The premise could not be more earth-shaking — or anachronistic: A wild, comic romp set against the horror of the 2007 Minneapolis bridge disaster that killed 13 and injured 145.
“Collapse” does have some funny moments, but Allison Moore’s tantalizing new play shows signs of wanting to be taken much more seriously. It could yet be — and should be.
The terrible tragedy that informs this play is less a focal point than an inspired metaphor for crumbling infrastructure of another sort — not of a bridge, but of a marriage. And that familiar shaky ground moves this site-specific story from the Midwest into every living room in America.
“Collapse” is a work-in-progress singled out by the National New Play Network to be given its “rolling world premiere” treatment, which identifies promising new plays and guarantees three full stagings by different member companies around the country. Denver’s Curious Theatre is the second to take on “Collapse.”
It’s staged on a cool, modernistic set by Reuben Lucas that’s anchored by the living room of incidentally interracial married couple David (Laurence Curry) and Hannah (Rebecca Remaly). But this is a room (and two lives) that appear suspended in midair, like the visible bridge that surrounds them.
These two are a clearly well-matched couple. Like so many others, they are taking proactive steps to overcome infertility. But there are signs of a greater underlying problem. David hasn’t been working, and Hannah is gently goading him into attending a support meeting that stems from David having survived the bridge disaster a year before.
But Hannah’s super-supportive demeanor soon reveals a woman whose own grip on things is as tenuous as a frayed suspension cable.
There’s a substantive story to be told here. But, perhaps afraid of its own dramatic potential, “Collapse” constantly pulls back into the artificial world of a wacky sitcom family. From the moment Hannah’s prototype flaky bohemian sister Susan (Jessica Austgen) blows into town, the play’s screws start to loosen.
Much of what happens next strains credulity — and perhaps that’s on purpose. Susan bullies her pushover sister into attending the support meeting in David’s place, even though it’s David who took the 500-foot fall. When she wanders into the wrong support group (doh!), Hannah meets a creepy Georgian named Ted (Michael Morgan) who has a peculiar sex addiction that comes with its own rimshot.
These two establish a hyper-rushed familiarity, followed by a string of eye-rolling plot coincidences that eventually start to seem perhaps, possibly, ingeniously intentional. Events in the play start to mirror the mindset of anyone who’s been caught in a random freak disaster: Fate can be a tsunami of chaos. A worthy dramaturgical attitude … as long as it amounts to something.
But the plot betrays that intriguing possibility when coincidence turns out to be really just that. By then, a play that’s nicely established around an identifiable married couple trying to find their way back from the high wire to solid ground has been hijacked by a farcical caper involving Susan, Ted and a mysterious package that, rather than tie everything together, turns out to be a meaningless herring.
Fortunately, the playwright eventually does give us the essential conversation between David and Hannah it never should have been this hard for them to just … have.
And in this climactic moment, we finally get our overdue first true sense of the real-life tragedy in Minneapolis.
Director Dee Covington’s well-played staging belongs to Curry’s unforced and human portrayal of David, who’s the best-drawn character but still an enigma. We get that he’s not working because he’s still freaked from taking a fall. But why does the playwright present him as a cliche boozer — only to have him repeatedly, secretly pour beer into a house plant? Why he would want his family to think he’s a drunk is among several frustrating loose ends and incongruities.
Remaly’s vulnerable depiction of Hannah is easy to love, though her high-strung character could only benefit from less angst and more grit.
Susan plainly exists for wacky comic relief, but that clashes with the oddly acidic underbelly Moore has laced her with, and is never explained or justified. And what Ted is doing here is anyone’s guess. For the play’s third go-round, there’s a simple choice involving that bothersome package that the playwright could yet make, and it would fairly justify not only Ted’s existence but, in some ways, the play itself. That Morgan humanizes Ted is to his great credit, but he’s playing fourth wheel in a play in which he ultimately serves no real purpose. And, at least on opening night, we were never told how this package ever did find its destination.
