12/24/2023 0 Comments Razzle dazzle chicagoStar Bar Players, 310 Tia Juana St., Colorado Springs, 71 or “Death Wore Elevator Shoes” A quick-change spoof of the Golden Age of radio detectives. Victorian Playhouse, 4201 Hooker St., 30 or “Creation of the World, and Other Orders of Business” Arthur Miller’s tongue-in-cheek account of the book of Genesis. “The Complete Works of Shakespeare, Abridged” A free-form, comic attempt by three actors to perform all the plays written by William Shakespeare - in less than 90 minutes. Fridays and Saturdays (and March 15) through March 27 at 3654 Navajo St., 72 or It soon becomes clear that Jackie-O’s obsession with Jackie Kennedy is nothing compared with her obsession with her brother, as it also becomes clear she isn’t the only member of the family with problems. It centers on a woman who calls herself Jackie-O (but she’s not that one), and she’s anxiously awaiting her brother’s visit home for Thanksgiving. The fledgling Equinox Theatre offers an intriguing play called “The House of Yes” at the Bug Theatre. This weekend’s best bet: “The House of Yes” Sundays (dinner service 90 minutes before). Written by Bob Fosse, John Kander and Fred Ebb. Presented by Boulder’s Dinner Theatre, 5501 Arapahoe Ave. John Moore: 30 or *** (out of four stars) Sad as it is to say, the time will always be right for “Chicago.” And we never run out of buffoons and hypocrites to jabber about. The public’s appetite for scandal is now insatiable. Theater historians now say it’s because back then, we had not yet reached the age of true American cynicism. When “Chicago” was first unleashed in the mid-1960s by creators John Kander and Fred Ebb, it was dismissed by Variety as “generally loud, tasteless and lacking in impact or appeal.” So how has its Broadway revival turned into such an ongoing juggernaut? Our “Countess of the Clink” is meant to be more than manipulative: She’s lascivious, seductively evil and even sexually aggressive - necessary qualities that are missing here. Reynelda Snell, who displayed such glorious pipes in “Ragtime,” is surprisingly bland as Matron Mama Morton. Klimpke makes for a doggedly humorless Flynn, which stands in curious contrast to the seductive charisma Richard Gere brought to the role. Though most leading roles are played by the same actors as ’03, this production is infused with some necessary new, young female blood, most evident in an odd but undeniably cool trapeze bit by Jessica Hindsley. The dancing is crisp and often feral, greatly enhanced by Nicholas Kargel’s floor lighting that casts larger-than-life shadows of the dancers onto both side walls of the theater.Īn added treat: We actually get to see Neal Dunfee’s seven-piece live band on stage - something that hasn’t happened at Boulder’s Dinner Theatre in three years. “All That Jazz” and “Razzle Dazzle” are pure gold, but this sassy satire truly climaxes with “We Both Reached for the Gun,” the courtroom “singing testimony” song in which Billy manipulates Roxie like an Edgar Bergen dummy. The musical’s signature numbers include “Cell Block Tango,” here intentionally repurposed to match the number as staged in the hit 2004 film. The great equalizer: When it comes to the notorious, the public can be notoriously fickle. Truth, in this world, goes to the highest bidder. It’s Flynn’s job to make the reprehensible into something comprehensible, even forgivable. Well, two out of three aren’t bad, but the third is strictly temporary. Gunning down her lover Fred (Brian Norber) puts Roxie right where she’s always wanted to be: In the headlines, in the spotlight. Roxie is a fading flapper who cheats on her loyal schlep of a husband Amos (“Mister Cellophane,” Wayne Kennedy). “Chicago” is both a dizzying celebration and excoriation of spectacle itself. That’s a credit to Dunfee, now doubling as director. Even playing rivals, these two share an uncommon stage sisterhood that elevates both performances. Tonight, it might be the other way around. Last week, I’d say the same of Brosseau-Beyette. They were good then, and they’re only more confident, more seasoned, more ruthless and, have no doubt, more sexy than ever now.įive years ago, I wrote that Dunfee turned in a killer performance that recalled the days of old-fashioned, bona-fide star power. These are the roles these two were born to play, and time has only made them better. Hard to believe, but it’s been seven years since Joanie Brosseau-Beyette and Alicia Dunfee last played cell-block sirens Roxie and Velma, casual killers who parlay their crimes into show-biz careers. Digital Replica Edition Home Page Close Menu
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |