle's Sherlock Holmes story "The Hound of the Baskervilles. The action of the play takes us all over both London, Devonshire and the Moors, with what feels like more scenes than some films. The tone is definitely madcap- a joyous insouciance that makes you happy to be alive, and like you are part of something unique as you watch it. The plot stays true to the original source, and I am fairly certain that Holmes's purists will enjoy it. I know my wife, who has read all of Conan Doyle's Sherlock Holmes stories several times over, loved the show just as much as I did.

The cast, to a one, is superb. As Sherlock Holmes, Christopher Joel Onken is outstanding. Onken captures the character perfectly, showcasing both the ridiculousness and charisma that makes Holmes Holmes. As the trusted sidekick Doctor Watson, Colin Alexander is outstanding. Together, they are the straight men to a cavalcade of characters, played with inspiration and gleeful madness by Andrew Wilkes, Jordan Mathews, and Rebecca Myers. These three actors play about ten characters a pieced, sometimes changing character in a matter of seconds. They are each formidable talents, who I suspect must secretly be magicians of some sort to be able to pull off all the tricks they do.

The production is directed by the great Nathan Halvorson, who knows how to do comedy, farce, and pretty much any style of theatre there is, about as good as anyone I know of. The action is blindingly fast, always creative, and a marvel to behold. The set, by Erick D. Diaz, is brilliant- evocative of so many familiar places- Holme's study, the Moors, the typical English Manor, etc. And yet, within all these locations, there are surprise elements, clever use of minimal pieces, and again a sense of joy and wonder, you see each setting with new eyes. Same can be said for the lush lighting by Jennifer Reiser, which is scary when it needs to be scary, warm when it needs to be warm, and always supporting the mood and action of the moment. The many props, which at times literally fly across the stage, are by Emma Dean, and are wonderful. The costumes, designed by Noelle Raffy, are gorgeous and perfect. Hair and make-up by Jonathan Eberhardt, which must be insane to do when you have three actors playing over 35 roles, is brilliant. Quick changes abound in this show, and to a one, each was done perfectly, thanks to the outstanding costumes and hair and make-up designs.

As you may have noticed, I think this show was fantastic. Performances continue through October 29. Don't be a fool- get your tickets and go. You won't be sorry!

For more information of the show, click HERE.

I AM I, DON QUIXOTE

When I was fourteen years old, I saw a show that changed my life. It was called Man of La Mancha, and it was magic and tragic and transporting. I am not sure exactly what all the factors were that made me decide to pursue a career in theatre, but that production was a huge part of that decision. So it was with great excitement and anticipation that I headed to Colorado Springs to see the Fine Arts Center's current production. I demand perfection when it comes to Man of La Mancha, and have come to expect perfection when going to the FAC. I am happy to report, I got what I wanted.

This show is a treat, from start to finish, at once hard-hitting in its portrayal of a prison during the Spanish Inquisition while at the same time whimsical and charming in the telling of Don Quixote. This is a play about hope in the face of absolute despair, of finding the courage to be true to your ideals, regardless of your situation- a fitting theme for the world we find ourselves in of late. I don't want to bother you with going over the plot. Suffice to say, it is a play-within-a-play where Cervantes finds himself thrown into jail during the Inquisition and while awaiting judgement, is given a kangaroo court trial by his fellow inmates. For his defense, Cervantes offers up his great tale of Don Quixote, famed dreamer and tilter of windmills. As the story unfolds, the inmates get swept up into the tale, taking on various roles as needed. If you want the basic plot of the show, go HERE.

The direction by Scott RC Levy, is tight, imaginative, and muscular. Levy keeps the show, which has no intermission, moving at a break-neck pace which serves the story well. He also elicits from his cast consistently strong performances, full of passion, comedy, and sorrow. I suppose it is possible for Levy to do a bad job- but I've yet to see that happen. The set, by Christopher L. Sheley, is gorgeous, as are the costumes by Sydney Gallas and lights by Holly Anne Rawls. The choreography by Mary Ripper Baker is subtle, evocative, and exciting. And the band, under the musical direction of Sharon Skidgel, is superb.

The cast is amazing. as Cervantes/Don Quixote, Stephen Day is the perfect blend of sublime hope, delusion, and daring. He made me laugh and cry in equal measure. As Sancho, Quixote's trusted sidekick, Sammie Joe Kinnett is hilarious, but never over the top- keeping the character grounded and believable and a joy to behold. And Aldonza/Dulcinea, Gina Naomi Baez is fanatastic-  she makes the character sexy, dangerous, and vulnerable as we watch her journey from hardened bar wench to dignified woman. There is not a weak link in this cast.

Man of La Mancha plays Thursdays thru Sundays until June 18. I strongly urge you to go. And, when you do, look around in the audience after the show.  I am sure that there will be more than one young person in the audience who's life will be changed for the better- look for them, look for the way a piece of theatre can inspire them.

For more info on the show, and how to get tickets, click HERE.

A FINE, SHEAR MADNESS

Scott RC Levy and the Colorado Springs Fine Arts Center's Theatre Company have done it yet again- created a unique and exciting night of theatre that is both thoroughly engaging and completely entertaining. This is no surprise. They are by far the most consistently excellent theatre company in Colorado. Their latest gem is the interactive show Shear Madness, which has the distinction of being the longest running non-musical show in America.

Ever.


It's easy to see why when sitting in the audience at the FAC. The play starts with a hilarious bit of physical comedy, segues into a clever farce, and then transforms into an interactive mystery with the audience helping to solve a murder. I don't want to say too much about the plot, as that will spoil it for you when you go to see it. (and you will go see it!) Suffice to say that the show takes place in a beauty shop, a murder takes place, and a detective shows up to solve the crime. The beauty shop is run by Tony, played with abundant aplomb by the irrepressible Nathan Halvorson, who turns in a virtuoso performance. From the moment the show begins, Halvorson owns the stage, the audience, and the greater Colorado Springs area. Keeping time with Halvorson, and equally amazing, is Rebecca Myers as Tony's co-worker Barbara. Myers is full of sass and sensuality- if not so much smarts. The two banter and gossip to music from the radio, and instantly win over the crowd as they throw local-themed jokes at each other while cutting folks hair. Into the salon walks Eddie Lawrence, play with just the right touch of menace by Michael Lee to make us think he is most likely the killer. After him comes Birgitta DePree as Mrs. Shubert- a snooty buy loveable dame of high society. DePree is brilliant- a force of nature unto herself. There is a lot of interaction with the audience in this show, and the night I saw it she had some moments going back and forth with the crowd that made me laugh so hard my face hurt. When the murder takes place, the police of course arrive, and the show, which is already hilarious to the point where you can barely hear over the raucous laughter of the audience, kicks into high gear as the gruff detective (a fantastic C. Clayton Blackwell) and his rather dim-witted but good natured side-kick (the hilarious Nathan Ferrick) begin questioning both the people in the salon and the audience about the events of the day.