This “rolling world premiere” process is a gift because Moore gets what few other playwrights ever get — a chance to absorb, reconsider and make improvements before her play is truly “done.”
What Moore is on the cusp of realizing is a compelling treatise on embracing our fears in an uncertain world; on letting go of what we cannot control. But the comic distractions here aren’t really helping her to achieve that. Which leaves us dangling a bit in the end.
John Moore: 303-954-1056 or jmoore@denverpost.com
“Collapse” *** (out of four stars)
New comedy. Presented by Curious Theatre Company, 1180 Acoma St. Written by Allison Moore. Through Dec. 10. 1 hour, 45 minutes with no intermission. 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays. $18-$42. 303-623-0524 or
Best Bets: Storytelling for Veteran’s Day
Anne McGhee Stinson and Sandy Haworth-South interviewed veterans dating to World War II and have compiled their stories into “Wisdom in Uniform,” a unique tribute to local military veterans that will be read in a “reader’s theater” format. The true stories include a Marine from Castle Rock who lost both eyes and all his teeth, and had to have his skull glued back together after an IED explosion in Iraq. He’s since taught himself Braille, earned three degrees, gotten married and is the father of two boys. $10-$15. 7 p.m. Friday (Nov. 11) and Saturday (Nov. 12), and 3 p.m. Sunday (Nov. 13) at the Tri-Lakes Center for the Arts, 304 Colorado 105 in Palmer Lake. 866-879-7373 or
The venerable Stories on Stage, live readings of themed short stories and essays, honors veterans with soldiers’ stories from Vietnam through Iraq. Timothy McCracken reads “The Last Stand,” by Siobhan Fallon, Ben Hammer reads “Sudden Money,” by Studs Terkel, Mare Trevathan reads “Gold Star,” by Siobhan Fallon ,and Larry Hecht reads “Speaking of Courage,” by Tim O’Brien. 8 p.m. Friday (Nov. 11) at the Lone Tree Arts Center (10075 Commons St.); 1:30 p.m. and 7:30 p.m. Saturday (Nov. 12), at Su Teatro’s Denver Civic Theatre (721 Santa Fe Drive). Prices vary. 303-494-0523 or .
This weekend’s other theater openings
“Avenue Q.” The quirky 2003 Tony Award winner for best Broadway musical is a daring, doe-eyed evening for the grown-ups. It depicts copulating puppets and delivers razor-sharp commentaries that will actually have you
laughing at racism, political correctness and interspecies puppet sex. Think of it as an adult version of the After-School Special.
Yes, it’s shocking, sophomoric and profane. It’s also laced with positive messages about tolerance, inclusion and integration, proof
that a musical can be at once adorable and incendiary. Through Jan. 8. Vintage Theatre, 2119 E. 17th Ave., 303-839-1361 or and here’s
“Cannibal! The Musical”
This irreverent cult hit from 2006, from Trey Parker, co-creator of “South Park” and “The Book of Mormon,” revolves around Alferd Packer, who leads a group of men from Utah to Colorado Territory in search of gold. Along the way, they encounter a weed-loving Indian tribe, come face-to-face with the Rocky Mountain cyclops, and meet a grisly fate when they get horribly lost in the snowy Colorado mountains. Oh, and they sing and dance , too. Songs include “Shpadoinkle Day” and “Let’s Build a Snowman.” Adult language and content. Through Nov. 26. Presented by The Next Pony at the Bug Theatre, 3654 Navajo St., 303-477-9984 or
“Dave Shirley’s Rattlebrain”
Ever since Dave Shirley was 16 years old juggling on the streets of Denver and Boulder, he had a vision for a one-man show that would incorporate all of the following useless skills: comedy, music, video, poorly performed magic, shadow puppetry, juggling without hands and fake ventriloquism. Through Nov. 19. Avenue Theater, 417 E. 17th Ave., 303-321-5925 or
“The Flaming of the Shrew”
