Author: lonetreeartscenter

Preview: Low Down Dirty Blues

email ad with picBy Michelle Marx, guest blogger

Have you ever wanted to hang out with the band after a concert? Here’s your chance! Beginning this Thursday on the Main Stage, the musical revue Low Down Dirty Blues will transport you to Big Mama’s club.

It’s Saturday night and it’s after the crowd leaves when the actual show begins. The musicians are hanging out, sharing stories, and having an impromptu jam session playing their favorite blues tunes including Muddy Waters, Ma Rainey, Sophie Tucker, Howlin’ Wolf, and Pearl Bailey. The blues inhabit a space encompassing heartbreak, joy, and humor. They reflect the difficulties of life but passionately celebrate it as well.

The talented cast includes Felicia Fields as Big Mama, and Chic Street Man and Shake Anderson playing the musicians. All are highly talented musicians and performers. They’ve each done the show before and all three worked together on a production earlier this year coming to LTAC with a proven rapport.

Director Randal Myler (Muscle Shoals: I’ll Take You There and Tony Award-nominated Best Musical It Ain’t Nothin’ But the Blues) and musical director Dan Wheetman are both making a  return to the LTAC. With Low Down Dirty Blues, Myler didn’t want to just celebrate the music, but also touch upon the history of the blues. In a statement, Myler and Wheetman say: “The Blues has always had an ‘earthy’ quality. It has been the voice of a people caught in economic and social situations that have kept one entire social sector of the country under the thumb of another sector…Out of this environment, their voices found expression in the celebration of life in all its facets.”

Low Down Dirty Blues, plays at the Lone Tree Arts Center beginning Thursday, October 18 through Saturday, October 27. Evening and matinee performances are available.

Tickets and more information are available here:  http://www.lonetreeartscenter.org/lowdowndirtyblues

Preview: Low Down Dirty Blues

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*Photo: Tim Fuller

By Theresa Allen, guest blogger

The heartbreaking stories of lost loves, hard-times, failed jobs, and all that is both painful and joyful in life comes to the Lone Tree Arts Center with Low Down Dirty Blues beginning Thursday, October 18 to Saturday, October 27, 2019. Through song, music and stories, Low Down Dirty Blues promises to take the audience from the midnight blues straight into the joy of a Sunday morning gospel redemption.

The musical revue features Felicia P. Fields as Big Mama, a Chicago bar owner, who gathers with several blues musicians for a bawdy and humorous conversation and an after-hours jam session that features the songs of Muddy Waters, Howlin’ Wolf, Ma Rainey, Pearl Bailey, and Mae West. Fields is a Chicago native and veteran stage actress known for her Tony-nominated Broadway performance as Sophia in The Color Purple as well television and in stage performances in the Chicago theater scene.

Joining Felicia are Shake Anderson, who’s worked with some of the most recognizable musicians in the business, including Aretha Franklin, B.B. King, Ray Charles, and Stevie Wonder; and Chic Street Man, who has an impressive stage resume and has performed at many prestigious venues, including the Montreux and Bern Jazz Festivals in Switzerland and the General Assembly of the United Nations. All three were previously in the production earlier this year in Arizona. In Low Down Dirty Blues, Fields, Anderson, and Street Man, along with additional musicians, will perform blues standards such as “I’d Rather Go Blind,” “Good Morning Heartache,” “Nobody’s Fault But Mine,” and “I Got My Mojo Working.”

Low Down Dirty Blues is brought to the Lone Tree Arts Center under the creative direction of Randal Myler and Dan Wheetman, the creators of Muscle Shoals: I’ll Take You There and It Ain’t Nothin’ but the Blues. The musical offers the extraordinary opportunity to hear a truly American art form with its roots in African-American work songs and spirituals learned at the knee of sharecroppers on their porches, in the fields, and in the church pews.

Tickets for Low Down Dirty Blues are on sale now from $10 to $60 and can be purchased at http://www.lonetreeartscenter.org/lowdowndirtyblues. Both matinee and evening performances are available in this beautiful venue that doesn’t have a bad seat in the house. The Lone Tree Arts Center is located at 10075 Commons Street in Lone Tree. Free on-site parking is available.

Review: Grease Sing-A-Long Movie Night

By K. Fleming, guest blogger

Despite its age, Grease, one of the most popular movie-musicals of all time, is still beloved by adults and children alike with its timeless charm. On Saturday night, Lone Tree Arts Center paid homage to the 40th anniversary with a sing-a-long version of the hit movie accompanied by a sock hop after the showing.

The auditorium was packed with children, parents, and grandparents in various forms of 50s attire. The audience became T-Birds and Pink Ladies for the night and were inducted into the halls of Rydell High by the MC after a little comedy, singing, and trivia started off the show.

The lights dimmed, the auditorium imitated a regular movie theater setting, and the film rolled. But immediately, lyrics popped up on the screen in colorful bursts, sometimes being a focus in the frame, others with comedic animations, and on the more popular songs, they demurely sat along the bottom of the screen to illicit the most amount of attention to the songs.

The 1950s setting of this movie and the 1978 release date aside, classics like “Greased Lightning” needed some creative adjustments to the lyrics because of language or suggestive themes, often causing the audience to laugh. During Rizzo’s (Stockard Channing) “There Are Worse Things I Could Do,” the adjustments told a story alongside her confessions on sexuality and teen pregnancy.

Other than the adjustments, the movie played out as it always did. Bad boy turned smitten teen Danny (John Travolta) and his T-Birds engaged in goofball and questionable behavior while wholesome and hopelessly devoted Sandy (Olivia Newton-John) navigated the established Pink Ladies and a new high school.

After the audience sang their last song with Rydell High, the party was just getting started at Lone Tree Arts Center. Red and white checkered tables lined the halls while hot dogs, hamburgers with all the fixin’s, and fries were available for guests in the lobby.

An event hall beckoned people with the sound of music and a disco ball twinkling in the distance. High top tables, streamers and balloons transformed the event hall into its own version of a Rydell High School gym.

The photo booth was filled with props and prompts to get the most authentic pictures. For a sugar rush, cotton candy and root beer floats lined the back of the hall. On your way for sweetness, carnival games like ring toss and skeeball tested skill while the dance floor, equipped with dance instructors, tested dexterity of the costumed audience members as they learned and competed in dance competitions like hand jive and the twist.

Whereas the Grease sing-a-long was billed as the main attraction, the sock hop continued to engage people of all ages, bringing the older generation back to their high school days and allowing kids (and probably their parents) to get a glimpse of grandma and grandpa in their heyday.

Review: August Wilson’s Fences

By Michelle Wilson, Guest Blogger

Fences is a story of a black, working class family that opens in the back yard of a blue-collar, urban setting in the late 1950’s. Troy Maxson is the father of two children, both from different mothers. He has one son that is still living at home, along with his wife Rose.

The relationship between Troy and Rose is much the typical one of that era, where the husband works and mother stays home to raise the children. It is apparent that Troy’s attitude toward his son Cory, aptly played by Jay Reeves, is uptight as he was brought up in a time period that believed he was born with two strikes against him before he came to the plate. That thought process has followed him throughout his life and is finally coming to a head. His outdated opinion of what is important proves difficult change is a sign of the times.

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Esau Pritchett as Troy Maxson. Photo by Danny Lam

Esau Pritchett’s delivery of Maxson is soulful, sincere, and strong. He’s an attention grabber with apparent emotion. He truly evolves into the part of an uneasy man striving to maneuver through family life overtaken with promiscuity and drinking. He is expected to stay the path of what is required of him at home but is called to a sincere struggle when things start to get out of hand in his life. Pritchett puts his heart into the character and absorbs the audience with his precise timing. Troy becomes an unruly, broken man in an implied fight between God and himself.

Julanne Chidi Hill begins her portrayal of a pleasing Rose, a woman who knows her place but carries a hint of position, regardless. Hill’s motherly tenure is evident in this representation of a protector, with a son who is merely striving to be a regular kid. She holds court and gathers dismay as the audience becomes emotionally engaged with a crucial delivery in the second act.

A gratifying supporting cast provides a stellar job as a whole. The show’s shining moment occurs when Gabriel, played by Darryl Alan Reed, delivers a spot-on performance of a mentally disabled man trying to make his way through life in his happy-go-lucky way. His attentive portrayal is weighty and spot-on without feeling overdone.

After being left on the edge of my seat, scene changes felt a bit long and I found myself listening to the words of the period music and becoming a bit restless. With a quick recovery, the show has a nice pace, regardless.

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Esau Pritchett and Bradford Barnes. Photo by Danny Lam.

Set design is one of the production’s strongest assets. Simplistic yet detailed. The intrinsic nature of weeds making their way through the cracks of the concrete and a random antenna on top of an apartment building, are what make this set realistic and charming. Kudos to designer Edward E. Haynes, Jr.

At this particular performance, two cell phones rang in the audience during scenes. We, as an audience, have a responsibility to minimize distractions as a courtesy, not only to the actors on stage, but also to fellow audience members. I found this to be inappropriate and disappointing, although we had been asked to silence our phones prior to curtain.

This is a timely show for today’s war against racism and the associated societal struggles. It was a pleasure to see a mixed cultural group of audience members coming together to encounter the way things used to be as we venture forward into America’s next phase.


August Wilson’s Fences runs at the Lone Tree Arts Center until April 21st. Tickets are available online here, over the phone at 720-509-1000, and in-person at the Box Office.

DEATH AIN’T NOTHING BUT A FASTBALL ON THE OUTSIDE CORNER: Review of August Wilson’s “Fences”

By Theresa Allen, guest blogger

The warm golden glow of a summer’s evening juxtaposed against the dark shadows of a dilapidated brick city home provides a luminous backdrop to the riveting and heartbreaking performance of August Wilson’s Fences at the Lone Tree Arts Center. There is still time to pick up tickets to see this extraordinary performance before the play closes on Saturday, April 21st.

Fences opens with Troy Maxson, a garbage man, holding court in his backyard with his captive audience, his wife Rose and best friend Bono. In the opening scene, Troy is a mesmerizing storyteller who humorously recounts a fantastical tale, in the African-American oral tradition, of how he wrestled and escaped from death. This allegorical telling is the thread that holds all the complicated aspects of Troy’s personality together in a deeply disappointing world.

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Esau Pritchett as Troy Maxson. Photo by Danny Lam.

The part of Troy is portrayed by Esau Pritchett, who brings to life a good, but deeply flawed man whose personal frustrations have resulted in building walls between himself and those who love him. Pritchett’s strong voice, charismatic nature, and powerful stage presence provides the audience the sense that they are watching the tragic fall of a working class hero.

In his youth, Troy has the opportunity to play for the Negro Baseball League, at a time before the racial barriers were broken by Jackie Robinson. However, he is involved in a robbery that results in the loss of his baseball future, and he ends up with penitentiary time. He is not home to raise his oldest son, Lyons, played by Bradford Barnes. In his limited understanding of the world, Troy cannot comprehend Lyons’ calling to become a jazz musician and is annoyed by his inability to provide for his wife and his weekly requests for money.

Troy’s second son, Cory, played by Jay Reeves, is a young man with the opportunity to receive an athletic scholarship. Reeves gives a outstanding performance as a young man full of hope and optimism that is dashed when his father will not sign the papers allowing him to play college football. Troy projects his own failure in athletics on to Cory. This is Troy’s way of protecting Cory from the harshness of the world. However, it’s Troy’s sense of duty towards his family coupled with his own inability to be a perfect father and husband that is the tension that holds this play together.

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Esau Pritchett and Julanne Chidi Hill. Photo by Danny Lam.

Without giving away the plot, the pivotal crisis that occurs between Troy and Rose illuminates the complexity of their 18-year marriage. Rose, who in Act I seems marginalized in the lives of Troy, Lyons and Cory steps into the spotlight as a strong and resilient character in her own right in Act II. Julanne Chidi Hill, the actress who portrays Rose, gives a spellbinding performance when she challenges Troy’s view of the world by pointing out her own disappointment in his behavior and her own life. Yet she rises above the situation. There is a great acting chemistry between Hill and Pritchett, which makes Troy’s betrayal profoundly devastating to the audience.

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(L-R)Bradford Barnes, Julanne Chidi Hill, Darryl Alan Reed, and Jay Reeves. Photo by Danny Lam.