The show is full of lines written specifically for the area, and a there is a lot of improvisation in the play as the story in part moves forward based on what the audience says to the police. As such, there is an immediacy to the play, a sense that this is a once in a lifetime performance, which of course it is. Mr. Levy has skillfully directed the play at a lightning pace, allowing the actors to strut their stuff where appropriate, but also keeping the pace tight so that there are no dull moments.

The design is, as always at the FAC, outstanding. Christopher L. Sheley has created a beautiful set that is lit gorgeously by light designer Holly Anne Rawls. The cast is costumed perfectly by Janson Fangio- with outfits that are comedic, and so very right for each character's personality.

The show is a quick two hours, and I promise you will laugh your ass off if you are wise enough, and lucky enough, to get a ticket to the remaining shows. (for ticket info, click HERE)

I am not kidding. Go see this play.

That is all.

9 TO 5 AT THE FAC A FREAKIN' HOOT!

Want to have a great time, laughing and clapping and singing? Want to see amazing performers who can sing like angels, dance like devils, and charm you silly? Well, then get yourself to the FAC in Colorado Springs for their current production of the musical 9 to 5! It is one of the most enjoyable, funny, and energetic musical comedies I have seen in a long time.

Based on the movie of the same name, 9 to 5 follows three women in the work place as they deal with life, climbing the corporate ladder, and sexism in the workplace- which sadly is as topical today as when the original movie came out in 1980. (anyone who tells you different about how that's all a thing of the past is either a man or out of touch with reality) The script is by Patricia Resnick, who also wrote the film (there is an excellent article/interview with her in the program that I recommend); the music and lyrics are by Dolly Parton- who really is an excellent composer of musical theatre, it turns out. Together, they have created a really tight, fun night of theatre with just the right amount of social commentary to keep you thinking, balanced with sweet songs, exciting numbers, and hilarious comedy. For more info on the show, go HERE.

As usual, the cast and crew assembled by Scott Levy for the FAC is top notch.

Let's talk about the cast first. To a one, this cast is insanely talented. As Violet, the long suffering brains of the outfit, Miriam Roth is outstanding- strong, funny, full of heart but also a biting wit. Jennifer DeDominici, as the new girl in the office Judy, is sweet, vulnerable, but also strong and determined. Her character probably has the largest arc of the show, and she handles it perfectly. And Crystal Mosser as Doralee is unbelievable fantastic. She has a presence that makes you watch her every second she is on stage. And her voice is off the charts amazing. Mosser basically ropes the entire audience with her talent and energy and then runs the show. She is better than a lot of folks I have seen on Broadway- a true star. All three women shine throughout the show, perhaps best exemplified in the number "I Just Might", and uplifting number about overcoming your fears and taking risks. Backing up the triumvirate of amazing ladies as their foil is Stephen Day as Boss from Hell Franklin Hart. Day is outstanding as the sexist egotistical hypocritical lying bigot. He's the boss you love to hate, and a great comic actor. Not only that, his song Here For You is hilarious. As Roz, the sycophantic secretary who carries a not-so-hidden flame for Hart, Jen Lennon is awesome. As Violet's romantic interest Joe, Zachary Seliquini Guzman (as usual) rocks it, bringing humor and energy to the role and making the audience root for him to get together with Violet. In fact, on of the sweetest scenes in the show is between Violet and Joe that got a few folks in the audience pulling out their hankies. The rest of the cast is amazing. Seriously, they are uniformly outstanding.

Nathan Halvorson directs and choreographs with precision, insight, and a bit of genius. This guy has talent to spare, and uses it well. Every scene moves at a fast clip, every number pops with creativity and flair, and as usual with Mr. Halvorson, every moment of staging furthers the story, enhances the mood, and keeps the audience leaning in.

The band, lead by Jay Hahn, is incredible. But this has become what I expect when I see musicals at the FAC.

The design is also outstanding, capturing the look and feel of 1979, and the corporate world in general, while keeping it fun and a joy to look at. Scenic design is by Erik D. Diaz, who makes very clever use of the stage to take us to all sorts of locations in the blink of the eye. The costume design is by Lex Liang, and they are perfect- conveying character, adding color, and in the fantasy sections adding the perfect tone. And lighting the whole thing is light designer Holly Anne Rawls, who gives the show a colorful, perfect look, adding mood while keeping everyone looking fabulous.


Suffice to say, I really loved this show, and encourage you to get your ass to the FAC ASAP.

For more info and showtimes, click HERE.

PETER AND THE STARCATCHER

Theatre, when done right, is a place of magic. For as long as people have been around, one of the things we the people do- in every part of the globe- is gather together in large groups, sometimes around fires, sometimes in large darkened rooms, sometimes in grand palaces of art, and listen to storytellers who through the power of imagination somehow take us far, far away and show us tales of adventure and joy and sorrow and wonder. It is both simple and vastly complex, this thing we do. And when it is done right, the stories we are told remind us what it means to be a human being; how scary and tragic and fun and sublime it is to exist. One of the places I love the most for these theatrical journeys of the soul is the Theatre at the Fine Arts Center in Colorado Springs, and this past week-end they yet again took my on a fantastic voyage that was thrilling, heart warming, and invigorating. They did this with a show called Peter and the Starcatcher, the best show on the boards  that I've seen in quite awhile.

The show, based on the book of the same name, tells the origin story of Peter Pan, Captain Hook, and most of the denizens of Neverland familiar to those who know and love the original Peter Pan. But while a prequel of sorts, this is a story that stands up on its own, and can be enjoyed by those who never heard of the boy who could fly. And it is a great story, set in Victorian times but told with a modern sensibility- brilliantly staged, expertly played, and magically realized. For more on the story itself, go HERE.

As brilliantly staged by Joye Cook-Levy, the show is the perfect example of how exciting, creative, and delicious theatre can/should be. The script demands, and Cook-Levy more than delivers, a director with intense creativity- where scenes shift rapidly with no time for such things as conventional scenery. It's a lot like Shakespeare in that we, the audience, are asked to use our imaginary forces. To do that- to get an audience to suspend its collective disbelief and take the required leap of faith, a director must have the cast instantly establish trust with everyone in the room- cast and spectators. This is done right at the top of the show: the lights come up, and what seems like a mob of men walk downstage and talk to the audience, and then- as if by magic, Rebecca Myers- the sole female in the cast- emerges from the surrounding throng of men. It's a simple, but clever moment that works very well. From that point on, I was ready for the cast to take me wherever they wanted, my disbelief happily suspended. And by the time the ensemble turned itself into a Dodo bird, my disbelief was not suspended, but banished completely.

The show is a quasi-musical, and the numbers are staged by another one of the many geniuses they have at the FAC, Nat Halvorson- who does yet another outstanding job. One of the many highlights in the show is a sort of English music hall number performed by mermaids that had me in stitches.

The cast is, to a person, excellent. Every performer is energetic, engaging, and inspired. Not only are

they each talented individuals, they also work insanely well together, like a well oiled machine- a theatrical Rube-Goldberg machine of some sort. They each play several characters, and give each role clarity and specificity so that there is never a question as to which actor is playing what role Along with the excellent Ms. Meyers, they are: Jonathan Andujar, Adam Blancas, Karl Brevik, Sammy Gleason, Omid Dedstan Harrison, David Hastings, Michael Lee, Jordan Leigh, Levi Penley, Kevin Pierce, and Andrew Wilkes. Kudos to each and every one of them. As Lord Aster, Karl Brevik is wonderful; as both Mrs. Bumbrake and the mermain known as Teacher, Adam Blancas is hilarious; and the boy who will become Peter Pan, \Levi Penley soars; and as Black Stache, Jordan Leigh yet again turns in a bravura performance. Leigh is a freak, a chameleon who can play pretty much anything he wants on stage. Unreal.

The technical aspects are perfection, of course. This is standard with shows at the FAC. The set, by Christopher l. Sheley, is gorgeous- setting tone, adding to the story, and evocative of another time. Perfectly complimenting the set are lights by Jonathan Spencer, and a sumptuous wardrobe designed by Janson Fangio. The music in the show is provided by conductor/keyboardist Jerry McCauley, and supported with percussion by Josh Birkhimer. These two are magicians in their own right, creating worlds within worlds with their instruments.

So, if you haven't figured it out yet, I love this show. It is what theatre should be, full of joy and wonder and Star Stuff. If you have any way to do so, get yourself to Colorado Springs and catch this shining star.

MUST BE BEAUTIFUL IN VERMONT THIS TIME OF YEAR...

For many years, one of my holiday traditions was to watch the film White Christmas with my best friend Legume (also known as Brian, Honkey, the Judge, etc.). I've probably seen that film at least 50 times, because often I watch more than once per season. I can quote most of the lines- including the jazzy lingo supposedly improvised by Bing Crosby- and sing most of the songs. Not well, mind you- but so what? I love the movie, and it is inscribed in my brain. As such, I have avoided going to see any stage productions of Irving Berlin's White Christmas, mainly out of fear of comparing it in my head to the film and being sorely disappointed.



Happily, I decided to forgo that self-imposed rule and go see White Christmas at the Fine Arts Center in Colorado Springs. This decision was based largely on their impressive track record of exciting and pertinent theatre. I have never seen a bad show there. Ever. I am very glad to report that the FAC has done it yet again with a heart-warming, funny, exhilarating production. This is a great show, from start to finish- full of fantastic performances, wonderful music, and just the right amount of whimsy. If you can get a ticket- which will be hard- I highly recommend you go see it.

The show itself wisely is not a mere stage version of the beloved film, but a new take on the story rewritten by David Ives and Paul Blake from the original screenplay by Narman Krasna, Morman Panama, and Melvin Frank. Most of the story is there, but with enough variations to make it a brand new take on the classic tale. Several songs have been excised from the film version, and several other songs either expanded, or added- all to wonderful effect. I won't bother you with a story synopsis. Suffice to say, it's a heart-warming romantic comedy set mostly in 1954.

The cast is superb, top to bottom. Matt Gibson as Bob Wallace is outstanding, He sings like an angel and conveys a simple honesty perfect for the role. And as Phil Davis,  Zachary Seliquini Guzman is a wonder. He's hilarious, dances even better than Danny Kaye, and can sing the you-know-what out of any song. As Betty, the more practical of the Haynes sisters, Mackenzie Sherburne is outstanding. And Alannah Vaughn, as the more bubbly Judy Haynes, is a delight. Both ladies are amazing performers, with gorgeous voices. And they harmonize is that way that makes your spine tingle with joy. Jan Lennon, as busy body and show-stopping Martha Watson, is hilarious, strong, and a powerhouse singer. Mark Rubald, as General Waverly is outstanding. Rubald brings a quiet dignity and charm to the role, and turns in one of the shows best performances. As Jimmy, a curmudgeonly but lovable Vermont local, Mike Miller almost steals the show. I say almost, because the night I saw the show, Ellie Levy did steal the show- lock, stock, and barrel. Levy (who is alternating with Lena Olson in the role of Susan Waverly) is just a sweet heart of an actor, and every moment she was on stage rocked. The ensemble is outstanding- each and every performer sings, dances, and acts with incredible talent and energy.

The always amazing Nathan Halvorson directs and choreographs the show with style. The show moves at a perfect clip, and each number is sharp and leaves the audience wanting more. My particular favorite is Blue Sky, which closes out Act One. The band, led by Jay Hahn, is top notch.

So, to sum it up- this show shines on it's own merits, is a beautiful rendition of the stage version of the classic film, and a must see for anyone who loves good musical theatre.

God bless us, everyone.

WAIT UNTIL DARK, THEN GET YOURSELF TO THE FAC

The words that come to mind when I think of the Colorado Springs Fine Arts Center's current production of Wait Until Dark: exciting, breath-taking, scary, macabre. Also insightful, dramatic, and smart. And funny. Creepy. Fast paced. Unrelenting. Cool.

Suffice to say, I liked it quite a bit. Wait Until Dark starts out full of tension and menace- and ratchets it up from there. After a beautiful opening image of a figure silhouetted in a doorway, we are plunged headlong into a world of mystery and intrigue and terror. I don't want to give too much of the plot away, so I won't tell you what happens. What I can tell you is that in the story, over the course of less than twenty-four hours, we witness a blind woman named Susan's harrowing encounters with malice, cruelty, and deceit. As she deals with a series of bizarre encounters, she is forced to find a strength and resilience that she doesn't seem to sure exists at the start of the play. What makes the play work- and oh does it work- is not just the tightly written plot, the spectacular stage combat (more on that in a minute), or the scares- of which there are many. No, what makes this story work so well, especially as directed by the always amazing Scott Levy, are the nuanced and fully realized characters. Susan is a real, flawed, interesting woman. Her husband is a control freak with good intentions, and the bad guys are not merely mustache twirling villains or your typical hoodlums, but complex and strangely likable con men with varying degrees of psychosis. The play made me think of a Hitchcock film- full of suspense and anxiety and seemingly ordinary people thrown into intense extraordinary circumstances.

The direction of Mr. Levy is fast paced, exciting, and outright scary. He makes the creepiest use of a
closet door I have ever seen on stage. And the aforementioned stage combat, some performed in almost complete darkness, is terrifying. The fights are choreographed by Benaiah Anderson, and perfect- scary, realistic, and just the right length to scare the crap out of you while furthering the story. Not only did Mr. Levy get the best fight choreographer for this show, he also drew incredible performances out of his cast. Jessica Weaver is outstanding as Susan- at once vulnerable and strong, innocent and intelligent. As her overbearing husband Sam, Kyle Dean Steffen is perfect. At first, he comes off as a concerned, kind husband. But as we get to know him, his controlling personality comes seeping out. As the somewhat more comic of the criminals, Micah Speirs is hilarious. And Michael Lee- who played a fantastic Renfield in FAC's outstanding Dracula last season- is perfection as Roat, a role that calls for a wide range, a quick mind, and a razor sharp sense of timing- all of which Mr. Lee has in spades. Adam Laupus, as Sam's war buddy Mike, is amazing. His character goes on quite a trajectory, and Laupus handles him expertly.  Rounding out the cast is Mallory Hybl as Gloria, the annoying kid who lives upstairs. Ms. Hybl is fantastic- believable and funny.

As usual at the FAC, the technical aspects of this production are works of art. The set, by Brian Mallgrave, is gorgeous. It sets up a perfect sets up the perfect sense of a home that is a bit claustrophobic. The lights by Holly Anne Rawls perfectly accompany this beauty of set, and the costumes by Janson Fangio are just right- evoking both a time and place, but also the essence of each character.

If you are looking for something fun to do this Halloween weekend, go see this show! Wait Until Dark is a glorious night of theatre, and not to be missed.

FAC PUTS IT TOGETHER PERFECTLY

Well, they've done it again. The Theatre at the Colorado Springs Fine Arts Center, under the exceptional leadership of Artistic Director Scott RC Levy and the fantastic direction and choreography of FAC Associate Director of Performing Arts Nathan Halvorson, has mounted yet another outstanding show. This time, it's Stephen Sondheim's Putting It Together. My short review: It's freaking brilliant, and you need to see it. Get online and buy your tickets right now. Go ahead. I'll wait.

Putting It Together is a revue of around thirty songs by Stephen Sondheim, whom many consider to be the greatest living composer for musical theatre. Don't take my word for it.  “Stephen Sondheim has written some of the best musical theatre of the last 50 years,” says Performing Arts Director Scott RC Levy, “and will go down in history as one of the most important American composers of the 20th Century. The FAC has a strong history of producing his work, and when thinking of which show of his to do next, I thought of this piece, which features so much of his beautiful music from pieces throughout his career.” For those Philistines unfamiliar with him, Sondheim started out writing the lyrics for West Side Story and Gypsy, and went on to do both music and lyrics for such classic shows at A Funny Thing Happened on the Way to the Forum, A Little Night Music, Sweeney Todd, and Into the Woods. If you don't know any of those shows- stop reading this and go see one of them. Now. I am sure, no matter where you live in America, you can find a production of at least one of Sondheim's shows that is within driving distance. (If you live in Alaska, you can watch the movies of the four shows I just mentioned.) Again, I'll wait.

Putting It Together takes place at a cocktail party where five people examine each other, their relationships, and their lives. The five characters are the Husband, the Wife, the Younger Man, the Younger Woman, and the Other Man. Over the course of the party they slowly reveal their hopes and regrets, along with dreams deferred. And worse than the dreams that didn't come true are the dreams that became realities, but didn't meet expectations. As you can probably tell, this is not a show about bunnies and happiness and skipping along singing tra la la. But I like a little meat to my entertainment, a little bit of reality and intelligence and understanding of the human spirit. It's like Steinbeck said in East of Eden: Life made to look beautiful to the weak and the foolish teaches nothing, cures nothing, and does not allow the heart to soar.

Putting It Together features an all-star cast: Max Ferguson, Sally Hybl, Jordan Leigh, Scott RC Levy and Mackenzie Sherburne. They are all first rate performers. They not only have beautiful singing voices, the have a certain depth of emotion that allows them to fully interpret these complex, at times hilarious, at other times harrowing songs. FAC stalwart Max Ferguson is perfectly cast as the at times obnoxious, at times confused Younger Man. He exudes a desire to be manly along with an innocent charm, and infuses that mix perfectly in songs like Marry Me a Little.  Mackenzie Sherburne, as the sultry Younger Woman, is sublime. Her performance of The Miller's Son (from A Little Night Music) is superb. It's a haunting, funny, sad song that requires both the pipes of a great singer and the intelligence of a great actor, and Sherburne has plenty of both. Scott RC Levy is hilarious as the other man ( a role originated by Christopher Durang). He opens the show with a perfect rendition of Invocation and Instructions to the Audience, which is a riff on the now standard opening speech given before most theatrical productions. And Levy's practically stops the show with his explosive performance of I Could Drive a Person Crazy. As the married couple, Jordan Leigh and Sally Hybl are a revelation. They are just perfect. There is never a moment when either of them are on stage that you don't watch their every move. They play that all too familiar unhappy couple who dig at each other behind weary smiles, full of passive aggression and resentment- but also a deep yearning for connection. In act one, they sing the duet Country House, from Follies- and it's electric. Watching that number was like being at a party where a couple gets into a nasty fight, and it's awkward and strange and you don't know whether to leave, make a joke, or cry. And in act two, we get treated to Leigh signing Sorry-Grateful and Hybl singing I'm Not Getting Married Today. These are two of the best performers I have ever seen, in Colorado or New York or anywhere- and to be able to see performers of that caliber sing songs of that greatness is insane and rare and glorious. 

Nathan Halvorson directed and choreographed,
and clearly brought out the best of each member of the cast. He moves the show along at a brisk pace, and brings enough levity to never let it get too bogged down in tragedy. And the band! Oh my God the Band! According to the program there were only four musicians playing- but I could have sworn it was an entire orchestra. Sharon Skidgel conducts this amazing group of artists, and provides piano as well. (I think she might be either a mutant or from another planet, because it's impossible to be that good). The set, by Christopher L. Sheley,  is both simple and elegant; the costumes by Janson Fangio are subtle and excellent; and the lights by Holly Anne Rawls are gorgeous- theatrical and full of color but never detracting from the action on stage.

All in all, an exhilarating, funny, thought provoking show. Now go see it! Here are the details:

PUTTING IT TOGETHER
When: 7:30p Thursdays, Fridays and Saturdays; 2p Sundays, running Sept 10-27
Where: Colorado Springs Fine Arts Center, 30 W. Dale St.
Tickets: Starting at $20; 634-5583, csfineartscenter.org
Something else: Pay-as-You-Wish dress rehearsal at 7:30p Sept 9; Backstage Tour on Sept 24, free with paid admission; talkback with the performers following the final performance on Sept 27
Another thing: Their new restaurant Taste will be open for pre-theatre dining. Make reservations at 719.634.5583. We ate there before the show and it was fabulous.

