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.

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.

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.

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.

WHAT'S SO FUNNY ABOUT PEACE, LOVE, AND MERCIFUL STORIES?

I went to the Colorado premiere of Jon Robin Baitz's play Other Desert Cities at the Colorado Springs Fine Arts Center Friday night with some trepidation. Not about the production- I have seen virtually every show they have done for the past two seasons, and each show- to a one- has been excellent. No, the reason I felt a little anxious was because one of my companions that night happens to be a staunch Republican, and this show deals with a conservatives and liberals- and I wrongly assumed it would be slanted towards the liberal side of things. Of course, my fears were unfounded, the play outstanding, and we all had a fantastic time.

Other Desert Cities is not a play about political ideas, but about human beings dealing with each other, their past, and how it affects the present. It is a kind, funny, sad, thrilling night of theatre, and if you have any brains, heart and/or soul, you will get your ass down to the Springs and catch this gem of a show.

The plays takes place at the plush Palm Springs home of Lyman and Polly Wyeth, a conservative couple in their waning years who once were among the Illuminati of the GOP. At the top of the play, it's Christmas Eve, and daughter Brooke, a fairly neurotic and seriously depressed writer, has come home- ostensibly for the holiday, but in actuality to show mom and dad the manuscript for her latest book- a tell all memoir. The memoir is about a family tragedy that tore the family apart in the 1970's, which most would like to recover from, but sadly, Brooke can not. Also present at this gathering are Brooke's younger brother Trip, a reality show producer, and liberal Aunt Silda- who is a semi-recovering alcoholic and the antithesis of her sister Polly in every way. As the play progresses, layers are peeled away, and nobody is as easily categorized as we think. As is painfully often the case, there are no good guys and bad guys, just people struggling to understand each other and find some solace in a rather cruel world.

The play is both laugh-out-loud funny and quietly-wipe-away-a-tear sad, and director Scott RC Levy moves it along at a break neck pace. Levy creates a family we all can relate to- slightly crazy, loving, infuriating, and scary. The cast is uniformly excellent. Daniel Noel, as patriarch Lyman, is a wonder to behold. He has this fantastic presence. His performance is subtle, moving, and powerful. He's one of those actors who can with the slightest look or move tell you everything you need to know about a character.  Leah Chandler-Mills is fantastic as matriarch Polly, who hilariously and tragically tries desperately to keep up appearances of normalcy despite all evidence to the contrary. Sammy Gleason plays younger son Trip- a sort of serio-comic modern version of Happy from Death of a Salesman. Gleason is a dynamic performer, and can turn on a dime from comedy to tragedy. Kate Berry, as Brooke, is excellent, giving Brooke pathos, along with a bit of righteous indignation that is both understandable, but also infuriating. Her journey is the spine of the show, and she makes is exhilarating. Stealing the show with ease is Birgitta De Pree as Silda. De Pree owns the stage, prancing around like a deranged rock star who has escaped rehab. Silda has a lot of sharp dialogue, and De Pree delivers is perfectly. She does not sugar coat her character, but rather gives us a fully realized mess of a woman who you alternately want to hug, throttle, and then hug again. The design is outstanding- set designer Christopher L. Sheley has created a home the looks like it was literally pulled out of it's foundations and brought to the stage. It captures perfectly that pseudo Frank Llyod Wright look so common to the affluent areas of California- my home state. Lights by Holly Anne Rawls perfectly capture the desert sky, especially the sunsets. And the costumes by Janson Fangio were perfect, enhancing each character with a look to match their personalities.

So let me say this one more time: If you are anywhere near Colorado Springs, get your ass down to the Fine Arts Center and see this show.

ROUGH WRITING

I'm pretty much writing all the time. Most of it is in my head, because I have to do things like go to work, eat, sleep, clean the house, walk the dog, and do all those little things that comprise a life. But still I write. Stories whirl around in my head like ghosts trapped in a glass jar. Some are full apparitions, some are mere shadows whose shape is unclear. But regardless of size and definition, they live and breathe and demand attention- some moaning and groaning, some singing and dancing. And if I am not able to write them down, they get angry and usually louder. I often think that if I don't exorcise them via a story or script, they become a poison in my system.

