A simple, sprawling tree makes for the most innocent and effective of stage images. The young man resting at its base evokes Shel Silverstein’s “The Giving Tree,” the classic tale of a boy’s lifelong friendship with a selfless piece of wood.
A tree reminds audiences of home, the promise of youth, the protection of shade, the freedom of swings and the sanctuary of treehouses. Its roots, the very embodiment of family, stretch as deep into the ground as its branches soar up into the air.
But there’s nothing simple about Ron Cowen’s “Summertree,” now getting a heartfelt staging at Miners Alley Playhouse in Golden.
The man lying by this tree is clutching his gut, dying. The sound of classical piano competes with gunfire and “My Generation.” A kid in matching T-shirt and jeans zips happily by. Next, a soldier engaged in combat.
Are we in Vietnam? Or the family backyard? Is this reality? A nightmare? Foreshadowing?
It’s all of that in this melancholy look at one war-torn family in 1967, a time when the prevailing attitude about doing one’s duty for country still more closely matched World War II sensibilities than they would even a year later.
The playwright makes no secret that our protagonist, known only as “Young Man,” will die in Vietnam. The action of the play takes place entirely in his head, as he relives in jumbled vignettes all the decisions and betrayals that led him here, to his final rest.
He interacts freely with his younger self, the girlfriend he adored, his loving mother and the meathead father whose stubbornness all but sent his son to his grave.
The emotional stakes are raised for an audience that’s told in the program that Jeffrey Haas, who plays the dying man, joins the U.S. Army in real life three days after the play closes.
“There’s always a war . . . somewhere,” we’re told.
That this life will be snuffed by age 20, we know, but the tragedy here is that it was avoidable. The son wants to go to an expensive musical conservatory, but Dad’s only willing to pay for college if his son pursues a more manly field, like sales. By standing up to his father, the boy is exposed to the draft. That’s what makes “Summertree” more of a family tragedy than a war tragedy.
Exacerbating the sadness is knowing that, given the natural course of time, father and son surely would have figured things out. But in a time of war, even macho bravado at home can come with deadly consequences.
The play itself is lyrical and rich in imagery, but it’s also too long and occasionally frustrating, specifically when Cowen embraces that off-putting writing technique of having his characters step out of the live action to directly address the audience.
Haas is mostly up to the difficult acting challenge here, though he could have benefited from being pulled back from his full-on intensity now and again. He’s most successful in his sweet scenes with his girlfriend (a terrific Missy Moore). He also has an easygoing rapport with his younger self (Shawn Cremer).
Priscilla Young has some nice moments as the poor mom who, at 44, has to adjust to no longer being a mom. But the piece is compromised in Haas’ scenes with a father figure who comes across as more churlish and pouty than intractably principled.
Despite its redundancy and erratic pace, “Summertree” is a very effective anti-war play because it never overtly spouts any anti-war rhetoric. The absurdity of war is more than evident in mirrored scenes showing a mom sending a boy off to camp, then to boot camp. It’s not natural.
At my performance, an older couple sat front-row center. The wife’s hand never moved from her husband’s knee, always gently covered by his hand. The man watched intently from start to finish. Maybe this was his story; maybe it wasn’t. No matter.
The somber reality is that this is the story of 58,000 Americans who died in Vietnam. And it’s the story of more than 4,100 who have died in Iraq. Young men and women who left behind too many grieving spouses, too many children, too many parents — too many trees with no one to come home and rest against them.
John Moore: 303-954-1056 or jmoore@denverpost.com
“Summertree” **1/2 (out of four stars)
Miners Alley Playhouse, 1224 Washington Ave., Golden. Written by Ron Cowen. Directed by Wendy Moore. Through Oct. 26. 2 hours, 15 minutes. 7:30 p.m. Fridays-Saturdays, 6 p.m. Sundays. $20. 303-935-3044 or
This week’s video podcast:
Running Lines at . . . “Love Changes Everything”
This week, our podcast goes video: John Moore and videographer Ray Bailey bring you excerpts and interviews from a benefit performance hosted Monday by Natalie Jensen that raised more than $6,500 for the Pikes Peak Region Peace Officers’ Memorial and Susan G. Komen for the Cure-Colorado Springs. Speakers, performers and interviewees include Natalie Jensen, Amy Board, Joanie Brousseau-Beyette, Paul Dwyer, Brantley Haines, Kitty Skillman-Hilsabeck, Robert Hoppe, Sally Hybl, Karla Kruse, Nick Madson, Scott Rathbun, Christopher Sergeeff, Michelle Sergeeff, Jeremy Sortore, Randy St. Pierre, Shannan Steele, Halee Towne, Shannon Wallnutt, Sharon Kay White, Markus Warren, Tracy Warren, and police officers in attendance from Westminster and Colorado Springs.
This week’s family fun: “Trunks”
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Denver’s future superheroes will want to keep tuning in to “tRUNks,” Buntport Theater’s live series for kids. The “tRUNks” were once normal citizens. Now they’re crime-fighting heroes: The Volt, The Cute, The Germ and Scott (he’s a parrot). Every other Saturday, Buntport stages an all-new, all-original “episode” of the show for kids and their families. The series runs through April 4. 1 p.m. and 3 p.m. Saturday. Buntport Theater, 717 Lipan St.; 720-946-1388. Tickets are $4-$6, depending on what you roll on the dice at the door. Wear a superhero costume to get a discount. Bring cash – Buntport doesn’t take credit cards. – Kathleen St. John
This weekend’s theater openings
“Blithe Spirit” Noel Coward’s spooky society comedy about a novelist whose dead wife is summoned from beyond. Through Nov. 30. Gaslight Theatre, 7287 Lowell Blvd., Westminster, 720-232-7285 or
“Frankenstein of Cripple Creek” Thin Air Theatre’s Cripple Creek retelling of Mary Shelley’s classic horror story. Through Nov. 1. 139 E. Bennett Ave., Cripple Creek, 719-235-8944 or
“Magdalene, Woman of Light” One of the great mysteries of the Bible concerns the true relationship between Jesus and Mary Magdalene. Now comes the premiere of a new Colorado-grown musical, “Magdalene, Woman of Light,” that weaves the story of Mary’s life from her birth in Egypt and early training as a high priestess, to Jesus’ elevation of her as the first of his apostles, the subsequent conflict with the apostle Peter. Stars Marika Reisberg as Magdalene, Natalie Oliver-Atherton, above, (Broadway’s “Once On This Island”) as Mother Wisdom and Steven J. Burge (“Dog Sees God”) as Peter. Through Oct. 19. New Denver Civic Theatre, 721 Santa Fe Dr., 303-309-3773, , TicketsWest or King Soopers stores.
“Mr. Marmalade” It’s tough to be a 4-year-old in these difficult times. Lucy’s imaginary friend, Mr. Marmalade, doesn’t have much time for her. Not to mention, he beats up his personal assistant, has a cocaine addiction and a penchant for pornography. Presented by Next Stage at the Aurora Fox Studio Theatre, 9900 E. Colfax Ave., 303-364-9998 or
“Murderers” In Jeffrey Hatcher’s dark comedy, Gerald, Lucy and Minka are all murderers — and they’re residents of the Riddle Key Retirement Community. A surprisingly upbeat tale with macabre twists and ironic turns. Through Nov. 2. Vintage Theatre, 2119 E. 17th Ave., 303-839-1361 or
“Welcome . . . to Murder Mortuary” Colorado’s only mystery dinner theater cordially invites you to Dr. Orlock’s “Welcome Home” masquerade party. Costumes are encouraged. Through Nov. 1. Adams Mystery Playhouse, 2406 Federal Blvd., 303-455-1848 or
– Compiled by John Moore
Complete theater listings
Go to our complete list of every currently running production in Colorado, including summaries, run dates, addresses, phones and links to every company’s home page.
