A note from ‘Ragtime’ lyricist Lynn Ahrens
From: Lynn Ahrens
Sent: Tuesday, April 03, 2007 5:58 PM
Subject: From Lynn Ahrens
Dear Mr. Moore,
Someone just forwarded your lovely article on the Shadow Theater/Boulder’s Dinner Theatre production of “Ragtime.” A year or two ago there was a marvelous eight-person “Ragtime” performed by an Indianapolis troupe in a woman’s house of detention. I love knowing that our show can be done–and is being done–in so many varied and challenging ways, and is bringing people together on so many levels.
Thanks for covering it.
Best wishes,
Lynn Ahrens
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More peep to the ‘Piazza’ than six
From: Pete Simpson
Sent: Friday, March 30, 2007 10:20 AM
Subject: The Light in the Piazza”
Hi. Saw “The Light in the Piazza” last night and we loved it. Very complex vocal lines (at times) and great orchestration. Maybe it is a chamber opera?
You said it was an orchestra of six but hey, they travel with six musicians. There were 11 more from Denver in the pit — and that makes 17. The keyboard player had the heavy load.
Thanks for your work.
Pete Simpson
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“Pure” bliss, “Pillowman” panned
From: Judith Pettibone & Tom Graham
Sent: Saturday, April 07, 2007 6:48 PM
Subject: Pure Confidence and Pillowman
Hi John,
My husband Tom and I have our DCTC routine … if your review comes out before we see a play, we cut it out unread and save it for the trip home. After being completely thrilled by “Pure Confidence” (a standing O from me for the first time this season!), we pulled out the review for the drive home (we live in Monument). Imagine my surprise to see another name in the by-line.
After noticing that the theater was about one-third empty, I couldn’t help but think if you had written an equally complimentary review, the seats would have been full. Now while I won’t put words in your fingers, if you had liked it, I think you would have … my inelegant words here … said something like … “get your butts into the seats” or more elegantly … ‘you wouldn’t want to miss this!’. Bob Bows had all the right words … but lacked the passion of your writing when you really like something!
I sure hope you get to see this … the amazing ‘ballet’ of Gavin Lawrence as he raced the circuit is something I will remember for a very long time.
We have been season ticket holders from 1982-92 and then again from 2000 to the present (we moved and returned), and we have walked out at intermission for three plays. Guess what? ‘The Pillowman’ was one of the three. Now before you judge that I am a theater wimp, I did come right home to order the play. I have read it and still feel the same. Our theater partners who had to attend at another time also left at intermission (I did not prejudice them) and we discussed this … even read the New York Times review.
We think there is a big difference in being provocative and provoking. We thought ‘Pillowman’ was the latter … and a bit of the “Emperor’s New Clothes” was at play. Interestingly, although David Ivers was excellent, we both thought his character, with his ‘smart’ dialogue, rang completely false. I know you liked it … but here are just another few thoughts that I wanted to send you at that time and did not.
Thanks for all your wonderful, thoughtful reviews and great theater info.
Regards,
Judith Pettibone
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What’s happening with Horton?
Dear Mr. Moore,
A suggestion: There are a good many of us who experienced Jamie Horton’s work at the DCTC for many years and remember him with pleasure and gratitude. We’d love to read of an interview with him regarding his present life and work.
Best,
Bill Hays
Lakewood
Dear Bill: Jamie is completing his first year as a theater professor at Dartmouth University.
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Kudos on Humana
From: Chauncey DiLaura
Sent: Monday, April 09, 2007 5:14 AM
Subject: Premiere Humana Festival coverage
John,
I enjoyed your podcast from the Humana Festival and thought your slide show was excellent; all in all, The Denver Post’s coverage was far better than any others.
I followed the links and was superbly rewarded for the effort. Your comments on each play were well-taken, and you delivered them with humor, empathy and civility, even when they were not complimentary. You are a rare breed: a theater critic who is also a human being. Who would have guessed? I also thought your listing of the plays in order of their probable future production was a great service to your readers, especially those of us who saw the plays in Louisville!
By the way, my wife and daughter and I saw a very enjoyable premiere here in San Francisco yesterday; “After the War” by Philip Kan Gotanda. We spent more time discussing the play afterwards than we did sitting in the theater. What a wonderful day!
Chauncey DiLauria
San Francisco
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Right on about Mike Jones
From: Ron Candelaria
Sent: Thursday, March 29, 2007 10:22 AM
Subject: Article:
Your article on Mike Jones, March 25, was a welcome relief of truth in print. Finally, being able to read something positive and truthful about how I feel on certain issues…you did a great job and I encourage you to do more articles like this one. Too bad, though, you didn’t write something on how Peter Boyles brought the massage table into his office…how sickening that was…at any rate keep up the GREAT work.
Ron Candelaria
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You’re part of the problem
From: Elva Edwards
Sent: Monday, March 26, 2007 1:02 PM
Subject: Mike Jones
I do not favor Mike Jones, and I can see why he shouldn’t have been leading the discussion at the documentary “Conviction.” But your column keeps him from quietly going away.
Frankly, I know we are all have our assets and liabilities, but Ted Haggard was the one who placed himself on such a high pedestal. Don’t blame anyone but him for that topple. He did it to himself.
Now, I feel for his family. I feel for any man who cannot accept his own homosexuality. But, don’t blame Mike Jones and don’t give him four columns in your writing.
Haven’t you seen any good plays lately?
Elva Edwards
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Peltier is full of hot air
From: Dan Moran
Sent: Friday, March 23, 2007 9:38 PM
Subject: Re: Leonard Peltier
Mr. Moore,
Please don’t mistake my comments as a judgment on your ability to evaluate one’s artistry. That is not my intention. My point is to comment on how this mythical character Leonard Peltier has become through his own orchestrations, empowered himself to write “My Life Is My Sundance” from which the play developed. I’m certain if one could prick “MLIMS” with a pin, the hot air would fill the room in a matter of seconds and the book would collapse on the floor like a ruptured balloon!
By the way, if you ever feel the need to become inundated with information about this case, I will be happy to oblige! Thanks for listening!
Dan Moran
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More to the milkman than you realize
From: Mark David Nelson
Sent: Wednesday, March 14, 2007 3:46 AM
Subject: Re: Review: “Denver”
Mr. Moore,
I appreciated your review of “Denver.” I thought it kind and generous and it helped me understand and appreciate the play more. I wanted to give you my response, as an artist, to one of the questions you raise.
You said that the milkman was just a guy who wanted his money. But, this milkman broke in through the ceiling, threatening, masked and heavily armed. To me, a poor-starving actor, painfully familiar with the dire financial straights my chosen profession often puts me in, the milkman illustrates (caricatures) how even the most benign service provider turns vicious when payment isn’t received. Once friendly companies who miss payments, unleash the hounds (and attorneys), then cut off necessary services, which, ironically, make it even more difficult to work to pay them the vicious circle of poverty.
For an artist, the difficulty is both practically and emotionally debilitating. There is a strong sense of being under siege when debts are owed. To me the whole play was about the insidiousness business of trying to live for your art in a world that doesn’t appreciate art.
The disappearing secret passage goes hand-in-hand with the above. Struggling as an artist, there may be other jobs, resources, or outlets that provide some relief, but when times get hard, they can dry up or drift out of reach. Baby Boy could have gone to work on the ranch, but the collectors wouldn’t even let him out the door. By the end of the play the collectors are breaking down entire walls. Why stay? Because where ever the couple go they’ll be found.
My only question was …don’t strippers make pretty good money?
Thanks,
Mark David Nelson