What can I say? I might be a little weird, but isn't eveyone?

So, one of the ghosts that has gotten my attention and has made it to the page is a new play with the working title "Don't Get Too Comfy, Pal." It sprang out of a painting, a charcoal sketch by Liz Maugans called "Don't Get Too Comfy, Pal." (As I write this, I am debating in my mind changing the title.  I don't know why, exactly, but after writing down that the title of the painting and the title of the play are the same, it struck me that I need to change the title). I found the art work via a writing contest being held by the Colorado Springs Fine Arts Center Theatre called Rough Writers. I have always liked the work that company does, and ever since I saw an excellent production of Leslie Bramm's one act Lovers Leapt directed by Scott RC Levy at there last year, I have wanted something of mine to be produced by this exciting company. And along comes this handy contest.

The guidelines were pretty simple- base a play of any length on one of three art works, and send it in by St. Valentine's Day. Here's the one that first sparked my imagination:


To me, it said lonely New York apartment, with something dark and strange looming in the air. It felt kind of haunted and dangerous and I just wanted to write about it. Suddenly I saw this guy called Ahab breaking into that very apartment. Not breaking in to steal something- breaking in to set something right that in his mind was wrong. Then I thought of this really horrible I had once been unfortunate enough to witness, which involved a fake marriage proposal. And the whole thing just started coming together. I saw lonely, funny, interesting people all trying to get different things, thrown together by circumstance. And I wanted, no doubt because of the paintings title, to have reality keep shifting on people- kind of like how most episodes of The Twilight Zone end, with a strange twist. Or like the ending of the first movie version of Planet of the Apes ( co-written by Rod Serling, the main creative force behind the twilight zone), where Charlton Heston, upon seeing the ruins of what was the Statue of Liberty, comes to the realization that he's been on Earth all along. You know, the part where he kneels on the sand and screams in that way that only Heston could "Damn you! Damn you all to Hell!"

So I had lonely NYC apartment, Ahab and his cohorts, and the idea that reality will shift alot- mostly at the end of each scene. Now I needed something else- some kind of supernatural character to tie it all together. And I took to the internets. I am lucky in that I have a lot of creative friends of Facebook- so I took an impromptu poll, asking what kind of supernatural being people would like to see in a play. After several excellent ideas, Bronwen Carson, a director/choreographer out of Brooklyn, suggested the Norns- who are the fates of Norse mythology. Now, I am a bit of a nut for Norse myths, and the instant I saw them, I knew they were what I wanted. But I decided to put all three Norns into one being, and have them answer to all three of their names at different moments. You know, the tired old triple-personality supernatural character we've seen so many times before. And like that, I saw all the characters of show. Ahab, a slacker actor/waiter who is in love with Moira, whose name means fate and who happens to have a stockbroker boyfriend named Kurt. Rounding out the cast is Sabrina, who is in love with Ahab and is named after a character on General Hospital (inspiration comes from anything and everything), and the Norn, who would appear both as herself, and also as whatever else is needed, which at this point includes a bar tender, a priest, and a cop.

Sound strange? Well, that's what goes on in my head, every freaking day. So, I start writing the first draft, and decided immediately that everyone has to be dressed like a clown or a jester or a fool of some type. And it makes total sense. And the play plops out of my head like Athena from the head of Zeus. It happens like that sometimes. A whole play materializes, as if from the void. Maybe it forms like a planet. A bunch of ideas slam into each other, form a larger idea, their gravity starts to attract more ideas, and presto- a new play is orbiting the sun of my soul. One of the later ideas to smash into this new planet was one of the other art works from the contest- a porcelain axe titled "Everyday Is Like Sunday" by TR Ericsson. It too had to be in the show. And not figuratively- I mean physically. So now it's there, and gets used, and ends up covered in blood. Now the first draft is done, and it's time to go back into that world, and see what new things will show up, what as yet undiscovered moments, objects, and actions. I don't know where this play will end up- I don't even know if it will be part of the Rough Writers readings. I hope it does, but won't find out for another month. I do know I like it. A lot.

Two more things I want to tell you today.

One, there is a production of my play Burning the Old Man opening March 16 in Sao Paolo, Brazil. It's been translated into Portuguese, and is called As Cinzas Do Velho. If you are in Brazil, go see it. From what I've gathered through many conversations with the cast and crew, it's going to be amazing.

Two. I met a really excellent artist last week. His name is Thomas Och, and his work is unique and beautiful. Go check his web site out by clicking here. Here is a piece of his I really like- it's a photo of a person and a painting, merged into one piece of art.

So that's it for now. Go on out and get your theatre on, get your art on, get your life on.

THE LEAR OF MUSICAL THEATRE

I have seen the best stage version of the musical Gypsy ever done. I saw it Saturday. It was directed by Scott RC Levy. It was at the Colorado Springs Fine Arts Center. It was epic. It was funny. It was full of spectacle, but also intensely intimate. I don't say this lightly. I don't say this off the cuff. This show was fantastic, and this company is consistently putting up the kind of theatre that reminds you why you go to theatre in the first place: in the hopes that you will be transported to another level of being, where strangers who are hauntingly familiar alternately titillate, endear, enrage, confuse, and ultimately enlighten you a tiny bit on the huge mystery of what it is to be a human being. Again, the company who is doing all this is the theatre at Colorado Springs Fine Arts Center, where Mr. Levy is the artistic director.

While Gypsy ostensibly about the early days of the girl who would grow up to become the famous stripper Gypsy Rose Lee, it's really all about Mama Rose, the mother of favorite daughter Baby June and overlooked wallflower Louise- who of course turns out to be the one who grows up and achieves stardom. Mama Rose is a huge role. Mr. Levy calls it the Lear of musical theatre- and with good cause. Mama Rose has to be larger than life, brash, at times fragile, at other times immovable. A good Mama Rose has to be able to get you rooting for her, loving her- and then get you to find her a bit insane and mad at yourself for wanting her to succeed, and then get you to feel guilty about being mad at her. A.J. Mooney plays Mama Rose better than any I've ever seen- and I've seen a lot, including Bernadette Peters on Broadway. The moment she literally climbs on stage in the first scene, you can't help but be mesmerized. Mooney oozes presence, sex appeal, and just the right amount of madness to make her impossible not to gaze at in wonder every second she's on stage. She can sing to shake the rafters, moves like a natural born dancer, and has the kind of acting chops you just don't see all that often. Put simply, she rocks. Levy has surrounded her with a fantastic company, a brilliant set, outstanding costumes, and a rocking orchestra led by Roberta Jacyshyn. Standouts in the cast include Lacey Connell, who plays Louise. Connell gives us a Louise who is intensely lonely, a girl with an incredibly complicated relationship with her mother and also with her sister June, Mama Rose's clear favorite. Connell's Louise struck me as a little bit nutty herself, and her transformation into a rather rough Gypsy Rose Lee at the end of the play made complete sense to me- it was like seeing her in a certain way take on some of the not so nice aspects of her mother. Creepy, sad, and really great theatre. Equally excellent is Nicole Dawson as June- who clearly wants to get the hell away from her overbearing mother, and eventually does when she elopes with a boy from their vaudeville act named Tulsa- played by Ryan Miller who does a great job with the number "All I need is the girl". Dawson and Connell's duet about wishing their mother would settle down and get married is sweet, and just a little bit sad. I loved it. Stephen Day as the long suffering/smitten Herbie, who carries a torch for Mama Rose and puts up with a lot is so good I was rooting for him to make everything come out alright, even though I knew the story and how it would end. Also, Sally Lewis Hybl, Anita Lane, and Becca Vourvoulos as the three strippers who give Louise advice in Act Two are priceless.

What I really love about this production was the way Levy moved it along- making us laugh at the absurdity and wonder of a life seeking stardom, disarming us with the charm of theatrical dreams about the roar of the crowd and all that- and then ripping open our hearts and letting out a lot of dark, strange demons in the huge final number that Mama Rose sings.

Okay. Suffice to say, the show rocked, and you all need to go see any and all shows done at FAC.

