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.

SLEEP NO MORE

Me thought I heard a voice cry, 'Sleep no more! Macbeth hath murdered sleep!'
     MacBeth, Act 2; Scene 2



I love the Scottish play. That's what a lot of theatre folk call Shakespeare's MacBeth. In fact, I rarely say the actual word, "MacBeth". You see, it's considered bad luck. Especially in a theatre. There are varying reasons given. Some say Shakespeare actually used real spells for the witches lines. Some say it is a cursed show because it deals with some historically nasty people who really did a lot of bad things. Some say it's just a bunch of old wives tales.

I believe.

And ever since I first heard of the Scottish play, and all of its tradition and mystery, I've been fascinated. Enchanted, you might say. I've read it, seen it, been in it. And I love it. I 've written a screenplay about theatre superstitions called Ghostlight, am working on another screenplay that takes the basic story of MacB- which for those who aren't familiar is a tale of betrayal and ruthlessness in pursuit of power and how said pursuit empties the soul of all joy and hope- and sets it in the world of high school football ala Friday Night Lights. Most recently, I directed a production of the Scottish play for Colorado's Finest High School of Choice, an alternative high school for young people who have had trouble in so-called normal school. It was amazing how easily high school students were able to relate to characters who sell there souls to climb the social ladder.

Suffice to say, this is a play that is part of my being, an essential book in my mental library.

So it was with great joy that, a few weeks ago, I found myself in New York City at the McKittrick Hotel, wandering around like a ghost, silent and masked, as a mobbed up version of MacBeth unfolded all around me in the form of Sleep No More. The show is like a mix between a haunted house and modern dance and dream and theatre and I don't know what else. You enter, are given instructions on how to behave in a very cool bar where performers interact with you, cajole you to have absinthe, and call you one by one to go through the door that leads you into a world of magic, betrayal, sex, and madness.

It's awesome.

I like awesome in my theatre. Awesome and different and cool and original and dangerous.

Every person in the audience becomes part of the show as they wander through the madhouse, as each is given a mask to wear and instructed to remain silent. The effect is that, as you make your own personal journey, you see all your fellow audience members looking like fellow ghosts, lost souls condemned to take part in the ghostly events.

And when I say take part, I mean it.

One of the first things that happened to me was this lady, pregnant and clearly upset and also one of the people of the story- I knew this because she wasn't wearing a mask- grabbed me, dragged me into a closet, rubbed salt behind my ears while whispering something about how she has always tried to protect me from evil. Before she could say more, off she ran. I followed her, then came across a trio of lunatics dancing through a dimly lit hallway. As I went from scene to scene, which are all happening all over the three floors of the hotel at the same time, I could see other fellow ghosts running around following other actors. At one point, I ran into my wife, a fellow ghost that evening having her own adventure, and together we played a creepy card game with a murderous bar tender.

All I can say, with any amount of certainty, is that it was one of the most amazing nights of theatre I have ever experienced.

That is all.

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.

MEET THE BRIDE

So. Many things going on in my life. Which is how I like it. I am working on a pilot for a show. Working title: Boogie Man. It's a paranormal series loosely connected to another project I am working on about Edgar Cayce. The pilot should be done soon, and sent to some folks who might be able to do something with it.

I would love to hear what folks think, so below is a sample scene. Please, comment on it, tell me you love it; you hate it; that it reminded you of a childhood experience. I am ready for all slings and arrows.  

Just read it.

I title my scenes, as well as episodes. This one is called Meet the Bride.

EXT. CAMP SITE IN THE FOREST - EARLY MORNING

A hip young family are preparing breakfast on their up to date camping gear, dressed perfectly. Beautiful young MOTHER gathers dead wood for the fire, while FATHER makes healthy breakfast. Their three children run around the camp site playing tag.

MOTHER

Is running around like that a good choice? Why don’t you take in nature and its beauty?

The three kids- SCOUT, 9; WYATT, 7; and WENDY, 5- look at Mother like she’s nuts. Father, who is stirring eggs in a bowl, looks over from camping stove.

FATHER

I need some sous-chefs to help with this scramble. Scout, you strip the thyme. Wyatt, go fill the water filter.

Wendy waits for her job. None is assigned.

WENDY

What about me?

MOTHER

Why don’t you get out some water colors and paint what you see?

Wendy frowns at this idea, but walks to her tent to get the water colors anyway.

MOTHER (CONT’D)

And zip up your new coat. It’s cold.

WENDY

I don’t want to.

MOTHER

Duly noted. Now zip.

Wendy sullenly zips up her coat, mutters to herself.

WENDY

I hate this coat.

Wendy trudges towards her tent. A rabbit pops out of the brush, crosses her path, and disappears up a trail. Excited, Wendy runs after it. Before either parent notices, Wyatt drops the water filter. It hits a rock and shatters.

MOTHER

God damn it, Wyatt!

Scout turns quickly from stripping the thyme to see what has happened, knocking over the bowl with the eggs in it.

FATHER

Scout!

Wendy runs down the trail after the rabbit.

EXT. ABOVE THE FALLS - MINUTES LATER

An outcropping of rock above Cumberland Falls. The rabbit from previous scene runs out of the woods, vanishes up a path. After a beat, Wendy runs out of the woods. She looks left and right. The rabbit is nowhere to be seen.

Wendy notices the edge of the cliff overlooking the falls, is immediately entranced. She walks to the edge, looks over. It is a long drop to the water below. Wendy picks up a rock and drops it over the edge of the cliff. The rock disappears into the mist of the falls.

 
This delights her. She looks around for other things to throw. She hurls another rock. She unzips her coat, breaks a twig off a bush throws it over the cliff. Then she sees some wild flowers, pulls up a bunch, and tosses them one by one.

Wendy suddenly gets a wicked idea, and takes off her coat, but before she can throw it over the cliff, a shadow crosses her path.

Wendy turns to see the BRIDE standing just a few feet from her. The Bride stares at Wendy with a look of deep sorrow.

WENDY

Hello.

The Bride continues to stare at Wendy. The Bride’s gaze falls on Wendy’s coat. Wendy notices this.

WENDY (CONT’D)

I wasn’t going to throw it.

The Bride continues to stare.

WENDY (CONT’D)

Please don’t tell my mom.

The Bride steps up to Wendy, looking confused. Wendy takes the Bride’s hand.

WENDY (CONT’D)

Want to throw stuff into the water?

Wendy leads the Bride to some flowers, picks a few, hands one to the Bride, then Wendy runs to the edge of the cliff.

WENDY (CONT’D)

It’s fun.

Wendy throws her flowers over the cliff, turns back to the Bride.

WENDY (CONT’D)

See?

The Bride walks to Wendy, falls to her knees, begins to weep.

WENDY (CONT’D)

Don’t cry. They’re just flowers.

The Bride grabs Wendy in a fierce hug, lifting her off the ground, walks to the edge of the cliff.
Wendy, still in the Bride’s arms, looks down to the falls.

WENDY (CONT’D)

Isn’t it pretty?

The expression on the Bride’s face changes from sorrow to determination. She places Wendy back on the ground, walks to the very edge of the cliff, smiles at Wendy, then slowly leans backwards, falling over the cliff into the falls below.

Wendy cautiously makes her way to the edge of the cliff and looks over.

All she can see is the roaring waterfall, fierce and magnificent.

Wendy turns away from the falls.

The Bride is standing at the edge of the woods, just as before, staring at Wendy.

 

 

That's it. I hope you dig it.

ROUND AND ROUND AND ROUND WE GO

I went to the Colorado Democratic Caucus last night. I went because I give a shit. Because I think it's important to take part in the politics of our time. Because I'm an Eagle Scout, and as such I took an oath to do my best to do my duty to God and country. It was a madhouse- the line at the school where the caucus took place was very, very long. Out the door and around the block long. I got in line just before seven, but didn't get into the building until well past seven thirty. There were literally hundreds of people, standing in the cold, waiting patiently to participate in the nominating process. This was, to me, very exciting. I have seen and read many reports about how voter participation, on the democratic side, is way down this election cycle. It has always bugged me that we, as a nation, seem to find it really hard to get our asses to the voting booth. But here were all these folks, young and old, standing outside for almost an hour on a chilly early March night, standing up and being counted.

 

It made me wonder: are all these reports about how nobody votes a bunch of crap? A concerted effort by the powers to be to con us all into believing that the reason the corporate overlords are in charge and fucking everything up is that we just didn't get out and vote?

 

Anyway, once we finally got into the school to do our duty, we were greeted with long lines, huge crowds of people confused about how to proceed, and what seemed to be an unending supply of helpful fellow citizens, each with their own theory on where we should go, what was happening, and why that person who spoke just before them was full of crap.

 

It was a good time.

 

Eventually, we found our way to our precinct's room. You see, in the area where I live, the powers that be thought it would be smart to combine all the precincts caucuses a bit; to have them all take place in the same building. The result was more annoying than trying to cross mid-town Manhattan east to west during the Macy's Thanksgiving parade. Lots of confused folks, slowly losing their good feelings for showing up, and trading those feelings for righteous indignation. Yummy. It made me think of the Caucus Race song from Disney's Alice in Wonderland.

 

Forward, backward, inward, outward
Come and join the chase
Nothing could be drier
Than a jolly caucus race

Backward, forward, outward, inward
Bottom to the top
Never a beginning,
There can never be a stop

To skipping, hopping, tripping fancy free and gay
Started it tomorrow
But will finish yesterday

'Round and 'round and 'round we go
Until forevermore
For once we were behind
But now we find we are be-

Forward, backward, inward, outward
Come and join the chase
Nothing could be drier
Than a jolly caucus race

 

But we did get there, eventually. It was about eight thirty when my precinct finally voted. Then we had to wait while they counted the votes, so that we could determine how many delegates would go to each candidate. Then we had to vote on who should be the delegates, and who should be the alternate delegates. Then we voted on who we wanted to be the Denver D.A. Why this particular vote was at the caucus is beyond me, but there it was. After that, we had to vote on who would be the two people from our precinct to be on the precinct committee. By this time, it was almost ten. There was this one lady who seemed to think that the best way to convey her ideas was to shout/scream everything she said. She spoke a lot. Most of what she said was a bit incoherent, but she seemed to feel whatever it was she was feeling quite strongly. A lot of people split once the voting on presidential candidate was over- that was around nine. I am sure the town crier figured in their decision to leave.  But we stayed. We took part. We earned, in my opinion, the right to complain about politics.

 

And all in all, I think it was worth it. What did I miss out on, by being there for a few hours? Some tv watching? Surfing the net? In those few hours, I met a bunch of neighbors I had no idea existed, talked about Bernie and Hillary and the Drumpf. 

 

The whole time, even at it's crankiest, I was in awe of people. We are a strange species, to be sure, but there are times when I look at us- determined, full of advice for others, moving like cattle towards uncertain destinations- and for a reason I am not sure I understand, I feel hope.

 

PS- I feel the Bern, very strongly- but I will vote Democratic no matter who gets the nomination. I like Hillary a lot, I just like Bernie a little more.

 

 

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.

WE MUST REJOICE OR WE WILL ALL GO MAD

There's this scene in the film Jesus' Son, where Billy Cruddup's character, a heroin addict with the charming name "Shit head", witnesses a car crash. Shit head is completely lost, and seeing something terrible happen. Yet even so, he takes a step back, and looks around at the road and the surrounding trees and the shine on the rain covered asphalt- and says something about how beautiful it all is.  It all, as I interpreted it, meaning the world.

I get that.

I think the world is beautiful. I think people often suck, that death is a drag, and that too often we
human beings make unbelievably stupid choices that result in destruction. And I find the world magnificent. At almost every moment.

Maybe I'm crazy.

I've been working on several different shows the past few months. I just helped a group of teen agers at a high school for troubled youth produce a play they created out of nothing in just six weeks. Some of these teens have already been arrested, or abused, or bullied- but somehow we managed to find a way to create something that we all cared about and were proud of- a play title "A World Gone Mad". Watching a group of people who have every right imaginable to be cynical find hope and glory and the insane giddiness of putting on costumes and speaking in front of others is, borrow a line from Ray Bradbury, a medicine for melancholy.

I have another medicine I want you all to take. It's called Lend Me A Tenor. 'Tis a farce by Ken Ludwig I am directing for Inspire/Creative that opens next weekend at the Old Schoolhouse Theatre in Parker. It's silly and stupid and improbable and revels in the lunatic aspect of existence. I have assembled a cast of magicians of the soul, and all they do is make me laugh at ever rehearsal. I love them and I love the show and I love being alive, so get your ass out to Parker and smile.

If you are short on scratch, we have a free preview Thursday November 12 at 7:30. Yeah, free. So what's your excuse now?

The world beats us up enough, don't help it in the task.