The one character that ties all of the family together is Darryl Alan Reed’s memorable performance as Gabe, Troy’s mentally ill brother. It’s no coincidence that Gabe, who carries a trumpet and who is constantly talking to St. Peter will be the vehicle for Troy’s redemption. In fact, I was surprised and delighted by the “deux ex machina” ending reminiscent of the chariot scene in Harriet Beecher Stowe’s Uncle Tom’s Cabin. This interesting ending reminds the audience that no one escapes death and what that means for those who love you. While Troy may have been a free man in 1950s Pittsburgh, he was still enslaved in a culture by racism, poverty, responsibility, and powerlessness in a world that seemed to be constantly conspiring against him. Closure only comes to Troy’s wife and children, and to the audience, through forgiveness and understanding.

Fences is the sixth in a series of ten plays Wilson called the “Pittsburgh Cycles.” Written in 1985, Fences was the winner of the 1987 Pulitzer Prize for Drama and Tony Award for Best Play. In the capable and deft hands of director Wren T. Brown and this fine cast, this smart, funny, captivating, and heart-rending performance of Fences engages the audience with a satisfying story about the human condition.

Tickets for August Wilson’s Fences are sale now from $35 to $60 and can be purchased at www.lonetreeartscenter.org/fences. The Lone Tree Arts Center is located at 10075 Commons Street in Lone Tree. Free on-site parking is available.

Review: Bob Kendrick

1521560770_h_negro_baseball_league_show headerBy Keilani Fleming, Guest Blogger

It was a blustery evening as Bob Kendrick, President of the Negro Leagues Baseball Museum located in Kansas City, Missouri, made his way up to the podium to speak on his passion; the true history of baseball in the context of the Negro Leagues.

BobK1(Mug)1Kendrick visited Lone Tree Arts Center, in part, as a complement to the current running theater production, August Wilson’s Fences. Several of the baseball players about which Kendrick speaks are referenced in the play, set in the 1950s, by the main character, Troy Maxson, played to perfection by Esau Pritchett.

I had a moment of panic when Kendrick, early in his multimedia presentation, listed off baseball stats for some of the great known names in the game like Jackie Robinson and Hank Aaron. Whereas I’ve only watched baseball since I witnessed the ballerina-like grace of Troy Tulowitzki during his rookie year with the Colorado Rockies, my 14 year old daughter accompanied me for the evening and was indifferent, at best, to baseball. In that moment, I thought of my father-in-law, probably sitting at home watching the Rockies game, and how he would have been a more enthusiastic choice.

I chose my daughter because she loves historical content and a good story. As it worked out, I wasn’t wrong in my choice of guest.

Initially, I started taking notes on the various players on the Negro Leagues, names I’ve never heard of before with my limited baseball knowledge. Eventually, I put down my pen and just listened to the engaging speaker in front of me with his wealth of anecdotal knowledge of the likes of “Rube” Foster, “Satchel” Paige, Josh Gibson, “Cool Papa” Bell, Martin Dihigo, and “Buck” O’Neil.

Previously, when I thought of athletes of the past, I didn’t believe they would be able to cut it in the modern day. Athletes are faster, stronger, hits are further, pitches are faster, and training has become an exact science so athletes have precision honed skills. But story after story from Kendrick showed me just how wrong I was. “Cool Papa” Bell running all the bases in 12 seconds. Gibson clearing the bleachers at Yankee Stadium with a homerun. Satchel’s 105 mph pitches.

As Kendrick “(took) control of the pen of history and (told) the story as it should have been told,” I was proud my daughter’s now expanded knowledge of baseball had a foundation in these stories; the stories of the Negro Leagues as they made their way in a segregated sport to produce some of the best athletes known to date.

Most surprising to me were Kendrick’s assertions about the man who broke through the color barrier of baseball in 1947: Jackie Robinson. Kendrick and others believe Robinson’s ability to not only be an exceptional athlete but also his ability to not get ruffled by the backlash of discrimination he experienced, helped spur a bigger conversation about civil rights. Kendrick described Robinson as “not the best man, but the right man” for the job.

When the question and answer portion of the event commenced, my eyes traveled across the room and I noticed something rather remarkable. The audience spanned from kids to seniors, across races and genders. I had spent an hour listening to Kendrick tell the story of how the Negro Leagues were born out of segregation to bring integration and I was witnessing its true mass appeal, over 70 years after Robinson joined Major League Baseball, at Lone Tree Arts Center.

For more information on the Negro Leagues Baseball Museum located in the historic district of 18th and Vine in Kansas City, Missouri, please visit http://www.nlbm.com.

For tickets to Lone Tree Arts Center production of August Wilson’s Fence showing until April 21, 2018, please visit http://www.lonetreeartscenter.org/fences.

Preview: SFJAZZ Collective and the Music of Miles Davis and Original Compositions

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By Theresa Allen, Guest Blogger

Looking to spend an evening listening to world-class jazz music in the Greater Denver area? The SFAZZ Collective will be performing “The Music of Miles Davis and Original Compositions” on Wednesday, April 25 at 7:30 at the Lone Tree Arts Center.

The SFJAZZ Collective is an all-star ensemble that performs new and fresh arrangements of work by a modern jazz master. The SFJAZZ Collective, a nonprofit launched in 2004 in San Francisco, is a collaboration of many diverse and dedicated jazz musicians who wish to inspire audiences with high quality concerts and a children and teens’ music education outreach program aimed at encouraging the next generation of jazz performers.

The SFJAZZ Collective will perform a tribute to legendary jazz composer and musician, Miles Davis, who was one of the most innovative and influential jazz performers of the 20th Century. “The Music of Miles Davis and Original Compositions” will be performed by eight SFJAZZ Collective musicians, all at the top of their fields, including:

David Sánchez, a Grammy Award winning jazz tenor saxophonist, from Guaynabo, Puerto Rico. Sanchez performed in Dizzy Gillespie’s United Nation Orchestra and Dizzy’s Trio until Dizzy’s death in 1993, toured with the Phillip Morris Superband and with many other jazz greats. He will be performing with Sean Jones, an American trumpeter and composer who was featured on Nancy Wilson’s Grammy Award winning album Turned to Blue in 2007. On vibraphone, Warren Wolf , a musician trained in many genres from classical to jazz and who is a percussion instructor at the Berklee College of Music. Wolf performs regularly with the Rachael Price Group (of Lake Street Dive fame) and the Donel Fox Group.

Miguel Zenón will be performing on the alto saxophone. He is a founding member of the SFJAZZ Collective as well as a composer, bandleader, teacher, and a four-time Grammy Award nominee. He is the recipient of a Guggenheim Fellowship and a MacArthur Genius Grant. On trombone will be Robin Eubanks, a jazz and fusion musician who has performed with Slide Hampton, Sun Ra, and Stevie Wonder. Eubanks has appeared on The Tonight Show and Saturday Night Live.

Edward Simon will accompany the group on piano. Simon is a Venezuelan jazz musician who has performed on several Grammy-nominated albums and who teaches at the New School for Jazz and Contemporary Music.  The jazz bassist is Matt Penman, one of the most in-demand musicians in the United States. Penman recently joined the faculty of the Roots, Jazz and American Music program at the San Francisco Conservatory of Music. And last, but not least, Obed Calvaire will perform on drums. Calvaire has performed along with Wynton Marsalis, Seal, Lizz Wright, and Sean Jones among many others.

An evening with the SFJAZZ Collective offers us the extraordinary opportunity to hear selections of Mile’s Davis’ works interpreted by the foremost musicians in the field of jazz today. Tickets for the SFJAZZ Collective’s “The Music of Miles Davis and Original Compositions” are on sale now from $33 to $55 and can be purchased at www.lonetreeartscenter.org/sfjazz. The Lone Tree Arts Center is located at 10075 Commons Street in Lone Tree. Free on-site parking is available.

Review: Mandy Gonzalez: Fearless

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By Cassie Schauer, Guest Blogger

Who needs to fight for Hamilton tickets when Mandy Gonzalez is in town?  Currently starring as Angelica Schuyler in Hamilton on Broadway, singer Mandy Gonzalez chose Lone Tree for the closing night of her week-long tour to promote her debut CD, Fearless. In her words, this CD and tour are a “dream come true.”

I have never heard her sing live, so I was immediately blown away with the power of her jazzy voice. She opened with the classic “On a Clear Day” sung with a sultry Latin beat. Her voice is huge — I imagine it could be heard from the parking lot.  Mandy created an intimate connection with the sold-out audience throughout the performance, waving to the people in the balcony and sharing her connection to each of the songs she chose to perform for us. By the end of the evening, I felt I had been listening to someone whose career I had been following for years.  She was so excited and genuine and having so much fun.