And in December, don't forget to come to Boulder to see my new musical, ROSE RED.


"

YOU CAN'T STOP THE BEAT

I love theatre. Have I mentioned that? Well, I do. I friggin' adore it. Especially when done by seemingly like-minded lunatics who somehow manage to capture a little bit of the effervescent magic of what it means to be a human being; who reach out into the soul of the audience and say "it's okay, we get it, now let's sing and dance a little"; who kick it in the ass.

That's what's going on down at the Colorado Fine Arts Center with their current production of Hairspray. This is a  funny, smart, and sexy show that starts with a bang and keeps getting better, scene by scene and number by number. Hairspray (based on the 1988 film by John Waters) follows the adventures of Tracy Turnblad in 1962 Baltimore. Tracy is a teen-ager who loves to dance more than anything in the world, and dreams of being a regular on The Corny Collins Show, a local TV show where teens dance and sing to the latest tunes. Corny Collins is Baltimore's version of Dick Clark, and Max Ferguson is hilarious in the role. The show is produced by Velma Von Tussle, local villaness and former Miss Baltimore Crabs- played with nasty gusto by Alannah Moore. The show within the show epitomizes rock-n-roll in the early sixties- white bred and watered down. Even so, Tracy loves it- and especially local teen star Link Larkin. Link, as played by Marco Robinson, is hilarious- a kind of bumbling young leading man who reminded me of James Franco- if Franco could sing and dance. Link's girlfriend, another member of the Corny Collins Show, is mean girl Amber Van Tussle- daughter of Velma. As Amber, Lacey Connell gives us a great meanie who is both entrancing in looks and style, but appalling in manner and heart.

Tracy's sweet, determined, and a little bigger than the average dancer- but that doesn't slow her down for a minute.  The show lets us know right away that we're in a world that's a little larger than life- but at the same time a little more realistic than your average musical- with the song "Good Morning Baltimore". In it, we meet Tracy, who loves her town, and life itself, unconditionally. In her world, there are flashers, bums and rats, as well as sunshine, magic, and promise. Andrea Rutherford plays Tracy perfectly- she's perky, kind, silly and sexy. The moment the lights come up on her, you love her and want her to win the day. Tracy is a working class girl, and her parents are you average working class folks, with dreams that didn't quite come true. But they are also unique in their optimism and love, which is so sweet and strong you just want to hug them. The mother, Edna, is played with perfect comic timing and gigantic heart by Drew Frady. Edna is a force of nature who has never let herself shine in all her glory at the top of the play- but thanks to her daughters love and the circumstances of the story, by the end of the show Edna is a show-stopping Diva who owns the stage. Michael Augenstein plays Tracy's dad Wilbur, a goofy guy who owns a novelty shop and who encourages his daughter to do what she wants and follow her dreams. Wilbur is charming in the role. One of the many things I love about this show is how these parents, who could be seen as geeky losers, are loving, strong, wonderful people. They don't have a lot of money, or a strong sense of fashion, or any of those shallow things we seem to prize too much- but they have souls the size of the cosmos. And their song You're Timeless to Me is fantastic- one of several show stopping numbers. Tracy and her best friend, Penny Pennington- played by the magnetically charming Carmen Vreeman- watch the Corny Collins show religiously- much to the consternation of their parents, who would like them to spend more time studying. Tracy, in particular, seems to get into trouble a lot at school- and ends up in detention most days. This is actually a good thing, because it is there that she meets Seaweed J. Stubbs and his friends- the black kids in this still segregated time. Seaweed, as played by Tyrell D. Rae, is one cool dude- who can dance and sing and has that kind of ease with himself that makes you want to hang out with him. Tracy and Seaweed hit it off instantly, and before you know it, Seaweed is teaching Tracy all the lastest moves. A spot on the Corny Collins Show opens up when one of the teen dancers gets knocked up, and Tracy's chance to shine finally arrives. What follows is a battle of wills between Tracy- optimistic and accepting- and Amber- snooty and mean. And then there is the eleven o'clock number I Know Where I've Been, sung by Seaweed's mom, Motormouth Maybelle- that brings down the house. Motormouth is played by Lynne Hastings- yet another stand out in this stand out cast.

