Colorado theatre summer showcase

A look-ahead to the shows popping up around the state for summer, plus the week’s Top 10 Colorado Headliners

In this episode of the OnStage Colorado Podcast, hosts Alex Miller and Toni Tresca run down some of the latest Colorado theatre news, take a look at what’s ahead for the summer season around the state and also dive into the week’s Top 10 Colorado Headliners. This week’s list:

·      Come From Away, Arvada Center, through May 10

 ·      Ballet Masterworks, Colorado Ballet at Ellie Caulkins Opera House, Denver Center, April 10-18

 ·      Romeo & Juliet, ENT Center, Colorado Springs, April 9-May 3

 ·      White, Firehouse Theater, Denver, April 4-May 3

 ·      The Old Man and the Old Moon], Fort Lewis College, Durango, through April 4

 ·      Shush, Now, Theatre Artibus, The Savoy Denver, March 26-April 12

 ·      Frozen, Springs Ensemble Theatre, Colorado Springs, April 2-19

 ·      the Light vs the Dark, The Dairy Arts Center, Boulder, April 3-5

 ·      The Secret Circus Musical, RISE Comedy, Denver, April 4-5

 ·      Angels in America Part Two, Vintage Theatre, Aurora, April 4-May 10

Transcript

SPEAKER_00 0:05

All right, hello, and welcome once again to the Onstage Colorado Podcast. I'm Alex Miller.

SPEAKER_01 0:12

And I'm Tony Treska. As usual, we are going to be discussing some recent shows that we've seen, talking through some theater news, and we'll also hit up our top 10 Colorado headliners, which is a roundup of upcoming shows we think might be of interest. And for our main topic this week, we're going to be taking a look at the summer theater season ahead.

SPEAKER_00 0:36

Yeah, we call it our summer showcase. We'll be uh, you know, especially the repertory seasons that uh pop up like daisies in the summertime uh around the state, too. It's probably it's probably the most uh all-state uh time of the year where you know more theaters are active than uh any other time of the year. So it's kind of cool.

SPEAKER_01 0:56

Yeah, definitely, because you have even the kind of m quieter mountain towns like Creed, which are kind of sleepy theatrically throughout a lot of the year, just by the nature of like the rural community that they exist in. But yeah, summer is almost here. Uh even though it already is starting to feel like summer throughout most of Colorado.

SPEAKER_00 1:17

So although we might be getting some snow this week, so it'll set it'll definitely feel more like a typical Colorado spring, maybe for a little while before we get back into whatever, whatever lies ahead, whatever horrors lie ahead uh uh meteorologically, meteorologically. So all right. Well, let's talk a little bit about what we've seen. You are out to a bunch of shows, Tony. Busy, busy writing reviews for a lot of them. So uh what uh what'd you get out to?

SPEAKER_01 1:43

Yeah, I saw a ton. I I started uh my theatrical journey with a little women. This is the 2019 adaptation by Aaron Riley, uh being produced by uh the disability affirming theater troupe, family theater company, over at the Parsons Theater in North Glen. And I would say this is a really rosy adaptation. It's kind of uh Riley kind of sands down some of the darker, meatier edges of the original source material by Louise May Alcott, which itself isn't super prickly, but there are just some con there are some conflicts in there that pass by really breezy with this, because what director Shelley Gaza really wanted to focus on is kind of she and the playwright, uh Aaron Riley, actually collaborated together to make this adaptation integrate the specific performers' disabilities into the text. And so it was this really uh life-affirming adaptation of the tale uh that had characters such as Meg uh using sign language throughout a majority of the production, and all of the other March sisters then signing back to her, her courtship uh that she goes through. He uh John actually learns sign language for her as like an added element of affection. And I just thought it was a really delightful staging. Uh, it's running through April 4th, so you've only got a little bit more time to check this out, but this was definitely a really nice production from Family.

SPEAKER_00 3:11

Great. Yeah, that sounded like a good one uh for me in your review.

SPEAKER_01 3:14

Uh I also got out to see Bonnie and Clyde, the musical. Won't spend too much time on this one since it's now closed, but this was a really banger production by Brightheart Stages over at the People's Building in Aurora. Tells the very well-known story of Bonnie Parker and Clyde Barrow in a highly theatrical setting. It featured some really incredible performances. Uh, and I just think if you don't have Brightheart Stages on your radar, uh, you are missing some really interesting theater that's going to be that's being created in the area. Their niche is kind of underproduced musicals. Um and I they're just doing a really stellar job. This production was really tight uh all around, really solid performances, sharp direction in this space. And so I'm gonna be uh sure to have to check out whatever they're doing next.

SPEAKER_00 4:10

Yeah, yeah. It sounds like a cool company uh that's uh that's got a specific niche, which sometimes, you know, we when cut new companies open, we're like, what what's what's different, you know, and it's not always clear. So uh so our immersive entrant for the week was uh Red Willow. This one was kind of a mixed bag for you.

SPEAKER_01 4:29

Definitely was. This was a walk in the park in Littleton, and it was performed by these four men, uh four white men. It is intentionally so by Control Group Productions, as their stated goal is to kind of unpack themes around whiteness and how that relates to resisting the current authoritarian state. In practice, it kind of feels like a LARP in the woods. That's a live-action role play experience because you kind of get sorted into these different houses. I was a raven or a house tribe kind of thing. I was in the Raven tribe, and you kind of there's loose story elements that are here, but it's not ever really kind of set. It doesn't really iterate on those themes in really satisfying, or it doesn't really develop those themes that I mentioned in really satisfying ways. Kind of drops in like, oh, we've got to resist fascism, and oh, the world has been destroyed because the red willows aren't growing the same in the forest. But it doesn't really go deeper with that, and then the kind of tribal element of it isn't also isn't really elaborated on in a really compelling way either. It doesn't really, based on what tribe you're in, doesn't really change the experience in any significant way. There's not a lot of uh you don't get a lot of that fun kind of world building that you can get from the immersive storytelling. And so I kind of felt like it was lacking thematically. And then from the immersive world building perspective, it also didn't fully deliver. But it was pretty fun to go out and take a walk in the woods at dark, uh around dark with some other folks. Uh so it's not a total bust.

SPEAKER_00 6:04

Okay. And also in the immersive uh category was cryptic, uh, which you seemed to, I think you liked a little bit better.

SPEAKER_01 6:13

Yes, I th I thought this was a much more effective immersive collaboration. It's about a 45-minute experience over in a building in the Rhino Arts district in Denver. I mean, you really can walk by it and miss the entrance. I certainly did. It's just it's kind of situated around a bunch of apartments and other kind of businesses. And so I walked right past the door, then saw the odd knock logo, turned back around and went inside. And it's kind of designed as this guided tour through an oddball attraction called Cryptic Keep, uh, which is in this desert environment. It's this rib-like structure that was dropped by aliens along with the book, as we're told by lore early on. We go in this room that's filled with all theses about this and a short in-world video that we watch. And then once we go inside the artifact itself, we accidentally awaken the ancient force that brought that artifact here in the first place, and we kind of go on this. You have to complete these mini-game kind of puzzles using this book that is revealed by the ancient forces to get out of the experience and move forward. You have to all it's 10 person, uh, 10 people max in there, and all 10 people have to work together to get each room to unlock as you kind of go through. There's four different distinct rooms that are all outfitted with really impressive high-level technology, um, lots of different projection mapping and light sensors, intricate sound design. Um, it made me really curious to see what this would look like in a space that had been custom built for Cryptic, because this is a warehouse in Rhino. It's a commercial building. It shares it with a hair salon and another restaurant. And so you can't exactly hide, for instance, the projectors in the room, or you can see the light strips because it's just a ceiling that they're having to hang this stuff on. And so I thought that the concept worked really well, uh, save for a couple of there are a couple tonal things too. It starts really funny and then gets end of the world apocalyptic stakes, and that tonal balance doesn't quite work because it's so light and funny at the start that then you don't quite earn that transition into world-ending stakes in this current version. Uh, but I thought that there's a lot of promise here. This is the first collaboration between fictive and odd, not productions, and it is an incredibly promising one.

SPEAKER_00 8:40

Yeah, it sounded really cool and definitely the the photos were really interesting. I I almost uh was I was surprised a little bit by the amount of detail you put into the review. I was wondering if there would be worried about spoilers in there, but I I appreciate it because it's it's often you don't know what to what you're walking into, uh, and you definitely painted a pretty, pretty vivid picture.

SPEAKER_01 9:01

I guess that's true. Yeah. I I'd rather with these kind of immersive experiences um like this, I kind of want to give people a sense of what to expect. Like this is not immersive in the sense that you have to talk and respond and do that, but you do have to play games, and I do want people to know that it's not just this is not a traditional sit down and watch the show. You're gonna be drawing with chalk on the floor to draw these ruins and open the open the doors and whatnot. And so if you're not game to play in that capacity, the show might not be for you. But I found this to be a really kind of cool blend between like a haunted house, an escape room, and a more traditional theatrical-based immersive experience.

SPEAKER_00 9:39

Cool. Well, also looks like it was completely sold out when I was looking at their website. So maybe I'll have to wait until next time. Is it really? I thought that's what it said on their page. So yeah, well, for those small, small number of people that can go in each one. So uh big swing from Vintage doing Angels in America, part one and two. You saw part one and gave it a pretty strong, uh, pretty strong review.

SPEAKER_01 11:09

Yeah, this was a uh really strong outing from Vintage as directed by artistic director Bernie Cardell. He is staging part one, Troy Lakey is handling part two, which opens this Saturday, and I will also be in attendance. This is Tony Kushner's Epic AIDS Odyssey, as it's kind of set in the in the 80s against the backdrop of the second Ronald Reingitt administration, and you're watching these two couples whose lives begin to intersect in these really unexpected ways. One gay couple who is dealing with um the their recent diagnosis that one of them has AIDS, and one street couple who is uh made up of this closeted Mormon lawyer and this kind of repressed Valium addicted housewife. And so you're seeing the story filtered through their hallucinations, their dreams, as well as kind of just the little as kind of just like their daily lives play out. Along the way, there's also eccentric characters who are here, like Roy Cohen, the very famous conservative fixer for Nixon and Reagan himself, who was also a closeted gay man who vehemently fought against that uh label until literally the day he dies of AIDS. And as played here, that Andrew Uhlenhop is pr is acting as Roy Cohen. And oh my god, Alex, he is fucking fantastic. There is this scene early on in which he's juggling like 15 phone calls as he's also engaging in a conversation about sandwiches with Joe Pitt in his office, and the level of specificity that he does as he's taking these different phone calls, manually having to, because it's an old phone, he's having to switch between the different lines that it's on, all while maintaining this very casual, breezy conversation with Joe. Right from there, you're like, this is going to be a tour per tour-to-force performance for Andrew, and it really is. It only gets better from there. And the rest of the cast, an eight-person cast is also uniformly strong, which I think really sells this intimate staging of this play. It's it's a lot more modest than one might, if you've seen other versions of Angel in America, uh, it's massive production. When it was originally staged by Eureka Theater in California, it quite literally bankrupted them and they decided to never produce live theater again and become a rental a venue for rental because it's so expensive and elaborate. Vintage can't do that because this is the they had their this is in their smaller 67 purse and Bond Trimble Theater. But what they lack in kind of theatrical flash, they really do make up for with fluid staging and masterful acting.

SPEAKER_00 13:51

Yeah, really up close, too. That must be a really intense experience to see that show in that tiny little theater.

SPEAKER_01 13:57

It is. There is several scenes where it's just like deeply uncomfortable to be there. You're like, I shouldn't be here. Like when Joe is drunkenly confessing to his mo his conservative mom over the phone that he is uh that he's a gay man. You're just and you watching Haley Johnson and as his mother bitterly uh react and then kind of lash out at him because she's just so afraid of what this means for her son. It's it's devastating to watch. I I I'm not afraid to admit I was crying in that scene, and then there's uh another another moment in the play involving prior that got me as well. Very emotionally effective. Um a couple of weird quick weird quirks though. It was opening night was also happening uh at the same time that nine to five, the musical, was playing in its larger theater, which meant during the quiet moments you could hear Dolly Parton's score and uh coming through the air vents. And are there I guess. And then the other weird quirk was there was no air conditioning.

SPEAKER_00 15:01

Is there never air conditioning in that theater?

SPEAKER_01 15:04

Or is it just there has been air conditioning in the past, but they didn't turn it on, and it was a basically sold-out opening night, and we were just sweating like pigs. Me and the whole back row felt like we're just all using our fans to our programs as fans to kind of cool off. And that's just not the experience you want for three-hour players.

SPEAKER_00 15:23

Well, that makes it really hard to enjoy anything if you're if you're dying of heat. But but just you know, in the old days, that's that was the case all the time, you know.

SPEAKER_01 15:32

So be thankful for air conditioning you do get. That's true, Alex. I it you this this experience certainly made me appreciative of the air conditioning.

SPEAKER_00 15:42

Uh you got up to see the cottage in Fort Collins from open stage, and uh it sounded like you had sort of a similar experience where you really weren't convinced the script was quite the thing.

SPEAKER_01 15:52

Yep. I think that this was a uh deeply energetic staging of a middled in comedy. I it uh this is written by Sandy Rustin. She's also done the clue adaptation, the suffragettes murder at the DCPA that came through a few years ago. Uh this is a new play. It's kind of in the style of a no coward um drawing room comedy. And yet it's just not really all that funny. The stakes are depleted almost immediately as like all of the different kind of entangled romances are all very cleanly laid out by the end of Act One, leaving basically nothing to happen in act two, despite like uh these actors who they've got in Fort Collins are really trying their best with this material. Uh they're mugging it to the audience, they're really giving, uh they're committing to the physicality of the past of them, but the gags that they have to work with here are just so subpar. It's kind of this supposed to be a feminist take on this on this drawing room type of comedy, and yet the central female characters are all so passive in how they're written. They like literally like the resolution of the play literally has nothing to do with the actions that are performed by the women in the in the show that we're watching. And so I I just have a lot of questions about what artistic leaders see in this script, as The Cottage is a show that has been produced quite often, several times locally since it was written in 2023, which is not that long ago.

SPEAKER_00 17:25

Yeah. Yeah. I think Plat Valley, I saw the production at Platte Valley, which of course is a great production, but I was just walked away going, Why did they do this one? Uh and then you also got to see Terms of Endearment, which many of us know from uh the it was a 80s. Uh but what was this? Uh what was the play like?

SPEAKER_01 17:42

I have never seen the film, but I imagine it's very similar um to the to the film to the movie, the stage adaptation. It's uh you're watching just this mother and daughter uh kind of go through the years together, um, and then kind of watch grappling with the daughter's untimely cancer diagnosis. It's a tearjerker for sure. Um I found it to be incredibly melodramatic in terms of how it kind of jerked at the heartstrings. This production by Longmont Theater Company, this is the first one that I've seen since their transition. There was this whole from a couple of years ago kerfuffle with members and the board kind of getting into this fight. It actually went to the courts, um, and then it got resolved uh since then. And this is the new leadership team over there. And I think that there's a lot of work that needs to be done in terms of polishing the product. Uh, it was very choppy in execution. I'm talking like 30-second scene transitions between different things, or we're just sitting in the black with no music playing either, just kind of sitting in this awkwardness uh together. Uh the pace was really slow. It was this is a big theater that the Longmont Theater Company has. It's a performing arts center in the middle of downtown. It's a lovely facility. It's quite old, you can tell that, but it it's it's a really cool space. But it does mean that you have to project, particularly since there's no microphones being used. And many of the actors were just unintelligible because they were speaking so softly. And so there were a lot of just like basic technical, uh, technical things that interfered with this production that I would just hope to get kind of cleaned up as the run goes on and just focused on more directly throughout the rehearsal process as Longmont Theater continues to kind of rebuild.

SPEAKER_00 19:31

Uh-huh. Okay. All right. Well, um, I got out to uh this was one that we actually reviewed closer to the beginning of the run, and this was the end of the run. But I wanted to go see this one, uh, My Mother and the Michigan Ohio War at Miners Alley Playhouse. Uh the playwright Paul Strolley was there, so I wanted to kind of say hi to him. He's a friend of the pod. We've we've talked uh a few times, so uh that was a lot of fun to get out to. I don't think it's as strong a show as uh uh his juke jukebox for the Algonquin. Uh but it's you know, it's a it's a fun comedy, it's a three-hander, uh really good platform for Cynthia La Daddy LaDadio Hill. Um did a great job with it. Um and uh so that was that was fun to get out there. Uh and then um I'm sorry, were you gonna say something?

SPEAKER_01 20:16

No, I was just really excited to hear about this next one.

SPEAKER_00 20:20

Fat Ham. Fat Ham. So this is the Colorado premiere at the Aurora Fox of this uh Pulitzer Prize winning play by James Imes, it's pronounced. I was like, I looked it up. It's like it's James. It looks like James L. James or James I. James, but he just it's just pronounced Imes, which is really confusing. And to compound the confusion, it's pronounced, it's directed by Donnie L. Betts, who also does the has the whole lowercase thing. So I'm like, I don't know if these these names uh to get those all straight. And also um Alphabet Soup with the the the actor names, everybody's got really complicated spellings of their names. It's like I've been working working on this review, and man, I gotta really stay on top of my game, make sure I get us all right. Um but man, this is, I would say, the best, maybe the best play I've seen all year so far. Um really a bang up production, unbelievably strong cast, really nice, uh beautiful set uh designed um by um Brian Watson, uh lighting by Brett Maughn, uh, you know, uh really uh nicely done. And uh, you know, uh Donnie Albetz is a film director as well, and there's a real cinematic quality to it um throughout. There's all kinds of it's a it's a strange play. Uh there's a lot of really odd elements to it. And one at one point, the uh Juicy, who's the Hamlet character played by uh sad Devon Newell, sings uh a karaoke version of Creep by Radiohead, which is uh Oh, okay. The last song in the world you might think of a black man uh singing for any reason whatsoever. You know, it was Radiohead, it just seems like the whitest band. Uh but it was really affecting, really interesting. Um and uh it's just a you know, it's not it's not a retelling of Hamlet. It's kind of a real uh it's an alternate it alternate take. Um and uh there's just a lot of really cool things. It's a great script. Um, so um really, really definitely recommend getting out to see Fed Hammond, Aurora Fox. I will say the one thing that kind of, you know, Aurora Fox is a little bit in turmoil right now. You know, they had their artistic director leave and they've got an interim person there. And that there was hardly anybody in the theater on Saturday night, and this would have been in the second night of the run. So I mean there were probably maybe 50 people in there. Um and I have to say, you know, walking up to the Aurora Fox, you know, they spent all that money on that on that sign, but it's still like the most uninviting looking you know, you can't even see in the theater. It's like you can't even tell if it's open.

SPEAKER_01 22:55

Uh and that and they're because of the posters that they kind of have in the windows.

SPEAKER_00 22:59

Uh yeah, but even the front door is like some sort of stuff on it you can't you can't see in. I'm sure there's security reasons, I don't know, but uh you know the the the marquee just had you know fat ham only takes up three you know six uh six letters uh so it's just kind of like a really blank marquee and I don't know I I don't know I feel like they need to work on the the presentation of the of the uh but it had absolutely nothing no bearing whatsoever on the quality of the play uh within uh so really great job there.

SPEAKER_01 23:26

Well that yeah that is we'll have more on the Aurora Fox uh artistic situation a little bit later in the show in our news section but that's great to hear the show itself was excellent despite all that behind the scenes stuff. Absolutely. Well now we're gonna do a segment we don't always do, but this week we had several folks uh email us directly in response to our previous podcast episode reviewing the reviewers. Uh people seem to really respond to that transparent conversation that we had about how we approach criticism here at Onstage Colorado. And in response several people shared their kind of takes on it, including Jill Gordon who is a listener in Vail who teaches an adult theater class who she actually asked them to listen to our episode in advance of their unit on criticism so that they could have a conversation about that. And apparently it went over really well they enjoyed a lot of our points in there and it gave them lots of stuff to think about as they're kind of thinking about criticism and watching stuff. But we did get one question according to Jill in her quote in her class, quote, one student asked whether a reviewer could slash should honor a request not to review a production. You mentioned it in the podcast and we were curious about how that works.

SPEAKER_00 24:49

Well I mean it's easy enough I mean you know we we like to be invited to you know we get invited to shows if somebody says for whatever reason we prefer you don't review this and then the reasons vary and it doesn't usually mean we think it sucks. Don't come see it. It's usually some other reason uh or you know maybe it's not quite maybe they don't think it's quite done yet it's a new show or new play or for whatever reason but we're certainly we would just say yeah sure we're not gonna review it if you don't want us to absolutely yeah and it it's pretty rare um that that happens although it has happened to me twice this year for two very different reasons.

SPEAKER_01 25:26

One was a a new company whom I reached out to about attending their production and they just said they were pretty honest. They're like we're too young we're still trying to get our feet under us we are not ready to have a critic in the space but we do want you to come eventually so can I reach back out to you at a later time when we have a show that we really feel reflects what we're doing. And absolutely that's a request I am absolutely happy to honor I don't want you to I'm not gonna critique something if you don't actually want it to be reviewed. It's a scary thing and it is definitely for newer companies uh that's a very fair consideration. Uh the other one was the Denver Center with their current touring production of Phantom of the Opera I reached out I was going to review it since this is a new uh version of the tour but they actually just were not having any press in attendance.

SPEAKER_00 26:14

Yep sometimes that's the case.

unknown 26:16

Yep.

SPEAKER_01 26:17

What else is in the mailbag? Yeah I also had an incredibly productive phone conversation with Nancy Evans Bigley about my review of 9 to 5 the musical and the kind of role of criticism after she wrote into on stage because she had reached out to both of us after being moved by our conversation but she still wanted to assert that some of her issues with my review of 9, which she had shared publicly on Facebook kind of about the tone still stood. And so we I reached out to her I said I'd be happy to talk with her and we had a really awesome phone conversation. And I think we both kind of walked away having really heard the other person out without trying to win the conversation.

SPEAKER_00 27:00

Yeah yeah in her email she said you know I I wanted to provide a bit of feedback about this honest reviews section. The reality is true that no one can expect equity level sets in community productions. That's a budget issue almost entirely but it rarely has anything to do with designer skill set. Additionally equity actors are not more skilled than non-union talent the overwhelming majority of us in Colorado have chosen not to join the union because work opportunities decrease exponentially union membership is not an indicator of talent. I would encourage you to consider this in future reviews and discussions and you know we don't often mention whether someone's equity in reviews generally speaking so it's it's not like a big issue for us.

SPEAKER_01 27:42

Yeah and kind of speaking to the the the budget issue in sets that that's what we said on in our episode as well is we were like we we know the smaller theaters don't have that same budget. It's not a skill issue in any in any means but you can't accept this expect the same quality of set from somebody who's working with a$250 budget as people who have several hundred thousand dollars per sets. And so the point about the union membership is heard though it's definitely not an indicator of talent. And I think the only time I've ever actually mentioned whether or not a production used union or non-union talent is during productions that come through the Denver Center when that's a producer choice where they're either using union talent or they're using non-union talent for their overall tour. And so I think in those contexts it's important to note but yeah not necessarily at like the Arvada Center I'm not going to be like this actor was equity and they were which is awesome and you could tell it this is also not really how it works. It's really rare it's until I go back and I scan the program to check who's actually in equity or not it's kind of hard to know. Additionally we also heard from former onstage Colorado reviewer and founder of the Colorado theater site Curtains Up Eric Fitzgerald who shared our podcast in his newsletter Eric said that he quote found the conversation thoughtful and engaging and it sparked some reflections of my own that I wanted to share with my readers. In his newsletter he wrote reviewing has always been less about delivering a verdict and more about entering a conversation with the work, with the artists and with the community that gathers around them. I'm not interested in pronouncing from on high. I'm interested in observing the choices being made understanding the intentions behind them and describing how effectively they serve the story. At best criticism isn't a gatekeeping mechanism but a form of stewardship. I thought that was an interesting kind of perspective on the role of criticism just kind of thinking about it as a way to honor that labor that goes on on stage and it it's definitely different than what we kind of talked about on the pod.

SPEAKER_00 29:48

Yeah yeah thanks for that Erica is definitely an interesting uh perspective uh you know if you but you know if you are like you says observing the choices being made and articulating that that's that's criticism you know and it's that it that does I guess come from on high there's no getting around it you're you're putting yourself in a position of one who knows I guess uh when you write when you write like that and that's just that's just the nature of it.

SPEAKER_01 30:12

Yeah I I think that's absolutely true and that's kind of why I don't really think about it as being a steward of any particular company or anything. I I'm a champion of the art form and because of that I hold it to a high critical bar that then I kind of use as my baseline. But it it's I think it's just a slightly way of different way of thinking about it. But I really enjoyed reading his thoughts in the newsletter. It just it always gives me stuff to chew on when uh anybody within this limited pool of the theatrical critics uh kind of shares their process and articulates their philosophy.

SPEAKER_00 30:45

Yep. All right how about the news?

SPEAKER_01 30:50

Yeah since we last podcasted a couple companies announced their seasons including Denver Center which announced its 2016 27 uh not 2016 what am I thinking 2026 2027 Broadway and cabaret season features eight subscription shows as well as some additional added attractions. The subscription season opens with Disney's Beauty and the Beast which is the first North American tour of the production in more than 25 years. Really? Also going to be bringing I didn't know that. Yeah I was like I but I I guess that makes sense that the movie was from the 80s the stage play right after that so or 90s I guess was Beauty and the Beast. But others include the return engagement of the Book of Mormon, they're bringing in Boop the musical uh based off the comic character the Tony Award winning winning Greek Gatsby the Buena Vista Social Club Death Becomes Her and then the season is closing with Maybe Happy Endings which won Best Musical at this year's Tony Award ceremony.

SPEAKER_00 31:55

Okay and and then the the cabaret uh in the in the Garner Galleria space has got what a glorious feeling make a behind the scenes look at the making of Singing in the rain. I was like what? Running knows it November all the way through April of 2027 uh in there. So uh yeah and then they'll have some more familiar titles like Waitress. Oh that'd be cool to see waitress in a touring Broadway production uh Jersey Boys, Legally Blonde, Mamma Mia, River Dance, Elf the musical, and then uh way into 2027 a beautiful noise the Neil Diamond musical. So uh yeah that's what's coming to the Denver Center.

SPEAKER_01 32:34

Yeah and if you want to read more about the full season announcements head on over to onstagecolorado com slash news. Also on the site in that same place we've got your conversation Alex with Betsy's leadership team Mark Reagan and Jessica Robley about its 2026-2027 season which includes the Colorado premiere of liberation uh directed by Kate Gleason Fair Maid of the West Once Upon a Bridge The Where and the Effect tell me more about that conversation you had with them.

SPEAKER_00 33:09

Yeah this is a really cool lineup of of material uh and and certainly uh ambitious uh and and uh things that we haven't been seeing a lot on stage uh I know uh you know Mark was really excited about getting liberation because that's I was that was kind of a hot play in New York um and uh you know he's he's often in New York checking stuff out so uh yeah he's uh on unlike a lot of um theater you know managers he has the the wherewithal to to go and see a lot of these shows before they come uh before they you know produce them so uh he's got that kind of leg up uh so really uh cool season it was fun to talk to to both of them about that so uh yeah definitely uh check out that uh it's kind of a QA story on the site over at the Aurora Fox Lisa Rigsby Peterson has been named interim manager of the theater operations uh this hire follows the departure of executive producer Rich Cowden who resigned on February 2nd.

SPEAKER_01 34:10

Rich told the Denver Gazette when he left it became clear it was in the best interest of the theater, but declined to elaborate further besides saying it wasn't anything related to like sexual harassment or anything kind of touchy like that. But Cowden was hired in August 2023 after a prolonged 14 month search and Lisa brings more than 25 years of leadership experience to this including being the founding executive director of the Lone Tree Art Center. She worked at the Wheeler Opera House and Aspen she did stuff at the Denver Center, Curious Theater, Family Theater Company So she is a seasoned veteran here and in addition to overseeing current operations, Lisa's going to be conducting a professional assessment of the Aurora Fox to help inform 2027 season planning, budget developments and recommendations for future organizational direction in this assignment that runs through the end of the year.

SPEAKER_00 35:08

So she's not like a replacement for the artistic director it sounds like she's just kind of overall manager and maybe be maybe she'll be heading and trying to head up the search for a new artistic director or something like that.

SPEAKER_01 35:20

That is certainly what it sounds like it doesn't sound like from the kind of interview that she did with John Moore over at the Denver Gazette that it's intended to be a permanent long-term artistic position. I guess it could potentially turn into that but that is not that was certainly not the intent. This is very much an interim position designed to assess the current what's currently happening at the Fox and help them kind of move forward.

SPEAKER_00 35:45

Okay. All right well we also got uh the announcement from local theater company about the plays for their annual local lab. This is local lab 15th so this is their their new play festival be April 16th through the 19th at the Nomad Playhouse in Boulder. So this uh the lineup includes Faster Horses by Alex Riyadh this is an Egyptian American playwright based in New York City and the show follows two women who lead male-dominated tech companies to launch their own app uh then they're doing only some of God's children or Mississippi Magnolias I guess is uh this is the that's the full name of the show Paris Creighton the third um this is set uh two days after the 1963 march on Washington and then it closes uh with uh fierce satire mediocre sex which is a familiar title because uh it was also uh it's not really our premiere per se because it was at uh endoto two uh I guess last month uh this is my Colorado playwright Edith Weiss so another bite of the bite of the apple from uh from uh uh for this uh particular sh uh assortment of short plays and comedies yeah good for Edith that's awesome to see it's gonna have another life uh I don't know if locals done something like this before in the past where they're gonna stay it would do a reading of a play that's actually already been locally produced. Yeah yeah it's I was surprised to see that so it'd be interesting to hear what they have to say about that.

SPEAKER_01 37:15

Finally John Moore over at the Denver Gazette reported on what's happening next for Charlie Miller who is the co-founder of the DCPA's off centers. We shared on the podcast back in October and discussed at length in our recent podcast episode about the local immersive scene that the Denver Center for the Performing Arts was ending its commitment to the development of new immersive experiences for financial reasons. That meant that Charlie Miller would necessarily be leaving the DCPA at the end of March and as it is now the end of March, that time has come. So as John wrote quote his employment will last exactly one week hope he enjoys the break because as of April 6th Charlie Miller is the new executive producer of Culture House Immersive which is focused on incubating immersive collaborative stories and the worlds in diverse physical locations. So in other words he is going to be consulting others on them making their own original immersive work. Okay sounds like a good rule for for Charlie Definitely yeah that's kind of what I predicted when we talked about it at the time I was like feels like Charlie Miller he I I know from talking with him at Camp Christmas that he doesn't have any intention to leave Denver. If he's not going to leave but he's still going to be involved in the immersive space as he said consulting kind of seems like the best way to do that. He can go and travel all over the world for his work while still keeping his family here.

SPEAKER_00 38:43

Yeah great all right um one last thing I was going to mention I just found out today I did a little piece on it on the site was uh uh speaking of uh Betsy uh Mark Reagan uh told us that um he started a new program uh aimed at trying to get young people into the theater and it's kind of cool uh you know a lot of theaters have student discounts but Mark's taking it one step further and making available a dozen tickets for every Betsy show for free uh for high school and college students. All you got to do is go on this this website and uh use this code and the first 12 people will get in for free. And he's just, you know, he's just uh curious to see like if that can move the needle on trying to, you know reduce some of the gray hair in the audiences. So uh so check out that story on the site uh but if you're interested it's uh at the website is studentscomefree.com.

