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The Adventures of Becky Thatcher - Spring 2006

This review appeared in the Pueblo Chieftain, March 25, 2006 by Joanne Dodds

Becky Thatcher' a delightful play

How did you spend spring break? A group of very talented Pueblo children spent most of the holiday learning their parts for "the Adventures of Becky Thatcher" which premiered Friday night at the Damon Runyon Theatre.
It was delightful.
Sarah Wood was a spunky Becky who along with Larcy Brooks, Kaitlyn Cook and Alexandra Pepin led the girls in giving the boys trouble. James Padilla, as Judge Thatcher, provided the basic story when he interfered with Mark Twain's (Sean P. Briggs) telling of Becky's story.
But, the real story was the interaction between the boys and girls. The boys were led by Andrew P. Alfonso as Huck Finn and the talented Bryson Bulingame as Tom Sawyer. Antonio Faloona as Spider and Greg Kramer as McWeb were the bad guys. The other boys were Ally Darrow, Mariah Kidd, Patrick McIntire, Mykala Slyverter, Erin Suscheck, Hannan Toth and Taylor Wood.
Some of the girls who played boys really enjoyed being a boy for a week.
Tom Petric wrote the original lyrics and Bill Setser composed the music for several songs. Alexandra Pepin's performance of "I'm prettier than you" set the light-hearted tone for the play.
The play was filled with clever lines every child has heard such as "I'll tell your mother" and the question of "what are you doing." Surprise, the answer was "nothing." I particularly enjoyed the observation that girls don't pick their noses, spit or climb trees. They also smell better than boys.
All of the players did a good job. The jury (Holly Dierksen, Jerricka Bailey, Alexis Catalano, Tiffany Suscheck and others) added some good body language to the delivery of their lines.
Alexus Walker, Katelyn Groves, Dakota Charleston and Collin Dierksen had important supporting roles.The entire cast performed several scenes as a company.
The girls, Kelsie Cook, Kaylee Dwight, Hannah Fisher and Ann Rae Whited, provided a united front against the boys and in addition to singing provided sound effects which were enjoyed by all.
There were very few empty seats Friday night.
If you want to see this highly enjoyable performance, it will be offered one last time tonight at 7:30 at the Damon Runyon Repertory Theatre. The next children's theater performance will be the "Legend of Sleepy Hollow" this summer and the next adult performance will be "Jesus Christ Superstar" on April 7-9.

The Adventures of Becky Thatcher
 

Runyon Play Stars Local Youngsters

WM. Scott Whited

Local talent continues to get a chance to blossom in Pueblo. The latest seedlings flowered in the Damon Runyon Repertory Theatre’s children’s production of The Adventures of Becky Thatcher, which played at 11a.m. and 2 p.m. Saturday at the Runyon Theatre on Main Street.

Directed by Runyon pillars Catherine M. Spangler and Sean P. Briggs, “Becky” is an original composition by DRR staff member Eric S. Smith and is loosely based on characters and situations in Mark Twain’s 19th century American classics “The Adventures of Tom Sawyer” and “The Adventures of Huckleberry Finn,” only told with an emphasis on the distaff side, The play’s engine is Becky’s attempts to get the boys and the girls of their small town to he friends again. Their antagonism was dramatized in a girls against the boys taunting insult ritual, which went something like this:

Girls: You like bugs!”

Boys: ‘No we don’t!”

Girls: “Yes you do!”

Boys: “Well you like babies!’

Girls: “No we don’t!”

Boys: “Yes you do!”

The choral accusations continued at some length, and with quite a bit of enthusiasm, until the boys had to admit that, yes, they did indeed like burping (and other bodily functions). That type of simple device — not very sophisticated but allowing for boisterous execution by the young performers —was repeated effectively throughout the play. There were happy smiles playing around the actors lips at all times, even during the scary parts, and those smiles were mirrored in the almost-full audience of family and friends. Not a bad result for the short, two-week rehearsal period.

Smith included a variation on Huck’s alive-at-your-own- funeral contrivance and also a surprise nod to Twain’s Duke. There was also a clever sequence in which Becky gets her nemesis, Holly (Tabyre Easton), to admit that “you’re better than me” through the intervention of a spooky tribe of zombies.  In an educational twist, a series of scenes with Twain himself (Matthew Work) on trial for including foul language and subversive ideas in his books was alternated with scenes from the main story. Thankfully for librarians everywhere, it was decided that the books should not be banned

 Celina Gonzales was a charmer as Becky. Though slight of build, her crystalline voice and confident stage presence made her the focus of every scene she was in. Donnie Jones was a steady Tom, while Anthony Ribarich was a good pal as Huck, though not as much off a rascal as one might expect. Matthew Ribarich and Daniel Santos had a great time in their portrayals of Spider and McWeb, the “bad guys.’ The costumes and make-up added greatly to the enjoyable production, and made the “real theatre” experience that much richer for the children

DRR has a winner on its hands with this program. It is a valuable part of the local theatre scene —a worthwhile, homegrown opportunity very much in the same vein as the long-running Children’s Series at the Sangre de Cristo Arts and Conference
Center.  Onward and upward!

The Adventures of Don Quixote - Summer 2007

The following review appeared in The Pueblo Chieftain Saturday June 23, 2007 by Scott Whited

Local children bring 'Quixote' dream to life

"My dream: To leave the world better than it was when I came into it."

These words, spoken by the venerable knight errant Don Quixote de la Mancha, are a significant part of why his story, created by the imagination of Spanish novelist Miguel de Cervantes, has remained a vital part of Western culture for some 400 years.

The most recent version of this story, "The Misadventures of Don Quixote," opened Friday night at Runyon Theater Downtown. Written by local playwright Eric S. Smith, with songs by lyricist John Petric and composer Bill Setser, this show is the showcase performance that culminated a concentrated rehearsal schedule for more than 20 local children as part of Damon Runyon Repertory's summer production though their Guys and Dolls Children's Theatre.

The tale is simple but compelling. The local Governor (Josiah O. Shelton) outlaws fantasy and imagination, closing down bookstores and imprisoning anyone who expresses any creativity. This has a profound effect on an erstwhile bureaucratic drone, who ventures forth into the dreary world to slay dragons and rescue a damsel in distress (who is never seen in this version) as the newly minted Don Quixote (Antonio Faloona). Aided by his reluctant squire, Sancho Panza (Jared Padilla), he tilts at the famous windmills - imaginatively depicted by a clever light effect - and eventually does help to rescind the misguided ban on dreams.

As with most children's productions, there were a few unexpected occurrences on opening night - like the don's corkscrew sword disengaging from its hilt - but the young actors never let anything faze them, turning the mishaps into an integral part of the enjoyment that they provided the robust house of supportive family, friends and first-nighters.

Director Sean P. Briggs coaxed many an entertaining performance from his charges, who were impressive for their energy, their preparedness and, surprising for a young cast, their fine timing, which kept the punch lines and transitions moving the play right along.

Faloona was an earnest lead, forging forth with dedication and sincerity. His singing didn't hit all the notes he aimed for, but his heart was right on target. Padilla was a gifted clown, punctuating his sometimes hilarious quips and asides with a cracking adolescent voice and a charming hang-dog look. Larcy Brooks as the don's selfish niece was gleefully avaricious as she traipsed around his abode with the local appraiser. Her wickedly delightful smile made it clear to one and all that her most ardent wish was for her uncle to die - soon.

The script had many fun lines and bits of business, often dealing with slapstick physicality (for the kids) and marital jousting (for their parents). The best scene was set in a dark forest, where shadowy forms swirled around a group of lost travelers, echoing the multi-tone voice of the Shadow (T.J. Mauro) with haunting reprises reminiscent of the spooky Weird Sisters in "Macbeth." It was well-balanced for the wide variety of performers, with another good scene featuring a group of preciously cute dancing chickens (Mackenzie Mustard, Grace Morris, Kiana Ellington, Zebrianna Colby).
 

Annie! - Spring 2006

From the Pueblo Chieftan Feburary 12, 2006:   By Pierre Kenyon
"
Lo and behold, this reviewer is delighted to report that the Damon Runyon Repertory Theatre has a big hit on its hands.
Friday night was the opening night of the musical “Annie,” and it just happened to be sold out, much deserved, I might add.

Call me a cheerleader if you like, but this performance was simply great theater. It was not only great fun, it was charming and full of surprises. There was a certain unexpected spontaneity in many of the scenes which obviously delighted the full house.
The cast was big and there were many standout individual performances and ensembles as well, all directed by Sean Briggs.

Every once in a great while there are a few stunning moments in the theater that tug at your heartstrings, and that happened Friday night at the Damon Runyon Repertory Theatre.

I’m tempted not to tell you precisely what those moments were. Rather, I’d prefer to let you discover them yourself. Suffice it to say that a little orphan girl singing on stage, with her dog beside her, provided an electric moment that I’m sure was felt throughout the house. For me, that alone was worth the price of admission.

But there were many other moments that amused and delighted the audience. Brent Ritter as Daddy Warbucks commanded the stage as the rich and powerful billionaire who adopted Annie. Ritter sang a touching tribute to Annie in his rendition of “Life’s overflowing É you won’t be an orphan for long.”

Judith Cook as Miss Hannigan was bigger than life as the cruel, boozing house mother to the girls at the orphanage. Cook provided moments mixed with humor and drama. Her timing was right on the mark between being nasty and just as often being quite funny, particularly as she sang “Little Girls.”

Avery Johnston as Warbuck’s secretary, Grace Farrell, displayed a fine stage presence, singing well in a number of scenes, both with Ritter and in several of the ensembles.

Jay Shannon was appropriately villainous as he portrayed the dastardly Rooster Hannigan. Teamed with Kelci Johnston, as Lily, and Cook, he and they belted out some impressive numbers.

The political characters referred to and caricatured lent a certain sense of reality to the play as well as a bit of slapstick humor. John Petric as President Roosevelt was impressive. Sometimes he even looked like him. Sly references to Calvin Coolidge, J. Edgar Hoover, Elliott Ness, Bernard Baruch, Mayor LaGuardia and others authenticated the storyline.

Often when most of the cast was on stage, especially in the finale, the blocking and choreography were quite impressive. However, in a big number, the “NYC” song, the movements on stage were a bit odd, although the singing was excellent, particularly by Rebecca Work, who emoted effectively from a precarious perch.

Kudos to Jim Lunn as accompanist who managed the soundtracks quite well and his keyboard work also was fine. Bette Lunn and Gina Parker proved to be excellent music directors, especially with the girls in the orphanage, who sang quite well.

Sean Briggs handled the directing tasks well, moving the big cast around the stage and inspiring the performers to project well across the footlights.

John Klomp deserves high marks as “dog handler.” You’ve got to see it to believe it.

In the title role, Summer Shannon was simply wonderful. Both her singing and acting were very impressive.

All in all, the cast and crew created a great show and deserve a lot of credit for getting it all together so well. Catherine Spangler has every right to be proud of this production.

I urge you to get your tickets early. The Sunday matinees today and Feb. 19 are sold out. Tickets are available for performances at 7:30 p.m. Friday and Saturday. Note that there will be an extra show at 2 p.m. Saturday.

“Annie” is not only great entertainment but, mirabile dictu, is suitable for the whole family. Don’t miss it!

Arsenic and Old Lace - Spring 2006

This Review appeared in the Pueblo Chieftain, Saturday May 6, 2006 by Joanne Dodd:

'Arsenic and Old Lace,' is murderous fun
Every family has a few secrets, but the Brewster family of Brooklyn is remarkable! Their story, "Arsenic and Old Lace," opened on Broadway to critical success in 1941 and was a popular Cary Grant movie in 1944. Recently, it was selected as one of America's 100 funniest movies.
The main characters are two kind spinsters whose concept of Christian charity has evolved into the murder of 12 old men who were sad and alone in the world. Everyone thinks their nephew Teddy, who thinks he is President Teddy Roosevelt, is the crazy one until one day it all falls apart.
The Damon Runyon Repertory's performance of "Arsenic and Old Lace" Friday night was filled with clever one-liners, solid performances and nice artistic touches. The highest praise should go to Bill Setser who stepped into the role of brother Jonathan just four days before opening. Given the short notice, he was remarkable.
Pam Kramer, as Abby Brewster, and Slyvia Boyer-Fancher, as Martha Brewster, were the delightful, demented sisters. They were so convincing in their roles that the audience understood their indignation when their nephew Mortimer accused them of lying. Abby's declaration that "yes she might murder 12 men but she wouldn't tell a lie" was totally believable.
Chris Oswald, as Mortimer, did a nice job of carrying the story and the actress who played his fiance, Emily, was equally talented although unfortunately her name was omitted from the program. The police officers, Joe Dingman and Celeste Arellano, did a nice parody of officer behavior. The donut-eating Officer Brophy, performed by Brianne Robles, was fun, especially her lines that were not in the original production.
The company's handling of the dated dialogue was clever. A pop quiz in the program explained several of the lines such as the references to Burns Mantle, a well known drama critic in the 1940s.
The set design by Justin Briggs looked right for the time period. I loved the 12 hats hanging on the walls.
Jack Gornick played several roles including that of Mr. Harper from Happydale Sanitarium. Jerry Johnston was the horn blowing Teddy Brewster. James Padilla's performance as Dr. Herbert Einstein was patterned after Peter Lorre's film role. John Petric was the off stage voice of Lt. Rooney.
Playwright Joseph Kesselring would be pleased that the lines from his only successful play are still funny. Separated from the action of the farce, the lines aren't as funny, but in the context they are a hoot. I particularly enjoyed the aunt's complaint to Mortimer that they wouldn't interfere with what he wanted to do and they didn't understand why he was so upset about their "acts of charity."
There will be five more performances tonight and May 7, 12, 13 and 14.
The next Damon Runyon Repertory performances will be the musical "Most Happy Fellow" opening on June 19.
 

The Bremen Town Musicians - Spring 2007
 

This review appeared in the Pueblo Chieftain, Saturday March 31, 2007
By Joanne Dodds
'Bremen Town Musicians' highlights youth talent

'Bremen Town' spotlights youth Thirty-three Pueblo children can say they spent their Spring break constructively, by auditioning for a play on Monday, learning complex lines in four days and premiering Friday night in "The Bremen Town Musicians."
This the 11th year the Damon Runyon Repertory Company has offered children the opportunity to participate in a Guys and Dolls Children's Theatre Production. One of the strengths of their production is that there are no adults on stage to guide the children through their performances.
The original play by Puebloan Eric S. Smith opened by Lindsay Moran as the Host and the Tone Deaf Grunge Band performing on imaginary instruments. Larcy Brooks was a dizzy drummer, who along with fellow band members Sarah Wood, Annie Mesner and Amber Welcome, reminded the audience of the hippie bands of the ’60s. The musicians were the inspiration for four animals who wanted to become musicians.
The animals were the stars of the show. Oliver Carlon was a talking donkey who inspired his owners (T. J. Mauro as Cletus and Tiffany Suscheck his wife) with dreams of wealth. When the donkey leaves the farm to go to Bremen, they follow him.
Soon the donkey meets a hound, a cat and a rooster. The hound, played by Jared Padilla, delivered some great lines with professional timing. Kaitlyn Cook, as the aging cat, and Taylor Blanchard, as the deaf rooster, each had sad stories of how humans treated them. Taylor did an amazing job for his age. Amanda Johnson was Mean Georgia, who was looking for her cat in the woods.
As night began to fall, owls appeared on the side of the stage to give the actors directions to their destination and commentary on the play's action. The owls were Colby Ratzat, Akaisha Gonzalez, Dane Aragon, Brenden Dewar, Bryanna Dewar, Taylor Wood, Kelsie Cook, Erin Suscheck, Julia Hawkes, Bret Hund and Kaelyn Whittington. It is a shame the owls didn't have more lines or action in the play.
The spooks, played by Amber Welcome, Carmella Lujan, Megan Garcia, Caitlyn Hollifield, Abbey Cira and Alexa Vik were highly believable as they haunted Cletus and Mildred in the woods.
The bad guys who were planning a robbery in the woods performed some Laurel and Hardy-inspired dialogues. Alexis Catalano as Clara, Mike Cira as Jimbo, Katelyn Groves as Jessie and Darylann Aragon as Brenda engaged in clever dialogue that required careful timing on the part of the actors.
Directors Sean P. Briggs and Catherine M. Spangler decided to have the children perform in what is called a "black box." Using minimal set, costumes, props, lighting and sound, the focus is on the story and the actors’ performances. This training technique allowed the children a greater opportunity to learn how to use their voices and bodies to convey emotion, meaning and action. All of the children were great. The black-box production was a challenging format for such young performers.
 

Broadway Beat - Spring  2008

Danon Runyon Company puts next season to a vote
This review appeared in The Pueblo Chieftain Saturday, January 12 by Joanne Dodds

In a spirit of nothing ventured, nothing gained, the Damon Runyon Repertory company performed an experiment Friday night. There weren't any chemicals or animals sacrificed to science. Instead, the entire company did what I would call a test run of the plays they would like to perform next year. The evening was called "Broadway Beat."
Usually the members of the company suggest plays to Sean Briggs, Catherine M. Spangler and Bill Setser. They evaluate the nominations for feasibility, production costs and other requirements. The refined list is then submitted to the Board of Directors who make the final selections.
Friday night, the company added a new step to the process. Dressed in white and black, the members performed short scenes from the plays that have been submitted for consideration for the Damon Runyon Repertory's 10th season.
To keep the scenes from being boring, three actors posed as judges like you see in the "I want to be a star/singer/dancer" television shows that I have to confess I have never seen. The judges bit worked. It kept the show from being too routine. Besides it's fun to see people who are usually serious play the part of a fool.
The audience had the opportunity to preview 15 plays and see a wealth of talent on the stage. The six musicals were "City of Angels," "Guys and Dolls," "Gypsy," "Mikado," "Music Man," and "1776." The dramas and comedies were the "Company of Wayward Saints," "The Effect of Gamma Rays on Man in the Moon Marigolds," "The Diaries of Adam and Eve," "Hobbit," "Lost in Yonkers," "The Man Who Came to Dinner," "Of Moss and Men", "The Oldest Profession" and "Women on Fire."
The staff assured me that the company has the resources to perform all of the nominations. At the end of the evening everyone got to vote on what shows they would like to see next season. There was also a vote for which actor or judge should get a pie in the face. That part of the show was rigged because I am sure I know who got the pie in the face even though I left to write the review while the audience was voting.
I am choosing to use my vote in another way. I vote for people who like live theater to come and see the show tonight or next Friday or Saturday. It was a great way to see a snippet of a wide range of plays. Another benefit of seeing the show is that you can keep track of the ones you want to attend given that your favorites are the ones chosen.
The best part of the evening was that the Damon Runyon Repertory company took a chance and offered the audience a voice in what will be offered next year. Democracies love elections. It gives us the feeling that our opinions count. And just like the national elections, we won't know what the shows will be until all of the votes are counted and the Electoral College/Board of Directors makes the final decision.
 

Cemetery Club - Fall 2004

Scott Whithead in the Pueblo Chieftain, November 13, had this to say about Cemetery Club:

"The production was steadily amusing. The three women leads were quite credible as longtime friends. Director Catherine M. Spangler did a good job of keeping her likable performers in configurations that were natural and conducive to keeping the action moving gently forward.

 The best work was by Winkler and Gornick during the scene in which they realize that they may have "something special" between them. It was charming, full of heartfelt moments where it was easy to tell that both oldsters were experiencing those "first time" feelings usually associated with people much younger.

 Boyer-Fancher was the audience's comic favorite. As the incorrigible flirt, she gave spice and a wink to any line that was even remotely saucy. She also did fine justice to a noticeably unmatronly bridesmaid's outfit.

 Cartmell brought a believable steadfastness to both her chats with her sorely missed Abe and her disapproval of what she considers her friends' misguided life choices.

 Occasional Jewish-accent lapses and some significantly overlong scene changes aside, "The Cemetery Club" is a show true to the life it celebrates so genuinely."

A Christmas Carol - Winter 2007

This Review appeared in The Pueblo Chieftainm Sunday December 16, by Joanne Dodds

It is fitting that during the week before Christmas when Americans are engaged in a frenzy of shopping that the Runyon Theatre presented Charles Dickens' "A Christmas Carol" Saturday night and will present it again today at 2 p.m. and next Saturday at 7 p.m.
Unfortunately, the same human needs (ignorance and want) that Dickens targeted in 1843 are still with us. Perhaps that is why his tale of redemption still has the power to stir our souls.
Bradley Ritter treated the spell-bound audience to a riveting performance.
At first I thought that he was going to re-enact Dickens' reading of the story before an audience in 1853. That would have been a good theatrical experience. Instead Ritter did much, much more by becoming Scrooge, his partner Marley's ghost, Mrs. Cratchit and others. In other words it was a one-man performance of the classic tale.
Ritter's only props were a desk, a lamp, a chain and a glass of water that he sipped from during the hour-and-a-half performance. The simple curtain that served as a background, a few sound effects and some clever lighting helped him tell the tale of a man who had lost his humanity. Marley identified the problem when he said that his mistake had been that of being a good businessman when mankind should have been his business.
Throughout his performance Ritter used a variety of voices and varied the tempo of his delivery providing an exciting intensity. It was truly an exceptional evening.
But, it was not an evening for children.
The intensity of the tale, the dark and frightening images, and the three spirits would be scary for the very young.
That was as it was meant to be.
Dickens and Ritter wanted to scare us out of our selfish ways and to encourage us to keep the spirit of Christmas in our hearts and our actions all the days of our lives.
It would behoove each of us to see the play and spend a few moments thinking about our role in humanity and what we will do in the future so that perhaps next year there will be less shopping and more celebrating of the meaning of Christmas.

 

Complete History of America (Abridged) - Summer 2006

This review appeared in the Pueblo Chieftain Saturday, July 15, 2006

By Pierre Kenyon

'America (Abridged)' terribly good

During the opening performance of “The Complete History of America (Abridged)” at the Damon Runyon Theatre Thursday night, I managed to get doused twice by the actors.
The first time was quite a shock as it caught me full in the face, shirt and trousers as I sat in my front-row seat. Then and there I swore that if it happened again I would give the folks at Damon Runyon a terrible review just out of spite.
Well, sure enough, it happened a second time, so, true to my word, here is the promised terrible review:
1. The play, at times, was terribly funny;
2. The performances, at times, were terribly good;
3. The pratfalls, at times, were terribly well executed;
4. The three actors - Judith Cook, James Padilla and Bradley K. Ritter - were terribly good together;
5. The stage direction by Rebecca J. York, was, at times, terribly effective;
6. As often as not, the one-liners were simply terrible but provoked considerable laughter, nevertheless;
7. The history lessons were often terrible, as well, frequently displaying a terrible political bias which was often terribly funny, nevertheless;
8. The title of the play was not only terribly oxymoronic, the content of the play included some terrible gaps.
I can’t say enough terrible things about this performance, but that aside, I believe this zany trio of Cook, Padilla and Ritter seemed to be having as much fun as the minimally crowded theatre audience did.
Yes, turnout was sparse for opening night, regrettably.
Some terrible highlights were the 1492 bit about Amerigo Vaspucci, George Washington’s little army at Valley Forge, the Betsy Ross flag skit, the Bill of Wrongs accompanying the Bill of Rights, the Freedom of Expression bit, the Lewis and Clark expedition, the National Anthem, the Civil War, World War I as covered from the trenches featuring the Andrew Sisters 30 years before their time, and many others.
Oh, yes, Padilla performed a great rap version of a portion of American history.
And Cook’s portrayal of Diamond Spade was often terribly hilarious.
Not to be outdone, Bradley took a cream pie full in the face with considerable aplomb, if that’s possible. Served him right because of the terrible jokes he came up with.
So, hurry on down to the Damon Runyon Repertory theatre on Sixth and Main streets if you want to hear some terrible puns based on a terrible slice of American history. It’s really a lot of fun. I haven’t heard and participated in so many belly laughs in a theatre for quite some time.
I should caution you just a bit, though, as this show is not for the whole family. Some of the references are somewhat over the top and not suitable for tender young ears. In fact, some of the jokes are outrageous but fortunately, usually terribly funny. There I go again.
So, if you’re in the mood for some raucous, raunchy humor, check out the show at the Damon Runyon theatre, you’ll have a good time.
Performances continue today and Sunday, matinees at 2 p.m. and evening performances at 7:30 p.m., but be sure and call 564-0579 for tickets and information, especially if you’re interested in dinner, as well
 

A Coupla White Chicks Sitting Around Talking - Spring 2007
 

This review appeared in the Pueblo Chieftain Saturday, March 24, 2007

By Joanne Dodds

'A Coupla White Chicks' certain to stimulate talk


A small audience of women and a few bold men watched an outstanding performance of "A Coupla White Chicks Sitting Around Talking" Friday night at the Damon Runyon Repertory Theater.

Describing the play is problematic. On one level, the play is about friendship. On another level, infidelity is the central issue. Thinking about the play, it seems that women's role in society was the key. All I know is that when the play ended I was very frustrated that it had been written by a man, John Ford Noonan, and not by a woman.

The play opens on Charlemagne Lane in Westchester County, an affluent suburb near New York City. Maude performs striptease moves as she vacuums the floor. Her new neighbor, Hanna Mae, from Texas, watches her with fascination through the window. Then Hanna Mae rings the front door bell and the two extremes, of what women are suppose to be, meet. Maude is all good works, sensible shoes, baked cookies and fresh aprons. Hanna Mae is Texas tacky with tight jeans, loud makeup and is fearful of her husband's temper. The opening scene could be titled, "Texas Tacky Meets New York Prissy."

Scene two occurs the next day. Despite Maude's clear indications that she wants nothing to do with her, Hanna Mae returns the next morning for coffee. This scene establishes that Hanna Mae may not be well educated, but she has a doctorate in human nature. When she confronts Maude with the discrepancies between her outward appearance and how the men in the community perceive her, Maude becomes cruel. This scene should be titled, "Maude Makes Hannah Mae Cry."

Wednesday is the setting for scene three. Hannah Mae's husband, Carl Joe has seduced Maude that morning. Instead of being furious, Hannah Mae is so accustomed to Joe's infidelities that she describes his technique in detail and brags that she taught him his best moves. This is the weakest moment in the play. I have known men who thought that the women in their lives should accept a nice home and a good lifestyle as being sufficient for the woman to accept his infidelity. Being a woman that makes me mad.

I think the playwright enjoyed this male fantasy but he is so wrong! It is true that women have accepted the insult of infidelity for a million reasons but that acceptance is the core issue of the play.

When the playwright ignores this central issue and focuses on the developing friendship between the women, the play becomes mediocre. Let me be clear, Judith Cook's performance as Maude and Sylvia Boyer-Fancher's as Hannah Mae were wonderful. They made a weak play highly entertaining. When all is said and done, the play's central weakness makes for great discussion.

You can see these two talented woman today at 7 p.m. Call some of your girlfriends and plan on going for coffee, pie and deep thoughts afterwards.

 

Fantasticks - Fall 2004

The following Review appeared in the Pueblo Chieftain, Saturday, October 2, 2004

‘Fantasticks’ wears its 44 years well

Pierre Kenyon

Friday night was opening night for the “Fantasticks” at the Damon Runyon Theatre in Pueblo.  This performance, well attended, was part of a long history of this particular show. It has been called the world’s longest running show in American theater history, and so it is. It opened off Broadway on May 3, 1960, and after more than 17,000 performances, it closed on Jan 13, 2002.  Right after 9/11, that terrible day, all theaters closed in New York. The theater in Greenwich Village showing the “Fantasticks” was just a few blocks from Ground Zero. When the show resumed, the best-known song, “Try to Remember” took on a very new connotation. For example, when the lyrics were sung, “Try to remember the kind of September when life was slow and oh so mellow. . . “there wasn’t a dry eye in the audience or on stage.  I must confess that I had this in mind when I enjoyed the performance at the Damon Runyon Theater.

The cast and crew in this performance carried on the tradition in fine style. Betty Lunn as musical director and Jim Lunn, piano accompanist, did well with the music. Pam Kramer, the director, moved things along nicely.  Each principal emoted well in their roles. There were several standout individual performances. In particular, James Amos as El Gallo and Brent Ritter as Hucklebee assumed commanding presences on stage.  However, kudos go to Brianne Robles as Luisa; Brad Pierce as Matt; Ryan Romero as Bellomy; Joseph Dingman as Henry; Eric

Gross as Mortimer and Robert Dwight Brown as the Mute. Together and separately they all had their entertaining moments.

There were several outstanding musical numbers, for example, “Never Say No” with Ritter and Romero; “Soon It’s Gonna Rain” with Robles and Pierce; “Plant a Radish” with Ritter and Romero; but the highlight of the show was “It Depends On What You Pay,” with Amos, who was both funny and memorable.  Amos, playing the hired abductor and singing the lyrics, “the sort of rape you get depends on what you pay,” was a bit tricky, but hilarious. You sort of had to be there, but it might be wise to leave the kids at home.

“The Fantasticks” is kind of a special show. Lots of people have seen it and many others know about it. I would heartily recommend that you see this performance. With its entertaining and brilliant moments, it carries on that great tradition.

Fiddler on the Roof! - Fall 2007

The following Review appeared in the Pueblo Chieftain, Saturday, October 13, 2007

'Fiddler' still a timeless tale
 

Review by Joanne Dodds

If you think about it, "Fiddler on the Roof" is a contemporary play because it is about how political decisions change our lives and how children don't do what parents want them to.

The Damon Runyon Repertory's opening performance of "Fiddler on the Roof" Friday night was sold out. Evidently the word is out that when Bette Lunn is musical director and her husband provides the accompaniment, the show will be worth seeing. When Bradley K. Ritter is added to the equation, as the director, and his father is the lead performer, the show becomes a sure thing.

The opening scene of the well-known play had the entire cast on stage singing and dancing in interlocking and reversing circles, representing the circles of life. It also maximized the stage area. Actually, the staging of the entire performance was particularly well done. The grouping of the actors made the small, talented cast seem larger.

The role of Tevye could have been written for Brent Ritter. His dialogues with God served as a running commentary to the action and established a tempo to the carefully edited play. I also particularly enjoyed his performance of "If I were a Rich Man."

Another high moment of the evening was his three elder daughters, Tzeitel (Melissa Oreskey), Hodel (Jill Dewar) and Chava (Becca Klock) singing "Matchmaker."

Lazar Wolf's (the butcher) conversation with Tevye, when one man is talking about marriage and the other thinks they are discussing a milk cow, was timed perfectly. Sterling Henry was a fine Lazar Wolf and Sylvia Boyer-Fancher was effective in her two roles as Yente, the matchmaker and as Grandma Tzeitel.

Golda's (Judith Cook) facial expressions, as she sang "Do You Love Me" with Tevye, made everyone in the audience feel her grappling with an idea that was new and by the end of the song a nice revelation.

The Fiddler both on stage and off was performed ably by Colorado State University-Pueblo freshman Samantha Willson.

The three suitors, Motel (Jeremy Nickell), Perchik (Mike Freeman) and Fyeddka (Joey Simmons) were each well-suited to their roles. Jeremy, as the timid, shaking tailor, seemed like he would blow away if Tevye yelled at him too loudly.

Speaking of shaking, the only unstable moment in the performance was the lighting, especially the spotlight which will surely be fixed before later performances.

Some of the performances are sold out but it is not too late to be able to see one of the performances on the weekends through Oct. 27 by calling 564-0579 for tickets.

The next Repertory production will be "Rabbit Hole" beginning Nov. 9.

 

Forever Green - Spring 2006

This review appeared in the Pueblo Chieftain March 17, 2006 by Christian Piatt:
Runyon's 'Forever Green' not quite ripe

The Damon Runyon Theater began a three-night run of their annual presentation, "Forever Green" Thursday evening. Before rumors fester into facts, let's clarify a few possible misunderstandings:

"Forever Green" is not reflective of the audience's complexion following one too many plates of corned beef and cabbage.
It also is not a new radical environmental group run amok.
It is not a splinter faction of the Ralph Nader Fan Club or a little-known union for arrangers of plastic plants.

"Forever Green" is, in fact, a celebration of the great country of Ireland, in all its rich history and lore. From the Great Potato Famine to oppressive English rule, Ireland has more than endured. The Irish are synonymous with perseverance.

This St. Patrick's Day, the players of Damon Runyon present their third annual Irish musical review. Set in the belly of a tavern, the mood is bawdy and off-the-cuff. Jokes and epithets fly - sometimes mid-tune - and Guinness flows for those brave souls willing to sing with a mouthful of froth.

Sean Briggs has the wry charm of a leprechaun, winking and joking his way through many otherwise vacuous moments between tunes. He and fellow singer Rebecca Work have a very believable love-hate chemistry that adds some spice to some of the rather bland fare. Robust prankster John Petric keeps several one-liners under his derby for just the right occasion, although he elicits as many groans and cheers.

But here's the rub: In an intimate arts community like that enjoyed by Pueblo, trust is earned through a consistent delivery of high quality material. That is the only way we will overcome close to single-digit ticket sales, as was the case Thursday night.

This show just was not ready for the stage. Nearly every song had missed lines, while the intervals saw one joke being told on top of another, to the point that deliveries were muddled. As one who longs as often as possible to celebrate the best of our performing arts scene, I have difficulty recommending "Forever Green." It's still just too green for presentation.

There were bright moments, however. Piano accompanist Jim Lund was quite enjoyable throughout, carrying jaunty energy from song to song. Briggs shone in his solo rendition of "Oh Danny Boy," and Petric kept the mood light, even as others stumbled. But when there are pubs in Pueblo and Colorado Springs that offer Irish sing-alongs every week of the year at no charge, it's hard to justify the $10 to $18 admission for this show without a few more rehearsals.
 

Frog and Toad - Winter 2007
 

REVIEW
'Frog and Toad' a treat for kids young and old
Review by Pierre Kenyon in the Pueblo Chieftan 12/1/2007

Friday night was opening night for "A Year with Frog and Toad" at the Damon Runyon Repertory Theater.
To let you know a bit about this musical play, it opened on Broadway in 2003 and ran for 73 performances. The critics were sort of ho-hum about it, but recognized some fine talent among the participants. On the other hand, some children, after seeing the play, were asked how they liked it. The overwhelming majority simply loved it.
So you could say that it is a play for young theater-goers. Must I, then, look upon the merits of this play as a child would? I think I should try to do that. After all, at my advanced age, some might say that I'm entering my second childhood, therefore I probably qualify.
Be that as it may, gee whiz, I thought it was pretty cool. It was kinda fun watching it, but there were some funny things about it.
I mean why was the Frog (played by Sean Briggs) so bald? And why did he wear clothes like grownups? He sure didn't look like a Frog. And why did the Toad (played by Bill Setser) have a beard? And why did he wear matching vest and trousers? He didn't look like a toad either. (They both looked more like two middle-aged suburban yuppies.) But after a while, I got used to their funny clothes.
The letter carrier who was supposed to be a snail (played by Oliver Carlon) was kinda funny and sang a neat song that everybody liked.
Then Toad sang about his garden and worried about how long it was taking for the seeds to grow. I thought that wasn't very cool. But then summer came and Toad sang, "I look funny in a bathing suit." He was shy about being seen in that funny-looking bathing suit. I would have felt funny about wearing that dumb swimming suit, too.
Then, the Turtle arrived (played by Larcy Brooks) and made fun of poor Toad, singing "get a load of Toad" who was in the water shivering. That wasn't very cool, either. Then the whole chorus sang and made fun of Toad, too, but I thought the singing was good.
Turtle did a dance by herself with cool music. (The music was lifted right out of Dixieland and 1930s pop.) Then Frog sang about being happy; he loves being a frog. He had a good voice, I thought.
Then Snail came with a letter and sang that funny song again. The audience liked it.
Then Frog sang about eating cookies. That was a funny thing to sing about but I liked it.
Then Toad started eating a lot of cookies, too. They ate almost all of the cookies, but they gave some to the birds. I forgot to tell about the birds - they were pretty funny because they kept flapping their wings all the time. Then everybody sang that they were so happy eating cookies. They sang really loud.
After intermission, Frog and Toad tried to fly a kite, they couldn't do it so the chorus sang "you'll never get it off the ground." (The song they sang sounded just like "Five foot two, eyes of blue, has anybody seen my gal.")
Fall came and then Frog and Toad raked leaves together. Frog does a corny dance but did a great cartwheel. Then Frog and Toad drank tea. Then Frog told a really scary story beginning with "It was a dark and stormy night." It was scary alright. It was about a terrible big frog who lived in the woods. He did a funny dance all by himself.
It was Winter and Frog and Toad went sledding, that was kinda scary, too. Frog fell off the sled. (Good lighting effects simulating sledding down a steep hill.)
Snail finally delivered the letter from Frog to Toad. Snail sang a funny song about coming out of his shell. The audience really liked it and applauded a lot.
Then, at the end it was Christmas and Toad worried about Frog being late, so Toad went looking for Frog in the woods and everybody sang about it, but Frog wasn't lost after all. He just brought a gift to Toad.
They all sang that one thing never changes, Frog and Toad will always be friends. So they finished another year with Frog and Toad, and that was the end. It was pretty cool.
The music was outstanding as directed and performed by Jim and Bette Lunn.
Catherine Spangler did a nice job managing all.

 

Frog and Toad - Winter 2005
 

REVIEW
'Frog and Toad’ a charming tale
Review by Joanne Dodds in the Pueblo Chieftan 12/3/2005

The Damon Runyon Repertory Theatre Company's performance of "A Year with Frog and Toad" was charming in every way. Even the audience, some with teddy bears tucked under arms, was part of the fun.
The five member company did an outstanding job. You could hear every word. Sean P. Briggs as Frog and Ryan Romero as Toad sang complex musical arrangements with perfect timing.
Combined with clever costumes and a simple, yet effective stage design, the play moved quickly. By the end of the show, a very young member of the large audience was bouncing on her father's lap to the beat of the lively music.
Based on a series of books by famous children's author Arnold Lobel, the play was the brainchild of his daughter, Adrianne Lobel. Performed first in Minneapolis, it moved to Broadway where it was nominated for a number of Tony awards.
The music and lyrics by Willie and Robert Reale are true to the simple language Lobel used in his "I Can Read" books. Incidentally, the public library has copies of Lobel's books in Spanish as well as English.
The story evolves around the friendship of gentle, understanding frog and often fearful and excitable Toad.
The action begins as the supporting cast of James Padilla, Stephanie Smith and Becca Klock sing about "Spring" waking Frog and Toad from their winter's hibernation. The three supporting cast members are also turtles, mice and a great snail. James Padilla's "I'm Coming Out of My Shell" was very well done.
Brent Ritter performed in one scene as the large and terrible frog to the general delight of the audience.
The action travels through the various seasons dealing with the concerns of the very young, such as fear, being alone and loving cookies.
The very simple lyrics, the very simple thoughts and the very simple messages were deceiving. The verbal rhythms and musical tempo were challenging.
Jim Lunn, who provided the piano accompaniment, Betty Lunn, the musical director, and Catherine M. Spangler, director, are to be congratulated for a well done performance on every level.
My only regret was when the last song before intermission was all about "Cookies" there were no cookies at the refreshment stand!
You need not suffer from cookie deprivation.
 

Greater Tuna - May 2007

This review appeared in the Pueblo Chieftain Saturday May 5, 2007  by Chriatian Piatt

Runyon serves up fresh 'Tuna' portion

Great gobs of silliness.

That's what can be expected from Damon Runyon's production of "Greater Tuna," a satire of small-town life in Texas. More specifically, the play takes place in the fictitious town of Tuna, reputed as the third smallest town in the state, and proud of it, thank you very much.

Being both a former Baptist and a former Texan, I had to remind myself I was watching a spoof a few times, as the jokes hit close to home. There was the woman who welcomed everyone into the local Baptist church - "even Catholics." There were the summer classes on segregation in the Old Testament and on the use of firearms. Then there's the group who created its own offshoot of the Lions' Club, because those Lions were just too liberal.

It's enough to make a guy miss home.

Sadly, only a couple dozen audience members had the pleasure of watching local favorites Sean Briggs and Bradley Ritter play more than 20 characters among them, both women and men, but all with sharp wit and a bit of heart. Fortunately, there's another show tonight at 7 p.m. and a matinee Sunday at 2 p.m. to allow the public to rectify the problem. It's worth the time, and definitely well worth the money.

Though the pastoral town of Tuna is rife with charm and hospitality, it is not without scandal. For one, the local judge is found in a compromised state, dead in his bedroom. Though the rumor quickly spreads that he was found deceased in a bikini, the gossip quickly is squelched by witnesses, who clarify it actually was a charming blue one-piece, with sequins and plenty of cowboy fringe.

The play began as a party sketch in Austin two and a half decades ago, gradually evolving into the acclaimed production that has seen the stages of towns both big and small ever since. The satire works because the characters are highly likable, unnervingly relatable, and so laughably one-dimensional that we can always think of someone we've met who reminds us of each of them.

Briggs and Ritter quite possibly are the only pair who could have pulled off such a demanding production. Though the material is light, the number of costume changes, concentration of lines and overall frenetic pace would drown less capable actors. Not only do Briggs and Ritter survive, they'll keep a smile on your face from start to finish.

"Greater Tuna" is the first in a Tuna Trilogy from writers Ed Howard, Joe Sears and Jaston Williams. It's my hope that this show will do well enough to warrant the other two installments coming to our humble community. So do your part and support this standout piece of work. Leave your Bible at home, though, as we religious folk take our fair share of ribbing.

Touche, Tuna Texas.

Harvey Spring 2007

This review is from the Pueblo Chieftain Sunday, April 15, 2007 by Pierre Kenyon

 Runyon surprises with ‘Harvey’


Damon Runyon surprises with ‘Harvey’ show Well, unbeknownst to me, at least, the Damon Runyon Repertory Theater's Spring Surprise turned out to be "Harvey," a play by Mary Chase, which opened Friday night.

It prompted me to ask "what hat did they pull this one out of?" But that would be a dreadful pun, wouldn't it? As the program notes reminded us, "Harvey" was a play which opened on Broadway 63 years ago and became a movie six years later starring James Stewart.

This play and its current performance at Runyon theater continues to provide me with a sense of wonder and mystery. Why? Well, in a way it's certainly unique and somewhat baffling, but above all, it's really pretty funny. The play's main character, Elwood P. Dowd, ably played by Jeremy Nickell, is so ingratiating and pleasant that you begin to believe that he is the sane one and everyone else involved, especially his family and doctors, are the looney ones. Nickell is so convincing in this role that you can't help but sympathize with him.

Then, too, there is the matter of the title role, often referred to in the play as a "pooka." An explanation of this term describing Harvey is whimsical and charming, but I don't want to give too much of the story away.

Perhaps not oddly, all the other performances of the characters in the play, notably Melissa Oreskey playing Veta Louise Simmons, Dowd's sister, and Mike Reininger as Dr. Chumley, are portrayed a bit over the top.

That, I hasten to add, seems to be appropriate, as the theme of the play is better realized with the characters around Dowd responding to his strange behavior in an extreme manner bordering on farce.

Although there was considerable laughter coming from the very small audience opening night, the biggest laugh came when Dowd, responding to Dr. Sanderson's interview says, "I've been dealing with reality for the last 40 years and I finally overcame it." That statement, I believe, kind of gives you the gist of the play.

There were other humorous moments provided by others in the cast that deserve mention. Brief appearances by Carol Mead Cartmell as Mrs. Ethel Chauvenet in her stunning period hat; Nikita Garcia as Veta Simmon's daughter who should project a bit more; Jill A. Dewar as Ruth Kelly, the lovelorn nurse; Tony Oswald as the bumbling man in a white suit, Duane Wilson; Bryan Dewar as Dr. Sanderson with the wrong diagnosis and love for Nurse Kelly; a rather elegant presence by Sharon Shaub as Mrs. Chumley; a rather stiff and officious Judge Gaffney by Marc Barringer and an amusing interlude with the cab driver played by Bradley K. Ritter.

The staff from the director on down, or sideways, performed well in providing a smooth production.

This is an entertaining play, well performed and well produced, that deserves a big audience. Let's hope the weather cooperates allowing folks to get out and come on down to the Damon Runyon Repertory theater. You'll be glad that you did.

 

I Love You, You're Perfect, Now Change Spring 2007

This review is from the Pueblo Chieftain Saturday, June 9, 2007 by Christian Piatt

If there's a message in Damon Runyon's latest musical production, "I Love You, You're Perfect, Now Change," it's this: Love sucks, yet it's what we do.

It was a modest crowd for a play that is anything but demure. If the crowds don't materialize for Joe DiPietro's sharp-witted comedy about the vagaries and vicissitudes of romance, it may simply be a victim of bad timing. It's my hope that folks will carve out some time during this event-packed weekend for a fresh, brutal take on modern relationships, but you only have two days left.

The dynamic foursome of Sean Briggs, Rebecca Work, Bill Setser and Judith Cook each cover at least a dozen roles, all equally twisted by their own less-than-perfect takes on love. Despite its cynical bent, there's redemption for those few lovebirds who hang in there through the rough times. Much like life, plenty of possible scenarios don't pan out. But when they do, the payoff is worth a lifetime of hurt.

Though I'm sure he gets tired of hearing it from me, Briggs is, once again, the standout star of this production. He morphs so convincingly from a lustful Trekkie to a priest, and then into George Burns' missing twin that you sometimes forget it's him. Though he offers many memorable moments, Briggs' choicest part is as a mass murderer serving seven life sentences who, though he longs for a love match of his own, will setlle for taking part in a local church's "Scared Straight to the Altar" program.

Work's melodic range is equaled by her emotional scope in several roles, some of which she is left to carry on her own. She, of all the actors, has the most creatively revealing scene, wherein she records a dating video, but ends up making it into a post-divorce confessional.

Setser and Cook play very enjoyable supporting roles, though there's little room left once Work and Briggs have filled out their characters. Still, anyone who has the versatility and stamina to hold such a fast-paced, emotionally raw play is to be admired for their fortitude.

Perhaps the most underappreciated cast member of Damon Runyon's regular troupe is accompanist Jim Lunn, who never fails to weave one scene into another, and to follow dialogue that stops and starts, regardless of time signatures.

Now, I just wouldn't be me if I didn't at least have a small gripe. Unfortunately, in Runyon's case, it's almost always the same one. Will someone please help these folks out during the off-season and donate a fully functioning sound system?

If you've ever wanted to skip the first few awkward dates of a relationship, you'll identify with this show. If you've ever waited by the phone a little too long, sat through a date movie you'd never otherwise be caught dead watching, or listened to one too many mind-numbing stories about your friends' new baby, you'll see a little of yourself up on the stage.

On the brighter side, you'll also leave with a smile on your face, no matter if you're a crusty bachelor or a sucker for a happy ending. Unlike so many modern, hopelessly dark romantic comedies, "I Love You, You're Perfect, Now Change," actually helps reaffirm that there's some hope, even for the bleeding hearts of the world.

 

Jesus Christ Superstar - Spring 2006

This review is from the Pueblo Chieftain, April 8, 2006, by Pierre Kenyon
'Superstar' well staged, played

I think I owe it to the reader here to advise you that I have a prejudice against the content of the rock opera"Jesus Christ Superstar," which opened Friday night at the Damon Runyon Repertory Theatre.
When this musical play opened more than 30 years ago, I avoided it like the plague; ditto the movie which followed.
These were so contrary to my conservative views and respect for the gospel's message that I couldn't appreciate this gentle unorthodox (read: hippie) view provided by the young (23 years old) Andrew Lloyd Webber and Tim Rice.
All right, that said, and realizing that that was then and this is now, have my views mellowed after seeing the performance at the Damon Runyon Theater?

My answer is yes and no.

No, I continue to object to the content of this work as overstepping the bounds of fair interpretation of Scripture. In particular, having the story told through the eyes of Judas Iscariot is simply egregious for starters.
It doesn't help that other interpretations also considerably controversial, are going on now with new interest in the Gnostic Gospels, the Gospel of Thomas, as well as the comtemporary best seller, "The Da Vinci Code."
Yes, though I have a different appreciation of the music and the spirit of the thing, in retrospect, I would have to say that Webber was showing early signs of his genius which was to emerge later in subsequent musical shows.
All of the above notwithstanding, let me provide you with a fair review of the Damon Runyon performance.
First of all, although the set was minimal, it was impressive; there were three levels of steel tubing, resembling scaffolding. The cast was certainly agile in climbing up and down this contraption while singing and dancing.
Individual performances were impressive as well - in particular, Sean Briggs as Judas, properly displaying anguish, anger, fear and remorse.
Rebecca Work as Mary Magdalene was effective as a confused woman singing about Jesus, in the well-known song, "I Don't Know How To Love Him."
For the most part, the chorus did well, singing and dancing together, dashing up and down the scaffold.
James Amos appeared in many scenes. As Herod, dressed up like a foppish dandy, he came up with a song and dance routine that was outrageous and hilarious at the same time. In so doing, he very nearly stole the show.
Christopher Bollig, as Jesus, was played sweetly with Mary Magdalene and the crowds and he showed anger as he kicked the merchants out of the Temple. The solo scene asking God to let the cup pass from him was impressive, although he displayed a bit too much humanity implying he could change his own mind.
Jesus' crucifixion scene was done in good taste, if such an horrific event can be.
Briggs, appearing in a white suit, sang a riotous song for reasons which entirely escaped me, though it was performed well.
Jay Shannon, as Pontius Pilate, showed considerable anguish as he washed his hands of the whole affair.
Naturally, I had mixed feelings about this rock opera, but as a performance, the cast and crew put on a good show. In my opinion, prejudices and all, I'd say it was definitely worth seeing.
"Jesus Christ Superstar" continues at 2 and 7:30 p.m. today and Sunday at the Runyon Theater, 611 N. Main St.

The King and I - Spring 2008

This Review appeared in the Pueblo Chieftain on Saturday February 9, 2008 by Scott Whited

REVIEW

'King and I' takes us back to a less complicated era
Life is often more complex than is comfortable. This is certainly true in "The King and I," a standard musical from Rodgers and Hammerstein that Damon Runyon Repertory opened last night at their theater on Main Street.

Though tugging on some tried and true heart strings, the play's subject matter explores sometimes difficult questions of how people should treat each other, especially people from different cultures. This production worked well enough, with plenty of upbeat and romantic songs and an adorable covey of children, but one of its signature songs provided good advice: "Whistle a Happy Tune" whenever you feel afraid. All was not peppy and perky in this musical's world.

At heart, the narrative is a love story between the King of Siam (Taylor Cardinal) and Anna (Michelle Evert), the widowed English school teacher he hires to teach his 67 children by multiple wives. Anna serves repeated notice that although she respects the king, she will endeavor to endow upon him the revelations of Western civilization that she feels will help this exotic king, who is admittedly concerned about the "puzzlement" he faces as the outside world encroaches on his ancient realm.

This Eurocentric approach to human interaction was the norm when the play debuted in the 1950's; however, more than 50 years have passed, and many of the attitudes expressed are downright un-PC, for better or worse.

Evert was in fine form as a vocalist. Her clear, sweet tone was used to best effect in "Hello Young Lovers," which retains its poignancy because of its universality. Her characterization of Anna might have benefitted from less direct confrontation and more nuance, but she was a pleasant, attractive lead.

Cardinal grew more charismatic as the evening progressed. His internal confusion over what he expected of himself as king exploded in a hypnotically intense scene in which he takes whip in hand to administer the traditional punishment to a concubine who has cuckolded him. This sequence best dramatized the story's conflicts in a way relevant to a modern audience.

Judith Cook delivered a heartfelt rendition of her homage to her husband-king in "Something Wonderful." Her and Evert's lovely singing offset some other cast members' pitch-challenged efforts.

The highlight of the performance was an inspired set piece based on Uncle Tom's Cabin. Given a Buddhist interpretation that spotlighted the differences between the Oriental and the Occidental, the ensemble cast did an excellent job, complemented by Carol Cartmell's delightful costumes.

The discordance that emanates from this current production is well illustrated by the almost imperialist element of the play's final image: The new king issues a proclamation wherein there will be "no more bowing like toad." From now on, men will bow at the waist, "like in Europe." How enlightened.

"The King and I" continues at 7 p.m. today, 2 p.m. Sunday, at 7 p.m. for the next two Fridays and Saturdays, and 2 p.m. for the following two Sundays.

 

Lone Star - and - Laundry & Bourbon - Spring 2007

For a good time . . . try Runyon's 'Laundry and Bourbon,' 'Lone Star'

Want to see a genuinely funny show? Check out "Laundry and Bourbon" and "Lone Star" at Damon Runyon Repertory. Friday's opening night brought out the whole spectrum of laughs from the relatively small crowd: chuckles, chortles, cackles, guffaws, and deeply felt belly laughs.

It also gave the audience insight into how people, especially those in nothing-changes small-town America, do their best to go along and get along, no matter how lost, confused or lonely they might feel.

This show is an interesting combination of two complementary one-acts. Written by James McClure, each stands on its own and has its own non-overlapping characters, but each also refers constantly to the characters and situations in the other. DRR took the unusual step of using two directors, Pam Kramer for "Laundry and Bourbon" and Bill Setser for "Lone Star." Both led their three-person casts to high-quality performances.

The story, set during a sweltering afternoon and evening in early 1970s Maynard, Texas, centers around Elizabeth (Michelle Evert) and her husband, Roy (Michael Freeman), whose 10-year marriage has been marked by Roy's wandering eye ("I'm married. I don't need strange all the time - just once in a while"), his scarring two-year hitch in Vietnam, and their mutual ongoing admiration for his 1959 pink Thunderbird convertible, which has enabled him to put the sparkle in many a local girl's eye - before and after his marriage. Through it all, Elizabeth still loves Roy's "spirit," and remains committed to him because "he needs me. He doesn't know it, but he does."

Never ask what keeps a marriage going.

Elizabeth hosts an afternoon gathering of her best friend, Hattie (Jill Dewar), who knows all the grand prizes on "Let's Make a Deal" reruns and acknowledges that the "main reason I come over here is to get away from the kids and get bombed." For the latter, bourbon and Coke is the preferred means. They are joined by social climber Amy Lee (Melissa Oreskey), who "married for money" by hitching her star to the scion of the local appliance store family. (Now that's gold-digging!) They share gossip, high balls, and a highly amusing tipsy high-heeled chase around the back porch furniture after one too many catty remarks.

That evening, Roy the hunk reminisces, moans, groans, and crows with his younger brother, Ray (Marc Barringer), down behind the old watering hole. Between fights over guys drinking the wrong brand of beer (regional favorite Lone Star being Roy's approved choice) and stories about Roy's variation on Springsteen's "Glory Days," they are joined by Amy Lee's ticket-to-the-country-club hubby, Cletis (Tony Oswald), also known throughout his life, and much to his chagrin, as "Skeeter." Cletis-Skeeter brings sad news that leads to a series of revelations and recognitions.

All six actors turned in noteworthy performances. Evert was solid as the anchor of her act. Dewar was a hoot with her workin'-on-big hair topping off her turquoise dress and unsensible high-heels outfit. She was earnest, whacky, saucy and sauced, all with a warmth and charm that could have earned the notice of her idol, Paul Newman in "Hud." Oreskey was a great foil for them both. Her perky short blonde-highlighted hair and wrap-up high-heeled sandals accented her back-porch-Baptist forays into deliciously juicy gossip. She seemed almost surprised at the destructive torrents that spewed from her mouth, raising her kitty-clawed hand to cover up - and giggle.

Freeman and Barringer were hilarious as the besotted brothers. They came across as a lickered-up Texas version of Sheriff Andy and Deputy Barney Fife, with excellent comic timing and gestures sparking up such exchanges as "I don't understand, how do you mistake an old woman for a bowling alley?" "It was dark." Oswald elicited sympathy, depicting his plight at being unable to navigate his wife's anatomy with an exasperated sincerity. Barringer in particular was a diamond in this beer-drenched rough. His Texas drawl and unadorned delivery would be right at home on any professional stage.

The funniest thing about this combination play is that it is so genuinely hilarious, in no small part because of the fine performances of the cast, in spite of the fact that its narrative subject matter is fundamentally depressing. The characters' lives have not been easy, they have made difficult choices that resulted in disappointing outcomes. And yet they still have love and laughter to fall back on. It was nice of them to share that with us.

"Laundry" and "Bourbon & Lone Star" continues at 7 p.m. today and 2 p.m. Sunday. It contains adult language and situations.

 

Love Letters - Spring 2007

From the Pueblo Chieftain Saturday May 12, 2007 by Scott Whited

'Love Letters' revives art of writing from the heart


Some of the pleasures a culture has to offer get lost over time. Circumstances change, attitudes change, people change.

Such is the case in our culture with letter writing. Once the main, if not only, way to communicate over distances, it was also the medium of intimacy, with letters from loved ones stored for years in drawers and attics and trunks, to be taken out and savored on occasions when the loved one was sorely missed.

For good or bad, this practice is becoming archaic as communication has become lightning fast, even over enormous distances, via phones, instant messages, and text-messaging. Immediacy has achieved primacy over thoughtfulness. We are the poorer for the loss.

"Love Letters," which Damon Runyon Repertory opened last night before a small but energetic crowd at its Runyon Theater on Main Street, gives us an opportunity to take a trip back in time to a world where an inkwell-dipped pen still figured prominently in many a romance. Written by A.R. Gurney and featuring real-life couple Dorothy Heedt and her husband, Cory Moosman, "Love Letters" was a slim and elegant volume of theatrical poetry depicting the life-long love between Melissa Gardner, a cynical and self-destructive debutante, and Andrew Makepeace Ladd III, a stalwart fellow who almost always does what is expected of him by his family, his country, and himself - in that order.

Starting in second grade in the 1930s, the two write back and forth, off and on, via notes, holiday cards, wedding and birth announcements, and extended, heartfelt missives for more than 50 years. They tease and feint with each other as they try to discover exactly how each feels about the other. Friends? "Just" friends? Confidantes? Lovers? Ultimately, each is a vital part of the other's life, no matter what guise their love happens to be taking at the time of any given correspondence, through jealousy, passion, distance, happiness, abuse, success, divorce, alcoholism, and death. Quite a spectrum for such lowly devices as pens and paper to portray.

This play employs an unusual device for a non-reader's theater production. The actors sit at a single table and read from binders containing the letters that convey their story. One might think that such a static situation could become boring to watch. And yet, Heedt and Moosman did an excellent job of engaging the audience intently throughout the performance. They exhibited wonderful control over the nuances contained between their letters' lines. Without ever meeting each other's eyes on stage, they connected in a wide variety of ways: playful, disappointed, enthralled, despairing, loving.

The tone was reminiscent of Hemingway's Lady Ashley and Jake Barnes. Melissa and Andy were destined to never know lasting happiness. But their letters carry us away to a place and time where the handwritten word could convey more authenticity and emotion than the most frenetic of soulless films or videos.

May the intimacy and insight of this imperiled art form continue to be a part of our culture.

 

The Most Happy Fella - Spring 2006

From the Pueblo Chieftain Saturday June 10, 2006 by Pierre Kenyon:

"

I am most happy to report that "The Most Happy Fella," a musical play which opened Friday night at the Runyon Theater, is a most endearing performance.

This play, often called a true American opera, opened on Broadway 50 years ago. It has been revived several times, most recently in March of this year at the New York City Opera. But most important, it has been revived by the Damon Runyon Repertory in Pueblo.

Fella has a lot going for it: Passion and pathos, anger, deceit and, finally, forgiveness and reconciliation. That's a lot to go through in a few hours but the Runyon troupe manages to do it admirably.

Of course, Fella is a great vehicle for the actor-singer who plays the title role, and Brent Ritter is bigger than life every moment he is on stage. His great, booming basso profundo voice shakes the rafters of the theater. And his acting draws you into his predicament and you believe him as he experiences the joy and the anguish of his self-realization, resulting in his final triumph.

Ritter doesn't carry it all by himself. He's got a fine supporting cast. Karen Lange as Rosabella has a big voice which gives off beautiful tones, a good legato and a well-controlled vibrato; no small feat. Her singing is a good match for Ritter as they perform together, particularly in "Happy to Make your Acquaintance" and "How Beautiful the Days."

Several others in this big cast are standouts, notably another Ritter named Jennifer, as Cleo whose brand of humor adds much, especially with Jeremy Nickell as Herman. Together they are delightfully funny, especially in the "Big D" number.

Sean Briggs as director does a good job of pulling the cast together but could, perhaps, tighten up just a bit of the transitioning from one scene to the next.

You feel sorry for Tony, the Napa Valley winemaker. You want to forgive him for deceiving Rosabella. Then, too, you want to forgive Rosabella for deceiving Tony. Ritter and Lange are convincing in their roles.

Eventually, all is forgiven and all is well. Tony accepts what he is, a middle-aged winemaker who fell for a very young waitress whom he didn't know. He realizes the age difference between them, but Rosabella grows to love Tony and they live happily ever after.

"My heart is so full of you that there is no room for anything more. . ." is part of a lyric song by Ritter and Lange that best describes the essence of this play and this performance which is a moving tribute to all involved.

I heartily recommend this revival of "The Most Happy Fella." Evening performances continue at 7:30 p.m. tonight, Friday and June 17 with matinee performances at 2 p.m. Sunday and June 18.

My Fair Lady - Summer 2007

The following review appeared in The Pueblo Chieftain Saturday July 14, 2007
My Fair Lady' a palpable hit


Damon Runyon Repertory Theater has a palpable hit on its hands with "My Fair Lady," which opened Friday night.

This musical has several origins, beginning with Greek mythology, later becoming a play, a movie based on the play, a Broadway musical that was a smash hit, and culminating in a movie that is based faithfully on the musical.

The staged musical has been revived successfully several times. Runyon's performance retained much of the sparkling wit of these previous productions, and preserved rather faithfully many of the memorable songs as well.

Amanda D. Swearingen as Eliza Doolittle shines as the cockney flower girl transformed into a princess by Professor Higgins, ably portrayed by Jay Shannon. The supporting players all did well, notably Brent Ritter as Alfred P. Doolittle, Bradley K. Ritter as Colonel Pickering, Fran Winkler as Mrs. Higgins and Scott Young as Freddy.

The songs, for the most part, were well-performed, with such standouts as "Why can't the English learn to speak," by Shannon; "Just you wait Henry Higgins," by Swearingen; "The Rain in Spain," by Shannon, B. K. Ritter and Swearingen; and "I could have danced all night," by Swearingen.

The costumes were often stunning, especially those in the Ascot races scene, and Eliza's gowns, especially the one she wore at the ball.

The supporting, dancing and singing ensembles did surprisingly well in most of their scenes.

Brent Ritter's rendition of "Get me to the church on time" was a highlight of the show. Ritter was the perfect rascal who got his comeuppance.

Kudos to Bette Lunn and Jim Lunn for the music, Rebecca Work for the direction, the Schaffenbergs for the dancing direction, Carol Cartmell for the costume design, Sean Briggs for the set design and many others of the crew who brought this production together.

Higgins spoke of a "spark of fire" during the second act. This performance, a good deal of the time had that spark.

If you'd like to partake of a most entertaining evening of musical theater, head down to that theater on Main Street. You won't be disappointed.

 

Oliver! - Winter 2005

Saturday, February 12, 2005

Runyon's 'Oliver!':  A classic rendition

Christian Piatt

The musical 'Oliver!' by its very nature protends of many potential disasters: child ensembles, elaborate set changes, nearly two dozen songs and an adaptation of one of the most familiar classic novels of all times.

Yet the Damon Runyon Repertory, in their infinite fearlessness and enthusiasm, take on the production with vigor.  The effort alone is praiseworthy, but the execution shines as well.

In 1968, the musical film version of 'Oliver!' was nominated for11 Academy Awards and won five, including Best Picture. This silver screen rendition of the Tony Award-winning stage play accomplished two things: it etched numerous melodies into our collective consciousness and it created enormous shoes for its many successors to fill. 

Such spectacular productions as the widely celebrated film and its Broadway predecessor created pop icons out of Charles Dickens' otherwise Victorian symbols of inequity and oppression. They were depoliticized as representative figures, yet the pathos for the children as living, breathing people endeared them to millions.

As a live performance, the story becomes character-driven, as opposed to the issue laden novel that Dickens first published. This presents perfect fodder for local theater, with richly familiar music and well-loved characters.  The pitfall, however, is that everyone already has their own ideas about who these characters are.  Dare a director stray from commonly accepted formulae, or mujst they simply recreate what has already been done to appease the masses? 

Runyon's production plays most sytlistic elements close to the vest, taking littlecreative license with risky new ideas.  Instead the performance is a faithful rendition of a classic story, familiar yet timeless in its sharp social commentary.

Young Anderw Alfonso aptly carries the weight that is expected of him as Oliver Twist. However, like many productions of this play, his character is reduced to an axis around which the more rich characters revolve.  It's rare to find an actor that brings the meek and fragile Twist to the fore.  Often times -- this production being no exception -- he is simply distilled to a shadowy stereotype.

Brent Ritter, a consummate professional and a natural commander of the stage, resurrects the best of the worst of the boisterously bawdy beadle, Mr. Bumble.  One muyst wonder if he couldn't take his pick of more ambitious acting projects. Mike Dicino's sitthery, buf-eyed Fagin was energy from the ether, gangly and jumpy as Bill Sykes'"avaricious skeleton" of a partner.  Perhaps the most original interpretation in the cast, Fagin evokes ghosts of Tevye's evil twin from Fiddler on the Roof.  Too bad Sykes (Robert Dwight Brown) struggles to hold his own with this delectably dastardly fiend.

James Padilla's Artful Dodger and Rebecca Works' Nancy complete the ranks of strong principles.  Meanwhile some of the secondary characters drag the pace of the show, especially during some of the more plot-heavy moments of the second act.

Too often I struggled to hearsoloists, overhearing the techs in the sound booth more easily than the players.  But in spite of some audio snafus, the creatively versatile set fit the modest space with the right feel for every scene.  Perhaps the most underrated performer of the night was Jim Lunn, the one-man "orchestra" who brought vibrant life to nearly everyminute of the more than two hour performance.

Rabbit Hole - Fall 2007

This review Appeared in the Pueblo Chieftain November 10, 2007. 

Runyon's 'Rabbit Hole' deep, but not too dark

REVIEW
I was less than enthused about covering Damon Runyon's production of David Lindsay-Abaire's "Rabbit Hole." Though a Pulitzer Prize-winning play, the subject matter is both too dark and close to home to offer much room to breathe.

Fortunately, the Runyon ensemble left much of the heavy lifting to the playwright, who drafts tight, revealing prose that actually leads the audience mercifully through the grief following the death of a couple's 4-year-old son. More importantly, the Spartan troupe of five who took the stage actually focus more on finding life in the wake of tragedy, rather than on the weight of the tragedy itself.

A combination of elements led to the kind of chemistry I prefer, more than overambitious productions or tired reiterations of the same old classics. It helped that the crowd was significantly larger than usual, offering energy to the actors.

Rebecca Work plays Becca, the mother of Danny, the boy who lost his life after chasing his dog in front of a car. So much is placed on her character's shoulders that a less-capable actor would have lost the reins. Work's understanding of language, and her comfort within her roles, makes her an ideal fit.

Becca's sister, Isabel (Michelle Evert), provides much of the comic relief, while also presenting the imminent reality of life going on; Izzy is pregnant. The chemistry between the two, and between Evert and everyone with whom she interacts, is easy and fun. Just as the air gets a little too thick to bear, Izzy pops off with a welcome non sequitur about chocolate torts or "house karma."

There are several uniquely refreshing elements in "Rabbit Hole" that warrant its award-winning reputation. First, the author offers the most substantive roles to women: a phenomenon still all too rare in modern media.

Also, the dialogue works fantastically at every turn. Rather than stilted, clever banter, the characters come off as real people talking in real terms about real life. Though some may prefer a more escapist timbre, there's something commendable about engaging real-life issues with such a rich verbal brush. No one comes off as trite, and the pleasures and pains of living are treated with due respect.

The production was not entirely seamless. Becca's husband, Howie (Mike Freeman), and Jason (Joe Digman), the young man driving the car that struck Danny, feel somewhat stiff and clumsy. There were a few technical issues to iron out, along with a handful of dropped and overlapping lines, but fortunately pregnant pauses and verbal overstepping are part of the play's natural pace.

Pam Kramer as Nat, Becca and Isabel's mother, is intriguing. As is Abaire's trademark style; her reality is revealed, one muted comment at a time. What begins as a passive-aggressive parent evolves into an empathetic mirror of Becca's own tragedy, having lost a son of her own to a drug-related suicide.

This play allows Damon Runyon to emerge at its best. The setup and execution are technically simple, allowing the complexity to come from the actors. Take a leap down the rabbit hole; it may lead you much deeper than you expect
 

Rumors - Summer 2004

Saturday, July 17, 2004

Runyon’s Rumors Entertaining

Christian Piatt

Neil Simon is a funny guy, even when he’s not in top form, as with his late ‘80’s hit “Rumors,” which opened Friday night at Damon Runyon Repertory’s Runyon Theater. Part farce, part drawing-room comedy, it is a bit confused, but still able to elicit frequents laughs, or at least chuckles.

The DRR production premiered before an appreciative half-full house, a significant portion of which was comprised of jauntily attired ladies from the

Red Hat Society. It revolves around a group of high society couples who arrive at the posh residence of their friends Charlie and Myra to commemorate their 10th anniversary. Unfortunately, there’s a glitch: Charlie has shot himself in the earlobe, and Myra is nowhere to be found.

As Charlie is the deputy mayor of New York City, his publicity-conscious friends determine to do their best to keep this potentially damaging news to themselves. Their contorted — and eventually successful — efforts drive the story, and all’s well that ends, well, funny!

Director Rebecca J. Work managed the large cast well. The set, designed by Sean P. Briggs (who also plays Lenny, one of the lead roles), is a big step forward for DRR in using the space to best advantage. Its two-story configuration, featuring six entrances, was made bright and cheery by lighting designer Bill Setser’s fine use of DRR’s noticeably improved lighting capabilities.

Briggs was the glue that kept the cast on task, and his make-it- up-as-you-go explanation of the evening’s convolutions to a late- arriving cop was energetic and creative. It was a little odd that he was so gymnastic in his telling of the tale, considering that he was supposedly suffering from whiplash as a result of a car crash on his way to the party, but this play is about funny, not logic.

Robert Dwight Brown as Charlie’s lawyer, Ken, was worth watching every time he was on stage. With a voice like Jim J Bullock from “Hollywood Squares” and a wide range of odd postures and mannerisms, he was a strange barrister, but quite an entertaining fellow.

Michelle Evert’s Claire, a habitué of every charity gala from emphysema in May to muscular dystrophy in June, did the best job of affecting Simon’s Big Apple mien. Her spaghetti- strap blue evening gown and “just so” coif and make-up complemented her superior (yet still gossip-hungry) personality perfectly.

Same Time Next Year - Winter 2007

The following review appeared in the Pueblo Chieftain on January 13, 2007, by Wm. Scott Whited

'Same Time' takes time; in the end, it's worth it


"We share the same memories; maybe that's what marriage is."

So says Doris, played by Judith Cook, in Bernard Slade's "Same Time Next Year," which opened a solid, sometimes delightful, production at Damon Runyon Repertory's Main Street stage last night. Doris' observation gives us insight not only into marriage, but into human relationships in general. That is what this domestic comedy - with a twist - is all about.

Doris and George (Bradley K. Ritter), her one-weekend-each-year partner in adulterous romance, depict a 24-year relationship that covers 1951-75 over the course of the play. Like all romances, theirs has ups and downs to temper their ins and - well, you get the picture. But sex is not all that this love is about. They share births, deaths, sickness and health, all in 24 weekends at a seaside inn.

When they first meet, Doris is a high school dropout (in those days, a pregnant girl left school) who "never had time to think about what I think," and George is a CPA uncertain about his prowess, sexual and otherwise. Over the years, they have fights over politics and lifestyle, get to know each other's spouses in detail if not in person, and come close to breaking their unorthodox arrangement off more than once. But by the end, George is amazed, and Doris is delighted, that he still wants to have carnal knowledge of her every time he sees her, and that is just the physical incarnation of the strong connection that grows to mean so much to both of them.

It is a sweet and very human story, and the performers, though a bit mismatched, give it a good showing.

Ritter settled into his part as the evening went on. Abrupt and often "whingy," as the Brits would say, in the ’50s, he reached a breakthrough moment in his portrayal of a personal tragedy in the mid-’60s, and then grew ever more enjoyable through the rest of the show. His performance was very open, willing to show both the unattractive and vulnerable sides of George.

Cook also dove in with her persona wide open. She was less believable as the youngish housewife, but blossomed into a charming dynamism as she went through her various life stages: hippie-Berkeley student, driven entrepreneuse, and then "comfortable" wife to her good-hearted, but unsuccessful, husband. Throughout, she was illuminated by a calm interior grace.

The play's clever premise and situation-comedy one-liners kept the medium-size crowd laughing. The production was marred by only two discordant elements, one larger and one smaller.

Despite admirable effort by the actors, there just didn't seem to be real chemistry between them. This viewer kept wondering, "What do they see in each other?" They did the right things, moved through the right motions, but their attraction didn't seem as genuine as one would have wished.

The smaller awkwardness was the noticeably long scene changes, effected good-naturedly by an uncredited housekeeper. With only two thespians, time was needed between the six scenes, but the time became distracting to the flow of the main story.

But heck, the radio was playing "In-a-Gadda-Da-Vida" during one change, so one can't complain too loudly.

"Same Time Next Year" continues at 7 p.m. tonight and 2 p.m. Sunday. Not surprisingly, it contains adult language and situations.

 

Secret Garden - Summer 2005

Sunday, June 2, 2005

‘Garden’ Awakens Love From Sorrow

WM Scott Whited

Damon Runyon Repertory Theatre Company opened the musical version of “Secret Garden” at their downtown stage Friday night.  Featuring almost 20 adult and child actors, an imaginative multi-use set and creative special effects, it was a highly ambitious production with a sometimes moving, often uneven outcome. With book and lyrics by Marsha Norman and music by Lucy Simon, “Secret Garden” tells the story of an English family wrung by the sorrow of death. Little Mary Lennox (Tabitha Rooney) is the only survivor of a cholera epidemic in India that takes her mother and father. She is sent to the gloomy mansion of her Uncle Archibald (Sean P. Briggs), set in the Heathcliff moors of wuthering gorse in the throes of the 19th century. This is a dark story, especially considering that it focuses much of its time and effect on pre-adolescent children, but it is in keeping with its origins in that period of English stories epitomized by the Bronte sisters.

Archibald can’t get over the loss of his darling wife, Lily (Gina Parker), who died 10 years earlier giving birth to their bed-ridden son, Cohn (Greg Kramer), even though she often returns from the afterlife to do such things as waltz with her husband in the ballroom. Mary, no angelic cherub in temperament, is shunted aside by both her uncle and his younger, protective, envious brother, Dr. Neville Craven (James Amos).  Thank goodness for the chipper housemaid Martha (Amanda Swearingen) and her outdoors loving little brother, Dickon (Andrew Alfonso).  Spouting the “thee’s” and “thy’s” of their local version of English, they manage to get past the new arrival’s sourness and whisk her outside, where she is told of the ‘secret garden,’ Lily’s beloved enclave of flowers and cheer that has been maintained lo, these many years by the faithful gardener, Ben (John M. Petric), Sadly, he has grown older and slower, and the flora is now overgrown and locked behind a high wall, condemned by Archibald because flowers always die.

Providentially, through pluck and friendship — and occasional help from the magical spirits of Mary’s Indian past all the characters manage to break their shackles of sorrow and clasp each other in the embrace of newfound hope and joy.  Rooney gave a spirited performance. Always engaged, often engaging, her voice was charming within her range, and she was excellent in her dance number in “Come Spirit, Come Charm.’’ Kramer was true to Colin’s isolated arrogance. His explanation that “I’m selfish because I’m dying, shouted insistently from his sick—bed, “as an honest response from a child in his situation.  Briggs hunkered convincingly into his self-pity. Still amazed that the beautiful Lily ever loved him and his deformed back in the first place, he hunch-shouldered his way around the darkened stage with posture that would do the bell-ringer of Notre Dame proud.  Parker had the best voice of the leads. She floated around the living well, guiding them to their better selves with a soft smile and a soaring soprano. Amos and Swearingen were solid in their supporting roles, keeping things moving with nuanced expressions and strong stage presences.

Overall, the singing was heartfelt, filled with genuine emotion, but not pitch-perfect. Many of the songs featured challenging close harmonies, and the players often searched for the needed notes. One strong exception was “Lily’s Eyes,” a duet by Briggs and Amos in which their triangle of affection for Lily is revealed. Another beautiful rendition was Briggs’ ode to his sleeping son, “Race You to the Top of the Morning.”

Surprisingly, one of the strongest voices was Chris Javornik, a member of the Indian spirit ensemble. His clear, wide-ranging baritone led the expositional choral interludes with élan.

Special effects by director Bill Setser and Briggs that featured seven rear- projection video and wonderful period costumes by Carol Cartmell and Rosemary Thomas highlighted the show. Lighting designer Chris Oswald could have used some of that light. Other than pools of often dim illumination on the part of the stage being used, the nearly full opening night audience was presented with expanses of mordant shadow.

Someone Who'll Watch Over Me - Fall 2006

The following review appeared in the Pueblo Chieftain Saturday November 11, 2006, by Joanne Dodds

 'Someone Who'll Watch Over Me" a drama for thinking Americans


Damon Runyon drama captures life in prison Being held prisoner by nameless, faceless enemies for years is a fate that is beyond comprehension. Frank McGuinness' "Someone Who'll Watch Over Me" explores that horror with a depth of insight that is awesome.

The Damon Runyon Repertory company did itself proud last night with its production. The three-man play explored every aspect of imprisonment - especially the question of self-identity.

The first prisoner was an American named Adam whose primary self-defense was control. Adam first used physical fitness as his weapon to keep his fears at bay. As the years passed, he became more religious.

Edward was the second prisoner to arrive in the cell that was illuminated with a single light bulb. As a journalist from Ireland, Edward used defiance as his weapon of self-defense. "Never let them see you cry" became his mantra. Instead, he laughed.

Michael was the third man to be chained to the wall in that small cell in which there was no night or day. He was an Englishman who had come to Beirut to teach at the American University. Civility was his weapon.

It was surprising that little of the dialogue between the three prisoners dealt with the central issues. "What did I do to you?" was cried out in pain as was the observation that "in every game there is a loser," and "God protect us from those who think they are right." The most powerful question was: "Can we be free inside our heads, when we are in shackles?"

It is the strength of the English play that what the prisoners talked about most of the time were the good moments in their lives and the bad. Mostly they relived movies they had seen, sports games and getting drunk on imaginary liquor. Some of the moments were very, very funny.

It was their humanity, in a play when the men never touched each other, that made you wince. Sean P. Briggs, as Adam the American doctor; Ryan Romero, as Edward the Irish journalist; and Bradley K. Ritter, as the English professor, were simply outstanding.

Before attending the performance, I had been apprehensive about their ability to deal with such a tough topic. Evidently, others had the same fear because the audience was sparse. They should have come.

Englishman Brian Keenan, whose captivity was the inspiration for the play has said, "Just as I was chained in darkness for almost five years, my captors where chained to their guns in a profound darkness I could see into. Tell me now, who is the prisoner here?"

At the entrance to the theater, a sign was posted that advised people: "This play is not for the young or easily offended." That's true. "Someone Who'll Watch Over Me" is a play for thinking Americans to see.

There will be three more performances at 2 and 7 p.m. today and at 2 p.m. Sunday.

The Sound of Music - Fall 2005

Hills are alive: Full house enjoys ‘Sound of Music’
Review by M. Scott Whited, Pueblo Chieftan 1 Oct 05
Kudos and congratulations to Damon Runyon Repertory Theatre! They opened their new season Friday night with the ever-popular Rodgers and Hammerstein musical, "The Sound of Music," before a very full, sold-out house. The crowd was packed in, filling all four levels of the Runyon Theatre on Main Street, even the level up behind the tech booth - a very impressive showing.
Art and commerce, however, are sometimes at odds. Just check almost any night of television listings. This production, though heartfelt in delivery, was not one of the better shows the Pueblo theater scene has offered.
Some of the songs, as fully expected, were beautiful, often delightfully so. Lyrics such as "How can you keep a wave upon the sand" and "How can you hold a moonbeam in your hand" are not only lovely to listen to, they are also shimmering evocations of the elusive nature of the human heart. "Climb Every Mountain" is one of the great anthems to hope and dreams imaginable. It is hard not to get goose bumps as the soaring melody reaches its climax, especially when sung as powerfully as by Gina Parker as the Mother Abbess.
What kept this production from living up to its potential was, in a word, awkwardness. Scenes often seemed awkward, with actors seeming uncertain of just what they were up to. Some opening night awkwardness with lines kept things from flowing smoothly. The scene progression itself had an awkward feel, as though some scenes had been cut out, or some important information was not included.
Things were not helped by awkward technical work. The lighting design was not effective, with many scenes lacking sufficient front-lighting, making it difficult for the audience to see the performers. Frequent but awkward use of spotlights to highlight featured singers did not alleviate the lighting problem, and was made even more distracting by the overly loud instructions from the tech booth. The set design had too many crowded spaces, which resulted in the actors often having a difficult time making their ways past each other.
The chemistry between the two leads, Michelle Evert as the good-hearted Maria and Bill Setser as the earnest Capt. Von Trapp, never seemed genuine. Their attraction seemed to materialize out of nowhere, with the audience not given a chance to watch their relationship blossom. It was easy to identify with Maria's surprise when one of the captain's children points out that Maria and the captain are in love: Huh? Where'd that come from?
Finally, though there was some fine singing, especially by Evert and the aforementioned Parker, some of the wonderful harmonies were, unfortunately, not pitch-perfect in their presentation.
And now for the good stuff. Stephanie Smith was vivacious as the widowed corporation president with a twinkle in the scheming eye she had for the Captain. She brought liveliness and sureness of self to her portrayal, which made her a treat to watch whenever she appeared.
Avery Johnston once again did good work in her latest ingenue role for DRR. Her Liesl ("I am Sixteen, Going on Seventeen") was on target in both her curiosity about the looming world of romance and her sweetness as a still naive young girl. Her strong voice was an anchor for the seven singing Von Trapp children, helping keep things enjoyable.
She also brought believability to her scene with "I am Seventeen" Rolf (Jake Nicks), a big bear of a boy-man who brought more likable concentration than dancer's grace to their pas de deux. No one would expect the two of them to live happily ever after, but it was easy to believe they were infatuated with their infatuation.
Keeping in mind W.C. Fields' admonition about working with kids or dogs, it was hard not to smile whenever the Von Trapp children were on stage. Featuring three Johnstons (Zachary and Abigail in addition to older sister Avery), they made a comfortable cohort, especially Emma Thomas as the bespectacled Brigitta. Kids. You have to love ’em.
Despite the flaws of this production, though, there is plenty of joy to partake of with a story that ends with the triumphant lyric, "Till You Find Your Dream!"
 

South Pacific - Fall 2006

From the Pueblo Chieftain, Saturday October 14, 2006 by Joanne Dodds

'South Pacific promises one enchanted evening

Run, don't walk, to the next performance of "South Pacific" by the Damon Runyon Repertory.  The music and story line of the 57-year-old play is still wonderful. 

"Some Enchanted evening" still captures the magic of first love and "Bali Ha'i" reminds the listener that "most people live on a lonely island."  The full-house audience was hanging on every note from opening to close. 

Two of the performers were especially wonderful.  Judith Cook, as Bloody Mary, gave the Tokinese entrepreneur the vitality she deserved and Bradley K. Ritter, as Luther Billis, was darn good including an awful tattoo on his belly and a set of lips on his rear left hip.  His support team of Mike Reininger as Stewpot, Jeremy Nickell as The Professor, and Tony Oswald as Yeoman Herbert Quale captured the spirit of each scene they were in with right-on-target zings and giggles.

The stars of the evening were Brent Ritter as the romantic Frenchman, Emile de Becque, and Rebecca J. Work as Little Rock, Ark.'s own Florence Nightingale. Brent's French accent was nicely done.  Too often an actor's attempts at foreign accents are inconsistent, but Brent stayed in character.  Rebecca was a charming Nellie Forbush, demonstrating love, anguish and personal growth with conviction.  Scott Young as Lt. Joseph Cable was a fine male love interest whose torment over the values he had been taught versus love were convincing. 

The team of directors, Sean P. Briggs, Catherine M. Spangler and Betty Lunn need to take a special bow for a job well done.  The quick scene changes, the choreography and use of the theater's stage were maximized and kept the pace of the play lively.  Having the actors stand with their backs facing the audience during some of the scenes was very effective.  Light design by Sean P. Briggs provided special moments that gave several scenes an intimacy that added to the play's credibility. 

Best of all was the message of the play inspired by two stories in James Michner's Pulitzer Prize winning "Tales of the South Pacific."  Michener, a Quaker, served in the Navy during World War II as a naval historian in the South Pacific.  His war experience gave him a depth of knowledge about military life and the adjustments that are required when people meet people of very different cultures.  Hiw core message of prejudice being taught is relevant today.  The geography has changed but the problem hasn't.

The Wizard of Oz-Spring 2007

The following review appeared Saturday Febreuary 10, 2007 in the Pueblo Chieftain by Chriatian Piatt:

Runyon's 'Oz' shows heart, brains, nerve


It's a rare evening when I can claim to see flying monkeys and a giant wizard, yet still drive home. Damon Runyon's production of the "Wizard of Oz" Friday night was just that kind of trip.

The nearly full house delighted as familiar lines and time-tested tunes rolled off the tongues of both performers and audience members. The supersized cast and elaborate sets prove that Damon Runyon has what it takes when they put everything they've got into a show. My three-year-old son, however, may beg to differ. He left bawling more than once, finally giving up just after intermission.

Though family-friendly, there are moments that may prove too intense for the little ones. This, combined with a running time of more than two hours, makes the production better suited for school-age viewers and older.

There's no lack of fodder for adults seeking more than whimsy. There's a grove of pun-spinning trees that stretch the limits of wordplay for even the most avid arborist. The Wicked Witch (Amanda Swearingen) plucks the choicest lines from the script with gems such as, "There's nothing as depressing as boundless optimism," or "Of course she's my sister! Who else would wear ruby slippers. . . with those socks?"

Even Scarecrow (Jeremy Nickell), the witless wonder, pulls a few zingers out of his overstuffed hat. When asked by Dorothy (Tabitha Rooney) how he can talk without a brain, he quips, "Some people without brains do an awful lot of talking."

Even the young ones ran a tight ship in this show, demonstrating the skills they acquired during their two-week-long acting workshops. Runyon should consider more large-scale endeavors such as this, not only for the benefit of cultivating young actors, but also because they earn the loyalty of all of their friends and family, as evidenced by the abundant crowd.

Rooney's Dorothy was spot-on, though her triumvirate of sidekicks nearly steal the show more than once. Tin Man (Jay Shannon) is a boisterously ramshackle mess, with the most powerful baritone ever borne by a recycled oil drum. Young Ryan Romero as Lion was comically cowardly, never afraid to make himself the furry butt of the joke. Nickell's physical humor as Scarecrow brought a similarly disarming affability as is familiar in the 1939 film classic of the same name. While some characters were more derivative of the film than others, nearly the entire production was professional grade.

I say 'nearly' reluctantly. Knowing Runyon is a community theater, I can hardly blame them for less than ideal acoustics and sound equipment, but voices fade in and out a number of times. Sound and lighting are two of those thankless components of a show that go unnoticed if done perfectly. Otherwise, they're only a distraction. Though they've recently upgraded to a new computerized lighting system, some of the timing bugs are still being worked out. Kudos for taking the bold step forward, though.

There are bits from the 1901 novel by L. Frank Baum that readers will appreciate, while fans of the movie will recognize many familiar aspects, including the transition from black and white to full color as Dorothy reaches the land of Oz. The dialogue is sharp, and the sets are creatively versatile. All of the songs bring back memories for anyone over thirty who still has a heart. If you have half a brain, pluck up the courage to brave the weather and check it out.

Damon Runyon's production of "The Wizard of Oz" runs today and Sunday, as well as Friday through Feb. 18 and Feb. 23-25. For reservations, call 564-0579.
 

The Women of Troy - Fall 2005

A Year With Frog and Toad Winter 2006

Runyon's 'Frog and Toad' honors classic tale

From the Pueblo Chieftain, Dec 9 2006 by Christian Piatt:

Call me a sucker, but ever since I had my three-year-old son, Mattias, I enjoy children's shows more than I did when I was his age. Watching Damon Runyon Repertory's "A Year With Frog and Toad" Friday evening through his eyes was a delightful exercise for my own imagination.

A child's perspective is amazing enough, but to share a musical theater experience with him based upon the classic stories by Arnold Lobel is a special treat. Though sparsely attended, the performers offered up plenty of heart, sharing hopeful messages about friendship through good times and bad.

There was a time when just writing something this sentimental would set off my gag reflex, but our soft spots grow every time kids huddle up in our laps, eyes wide, and asking questions like, "Is he really a frog, Daddy?"

For tonight, why not?

Anyone who has frequented Runyon's productions likely will recall at least one memorable performance from Sean P. Briggs, who plays Frog. His combination of expressiveness, musical acumen and agility delight audiences of any age. Brent Ritter, another can't-miss player, only cameos as the Large and Terrible Frog, sure to be the stuff of Toad's winter-time nightmares.

Bill Setser as Toad brings a disarmingly oafish charm to the stage, offsetting the manic tendencies of the rest of the cast. He is overshadowed vocally by Briggs, but he shares the spotlight well without competing for space.

Perhaps most notable are the set design and costumes, overseen by Chris Oswald and Carol Cartmell, respectively. The transitions not only were seamless, but the atmosphere was always fitting of the feel conveyed by the children's books upon which the musical was based. From flying kites to synthetic snow, the stage set was compact yet versatile, shifting subtly to communicate the change of the four seasons.

All technical aspects aside, the greatest tonic for my son's squirming was the up-tempo music. Overall, there are more ballads and slower speaking parts than I recommend for children younger than school-age, but he delighted as the first act ended with the sugar high of "cookies," a spastic tune that proves 12 step groups are necessary, even in the amphibian world. Frog greedily stuffs cookies into his pockets as Toad talks him into just one more bite. Mattias giggled as he made his way out to the lobby for his own snack.

The ensemble had their own moments in the limelight. Jeremy Nickell gave new meaning to the term "snail mail" as he took three seasons to deliver a letter from Frog to Toad, popping in and out of scenes at the speed of snail. Larcy Brooks' soprano hardly gets its due in a production void of show-stoppers, but every line and verse she is afforded packs a punch. Even young Hannah Toth has a chance to show off some fancy footwork during a couple of dance numbers.

Best of all, the theme of the evening is that friends make sacrifices for one another. They rejoice and grieve together. They go out of their way to make sure the ones they love know how they feel. As the father of a toddler at Christmas, I can use all the help I can get to drive the point home that life is about more than waiting for the next excuse to open presents.

"A Year With Frog and Toad" continues at 7 p.m. Saturday, followed by a matinee Sunday afternoon. For more information, call (719) 564-0579.