Party Of 1

Reviewed by Holly Bartges

Oh, yes, parties, so many parties this time if year. But what if you’re a “un?” What if you’ve just discovered you’re out of Tic-Tacs and you see someone who might un-do the un? What if someone who turns out to be interesting also turns out to be gay? What if you’re available and don’t know anyone else who is? What if those of possible interest or associates are younger than you? So many what if questions.

Glen Dennis, Meghan Van De Hey, Chris Bogert, Kevin Tobias Brown, and Tara Szabo in Party Of 1.

Doesn’t matter. There’s a party going strong and it won’t end with the holidays.

Morris Bobrow’s clever onŠtop-of-it lyrics with his musical review, The Party of 1, dives head-first into the single aspect so prevalent in our culture. Single or not, Bobrow’s happy conclusion celebrates the reality that one isn’t the loneliest number after all. That is if you look at it with humor, shake down the possibilities, grab a hold of the celebration for all its worth, give yourself a party, and above all else laugh.

Directed by Brian Thompson, the flamboyant ensemble consisting of Chris Bogert, Megan Van De Hey, Kevin Tobias Brown, and Tara Szabo are “giftedly” supported by Musical Director Glen Dennis on the piano and Ted Neumann on the drums.

On a near bare stage with four stools, surrounded by a modern colorful motif splashed with yellow, orange, violet, blue, and yellow bends around the stage. Brian Mallgrave’s design integrates the stage and the house, sweeping the theatre with welcoming warmth. The addition of a working bar designed and built by Bogert punctuates a cabaret sense of charming fun the Playwright Theatre wants to project. It works.

Bobrow’s music tells its own story of wanting to entertain, making sure everyone has a good time, as his clever, refreshing lyrics, poke into, poke at, reveal, uncover, the every day thoughts singles frequently harbor, rarely having opportunity to verbalize out loud. Bobrow dresses the thoughts in upbeat music laying gentle humor at the foot of the stage to meld into the house. And it does. Some of the songs are silly by nature. Some provide bright primary colored portraits of shared experiences. Some lament a touch of sadness. Bobrow paints the Single experience with bright primary colored words.

The “Un” Song introduces the ensemble with tricky lines about the unmarried, the undecided, and the unsettled. The lines are so rich they could breed the UN-generation, certainly more descriptive then the discriminatory Single label.

Szabo unveils that moment of moments when someone interesting approaches the horizon, and not a Tic-Tac in sight. One of those little moments that loves to tap us periodically on the shoulder.

The ensemble delves into Second Hand Singles, giving opportunity and relief to mingle with mediocrity instead of having to compete with over achievers who are always more interested in reciting their grocery lists of self-importance than taking the time to look at and listen to someone else.

Brown, Szabo and Bogert dive head first into the lament the cutest are always Gay. With the three singing their own version at the same time, their voices fade into each other with the drums and piano tending to overshadow them. Because they have sung their laments individually, one can surmise what is being sung. They all have powerful voices, and this is one time they could easily let the power out of its cage and let it fly. The point is real and clear. They are all available.

De Hey lights up the stage with unabashed talent during her song “A Mom and A Dad,” wearing her heart on her sleeve and her creative flair unleashed.

If anything could be deciphered, to turn this magical moment of sheer unadulterated fun, it would be to encourage Brown and Szabo to take a deep breath, relax and let the lyrics and music prove to them how much talent they really do have. It’s there, but they tend to attack the choreography with a stiffness spelling uncertainly. Perhaps Choreographer Anita Boland could smooth out the wrinkles with her otherwise animated dance. Someone just needs to tell these two with gorgeous voices they have it. Give it.

Bogert’s powerful voice and easy going manner gives Brown delightful oomph with their song “Three Cheers,” with a slight twist to American History celebrating a little known fact that probably isn’t even mentioned in school: James Buchanan was the only unmarried President of the United States, at least so far.

Bogert also takes a surprise attack as a minister marrying a couple portrayed by Brown and Szabo. In the middle of the ceremony the minister remembers the Bride, remembers their dating, remembers their good times. Carried away in emotional ecstasy, they run off together, leaving the groom to say the only thing worth saying “Oh, shit.” Brown almost doesn’t need to say the words. In this case, his expression spells the words in detail. If he didn’t say it, the audience would.

The Playwright Theatre wondrously had the foresight to understand competition, which the Denver theatre community eagerly supplies especially in the middle of the holiday season when so many other demands scream for attention, to stretch the run through January 31. Considering they are fortunate to have their own theatre space definitely stands in their favor. The perceptive foresight certainly allows more people to have the opportunity to experience this utterly delightful frolicking musical, perhaps more than once or even twice. It is that refreshing and that good, and that much fun, a welcome respite against every day heel biting demands.

The performance rollicks on a fast track, which is always a good sign. The ensemble is adept at keeping the pace flowing. The party halts before anyone is ready for the final note, leaving the audience wanting more.

It’s a party. A time to celebrate. It’s a party of one, but it is still a party, justly juicy and fanciful fun.