SPEAKER_01 39:35

I think that sounds like a super cool idea. It just eliminates the kind of any of the barriers uh to attending for young folks and hopefully creates passionate theater goers who uh because you trusted them and you're like come please come you welcome them into the space uh in this really in this meaningful way hopefully create lifelong theater goers but I guess only time will tell because the counter to it is uh people don't value anything if you just give it to them for free. Will people show up if they or will they just claim the tickets and then not show. I guess only time will tell that.

SPEAKER_00 40:08

Yeah. And he talked about that a little bit saying that you know to prevent that they're going to probably be fairly aggressive about following up and saying are you coming? Are you coming? Are you coming? He's like we might even call them we might even call them you know so that we don't have those those uh because yeah that's the thing about comps. All right. Well next we want to talk our main topic is the summer showcase so this is like a summer theater guide to just kind of whip through uh some of the things that are going on all around the state. So like we said there's a lot more theater being done in different corners of the state in the summertime uh and often in cool places like cool literally uh like literally and I don't know physically they're in a lot of times they're in the mountains here in Colorado. So you want to kick us off Tony?

SPEAKER_01 40:53

Yeah I'm gonna start us off with Central City Opera House which is presenting its 94th festival season from June 27th through August 2nd in its historic opera house it's uh open air no air conditioning facility it is beautiful uh but uh just plan appropriately uh because of that they're offering a couple of different fun things uh the marriage of figure which is this is the classic Mozart piece they're doing the ballad of baby doe uh which is kind of recognizing Colorado's 150th birthday and the 70th anniversary of the opera's world premiere on that very same central stage uh uh it's set during Colorado's silver mining era so uh it actually it's very kind of representative of the local culture and it's actually sung in English so it's one of the it's one of the few operas that actually was written in in English. Um they're also doing Terrence McNally's Tony Award winning play masterclass and then they're going to be host featuring the Central City Opera Orchestra and and festival singers in a program of operatic favorites July 10th and 11th.

SPEAKER_00 42:04

Yeah that sounds like a good lineup I should point out that even though they don't have technically uh what we consider air conditioning there the one time I visited there and they were telling me about it's naturally cooled by the the stone or the granite that the the houses the opera house is made of so it's not it's not like you're in there sweltering like uh maybe vintage the other night.

SPEAKER_01 42:26

Fair enough that's a good that's a good point of clarification Alex. Yep. Because it yeah it doesn't feel super it it it doesn't feel super temperate in there.

SPEAKER_00 42:34

No that's nice. Not in the mountains but uh here in Boulder uh Colorado Shakespeare Festival. So this is a big year for uh CSF because after two summers doing only indoor stuff at the Row Green uh while the their Mary Rapon outdoor theater was being renovated, they're back. So they'll have uh uh it's four shows two of them inside two of them outside uh they also uh as part of that they they redid the Helms building which is if anybody who's like me who's studied English or anything like like uh like that at uh CU this is like kind of the this creaky old building where uh all the English majors uh would go uh and so that one is is is sort of connected to the the uh the theater so there's gonna be all kinds of like a new lobby and a cafe and uh all kinds of stuff so um so Tony you were over there for the the company's dog auditions uh so can you tell us uh uh uh what what it looks like over there now yes I can so this the dog auditions for uh two small dogs in Shakespeare and love were held this past Saturday March 28th on the Ripon stage and it looks really beautiful I think for a lot of folks who when you walk in there it's not going to feel immediately differently because as uh managing director Wendy Franz told me their kind of intention with the theater itself was to basically just replicate keep it exactly as it was but just make it slightly more comfortable so you're not there's actually not that many changes to the seating.

SPEAKER_01 44:06

You're still you've got that gorgeous stone kind of seating that's out there. The theater is beautiful up against the nestled in the trees behind and with the camp college campus right behind it. What really is different is the Helms building it's so much nicer now. The way you were describing it is very apt. It did feel creaky and dusty before but now it's so full of light. They've got all these really cool study rooms there is a uh coffee shop that's there for the students during the year that's also going to double as their concession place for the Colorado Shakespeare festival. There's just a couple of final touches that they've still got to do uh to the space uh like for instance the Helms buildings uh they didn't they didn't have the right uh doors so there's no there's only one main ent one uh a couple entrances that actually work to the Helms building right now and the rest of them are taped up uh but they had to open the Helms building because they were hosting classes there but that's just like one one of those little quirks that they're hoping the CSF team is hoping is going to be working Out before the season actually opens in June. Great.

SPEAKER_00 45:11

All right. So yeah, so they'll be doing Twelfth Night, uh, kicking off May 30th, running into August, directed by Kevin Rich, uh Julius Caesar starting June 14th. Um that's directed by Terry McMahon. Um, and then also doing uh Friends Roman Romans Countrymen by David Devalos. Uh that was inside, uh directed by Tim Orr. And then uh that you mentioned Shakespeare and Love uh as well. So fun, fun season, uh nice mix of uh stuff there at the CSF.

SPEAKER_01 45:45

Yeah, they've got two uh two Shakespeare and two uh sh quote Shakespeare adjacent titles, and they kind of work well in rep together because uh in uh folks who have seen Shakespeare and Love know that the play that Shakespeare is writing in that play is actually Twelfth Night. And so they're doing that play in rep together. The person who's playing Shakespeare is playing Orsino in Twelfth Night. The person who plays Viola in Shakespeare and Love is also playing Viola in Twelfth Night. So there's some really interesting, fun stuff that they're doing with the rep casting there. And then same thing with Julius Caesar. Friends Roman Countrymen, Friends Romans Countrymen is a new world premiere play about Julius Caesar, and so they're doing that kind of rep cast uh about in really fun ways too. Uh that one you're actually supposed they want you to see Julius Caesar first, though, because there's lots of references in Friends Romans Countryman's to the experience of watching Julius Caesar that you really only get if you've seen Julius Caesar recently, which you can hear.

SPEAKER_00 46:45

Yeah, awesome. Yeah, that'll be fun. All right, heading south. What do you got, Tony?

SPEAKER_01 46:51

I've got Creed Repertory Theater. This company is now in its 61st season, and they're delivering a lineup that artistic director Emily Van Pliet describes as a celebration of the humor, hustle, and heart of the people who keep our communities going. They have they're gonna be producing Fully Committed by Becky Mode. Uh, this is the features one actor playing 40 different characters in a New York City restaurant. They're gonna be producing the 25th annual Putnam County Spelling Bee. This is that very fun, quirky musical. They're also gonna be doing working, a musical. This is um being adapted to kind of reflect the local workers that actually make up Creed. There's two ways you can do this musical. You can just do it as written, or you can do a localized version of working, and that's what Creed Rep has opted to do. They're also gonna be doing Moriarty, a new Sherlock Holmes adventure by Ken Ludwig, because you've got to.

SPEAKER_00 47:52

Yeah, and they also have all kinds of other stuff going on down there, including their weekly Boomtown Improv Comedy, where the actors from the rep company do improv. Uh and you know, Tony and I are going down there. We're gonna be down there in uh July. Uh, we're gonna catch all the shows and probably do our podcast from down there. So we're really looking forward to that.

SPEAKER_01 48:11

Yeah, that's right. We uh we were chatting with Emily Van Fliet a little bit at the Colorado New Play Summit, and I I think we got her to agree to drop by our Airbnb to do a little exclusive interview on the grounds of Creed.

SPEAKER_00 48:25

Yeah. Yep. So yeah, I was looking forward to that. Um going all the way back to the top of the state in Greel 8 Little Theater of the Rockies, another long time uh I mean, they are literally the oldest professional summer stock theater west of the Mississippi, is that how they build themselves. Uh and there's it's a smaller, uh it's a smaller program. They do three productions in June and July. So this year they're doing the Spitfire Grill, um Eleanor, about Eleanor Roosevelt, and then I uh uh Honky Tonk Angels, a musical. So uh that'll all be going on in June and July up in Greeley.

SPEAKER_01 49:01

Yep. Another big uh festival is the Rocky Mountain Repertory Theater, uh, which is over in Grand Lake. Uh they were a big winner at the previous Henry Awards. Uh they and so a lot of eyes are on this company with its 2026 summer season, which features three musicals performed in rotating repertory nightly. So they have got Shrek the Musical, Dirty Rotten Scoundrels, um, and Urin Town. So all three very pretty well-known titles. And then for their fall show, they're going to be doing Never Can Say Goodbye, a Beehive 70s musical, because this is one of those summer seasons that they they actually go all the way through September.

SPEAKER_00 49:47

Yeah, yeah, I think they actually go into early October uh up there. And uh there's all kinds of action on on the lake, you know, that's uh a fun place to visit. Out in Aspen, Theater Aspen is doing its 43rd season with three main stage productions, um, starting with Sylvia A.R. Gurney. Love that play, directed it once at the backstage long ago, about a guy, a man, and his dog, which is just it's a very, very funny play. A chorus line, of course, well-known uh title there, and also another well-known musical, Greece, uh, the rock and roll musical set at Rydale High. So that'll be uh up in Aspen.

SPEAKER_01 50:24

Um over in Silverthorn Theater Silkos, a 2020 uh 26 show main stage main stage series is already underway with two major summer shows that are kind of anchoring the Silverthorn Performing Arts Center. So they have got Million Dollar Quartet. This is the jukebox musical about the recording session from 1956 with Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins at Sun Records. Uh, and they're doing Tenderly, the Rosemary Clooney musical, which is about apparently I'm reading for the first time, Rosemary Clooney, who is from Maysville, Kentucky, Childhood Through Hollywood stardom, a career struggles, and a triumphant comeback as a jazz singer. I've never heard of this woman. I I think Rosemary Clooney. Yeah, no, never.

SPEAKER_00 51:17

It's actually George Clooney's like uh his great aunt or something. They're related to it.

SPEAKER_01 51:22

I was almost about to make a joke, a George Clooney joke. I was like, but and now you're telling me that it's actually related to this person is related to George Clooney.

SPEAKER_00 51:30

Huh? Yeah. I guess she she was a well-known, like kind of uh, you know, um singer in the like, I don't know, the 40s or 50s or something like that. So um and then yeah, in September they're doing the catastrophist, and then they're rounding out the year with the tune of Christmas. So a little past summer there, but uh that's what's going on at Theatre Silco. Also a great town to visit in the summertime.

SPEAKER_01 51:52

Yeah. No shortage of really interesting summer options, lots of cool ways to get out and explore the state uh theatrically.

SPEAKER_00 52:02

Yeah. And it's not everything, but those are some of the main, the main uh events going on out there.

SPEAKER_01 52:08

And you're working on a summer season write-up that's gonna be going on on stage Colorado, right? Yeah, yeah.

SPEAKER_00 52:15

So with a little bit more information about everything, with the exact dates and everything. So I'll post that online here pretty soon.

SPEAKER_01 52:21

Cool. All right. Well, now we are gonna close out the show as usual with our top 10 Colorado headliners, which are some shows coming up in the next week or so that we think you should consider checking out. Alex, uh, what do you have to start with?

SPEAKER_00 52:36

Come from away at the Arvada Center. So they just opened this. It runs through May 10th. So this is based on a true story. It's uh like after 9-11, all these uh planes had to land uh in this little town of Gander, Newfoundland. And uh it's uh it's kind of about the sort of stylized version uh take on what happened with uh like Irish folk music and ballads and uh celebration of hope, humanity, and unity. It's uh it's a fun show. I just got the review in from Alice, so we'll have that up on the site pretty soon.

SPEAKER_01 53:06

My first headliner this week is by Theater Artemis over at the Savoy and Denver. It's this clown work called Shush Shush Now, which creates a strange, playful world where identities shift, heads are replaceable, and reality feels just slightly off balance. It's all set in this absurd, liminal waiting room in which two figures arrive with different intentions. One is there to manipulate the mechanisms of the world around them, while the other patiently waits for a brand new head rather than face things as they are.

SPEAKER_00 53:43

It looks really cool. I saw some of the photos from this one, and uh I think uh Danielle is actually gonna go review that one. So look forward to seeing what she has about say about that. Ballet fans, this is something that that look they I think they look forward to all year. Ballet Masterworks from Colorado Ballet at Ellie Calkins Opera House. This will be April 10th through the 18th. So this year, the the kind of the mix of uh shows that they're working on are Concerto Barocco by George Ballanchine, The Rite of Spring by Glenn Tetley, and the world premiere of a new work by Yoshihisah, commissioned by Colorado Ballet. So I know Alice will be out at that one, and we will have a review of that when the time comes.

SPEAKER_01 54:23

Awesome. My next pick is Frozen. No, not that frozen. This is a powerful, emotionally gripping drama that explores themes of grief, forgiveness, and the psychology of crime. So leave the little ones at home. This is not about Elsa and Anna. This play follows three characters: a mother whose daughter was abducted and murdered, the murderer himself, and an academic studying criminal psychology. As their stories intertwine over the years, Frozen delves into the deep into the nature of evil, the possibility of redemption, and the resiliency of the human spirit. And that just sounds perfect for the Springs Ensemble Theater, who is known for doing these really kind of edgy, uh in-your-face plays in their space in Colorado Springs.

SPEAKER_00 55:19

Yep. All right, my next headliner is a familiar title, Romeo and Juliet at the End Center in Colorado Springs, there at the University of Colorado, Colorado Springs, April 9th through May 3rd. So you might be saying, Romeo and Juliet, again, there's been a there have been a number of productions, including the Stone to production, the production at the Arvada Center. And I think there was there one other as well. Um and so, but this one's got a little got a little bit more of an interesting story. So this is the first production of uh of Max Schulman as the artistic director at Theater Works there. Uh and it's uh it says it returns to the bard with a bold new vision of Romeo and Juliet, a fresh take on Shakespeare's iconic tragedy. Uh also marks the uh full circle circle moment because it honors the Theater Works very first Shakespeare production in 1976, so 50 years ago. So a little history there for Romeo and Juliet and Colorado Springs. So that's that should be a good one.

SPEAKER_01 56:14

I I love Romeo and Juliet. It's a it is a great play. I and I absolutely understand why it gets staged all the freaking time. Yep. Um my next one is pretty is not a war horse like Romeo and Juliet. This is an interesting kind of uh dance piece. Uh it's called The Light versus the Dark. It's being done at the Dairy Arts Center in Boulder, and it uses stagecraft, cinematic video game music, and a dynamic cast of eight performers uh to create this piece by Frequent Flyers Aerial Dance. Um Frequent Flyers do really cool kind of work that often does play with like contemporary pop culture stuff like this. So this is not too much of a surprise for them, but it is really visually striking stuff what they're able to do with their rigging systems in the dairy. And so I would recommend folks uh I haven't I can't vouch for this specific production, but Frequent Flyers does really good work in Boulder.

SPEAKER_00 57:15

Yeah, I was adding that to the calendar, thinking, wow, that sounds like a really cool show. A really cool production. Uh my next one is from Firehouse Theater. They are doing white uh from April 4th through May 3rd. So this is from Fat Ham playwright James Imes. Uh this one is about a uh yeah, an arts curator uh who wants to change the face of the museum. So she uh she um excludes her her artist friend Gus, a gay white man, arguing that white dudes have had their turn. So that sounds pretty saucy. Uh and uh of course this says the play spins out of controls and explores issues of race, gender, sexuality, and art. So I'm sure Firehouse will uh will have uh uh their hands full with that one. That sounds great.

SPEAKER_01 58:01

That yeah, that does sound really, really exciting. I'm looking forward to checking that one out myself when uh when I go over there.

SPEAKER_00 58:07

Yep.

SPEAKER_01 58:07

I didn't realize it was the same playwright as Fat Ham, though. That makes sense.

SPEAKER_00 58:11

That's cool. It sounds like his wheelhouse.

SPEAKER_01 58:14

Definitely. My next one is uh it's a limited run. It's called The Secret Circus Musical. It's gonna be over at Rise Comedy in Denver April 4th and 5th. And this is an original touring musical where big feelings are safe under the big top. It is created by Chanel and the Circus, who I saw at the Denver Fringe uh last year performing All the Boys I Blocked, which was this accordion clown musical in which she improvised songs about people's shitty dating stories in front of you. It was it was awesome. Um, and she reached out, or they reached out about uh me attending this performance again uh to see this touring thing that they're working on. And so I was definitely down. This is billed as being a visually rich live experience where tightrope walkers, jugglers, dancing puppets, and accordion playing clowns channel their emotions into entertainment.

SPEAKER_00 59:14

Wow, that sounds awesome. All right, my last headliner is The Old Man and the Old Moon at Fort Lewis College in Durango through April 4th. I know you're nodding your head. You saw this show, uh, you reviewed it here. It's a really fun, whimsical show, uh fantasy type of thing. Um a fantastical journey across sea and sky. It's got ghosts and leviathans and a foot stomping score. So uh if you're down in the Durango area, you might want to check out the old man and the old moon.

SPEAKER_01 59:44

I yeah, I love that show when I saw it uh just a couple of years ago in Evergreen. Um great production. It's a super minimalistic musical. You don't need a ton of budget or anything to do it. Uh almost in the version I saw, all the music was played, but all the instruments was played by the actors. So it's I I would love to, I'm glad to see that show is being produced more around Colorado. It's a lot of fun. My final pick this week is Angels in America Part 2 by Vintage Theater in Aurora. We I talked about Angels in America Part One as one of the shows I saw. Uh my review of it is up on the site right now for Onstage Colorado. And this is part two of Tony Kushner's epic AIDS drama. It's uh Vintage lists the runtime as being four hours with two intermissions. Um prepare to lock in. Uh and if you and if you thought the last one was emotionally devastating, um, spoiler alert, but the AIDS drama doesn't get a ton happier in the second act, in the second part.

unknown 1:00:49

Right.

SPEAKER_00 1:00:49

All right. Well, uh up on the site now, um some of the new reviews we have. Uh we've got Little Women we were talking about, Bonnie and Clyde, Red Willow, Angels in America part one. Um we'll have uh Tony, you're gonna work on that one from the cottage. I've got Come From Away from uh Alice working on my fat ham review. Just posted the last Yiddish speaker uh from Theater Or over at Meisel Center from our regarth shush now uh we were just talking about will be up. And then also uh your review of Cryptic and Terms of Endearment will be coming up. Tons of new stuff on the site, so check it out on onstagecolorado.com.

SPEAKER_01 1:01:28

Yeah, we've really entered the proper spring theater season, and as such, we've our review crew is really spread out all over the state trying to see just as much theater as we humanly can.

SPEAKER_00 1:01:42

Yep. Yep, a lot of covered a lot of shows in March. Definitely.

SPEAKER_01 1:01:46

Well, that is it for this episode of the On Stage Colorado podcast. Not 100% sure what we'll be talking about on the next episode, but I'm sure it will be something fun. So make sure you are subscribed to this podcast so you don't miss an episode. And if you want to stay up to date on what's going on in theaters across the state, make sure that you are subscribed to the Onstage Colorado Theater Blast, which is our weekly newsletter that comes out uh and every Thursday and just kind of runs through all of our reviews, news items, and includes a detailed calendar list of all the shows coming up for the next weekend so that you can plan all of your theatrical fun.

SPEAKER_00 1:02:26

Yeah. Alright, well, as always, thanks so much for listening. I'm Alex Miller. And I'm Tony Tratzka, and see you at the show.