ROUGH WRITERS IN THE SPRINGS

Well, the theatre at the Fine Arts Center in Colorado Springs has given us yet another reason to get to the Springs. This time, it's their latest installation of Rough Writers, a play festival presenting staged readings of new works. This is a chance to see brand new work by playwrights at various stages in their careers, in a beautiful space in a wonderful town. There are many different plays you to see- one acts and full lengths, large and small casts- take your pick. And you can either buy one ticket to one reading, or for twenty dollars, see as many readings as you want. Twenty dollars. You know, the price of a couple of movie tickets, or a couple of drinks at Starbucks. And for that same twenty dollars, you can take part in the creation of a new show. How are you a part of it? Well, when the new plays are read, the playwright is there- listening to the audience and their reaction. For a playwright, this is a scary and wonderful experience- and vital to the process. When you write a play, you sort of live in a bubble- which is important. You need to keep your baby safe, and help it grow. But there comes a time in every play's life when it needs to be exposed to the world outside- thus, the staged reading. You watch and pace and panic, and observe what lands with the audience, what makes them gasp, or laugh, or yawn with boredom. And then you adjust. And often, at the readings, there are talk backs- a time when the audience is asked for comments and questions. These can be rough for a writer, but also quite informative. Sometimes, the comments are brilliant. Sometimes, not so much. Either way, sitting in a room with a bunch of fellow human beings, hashing
out what did and did not work on a new play is exciting, unique, and essential for any fan of theatre. Believe me, I know what I'm talking about. I've done many readings at many festivals- including this one. My play April's Fool had it's first reading at Rough Writers before going on to its world premiere last summer at the New York International Fringe Festival. Those readings were essential in the play's development.

The plays and playwrights in this year's festival are: Jade O'Keeffe (who may or may not be related to Georgia O'Keeffe) and her play Two Nine One Letters; Alyson Mead and her play The Flower; Susan Shafer and her play A Woman on Paper; Sue Bachman and her play Georgia on His Mind; Grant Swenson and his play Mary and Georgia; Todd Wallinger and his play The Real Meaning of Things; Jessica Weaver and her play The Last Rabbit; and Dara O'Brien and her play Early Sunday Morning.



And that's happening right now at the FAC.

All the shows are thematically linked to Georgia O'Keeffe, in anticipation of the center's upcoming exhibit on her- for more on that, click HERE. Some are about her, some are about her paintings and how they have touched people's lives. What's really interesting is to see all these different takes on O'Keefe- how this one subject has sent so many writers on so many different trajectories with their plays.

So- if you live on Planet Earth, and like being entertained, and also like being part of something amazing, get your self to the Fine Arts Center in Colorado Springs. The festival continues through June 13.

For more info, and how to order tickets to this exceptional festival, click HERE.

DEMON WEED IN COLORADO SPRINGS!

WARNING:Reefer Madness the Musical, now playing at the Fine Arts Center in Colorado Springs, will get you high, baby. Can you dig it? High on life. High on great music, exciting choreography, brilliant design. High on watching amazing performers deliver with aplomb a fantastic, inventive show based on a hilariously out of whack cautionary movie from 1936 about the evils of the devil weed. Put simply, it will freak you out in the best way possible- and that ain't no jive.

The musical is presented as a mockumentary of sorts, complete with overly earnest narrator, or Lecturer, speaking directly to the audience about the terrible "facts" of marijuana and how the stuff is destroying the youth of America. The Lecturer tells us the infamous story of Jimmy Harper and Mary Lane, who of course have their lives turned upside down, irrevocably ruined, by the demon weed. When we meet Jimmy and Mary- played to perfection by Andrew Wilkes and Chelsea Ringer- they are your typical suburban couple from the 1930's. Or rather, what was thought to be your ideal young white couple of that time. Jimmy and Mary are happy, peppy, and bursting with love- until Jimmy meets the evil Jack, who introduces him to the dreaded reefer. Soon enough, Jimmy is getting high, partaking in orgies, and hanging out with his fellow degenerates at Jack's place. Things go further South from there. The plot itself is hilarious, and I don't want to give too much away- suffice to say that things don't turn out so well for Jimmy and Mary. Along their tragic path, we meet Mae, the weed addict with a heart of gold and a voice like an angel's. Caren Tackett plays Mae, and she is flat out stunning- her comic timing is impeccable, and her singing sends chills of ecstasy down your spine. We also meet the demented Ralph, another weed-fiend played by a very funny Kevin Pierce. The sexpot at the den of iniquity is Sally, a sassy Rebecca Myers who lights up the stage every moment she's on it. We also get two numbers featuring the Son of Man Himself, Jesus. Jesus, and the evil Jack, are both played by Kenton Fridley- and let me tell you, this guy is the real deal. I really don't know how they can find so many talented people at the FAC, but somehow, they do. Every last member of the cast is excellent- Becca Vervoulas as the girl who brings out various placards with messages about how marijuana can make you do bad things like cannibalize your friends, and the ensemble of Alex Campbell, Nathan Ferrick, Sammy Gleason, and Omid Dastan Harrison are all perfect- they dance and sing and play a variety of outrageous characters with a glee that is infections and as addictive as the demon weed itself. And special mention must be given to Max Ferguson, who plays the Lecturer, who leads this madcap cast of lunatics with style and energy. Seriously, this cast is one of the best ensembles I have ever seen.

The choreography and direction by Nathan Halvorson is outstanding- moving at a break-neck pace, full of surprises and inventiveness and a sort of giddiness that makes you happy to be alive. The set, by Kevin Loeffler, is beautiful and just twisted enough to make you know that the world the show is presenting is a bit off-kilter. The costumes are stellar- giving us everything from your typical teenagers at the Five-and-Dime dancing a jitterbug, to hallucinatory reefer-zombies, a randy Devil, the aforementioned Jesus with a cadre of back-up angels, and semi-nude participants in the outrageous orgy scene. Perfectly matching the set and costumes in tone are the colorful lights by designer Jonathan Spencer. And the band, led by Ian Ferguson, is top notch. Every element of this show is perfect.

So, if you like smart, exciting, ground-breaking theatre that keeps you leaning forward, laughing and clapping, Reefer Madness at the FAC in Colorado Springs is the show for you. Once again, Scott Levy has put together the best theatre in the state, as is his habit.

And, if you can get a ticket to the March 1 show, you can meet the show's composer Dan Studney!

Want to see and hear more about the show? Click HERE for a short video!

I'M GONNA GO FLY A KITE AT FAC

So, yet again, I am going to tell you all something true about the performing arts in Colorado- the consistently best theatre in the entire state in in Colorado Springs at the Fine Arts Center. I have seen so many shows there- Assassins, Lovers Leapt, A Year with Frog and Toad, Other Desert Cities- and all of them have been excellent. The latest show I saw, Dracula, was amazing- fun, scary, quick paced, and entertaining. The night I saw it, the house was sold out, and the whole place had the kind of energy running through it you usually find at a rock concert. Which is, I believe, how theatre should be. The cast was excellent, the set gorgeous, the lighting amazing, the costumes beautiful- and the script the chose outstanding. I had recently read the Bram Stoker original, and was hoping I would enjoy the stage version as much as I loved that weird, one of a kind novel. And my expectations were exceeded. The play started with Renfield- played with insane glee and just the right amount of sadness by Michael Lee- addressing the audience in a monologue that set the tone for the night with a surprising, bloody moment. From that point on, I was leaning in, lost in another world and completely enjoying myself. Kate Consamus as Lucy and Jessica Weaver as Mina were both excellent. Jason Lythgoe, as Lucy's bumbling suitor Seward- was comical, tragic, and a joy to watch. Christian O'Shaughnessy as Harker- a usually thankless role- was quite good, and Matt Radcliffe as the bloodthirsty title character was creepy, dark, and menacing. Logan Ernstthal as Van Helsing was at times hilarious, at others heroic. Rounding out the cast in several smaller roles were Karl Brevik, Crystal Carter, and Kaetyln Springer- each of whom was solid in the performance. The set, designed by Christopher L. Sheley, was ingenious and glorious and perfectly set each scene in both look and tone. The costumes, by Janson Fangio, were as beautiful as the set, and everything was perfectly lit by lighting designer Holly Rawls. And putting all this together and making seamless was the director, Nathan Halvorson. This show kicked it in the ass.

So much theatre these days seems dull, contrived, and made to order for donors who must not really care about actually enjoying the experience of going to a play. A lot of these places- and I don't want to name names-  make going to the theatre feel like eating your vegetables did when you were a kid: something not very fun, but something you did because you were told it was good for you. Why this is, I do not know- I only know that it is so. And I am so sick of hearing from people in the theatre community bemoaning the glacial retreat of regional theatre, or how the corporations are running things on broadway and making it impossible for good theatre to be created, or how hard it is to compete with tv and film and the internet. Those are all just excuses for bad theatre made by people who should know better! You want your theatre to thrive? Stop making boring theatre, and your theatre will friggin' explode with customers- and the FAC in Colorado Springs is proof. Under the leadership of Scott RC Levy, they have grown a larger audience and presented exciting, relevant theatre that keeps people coming back for more. And not only do they come back, they seem to bring their friends.

Next up on their stage is the musical Mary Poppins, directed by Mr. Levy- and I can not wait. Here is some info from their press release: This musical aptures the exuberance of the Disney film, while remaining true to the original P. L. Travers' books. The score brims with such timeless classics at "Feed the Birds," Supercalifragilisticexpialidocious," and "Let's Go Fly a Kite."
The show runs December 11-January 4 at 7:30 pm Thursdays-Saturdays at 2:00 pm. Student matinees are already SOLD OUT! Tickets are available at www.csfineartscenter.org or at the box office, 719-632-5583.


Hope to see you there!

FLOYD AND CLEA KICKING ASS AND TAKING NAMES

Why is it that every time I write about the theatre at the Fine Arts Center of Colorado, I start with
the words "yet again"? As in, yet again, under the direction of Scott Levy, the Fine Arts Center provides the best theatre in Colorado. It's really amazing- over and over and over, I have seen shows there- and always, they remind me why I love theatre: because, when done right, it's exciting, and fun, and relevant. I know there are those in the theatre community who bemoan the state of theatre in America- who complain about finances and donors and whatever else- but those people need to wake up and smell the coffee and get their collective butts to the FAC.

The theatre, I am happy to report- is alive and well and living in Colorado Springs. Case in point: the Colorado premiere of Floyd and Clea Under the Western the Sky. What a friggin' great show this is. Entertaining, moving, unique- this production shakes the dew out of your eyes and reminds you that you are a human being- frail and majestic, living in a world of beauty and sadness and connection and hope and loss and redemption. This show is like a breath of fresh air- new and exciting and hard to define in the boring old terms like musical or serio-comedy or whatever. It is beyond labeling. It's a work of art, alive and kicking and drawing you in like a great song you hear on the radio- the song the you never heard before but that is so good you have to keep the radio on until either you find out who it is singing or what the name of the song is, because you must- right away- buy that song and play it over and over until you know every word. It's part modern drama, part concert, part intimate musical- and one hundred percent engaging.

The plot follows Floyd- a singer/songwriter who at the start of the story is obviously in the middle of a downward spiral. He's clearly talented, and charming- but also an alcoholic with a talent for self-destruction. As Floyd, Jordan Leigh is a revelation- charming, infuriating, and sad. Floyd isn't into self pity, however. Simply self immolation via a flask he keeps filled with booze. While anyone destroying themselves is tragic- there is something doubly tragic in watching Floyd degenerate, because you can see glimpses of greatness in him- particularly when he's singing one of his plaintive songs about love and loss and loneliness. Fairly early in the story, he meets young Clea- a girl with dreams, talents, and an inability to take no for an answer. Clea is a firebrand, fiercely portrayed by the outstanding Chelsea Ringer. She lights up the stage the moment she enters- and when she sings  she has the voice of a angel. Watching Ringer and Leigh in a scene, or singing a duet, is a treat- a master class in style, grace, and agility. They listen to each other and play off each other so well, so naturally, so splendidly- it's mesmerizing. I don't want to say too much of what happens in the story- but it's not your average boy meets girl type of story. It's not a romance in the traditional sense. It's a very modern story about some classic problems with human beings- dealing with ourselves, figuring out who we are, what to do with dreams deferred or detoured, what to do with dreams come true- so much, and yet it's all crammed into about 90 minutes of stage time. The music, by David Cale & Jonathan Kreisberg, is amazing. It sounds like something T-Bone Burnett would produce- slightly rock-a-billy with and edge and lyrics as clever as something Elvis Costello would write. And the Band! Holy crap, what a band! Jim Christian on guitars, Bobby McGuffin on percussion, Jay McGuffin on Bass, and Jim Robertson on guitars, all under the music direction of Jay Hahn, are the tightest, rockingest, grooviest band I have ever heard in a show. Ever. When the performance is over, thye play a few songs while the audience ambles out. I highly recommend staying, and savoring every ounce of these music gods. I did.

Scott Levy directs this show at a perfect pace- moving action along when needed, and letting other moments develop their own quirky timing. There are a few scenes in a motel room that are just magnificent- quiet, simple, conversational- but with so much heart and emotion bubbling underneath the silent veneer, with so much unspoken tension between the two characters based on a need to express their true feelings and needs that you can't help but lean in from your seat watching them. The set by Christopher L. Sheley is outstanding- sparse, imaginative, and with a fantastic sky stunningly lit by light designer Holly Anne Rawls. And the costumes, by Janson Fangio, are perfect, natural extensions of both Floyd and Clea at the various stages of their lives as they both make a rather arduous journey.

If you haven't notice, I love this show.

And I love the Fine Arts Center.

On other fronts: my show APRIL'S FOOL- which had it's first ever public reading as part of the Rough
Writers Festival at the FAC, has been accepted into the New York International Fringe Festival- the largest performing arts festival in North America- and will have it's world premiere this August. We are crowd sourcing this production through Indiegogo, and would greatly appreciate it if you checked out the campaign- and if you like what you see, please share it via social media. You can find the campaign by clicking HERE.

So, to reiterate: Go see Floyd and Clea now! I myself plan on returning to see it a second time before the run is over.

FAC KICKS IT IN THE ASS WITH NEXT SEASON LINE UP

The Theatre at the Fine Arts Center of Colorado Springs is one of my favorite theatre companies in Colorado. The reason is simple- they create exciting, pertinent theatre that engages the mind and soul, on a visceral level. I believe that theatre should be like a good rock concert- an almost tribal event where you gather together with strangers, sit or stand in the dark, and for a few hours become one- a united tribe grooving together in the darkness. I have seen many shows at the FAC since Scott Levy became Artistic Director, and they have all been fantastic. Highlights include Hairspray, Lovers Leapt, and Other Desert Cities. I can't wait to see there upcoming Colorado premiere of Floyd and Clea Under the Western Sky, which opens June12.


Not only do they have a great main stage, but more and more they are using a second stage for smaller shows, staged readings, and their Rough Writers series- a festival of new work that spawned, among other things, my latest play APRIL'S FOOL, which is set to have it's world premiere at the 2014 New York International Fringe Festival. (You can find out more about April's Fool by clicking HERE)

Here is what they have planned for next season:

MAINSTAGE

Dracula

By Bram Stoker, adapted by Steven Dietz (Denver native)

Oct. 9-Nov. 2, 2014

A sensual, suspenseful, scary and bloody adaptation of Bram Stoker's classic.  Steven Dietz’s version conjures the raw, stark intensity of the original novel in this not-to-be-missed theatrical journey. For Mature Audiences Only.

Mary Poppins

Musical based on the stories of P.L. Travers and the Walt Disney Film

Dec. 11, 2014-Jan. 4, 2015

Based on the classic Disney film celebrating its 50th anniversary, our regional premiere of this award-winning Broadway musical features an irresistible story, eye-popping sets and costumes, breathtaking dance numbers and beloved songs such as the Academy Award-winning "Chim Chim Cher-ee," "A Spoonful of Sugar," "Feed the Birds," "Step in Time" and "Supercalifragilisticexpialidocious." You'll have a "Jolly Holiday" with Mary!

Reefer Madness

Book by Kevin Murphy and Dan Studney/ Music by Dan Studney/ Lyrics by Kevin Murphy

Feb. 12-March 1

This raucous musical comedy inspired by the original 1936 film of the same name (long before there were dispensaries and retail shops), takes a tongue-in-cheek look at the hysteria caused when clean-cut kids fall prey to marijuana, leading them on a hysterical downward spiral filled with evil jazz music, sex and violence. You won’t be able to resist the spoofy fun of Reefer Madness!  You don’t even have to be stoned to laugh.  Mature Audiences Only.

4000 Miles

By Amy Herzog

March 26-April 12, 2015

This regional premiere by celebrated new playwright Amy Herzog is an acclaimed comic drama that tells the story of Leo, a 21-year-old tree hugger from Seattle who unexpectedly arrives at the Manhattan apartment of his feisty 91-year-old grandmother, Vera as he finishes a cross-country bike trip. Over the course of their reconnection, we discover the fragile connection they share between growing up and growing old. Named Time magazine's #1 Play or Musical of 2012.

Guys and Dolls

Book by Jo Swerling and Abe Burrows/Music and lyrics by Frank Loesser

May 21-June 14, 2015

Winner of 8 Tony Awards, luck will be a Lady again as we produce what’s been appropriately called “the perfect musical comedy.” Capturing the 1920s confluence of gangsters, floating crap games and missionaries in New York City (“Runyonland”), Guys and Dolls continues to delight.  

SECOND STAGE

Love, Loss & What I Wore
Written by Nora Ephron and Delia Ephron/Based on book by Ilene Beckerman

Sept. 18-28, 2014 

With its fashion forward subject matter, this intimate collection of stories by superstar sisters Nora Ephron (Sleepless in Seattle, When Harry Met Sally, Heartburn) and Delia Ephron (You’ve Got Mail, The Sisterhood of the Traveling Pants), is based on the best-selling book. The show has played to sell-out crowds from London to Los Angeles, using clothing and accessories and the memories they trigger to tell funny, startling, and often poignant stories that every woman can relate to. The perfect girl's night out!

Stuart Little
Book by E.B. White/ Adapted by Joseph Robinette

Oct. 23-Nov. 2, 2014

The debonair mouse in the smart little tennis shoes from E.B. White’s classic children’s book comes to life in this charming stage comedy.  Prone to one misadventure after another as he tries to adjust to his adopted human family, this is and witty adaptation of a timeless tale.

WYNOT Radio Theatre

Dec. 11-28, 2014

The finest old-time radio parody troupe around, WYNOT radio theatre is back and this time with a twist.  Three weeks, three different episodes.  Join the WYNOT gang for laughs after laughs and come back each week for an entirely different show!

Tilly The Trickster

By Jeremy Dobrish/ Music and lyrics by Drew Fornarola/ Based on the book by Molly Shannon

 March 20-30, 2015

This high-spirited musical adaptation of SNL alum Molly Shannon’s children’s book follows the adventures of a mischievous girl and her talking dog, from one scheming prank to another.

Rough Writers- 

June 4-14

Yes! The birthplace of APRIL'S FOOL! This new play festival will return with staged readings of original short and long plays written around a theme to be announced later this spring. 

Veronika String Quartet

Oct. 12, Jan. 18, May 3

One of the state’s finest classical quartets returns for another three-concert season in our beautiful Music Room, an intimate setting where their tight harmonies have helped them become a huge FAC hit.

SUBSCRIPTIONS

Season Subscriptions range from $99-$173, and we’ve added special Family Packages that range from $81-$105.

FlexPasses give even more ways to save money while maintaining flexibility -- picking your favorite four, five or six shows without committing to specific days.

Ticket prices for individual mainstage productions start at $20.

Current season ticket holders have until July 1 to ensure their seating preference.

For tickets and information call: 719-634-5583 or visit csfineartscenter.org.

APRIL IN AUGUST AT FRINGENYC

April's Fool is in! Repeat: April's Fool is in! I am Fringe-ing it this summer. That's right- I am going to be a participant in the 2014 New York International Fringe Festival with my latest play, April's Fool. I am excited, a little scared, and very happy.

April's Fool, my metaphysical comedy that was first developed by the theater at the Colorado Springs Fine Arts Center- Scott Levy, artistic director- and recently given a reading as part of the Playwrights Festival at The Western Stage of Salinas- Jon Selover, artistic directcor- will be given it's first full production in August, marking my first full length play to be performed in NYC in almost 8 years.

I want each of you to come see it. I don't want any excuses. I want your butts in seats. That sounds a little kinky, and I don't care. Just be there- it's this August, in NYC- the best time of year to be in Gotham.  And if you haven't already- visit our Facebook page and "like" it. Pretty please. Just click HERE and then, once on April's page, click like. Ten seconds of your time.

If you like my plays at all, April's Fool is for you- it's got a bunch of hyper intelligent people acting like morons. It's got cultural references galore. It's got death, sex, loneliness, and angst. And it's funny.

The casting is in progress- if you are in NYC and have always wanted to audition for a brand new play by Kelly McAllister, this is your lucky day.

Not only is it written by me, it's being directed by Bronwen Carson- who is so talented, funny, and insane in the best sense of the word that I can't really do her justice with my feeble attempts at describing her. Just trust me when I say she is a director who kicks it in the ass.

But wait, there's more. The show is being produced by Craig Nobbs- rising screenwriter, film director, and genius. And one of my dearest friends and collaborators.

So, why else should you go see this show? Well, if you've ever wondered about reality- like if maybe this is all some sort of weird dream, or maybe you are in the wrong alternate reality and should be in the one where you have the job of your dreams and made all the right decisions- if you've ever, even for just one moment, pondered if there is such a thing as fate or destiny controlling all or at least some of your life- if you think maybe you stepped through the looking glass long ago and have been wandering Wonderland most of your days and nights- this is the play for you. It won't answer all the questions- but it will give you a little bit of solace on those occasions you think we're all mad here.


The New York International Fringe Festival is the largest performing arts festival in North America, and takes place in August. I have had the great honor of being involved in four productions at FringeNYC- Last Call; Muse of Fire; Die, Die, Diana; and Some Unfortunate Hour. To be in the Fringe is amazing- and to experience it as a theatre goer is something that should be on everyone's bucket list.

So see you in August. More details- like theatre space and show dates and times- TBA.
If you want to buy a digital copy of the script- you can do that, right now, and for less than two dollars, by clicking HERE- that will take you to Indie Theater Now- the best web site in the multiverse.

NOISES OFF AND RUNNING

For the past few years, I have been going to see shows at the Fine Arts Center Theatre in Colorado Springs. I've seen dramas, comedies, musicals, even a one act that was stage in the museum section of the center- the excellent Lovers Leapt by Leslie Bramm directed by Artistic Director Scott Levy. And every show has been an outstanding piece of theatre. Noises Off, now playing at the FAC, is no exception. It's hilarious, fast paced, and makes you happy to be alive. This production also proves, yet again, that the most consistently excellent professional theatre in Colorado is at the Fine Arts Center in Colorado Springs.

Noises Off is a farce written by super-genius Michael Frayn. It's about a traveling theatre company putting on a farce, and is done in three acts, and from two perspectives. Act one is the final technical rehearsal, and is seen from the point of view of someone sitting in the audience during rehearsal. Act two takes place during a performance of the play, and is seen from the perspective of backstage (complete with the set rotating 180 degrees. Act Three takes place during a particularly disastrous performance, and is again seen from the perspective of someone sitting in the audience. I'm not sure if the play is a lover letter or an indictment to the madness of putting on a show- but either way, it's a delight. To me, what makes this play so funny is how seriously the characters take themselves while they do the most ridiculous things. While the characters and plot may seem absurd to some, they are very, very familiar people and situations to anyone who has ever been in a play.


The show is directed at a break neck pace by Cory Moosman. Farce is considered the hardest form of theatre- but you wouldn't know it from this production. Every move, comic bit, and complicated piece of dialogue is made to seem effortless by the outstanding cast. They are all magnificent, so I will name them all here: Birgitta DePree (Dotty Otley), Sammie Joe Kinnett (Lloyd Dallas), Scott Bellot (Garry Lejeune), Shanna Brock (Brooke Ashton), Joye Cook-Levy (Poppy Norton-Taylor), Max Ferguson (Frederick Fellowes), Casiena Raether (Belinda Blair), Sammy Gleason (Tim Allgood), Michael Miller (Selsdon Mowbray). Equally brilliant and deserving of recognition is the design team. The sound, costumes, props, and in particular set are stunning. They too deserve kudos, and they are: Christopher L. Sheley (Scenic Design), Holly Anne Rawls (Lighting Designer), by Janson Fangio (Costume Designer), Kaetlyn Springer (Properties Designer).

I particularly enjoyed this show because tonight I am opening a production of How to Succeed in Business without Really Trying at StageDoor theatre in Conifer- and many of the antics, frustrations, and joys brought to life in Noises Off have been, and continue to ring so true to me as I work with all these brilliant and insane young actors. 

I hope you all get a chance to see both Noises Off and How to Succeed in Business without Really Trying. Until then, may the force be with you.

GROOVY, DROWSY CARNAGE- ALIVE AND WELL AND LIVING IN COLORADO

We have a lot of fantastic theatre in Colorado. Which might sound surprising to people, seeing as we are a fairly small state, with a fairly small population. But that population is quite groovy. I was lucky enough to see four outstanding shows in the past month: Hair at Town Hall in Littleton, God of Carnage at the Curious Theatre, and both The Drowsy Chaperone and Jaques Brel is Alive and Well and Living in Paris at the Fine Arts Center in Colorado Springs. All four shows were spectacular, and made me happy to be alive. Sometimes, you see a show, and it's bad. Really bad. And you sit there in your chair, which suddenly feels very uncomfortable, and words like "ponderous" keep floating to the surface of your slowly calcifying brain. But not so with these shows. I felt smarter after watching these shows. Better. Faster. Stronger.  It seemed as if my soul was being fed some sort of ambrosia that gave strength and courage. I believe that's what theatre, and art in general, is supposed to do, even if the subject is sad, gruesome, or horrifying: elevate your spirit, affirm to some degree what it is to be a human being, remind you that no one is alone.

HAIR was a joyous examination of the human spirit, with a solid cast, outstanding band, and rocking, show stopping numbers. GOD OF CARNAGE was wickedly funny, featuring four amazing actors- Karen Slack, Dee Convington, Erik Sandvold, and the always outstanding Timothy McCracken. THE DROWSY CHAPERONE might be the best musical I have seen so far in Colorado- the acting, singing, dancing, direction, design were all superb- and on top of that, Artistic Director Scott Levy stole the show as the Man in Chair. All those shows are closed- but you can still catch JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS, which is playing through this week-end. The show is more of a revue, a tribute to Belgian songwriter Jaques Brel. If you like smart, beautiful songs about life, love, war, peace, old people, young people- well, songs about what it is to be a human being- that are performed with grace, style and humor, then this show is for you. The cast of four- Halee Towne, Lacey Conell, Max Ferguson, and Alejandro Roldan- are exceptional performers, able to conjure entire worlds out of thin air. The show is directed/choreographed at a crackerjack pace by Nathan Halvorson. The band is out-friggin'-rageous. I would have been quite content to  listen to them play until the wee small hours of the morning. The design, as always at the Fine Arts Center, was excellent. If you can, get yourself down there to see yet another fine show at this gem of the Colorado theatre scene.

I myself have a new show opening this week-end- a new version of ROSE RED, which I wrote the book and co-wrote the lyrics for along with Kari Kraakevik, who did music and also co-wrote lyrics. The cast is amazing, the script streamlined, and we are premiering a new song. So, if you are in the Boulder area, please come see the show- which features some of the best young talent in the state.

And last, but not least, I hope you all take a gander at the indiegogo page for my movie Strong Tea. We just put up a new pitch video yesterday, and it's pretty damn funny. To see it, go HERE. If you like what you see- please throw in a couple of bucks, and share the site with all your friends via facebook, twitter, or whatever social media floats your boat. Thanks, and I'll see you at the theatre.

http://igg.me/at/strongtea/x/3385268