The show is directed by Scott RC Levy- who became the Artistic Director of the Fine Arts Center this year and has consistently provided vital shows that speak to the heart and mind in equal measure with passion. Here again, he shows off his talent. The show runs at  a perfect pace, never dragging, always engaging, and consistent in mood and energy. He sets the tone from start to finish as one just this side of reality- fantastic, funny, and quirky.

I really can't say enough how much I enjoyed this show. It's life affirming. I hope it sells out the run and extends for a month or two, so that I can see it again.

So, that's what I think of Hairspray. Other than that, don't forget to check out my plays, available at Indie Theatre Now. Also, there's a chance my play Burning the Old Man will be done in Brazil this fall. That would be the fourth continent I've been produced on- which I think is cool. And very soon, my short Strong Tea will be ready for the world. Until then, go out and get your theatre on.

THE UNIVERSE IS COOL

It is. Things happen that make me think there is some sort of purpose, some hand that guides us on our journey from cradle to grave, a kind of fate if you will, that connects us all.

Like the force in Star Wars.

Do you capitalize the Force? Hmmm. Where's Obi Wan when you need him.

Anyway, I went down to Colorado Springs to see the Fine Arts Center's excellent production of Steinbeck's "Of Mice and Men", directed by by Scott RC Levy. The show itself was fantastic- which is no surprise, based on the season so far. On a beautiful set, designed by Chris Sheley inspired by the art of Thomas Hart Benton (read more about it here) Levy tells a story of isolation and friendship that is alternately heart warming and heart breaking. Kent D. Burhnam plays the long suffering George, a farm hand down on his luck traveling with his friend Lennie, a man-child who happens to be very strong, played with the perfect mix of delicacy, innocence, and sadness by Logan Ernstthal. Burhham takes a no nonsense approach to the role of George, giving him a natural ease and making the final scene all the more tragic as a result.  Dean Steffen as Curley- a bully and a dandy with a Napoleon complex, is outstanding. Adrian Egolf, as Curly's lonely, flirtatious wife, takes a role that could easily be played as a stereo-type and makes us feel for her, even though she's trouble through and through. And Chris Devenport, as Crooks, practically steals the show in his scene with Lennie. His ease on stage, coupled with some truly dynamic vocal and physical work, is just excellent. If you are anywhere near Colorado Springs, you should go see this show. It's another gem offered up by Mr. Levy and company that shines.

What does this have to do with the Force and all that? Well, I'll tell you.

First off, Adrian Egolf, who plays Curly's wife, also happens to be starring in STRONG TEA, a short film written and directed by yours truly. I had already been planning on seeing Of Mice and Men before I found out that Adrian was in it. Second, at the show, as I read the program bios of the cast, I saw that Kent Burnham had worked at the Western Stage of Salinas, CA. A place I had worked several seasons as an actor, most notably as Adam/Aron in the world premiere, 9 hour trilogy of Steinbeck's East of Eden in 1992 and again in 1994. Something was trying to click in my little mind as I read that in   his bio. After the show, there was a talkback with the cast and director- and I asked Kent about his work at Western Stage- turns out he did the 2000 production of East of Eden, and played Adam/Aron as well. On top of that, we had hung out together a couple of times on the Lower East Side of NYC long ago. Weird, no? Well, maybe not weird, but cool.

Speaking of cool- please take a moment to check out the first trailer for my film- Adrian is the dark haired beauty. Devon James plays the blonde with the temper. And Tim McCracken, who plays the lead, was in the cast of East of Eden with me in 1992.

That's about it for now. Gotta keep on keeping on.

IN THE NEXT ROOM

The theatre at the Fine Arts Center in Colorado Springs has done it again.  I've had the great good fortune of seeing every show there this season, and so far, each production has exceeded my expectations in every way imaginable.  First I saw Leslie Bramm's Lovers Leapt- fantastic, tragic, timely.  Then I saw Stephen Sondheim's Assassins.  Brilliant.  Then came A Year with Frog and Toad- sweet, joyous fun.  And now Sarah Ruhl's In the Next Room, or the Vibrator Play, which was funny, sad, thought provoking- your basic outstanding night at the theatre.  The first three plays I saw at the FAC were all deftly directed by Scott RC Levy, the new Artistic Director of the company who has programmed a season that is just fantastic- exciting, entertaining, and elevating.  In the Next Room is directed by Joye Cook-Levy perfectly, with just the right balance between comedy and drama.  I don't know what they eat in the Levy/Cook-Levy house, but it must be some kind of meta-theatre super food that produces super powered theatre people.  How else can you explain so much talent in one household?

The play itself is a comedic drama, or rather a dramatic comedy, is set somewhere in the Victorian age, and is about a Doctor Givings, who uses the fairly new invention of what we call a vibrator to help women, and some men, overcome "hysteria".  The central character in the play is the doctors wife, Catherine- who goes from scatter-brained housewife to fairly modern woman in the course of the play.  The actors are to a one pitch perfect.  The dialogue is somewhere between the well made plays of Shaw or Wilde and the hard hitting realism of Ibsen- but the cast pulls it off wonderfully, at just the right pace for us to digest what is going on and still keep us leaning into the action.  Stephanie Phil plays Catherine with intelligence, sensitivity, and a keen sense of humor.  Chad Siebert plays Doc Givings just right, making him at once a bit of an insensitive husband and also a lost, sad man who doesn't really know how to connect to his wife.  Max Ferguson plays an artist who suffers from hysteria and has several memorable run ins with a device from Chattanooga that brought the house down.  Marisa Hebert is strong as Elizabeth, a wet nurse who serves as the catalyst for Catherine's journey, and then provides some insight into martial bliss in the second act.  Tracy Liz Miller and Tom Auclair play a couple who come to the doctor for help with their hysteria problems, and bring humanity to these rather silly people.  And Amy Brooks plays Annie, the doctors assistant, so sweetly, so softly and sadly that she was my favorite character in the play.

Next at the FAC:  Steinbeck's Of Mice and Men.  I can't wait.

And now, on a complete tangent of self promotion- I am a semi-finalist in a pitch contest that Playscripts, inc. is throwing.   A pitch is a basic idea for a story.  In this contest, called Pitch-n-Play, hundreds of playwrights tweeted their pitches, and 30 were chosen as semi-finalists.  Now, through online voting, 3 finalists will be chosen, and then one winner will be given an advance on their play, whihc will be published by Playscripts, inc.  Please go here and vote for me- my pitch in the one about the real Puck messing with teens during a high school production of A Midsummer Night's Dream.

Now go out there and GET YOUR THEATRE ON.

RESOLVED

So it's over a week into the new year, and I still haven't really made any resolutions.  As Rick Perry would say, oops.  It's not that I don't like resolutions or anything.  I usually make tons of them- this year, I'm going to write 5 new plays; this year, I'm going to exercise every morning; this year, I'm going to write in my journal for half an hour a day; I'm going to read a book a month; I'm going to be nicer to strangers; I'm going to finally remember how to fly like I can in that recurring dream.

There's no end to things I've made resolutions about.  But so far, mark me down for zippo this year.  Maybe it's the whole Mayan calendar end of the world thing.  Maybe it's the onset of a gigantic mid-life crisis, coupled with existential blues and compounded by a dulling of my brain by the constant news reports on the GOP primary.  I don't really know why I haven't made any promises to myself about what I want to do in 2012.  I just haven't.

Well, screw that.

I'm going see more theatre this year, and when I see a show, write about it on this blog promptly.  I saw a fantastic production of A Year with Frog and Toad in December at the Fine Arts Center in Colorado Springs, and didn't write about it.  The cast was uniformly superb, the direction by Scott RC Levy brilliant, and the production values outstanding.  This is the kind of theatre we desperately need more of, and I need to do what ever I can, in my small way, to help promote it.    The next production at the FAC, Sarah Ruhl's In the Next Room, opens February 2.  I can't wait to see it, and to write about it here.

I'm going to finish my first film, Strong Tea.  That's actually a pretty easy resolution to keep, as it is staffed, cast, and funded.  We shoot at the end of the month, and hope to start making the festival rounds in early February.   Should be quite the adventure, and I am sure I'll be writing about that whole experience here as well.

I also resolve to finish my latest movie script, and start on at least one new play.  Why not?

And I resolve to listen to more music, take more walks, and not beat myself up when I forget to do all these wonderful things.  Life is way too short, and if this is indeed the last year of civilization, who has time to recriminate oneself?  Not me.

So, resolutions done.  Now on to work, play, and no dull boy.

Also, if you happen to be in the town of Pardubice in the Czech Republic this week-end, you should go see Putovani S Urnou at Divadlo Exil.  It's a translation of my play Burning the Old Man.  Opening night is sold out, but I think you can get tickets for the second performance.

So, 2012, let's do this thing.

Lovers Leapt

So it was ten years ago that we all went crazy.  As Mr. Nelson said, ain't it funny how time slips away?  I remember a lot from that day, and the many days afterwards, being in New York, going to Union Square and seeing all the candles and flowers and people, and how people kept painting the boots on the statue of George Washington pink- which seemed very appropriate at the time.  It was a strange time to be alive.  Like most times.  Last night, I was at the Broncos game, and there were all these ceremonies going on about 9/11, and I heard a boy ask his father if we were celebrating 9/11.  It was a strange choice of words, but taking a step back, not too strange.  The ceremony had the air of celebration and spectacle, with just a pinch of gravitas strategically thrown in.  And of course, there were thousands and thousands of people chanting "USA!  USA!  USA!" over and over- which gave the whole thing a sort of pep rally feel.  It was kind of creepy.  Happily, the day before, I went to something far more interesting, and to my thinking, appropriate in regards to 9/11.

Sunday, on the tenth anniversary of the attacks, we went down to Colorado Springs to see a production of Leslie Bramm's Lovers Leapt, directed by the intrepid Scott RC Levy for for the Fine Art Center's Theatre Company, as part of a special event to commemorate 9/11.   The play is a one act, written shortly after the attacks, that brings to the stage what goes through the minds of two people as they jump out of one of the burning towers.  It's tough, and sad, and beautiful.  It's starts with their initial leap, and ends abruptly in the only way it can.  In the time between, we journey with the actors to ideas of what might have been and will never be.  If you would like to read a section of the play, or purchase it outright for less than $2, it is part of the 9/11 collection of plays offered at Indie Theatre Now.  Just go here.  The play was presented in front of a display of 9/11 art by Joellyn Duesberry, with no set to speak of, no lights or sounds- just actors, words, and heart.  I found the spartan staging to fit perfectly with the material, letting the audience imagine all the flames and smoke and horribleness from the plethora of images we seem to be inundated with every year around this time.  The performances by Steve Emily and Kara Whitney were superb- I completely believed I was watching two people falling through space, toward certain doom- which is kind of amazing when you think about it.  If this production is any indication of what Mr. Levy is going to doing with the company, I expect to be making the drive to Colorado Springs a lot.  After the show, there was a talk back, led by Mr. Levy, along with Sam Gappmayer, CEO/President of the center, and Blake Milteer, Director of the Taylor Museum.  One of the main points of the talk back, aside from comments on the show itself, was how the one question we all seem to ask each other when discussing that horrible day is "where were you", and why is it that we ask that question.  I thought about that a lot, and I think that maybe the reason we ask that question is that it is one of those moments in our lives that sticks out as a time when all facade slipped away and we faced the unknown.  I think beyond that, we have taken many different views about the attacks and what they meant- but the unifying moment, I believe, was not a wake up call to terrorism, or a justification for war, or a justification for peace- it was just a time when we all had to face death and mortality.  And it seems that most of us connect to that moment instantly when we think of it, and lose all our inhibitions and pre-supposed ideas of self, and are able to connect with one another.

Joellyn Duesberry, Memory Time Lapse

For information on more plays about 9/11 that I recommend, please go to Indie Theatre Now's 9/11collection.  And please, leave a comment about where you were, and what you thought on that day.