AURORA | The metro area theater scene has exploded into an embarrassment of riches in recent years, and productions across the region in 2015 were certainly no exception.
From clandestine fields of flowers to trigger-happy protagonists, local stages — especially those here in Aurora — were consistently brimming with top-notch tales and talent.
Here’s a look back at 10 of our favorite local productions from the past year.
“Any Given Monday,” directed by Sam Gilstrap – Played at The Vintage Theatre Sept. 4 to Oct. 25.
The peculiar trio of the cheesesteak city, retribution and the brassy spiritualism of a certain “buh-buh-buh-buuuuum” courtesy of the American NFL tradition made for an oddly heady backdrop in the Vintage’s fall production, “Any Given Monday.” The production was a well-produced, delightfully dark spin on the human condition in 2015. Offering plenty more than just first-down foibles, it effectively worked its way through a dense web of cultural references ranging from Edgar Allen Poe to that gut-wrenching animal cruelty ad made famous by Sarah McLachlan’s sultry vocals and doe-eyed pups.
“Beets,” directed by Warren Sherrill – Played at the Aurora Fox Arts Center Studio Theatre Jan. 16 to Feb. 8.
Written by former editor of the Berthoud Surveyor Rick Padden, ‘Beets’ was one of the year’s earliest, unexpected delights. Who knew a root crop could carry a nearly two-hour stage show? “Beets” depicted the prickly dynamic between the townspeople of Berthoud and the some 3,000 German prisoners of war they employed during the booming, but shorthanded beet harvest of 1944. Defying expectations, or perhaps providing context when there are no expectations, was the show’s defining trait. POWs in Colorado? Nearly 20,000 of them? And they worked — in Berthoud? It was precisely that I-can’t-believe-this-actually-happened-right-in-our-backyard fascination that made this show by Read and Rant Productions so unbelievably enjoyable.
“Big Fish,” directed by John C. Ashton, III – Played at the Aurora Fox Arts Center Feb. 27 to March 22.
The spring production at the Aurora Fox, “Big Fish” was a wide-eyed explosion of charisma that found clever ways to keep the plot from getting too muddy. Due in no small part to a cast that stood tall to the production’s tall tales and a stage crew that wowed with steady dots of pageantry, there were multiple occasions when jaws had to be scooped off of the floor and slapped back to attention. Even more regular were the occurrences when eyes ached after squinting ferociously at the shadowy nether regions of the stage, doggedly attempting to answer, “How the heck did they just do that?” Seriously, where did those flowers come from and how the heck did they vanish right after intermission?
“Five Lesbians Eating A Quiche,” directed by Edith Weiss – Played at the Avenue Theater Jan. 23 to Feb. 14.
Fluffy yet satisfying, “Five Lesbians Eating A Quiche” served up a fun frolic. What began as some witty and bawdy lesbian jokes and innuendo, on the pace and style of some slick improv, soon had the audience all yelling, “I’m a lesbian!”
“I Am My Own Wife,” directed by Clint Heyn – Played at the John Hand Theater Jan. 9 to Feb. 7.
“I Am My Own Wife” married a remarkable drama to a more remarkable world. Both Charlotte’s story and one-man star Greg Alan West were mesmerizing in the play that let the astounding tale seep through the audience.
“‘Night Mother,” directed by Billie McBride – Played at The Vintage Theatre May 15 to June 14.
Arguably one of the finest pieces of storytelling ever created for the stage, “‘Night Mother” at The Vintage was blessed with near-flawless performances, allowing the audience to relish and writhe in the excruciating pending suicide of a middle-age woman lost in a meaningless life.
“One Night in Miami,” directed by Carl Cofield – Played at The Space Theatre in the Denver Center for the Performing Arts March 20 to April 19.
Over the course of one, 90-minute act, “One Night in Miami” utilized deft comedic timing and four impactful performances to effectively pummel the inherent pretext surrounding a slew of taboo topics. Throughout the performance, a steady stream of barbs worked to rhythmically and expertly break down any preconceived tension, and needled the massive, amorphous issues of race and religion. Playwright Kemp Powers, director Carl Cofield, and the entirety of the cast managed to methodically use the jackhammer of comedy to chip and bruise acute cultural bones of contention.
“Red Hot Patriot,” directed by Richard H. Pegg – Played at the Aurora Fox Arts Center Studio Theatre Feb. 12 to March 15.
“Red Hot Patriot” at the Fox brought to life a scorching Molly Ivins. Unsurprisingly, the show was a 90-minute love letter to liberalism. But what was a surprise is that rather then regurgitate decades of Ivins’ caustic, provocative wit, the play was peppered with some of her best lines. It was a story that took the audience through almost 40 years of political and journalism history.
“Rope,” directed by Bernie Cardell – Played at the John Hand Theater May 16 – June 13.
Set within a pocket of Denver’s eerie, “Truman Show”-esque Lowry neighborhood, “Rope” was a palatial, albeit inverted, dash into collar-loosening suspense. The constant, manic quivering of Brandon Palmer as the squirrelly Phillip Morgan buoyed the rest of the cast to a thoroughly barbarous, yet highly satisfying performance that was visceral, vindictive and spewing with talent. It was two fistfuls of white-knuckled delight that would have forced “The Master of Suspense” to grant a fleeting, macabre shrug of approval.
“The Fantasticks,” directed by Bryce Alexander – Played at The Aurora Fox Arts Center Jan. 31 to Feb. 15.
Phamaly Theatre Company breathed new energy and life into “The Fantasticks.” It’s a testimony to this theater group’s strengths, which has made a name for itself by unmasking the truth about disabilities. They’re not weaknesses.