She added a personal twist to each song she performed and referred to several as being “from her first album.”  Her rendition of “I Only Have Eyes For You…and you…and you…and you…” was performed with a playful Latin beat.

As an original cast member of  Lin-Manual Miranda’s In the Heights, “Breathe” is arguably the first song that Mandy is known for.  She told us how returning to the Richard Rodgers Theater for Hamilton brought back such good memories, as if she’d never said goodbye to the theater.  “As If We Never Said Goodbye” from Sunset Boulevard paid tribute to that time in her life.

Mandy sang “Get Ready Cuz Here I Come” in honor of her father’s singing career. It was the first song she remembers hearing him sing. She followed with “Born to Run,” an ode to her husband’s New Jersey roots.  Next was “Life is Sweet,” which she performed on her CD with original Hamilton cast member and her In the Heights co-star, Christopher Jackson.

She then told us the tale of “the Green Girl,” Elphaba from Wicked: the 20 pound dress, the raked stage. Would she ever do it again? No, she said, the green doesn’t come off!  She followed with a tongue-in-cheek rendition of  “It’s Not Easy Being Green,” before singing the powerful “Defying Gravity” from Wicked.

The Fearless CD tour began in Florida. Performing so soon after the shooting in Parkland, Mandy decided that she wanted to honor and celebrate every city she performed in by inviting a community choir to sing with her. For tonight’s show, Mandy was joined by a group from Denver’s award-winning Phamaly Theater Company, comprised of performers with diverse disabilities of every nature. “Starts Right Now” is a powerful ballad about the ups and downs in life, about being fearless, and about having the courage to let go.  The result was strong and positive, the performers clearly enjoying their time to perform together.

Finally, Mandy performed the title song from Fearless, written for her by Lin-Manuel Miranda. It was inspired by the story of how her mother and father overcame huge personal obstacles and found the courage to stand up for forbidden love. She ended the performance with a very passionate rendition of “Que Sera Sera,” her grandmother’s favorite and her best advice.

Mandy was backed by a talented group of musicians. Seeming like old friends who had been playing together for years, they provided a rich and energetic compliment to her voice.  Lead by pianist and musical director, John Deley, the band included Richard Hammond on bass, Abe Fogel on drums, and Oscar Rodriguez on guitar.

There is something different about a Broadway singer performing on her own. A different vibe. Different connection with the audience. Mandy seemed somewhat in awe of her position now as a solo artist. She was having a blast and so were we.

Getting to know…Jay Reeves

jay reeves theatName: Jay Reeves

Role: Cory

Hometown: Newark, New Jersey

What about Fences speaks to you as an artist?: Fences speaks to me in many different ways. The everyday love dynamic of a family rocks my soul.

What’s your biggest challenge when taking on this role?: Not listening to my Pops when he’s talking. Troy Maxson is a tough man.

Favorite role (that you’ve played or that you want to play?): I’d hope to one day play Spiderman or Static Shock. I’d save the world as we know it today.

When you have a five minute break during rehearsal, what do you spend that time doing?: Easy one haha! I spend my time doing football tricks and tossing the pigskin.


Come and see Jay and the rest of our cast in August Wilson’s Fences, from April 5 – 21, with a preview night on April 4. Click here to buy tickets. 

Getting to know…Nylah Langford

Nylah's PhotoName: Nylah Langford

Role: Raynell

Hometown: Aurora, Colorado

What about Fences speaks to you as an artist?
I think Fences is a really great play.  It’s nice to learn about how the 1950s were – times were really different back then.  I am able to feel the emotion of that time period and put that emotion back into acting out each scene.

What’s your biggest challenge when taking on this role?
My biggest challenge with this role would have to be playing a role of a younger girl.

Favorite role (that you’ve played or that you want to play)?
My favorite role that I’ve played would have to be the Director in The Final Dress Rehearsal. A role that I would like to play would be Little Inez in Hairspray.

When you have a five-minute break during rehearsal, what do you spend that time doing? Hanging out with the cast, eating (mostly something sweet), and going over my lines.


Come and see Nylah and the rest of our cast in August Wilson’s Fences, from April 5 – 21, with a preview night on April 4. Click here to buy tickets.