This re-consideration of Shakespeare’s “Taming of the Shrew” is set in present-day New Orleans in the Mardi Gras shop of the Krewe De Vieux, where an all-gay cast is telling a completely new story. No one under 16 admitted. Through Nov. 19.Presented by Lucky 20 Productions at the Betsy Stage, 1133 S. Huron St.,
“Forever Plaid”
Nostalgic, family-friendly musical about four dead teens whose dreams of musical glory come true when they miraculously return to Earth. Snuffed out during a collision with a school bus on their way to the big break, these nerdy crooners get a chance to perform the show in death that they never got to do in life. The 1950s and ’60s songs include “Three Coins in the Fountain”, “Love is a Many Splendored Thing” and “Sixteen Tons.” Through Jan. 15. Union Colony Dinner Theatre, 802 Ninth Ave., Greeley, 970-352-2900 or
“The Great Goddess Bazaar”
This collection of women’s monologues by David Rush features distinct female characters coping with the repercussions from life-altering choices, each displaying classic elements of comedy and tragedy. Directed by Jane Page and performed by Tammy Meneghini. Through Sunday. Millibo Art Theatre, 1367 Pecan St., Colorado Springs, 719-685-4729 or
“Hairspray”
The upbeat John Waters musical about the chubby little white girl who single-handedly integrates Baltimore in the 1960s. This venerable community playhouse, nearing its 40th year, is believed to be the first community theater group ever granted rights to produce this musical. Through Nov. 20. Defiance Community Players, Glenwood Springs High School, 970 945-2174
“Phantom”
This is not Andrew Lloyd Webber’s behemoth – it’s a 1992 variation on Gaston Leroux’s classic story, with music by Arthur Kopit and Maury Yeston. And it more than holds its own, offering more intimacy and richness of character than Webber’s better-known Broadway spectacle. This thoughtful presentation emphasizes the real human connection between the Phantom and his student soprano, Christine. Through Feb. 18. Boulder’s Dinner Theatre, 5501 Arapahoe Ave., 303-449-6000 or
“A Rocky Mountain Holiday”
Miners Alley Playhouse has pulled from holiday poetry, short stories and songs to create an original Christmas revue set in snowy Silver Bells, Colo., where a snow-slide has stranded a group of travelers (you, the audience) in the local VFW. Numbers include “Turkey Lurkey Time,” “Hard Candy Christmas” and “Santa Baby.” Through Dec. 22. 1224 Washington St., Golden, 303-935-3044 or
“Troilus and Cressida”
Set against the background of the Trojan War, and mirroring his own characters of “Romeo and Juliet,” “Troilus and Cressida” offers Shakespeare’s embittered, base view of relationships and war. Arguably the hardest of Shakespeare’s works to classify, the tragicomedy hangs the possibility of a happy ending just out of grasp until the curtain closes. Through Nov. 27. Theatre ‘d Art ,128 N. Nevada St., Colorado Springs. 719-357-8321 or
“The Wizard of Oz”
The classic odyssey taken by Dorothy and her pals the Scarecrow, the Tin Man, the Cowardly Lion and Toto to the imaginary land of Oz. Through Dec. 31. Town Hall Arts Center, 2450 W. Main St., Littleton, 303-794-2787 or
“Women of Will”
Tina Packer claims there are 177 female characters in Shakespeare’s canon. You will meet many of them in this extraordinary performance, performed by Packer with partner Nigel Gore. This is the two-hour “overview” version, which will be performed nightly. Through Sunday. Presented by TheatreWorks at the Dusty Loo Bon Vivant Theater, corner of Union and Austin Bluffs Parkway on the University of Colorado-Colorado Springs campus, 719-255-3232 or .
Complete theater listings
Go to our complete list of in Colorado, including summaries, run dates, addresses, phones and links to every company’s home page. Or check out our listings or
The Running Lines blog
Catch up on John Moore’s roundup of the latest theater news:
