From Mara Davi, Colorado native and star of Broadway’s “The Drowsy Chaperone”: Thanks for posting that picture from Town Hall Arts Center’s “The Music Man” as your Myspace weekly photo quiz! I loved seeing that pic! What great memories of my last show in Colorado. Thanks even more for your coverage of CDP’s sudden closing. I’ve been reading through everything and looking at all the pictures. I’m so glad that you’ve made everyone aware of what has really been happening there, because it was such a shock. My heart is still breaking every time I think about it. I’ve been talking about it with Rachel deBenedet, Annaleigh Ashford and Michael Gorman here in New York, just sharing stories of the impact CDP had on us and what a great asset it was to the theater community in Denver.
CDP was magic to me. When I saw “Phantom” there, that was the moment I knew this is what I wanted to do forever. That show filled my soul and took me to Heaven and back! After seeing that show, when I did “The Sound of Music,” I used to sneak around backstage looking for the Phantom. CDP was the place that woke my imagination and filled me with a passion to take other people on a journey just like the one I’d been taken on. I know that I was not the only child that CDP had a lasting impact on. Pretty much everyone from the Academy of Theatre Arts would agree with me, I’m sure. I saw Paul Dwyer here in New York on the day it happened. He and (wife) Penny were here, as I’m sure you know, seeing shows. I’m glad he was here and able to be inspired so that he can continue on in Colorado and build an even better theater company! Hopefully out of this unfortunate event, something REALLY good will come! All the best to you!
From Richard Holmes, brother of “Curtains” writer Rupert Holmes: I thought your story on the upcoming Tony Awards was a lovely article, and I wish Ms. Heather Hach all the best. However, I would like to clear up a couple of points, one serious, one not.
1) The audiences at “Curtains” are enormous, and the tremendous enjoyment exhibited by the public is not only that of gray hairs. Although I know this remark was not meant too seriously, I would like to point out that many people of all ages feel that “Curtains” is THE fun show of the season, not “Legally Blonde.” Other than the almost continuous laughter throughout “Curtains,” there are those of us who have never bought into the pretty shallow philosophy behind the plot of “Legally Blonde” – no offense to Ms. Hach, whose job was to adapt the existing plot. If you come to NYC, I hope you will take a look at “Curtains,” and I am sure you will see what I mean.
2) How does Ms. Hach really know that my brother Rupert wouldn’t look good in Oscar de la Renta until he tries it on? Seriously, I am sure that he would agree that she wins the evening gown competition! All best wishes, both to you and to Ms. Hach!
My response, the day after the Tonys: Thanks, Richard. One thing I concede: They BOTH looked fabulous … and yes, I will give “Curtains” a look. When I was there in April, I had to pick seven shows in six days out of everything the New York theater has to offer – a brutal series of choices. Now that all of this “competition” nonsense is over, all comparisons cease in my book. Cheers…
Richard’s response: Thanks for your lovely reply, John. I completely agree. The whole point of the theater — be it in New York, London, Denver, wherever — is to put on great shows, not to kill other shows. I just hate all this competition thing. My brother had HIS “Spring Awakening show” in 1986, with “Edwin Drood.” He won everything that year, but the point was never to demolish or demean the competition. Frankly, I couldn’t stand “Spring Awakening.” It has its audience. But so does “Legally Blonde,” and “Curtains” as well. It should be a GREAT thing that Broadway presents shows for different types of audiences. This exclusionary, “Spring Awakening is superb and no other show on Broadway must be allowed to interfere with it” (mentality) is terrible.
“Legally Blonde” was clobbered in some of the reviews, as was “Curtains,” and I got the feeling that this had more to do with the idea that nothing must be allowed to survive which might deter “Spring Awakening” from taking the best musical Tony. Good, well it has that now, so I do hope that the New York theater world can get back to appreciating its shows, rather than tearing them down.
My only caution to you was not to write off “Curtains” as a crowd-pleaser until you had seen it. I hope you have a terrific time when you do — I bet you will. Ms. Hach did look gorgeous in her De La Renta. And the look of joy on Rupert’s face when David Hyde Pierce won his Tony was worth the evening for me.
In a better world, the Hachs and the Holmeses would both be recognized for their achievements. The Tonys are a great promotional tool, but they really defeat the purpose of celebrating the best of the season — it turns into a blood battle for the “only show of the season”! And best wishes to you!
From reader Sheila: I was quite impressed with your prediction in the paper that “Spring Awakening” and “The Coast of Utopia” were locks for best musical and play at the Tony Awards. When the winners were announced last night, I got a smile on my face and thought I needed to let you know that your readers are paying attention to what you write.
From reader Rob: I had so hoped I would like “Spring Awakening” on Broadway. Sadly, it did not live up to its hype. Maybe I expected too much. Intensely anti-theatrical in presentation, unappealing characters, weak script. Did I go to the correct theater? And about the music: Only two kinds of songs – either loud and angry, or meandering unmelodically and endlessly around some indiscernible tonal center. I think this is a musical for the “American Idol” generation. Grab a microphone from somewhere, plant your feet, and belt it out at the audience. No staging required. Oh, there was one OK song, but it was immediately mocked in a reprise by two of the male characters.
From Ken Goodwin, whose wife, Performance Now Theatre Comany founder Nancy Godwin, died in May: Thank you once again for the wonderful editorial obit for Nancy. I am so thankful to all of our friends in the theater community for all their love and support.
From Michael Bowerman: I am lucky to serve on the board of directors of Performance Now Theatre Company. I wanted to thank you from the bottom of my heart in regards to the piece you did on Nancy. We are a small company but we are so very proud after every performance that we do, because of what Nancy inspired us to do — to create and perform quality performances for all types of audiences. We all would do anything for Nancy and it shows … in the quality of shows, to the quality of people who donate their time and talents to our performances and in the love that everyone has for everyone else within the company … because of Nancy and how she lived. Thank you for shining your very bright spotlight on our very small company. A small company that had a guiding star to lead them. And we will do our best to keep on the path that Nancy forged. I hope you hear about us in the future … then we are fulfilling Nancy’s dream.
From reader Jerry: Back on May 20 in your “Forum” article, you listed musicals the Denver Center Theatre Company has done. I recall seeing a musical version of “They Shoot Horses Don’t They” which apparently went on to Broadway as “Steel Pier.” Perhaps “Steel Pier” was a totally reworked show by the time in got to Broadway, but shouldn’t “Shoot Horses” have been on the list from the Center?
PS: As for “Forum,” gee, I must be getting less critical in my old age or am just particularly enamored of this show. I fell in love with the movie and frankly, thoroughly enjoyed the show last Saturday matinee. A great cast, and I thought the voices were fine despite reviewers’ criticism of them. It’s great escape entertainment, with the plus of Sondheim music. I didn’t expect you to be as hard on it as the Rocky Mountain News was. I’ve been back to Broadway several times in the last 35 years and frankly I’ve thought Denver theater’s dramatic shows were every bit as good as off-Broadway.
The DCTC’s Chris Wiger responds: Jerry is correct. “They Shoot Horses Don’t They” was a world premiere musical at the Denver Center Theatre Company, so it should have been on the list.There is a connection to “Forum.” Mike Hartman, who plays Senex in “Forum,” played the lead role in “They Shoot Horses Don’t They” — his first show in Denver. The Denver Center was not involved in “Steel Pier.”
To catch up on the debate — or to join in — on the Denver Center Theatre Company’s decision to pull out of the Colorado Theatre Guild’s upcoming Henry Awards, go to:
