By MIKE BOYLE

If God, as the old joke goes, created liquor so the Irish wouldn’t rule the world, then He must have created Irish music and dance to make us happy. And happy we were. A sold out crowd Thursday night at the Pikes Peak Center tapped their feet and clapped their hands as Michael Flatley and his troupe performed their “Lord of the Dance.”

At other times, we laughed. We even booed as a “villain” attempted to wrest Michael’s dancing title in one of the well-choreographed and costumed skits, and then cheered wildly as our hero triumphed.

And if happiness wasn’t enough, we were energized. This almost two hour performance is like watching an aerobics class on steroids. If you are going to dance with Michael Flatley, you better be in shape. In a show that never slows, let alone stops, everybody seems to have a cardio vascular system that Lance Armstrong and Michael Phelps would die for. This show, and the cast that performs it, makes a run up the Manitou Incline look like a stroll in the park.

There was something for everybody. We chuckled when the male members of the cast came out and performed in hot pink jump suits, and we gasped when the females tore away their traditional Irish dresses and danced in sports bras and Spandex.

I’ll admit it: I’m not a guy with the highest culture quotient you’ll ever meet. I first thought “Dances with Wolves” was a musical. But I have seen “Spirit of the Dance,” and I have seen “Riverdance.” They were both good. But Michael Flatley and the cast of “Lord of the Dance” were exceptional. He truly is the Lord, the King, of the Dance. And if you want to see this show the next time it comes to the Springs, you’d better get your tickets early because those in attendance last Thursday will certainly be back for more.

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Rick Miller IS MacHomer (and, oh, 50 others)

“MACHOMER”

When: 7:30 p.m., Friday, Nov. 6; 2 p.m. and 7:30 p.m., Saturday, Nov. 7 through Sunday, Nov. 8

Where: Dusty Loo Bon Vivant Theatre, 1420 Austin Bluffs Parkway

Tickets: $12.50-$35, 255-3232.

Grade: B+

And some people think Robin Williams needs medication…

Rick Miller brings “MacHomer”–his wildly acclaimed, one-man mashup of Shakespeare and the Simpsons–to the Bon Vivant this weekend. And before I get any further, I have to admit that I haven’t seen an episode of “The Simpsons” in my life (yeah, I know, I’ve missed one of the great sitcoms in TV history but, in my defense, I don’t watch much of the tube at all).

So I was expecting to miss a lot of the references. Fortunately, Miller does his best to bring non-Simpsonites like me into his world. During the entire 80 minutes of the show, animated clips play on a screen behind him, which serve to introduce each character as his or her voice is first heard. They also provide a constantly and humorously changing backdrop to the action.

The performance was certainly as frantic as advertised. Miller tears through over fifty voices, representing characters from the animated series (sadly, Bart himself plays only the briefest of roles), an assortment of Scots (among them Sean Connery, Shrek and the head of Mary, Queen of Scots) as well as other, unrelated Simpsons (you can probably guess who).

The story stays surprisingly close to the original play. The “MacHomer” web site claims that the work is 85% Shakespeare. Still, the gags are 85% Simpsons and if you’re not an avid follower of the show, you may wonder what everyone else is laughing at. Plus, the voices come so fast and furious it can be hard to keep up.

Still, with a show as full of gags as this one is, there are plenty to go around. And Miller delivers them all with the confidence of Bart and an energy level worthy of the Springfield Nuclear Power Plant.

Miller wound up the evening with a performance of Queen’s “Bohemian Rhapsody” as sung by “the twenty-five most annoying voices in music”. Sure, he’s does the easy ones like Bob Dylan and Aaron Neville. But he also throws in a ton of impersonations I’ve never heard anywhere else–including Elvis Costello, Leonard Cohen and Andrea Bocelli–and nails every one.

Miller explained to some of the fans after the show that he only performs “MacHomer” a couple months out of the year as it simply gets too exhausting. But it’s so successful that it pays for all the non-commercial stuff he does on tour, in New York and in his current hometown of Toronto–including, get this, a 9-hour monster of a play titled “Lipsynch”.

Yep, the guy definitely needs some kind of medication.

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CHANDRA LEE SCHWARTZ and DONNA VIVINO in "Wicked" / Photo by Joan Marcus

DENVER • Before buying a ticket to “Wicked,” you may want to ask yourself one question: Do I love, like or barely remember “The Wizard of Oz?”

Yes, the performances in “Wicked” are all top-notch and the production explodes on the Buell Theatre stage like a witchy Macy’s parade. But what drives this Tony-nominated über-hit, which plays through Nov. 15, is deep affection for the “Oz” canon.

In fact, if you’re a big enough fan to own a pair of ruby slippers — as at least one member of the packed house did on opening night — more the better.

But even then, this pat distillation of Gregory Maguire’s best-selling book rises only to the level of “Well, I’m glad I finally saw it.” That’s thanks, in large part, to a second act that has some clever moments but flounders to tie up loose ends.

Yes, I was surprised, too.

The production, which is making its third appearance in Denver, sets out to dazzle from the moment the curtain goes up. A mechanized dragon lowers over the stage, huffing and clawing at the air now and then. The set, which was designed to reflect W.W. Denslow’s illustrations for the Frank Baum novels, grinds and moves and shifts throughout the show like it’s had five Red Bulls too many. And Susan Hilferty’s costumes are gloriously quirky and quite beautiful.
There’s certainly plenty to look at.

A bullet train exposition handily takes care of the novel’s beginning, and the musical quickly settles into the stories of two key Oz witches — the lime green Elphaba (Donna Vivino) and Galinda (Chandra Lee Schwartz), — who are enemies, then best friends, then rivals, and because it’s a musical, friends again.

Composer and lyricist Stephen Schwartz (“Fosse,” “Godspell,” “Pippin”) has some nice moments with tunes that aren’t so much hummable as smart and very funny. “What is This Feeling?” and “Popular” are well worth adding to your iTunes queue.

“Don’t be offended by my frank analysis,” Galinda sings in the latter, her promise to renovate Elphaba’s all-too-thoughtful existence. “Think of it as personality dialysis.”

Both Vivino and Schwartz have excellent voices. And as a bonus, Vivino’s speaking voice sometimes reveals tinges of Judy Garland’s tremulous delivery. As actresses, they easily command the stage even in the midst of this three-card Monty of a set. Like Richard Kline as the Wizard and Randy Danson as Madame Morrible, both leads are funny and charming and quite likable.

But by the second act, “Wicked” runs into a storytelling ditch. Every song feels exhaustingly like a climax. The plot barrels along like it’s on a schedule to a happy ending, and rushing, willy-nilly, to connect the dots between “Wicked” and its source material.

Some of “Wicked’s” “Oz” touchstones are quite clever.

“There’s really no place like home,” says Elphaba early in Act 2. We laugh like it’s a family joke.

Although I’m sure the Ellie Caulkins Opera House couldn’t have accommodated this elaborate set, I selfishly wish “Wicked” had performed there instead of at the Buell. I left the two-plus-hour performance feeling like I’d been folded into the middle seat on a Trans-Atlantic flight.

Contact the writer at 476-1602 or tracy.mobleymartinez@gazette.com

“Wicked,” a Broadway touring production

When: Through Nov. 15

Where: Buell Theatre, Denver Center for the Performing Arts, Speer Boulevard and Arapahoe streets, Denver

Tickets: $45 to $135; (800) 641-1222, denvercenter.org

Something else: Register for a daily drawing for $25 seats up to two and half hours before performance. Limit two tickets and in-person only.

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BY TODD WALLINGER
“Wicked” is such a phenomenally successful show (it’s still the #1 show on Broadway six years after it opened) that it has not one, but two tours currently crisscrossing the country.

The First National Tour is what blew into Denver’s Buell Theatre for a six-week stay last Wednesday. It features Donna Vivino as Elphaba (AKA The Wicked Witch of the West) and Chandra Lee Schwartz as Glinda.

Schwartz took over from her predecessor just a few weeks ago, and although she doesn’t have the expressive, powerful vocals of the original Glinda, Kristin Chenoweth, she’s been given some room to play with the character and has made this “good” witch even more humorously ditzy and shallow than the already-legendary Kristin did (think Elle Woods with a wand).

But it’s Vivino’s show from start to finish. Not only can she belt out the big numbers, like “Defying Gravity”, She can also do justice to the softer, more tender emotions in ballads like “I’m Not That Girl”.

On top of that, she lends her character a sympathetic complexity that makes her more than the cartoon that–let’s admit it–Glinda can often be.

I loved seeing how the events of the classic 1939 film “The Wizard of Oz” were reinterpreted from Elphaba’s point of view to make her the good guy. I also enjoyed the winking references to some of the film’s most famous lines, such as when Elphaba–who’s on the run from from the authorities–takes refuge in her sister’s bedroom.

“What are you doing here?” the sister asks.

Elphaba’s answer is exquisitely deadpan. “Well, there’s no place like home.”

And then there’s Stephen Schwartz’s clever, tuneful score (speaking of which, why isn’t this composer of “Godspell”, “Pippin” and the animated film “Prince of Egypt” as famous as that Lloyd Webber guy?). The melodies never go where you expect them to and the lyrics are packed with puns, internal rhymes, complicated rhymes (I’m sure he’s the only person in musical theatre history to rhyme “absurd degree” and “verdigris”) and plays on the various meanings of “good”.

No, you don’t have to be a tween to enjoy this smart, fun-loving show. But you do need a heart and a brain.

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Steve Barta Trio
October 9-October 11

Pianist Steve Barta, who once toured with Herbie Mann and now makes his home in Colorado Springs, blends his lively jazz compositions with an interactive conversation about music and creativity.

Ten Minutes MAX
October 15-October 25

Always fun, this popular show brings back those long lost days of vaudeville with its fast-paced array of monologues, skits, magic and musical acts performed by some of our area’s best talent.

Don’t Shoot Me! I’m Just the Piano Player
November 13-November 14

Australian pianist David Scheel provides his own unique twist on a Borge-inspired blend of classical music and comedy. This ever-changing show might include anything from a tune played in the style of various composers to a concerto based on the 20 worst songs ever written.

The Accident
November 19-November 22

Australian Jonno Katz presents this one-man show about two very different brothers, melding theatre, stand-up comedy, mime and dance in one high-octane blend.

Me, My Stuff and I
January 14-January 17

Barry Smith, who three years ago performed his humorous, if challenging “Jesus in Montana” at the MAT, returns this year in another autobigraphical comedy, this time documenting his lifelong effort to never throw anything away.

Art Dog
February 11-February 21

The world premiere of what promises to be a hilarious farce about a small-town arts council and its quest to find the “proper” piece of public art.

Best of the Fest
March 11-March 14

The MAT folks will be hitting the road to seek out the best stuff from fringe festivals across the US, UK and Canada. Stay tuned to find out what they bring back.

It’s Cody Rivers’ New Show
March 27-March 28

Those Madcap Desconstructionists return in another idiosyncratic blend of song, dance, puppetry and absurdist sketches. I can’t do better than New York Theatre Wire’s description of their comedy: “[t]he closest experience to it would be seeing ‘Waiting for Godot’ performed by Chinese acrobats.”

Six Women Playwrighting Festival
April 8-April 18

The MAT’s 4th annual offering of the winners — all world premieres — from its nationwide playwrighting contest. With the theme of “Mixed Emotions”, this year’s festival promises to offer plenty of both laugh-out-loud comedy and thought-provoking drama.

As always, the MAT is also putting on a wide variety of shows for the young and young at heart.

And, of course, they’re still letting those nutsos from RiP invade their stage the first Saturday of every month.

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Not every Art Walk seems worth making the journey, but this one has it all going on. Shows include those at Modbo, Rubbish, the Bridge Gallery, Watch This Space, Smokebrush Gallery, FAC Modern, Copper, Pikes Peak Community College’s Downtown Studio Gallery and even more in Old Colorado City.

If you had to choose on spot, though, I’d hit the railroad-side complex that houses the Bridge Gallery, Smokebrush Gallery and Watch This Space. Besides being only a couple of steps from one to the next, they consistently offer challenging work that you may not like but will definitely make you think.

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See what she found out on her blog.

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Mayor Rivera talked a lot about green industries and athletics, but I didn’t hear one word about arts and culture.

A recent study by the Cultural Office of the Pikes Peak Region (COPPeR) estimated that the nonprofit arts industry and its audience have a $94.7 million economic impact in the greater Colorado Springs area each year and generate 2,639 jobs.

The local athletics presence pales in comparison. Think about it. When a corporation decides to locate offices or headquarters, the quality of the cultural landscape is almost up there with a trained workforce.

In the Dream City: Vision 2020 results I’ve seen so far, a vibrant cultural scene figures in so many of the discussions. I was thrilled to hear the mayor quote from a Mike Moran’s Dream City column about his ideas of a vibrant sports scene here in the year 2020. But I’m surprised I didn’t hear at least a nod to all that’s going on and needs to go on to build an exciting center for the arts.

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All right, the show is Avenue Q and the naked characters are puppets, but still, you’ve got to give them props for doing something so deliciously un-PC.

Other than that, the Pikes Peak Center’s new season includes the standard mix of crowd-pleasing, if unexciting, musicals and concerts.

The Wedding Singer
November 3-November 4
Music by Matthew Sklar, Lyrics by Chad Beguelin, Book by Chad Beguelin and Tim Herlihy

Sure, Broadway is taking more and more of its inspiration from the silver screen, but still, this is a bizarre work to be inspired by. One of the big draws of the 1998 movie was the retro 1980’s soundtrack and I’m not sure what’s gained by replacing those wonderful, timeless songs (yes, I’m an old fart) with a bunch of forgettable show tunes. The good news? This time we won’t be subjected to Adam Sandler.

Michael Flatley’s Lord of the Dance
November 19

It’s got his name but not him–at least not dancing (he’s still listed as producer and director). The rest of the show, however, is largely the same as when it first took the world by storm 13 years ago. After all, what would traditional Celtic dancing be without a few explosions?

Mannheim Steamroller Christmas Show
November 22

I’ve always preferred the more personal, neo-Renaissance sound of their Fresh Aire albums (yes, albums–I told you I was old), but of course it’s their synthesizer-driven versions of beloved Christmas classics that have gained them millions of fans (including the rest of my family). They definitely know how to put on a good show.

Avenue Q
Music and Lyrics by Robert Lopez and Jeff Marx, Book by Jeff Whitty
March 16-March 17

You’ve got to love a show that features barely disguised grown-up versions of Sesame Street puppets singing songs like “If You Were Gay” and “The Internet is for Porn”. I am so there.

The Wizard of Oz
Music by Harold Arlen, Lyrics by E. Y. Harburg, Adapted by John Kane
May 19-May 20

Another stage adaptation of a classic film that begs the question, “Why?”. The answer is that this 1987 Royal Shakespeare Company version, while hewing close to the film in story and dialogue, restores the songs that ended up on the cutting room floor, including the rarely heard “The Jitterburg” and reprises of “Ding-Dong! The Witch is Dead” and “Over the Rainbow”. All right, maybe that’s not a good enough reason. How about this? Kids are going to love it.

For more information, go to:

http://www.newspaceentertainment.com/coloradosprings/.

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