Monday, June 26, 2017

The Romeo and Juliet Project—Enso Theatre Ensemble—SE Portland

“Star-Crossed Lovers”

This production is adapted from the Bard by Madeline Shier and Caitlin Lushington and directed by Lushington.  It is playing at The Shaking the Tree space, 823 SE Grant St., through July 9th.  For more information, go to their site at www.ensotheatre.com

This classic play has been adapted for the stage many times, as well as film.  Among the best was the 1930’s one with Leslie Howard and Norma Shearer as the loves, Zefferelli’s with Lenard Whitney and Olivia Hussey and then the re-imagined film by Baz Lurman with Leonardo DeCaprio and Clare Danes.  And one reason that Shakespeare is so popular is that his stories/messages are universal, fitting any culture or age.  As proof, look at the astounding, modern-day musical of it, West Side Story.

And now we have this adaptation, which thrusts it forward into an alternate universe in this electronic age.  The production is done with modern dress and a minimalist set.  It relies on dance-like movements to aid the story and some beautifully stylized fight scenes, choreographed by the best in the biz, in my opinion, Kristen Mun.  This is a fast-paced, very animated show clocking in at just under two hours.  The diverse, cross-gender casting has most them all playing two or three roles.


The story, in brief, for those of you who don’t know it, is that two feuding, wealthy families, the Capulets (Juliet, Tybalt, Nurse, et. al.) and Montagues (Romeo, Mercutio, Benvolio, et. al.) have managed to keep an uneasy peace in their town of Verona.  That is until two of their young pups, Juliet (Amelia Hillery) and Romeo (Claire Aldridge) see, not an adversary across from them, but a human being.  And the fact that they both are in their teens and are fearless, they see nothing wrong in declaring their love.  But, unfortunately, the respective parents, Lady Capulet (Cyndi Rhoads) and Lord Montague (Ross Laguzza), are vigorously opposed to such a union, as is a rather violent cousin of the Capulets, Tybalt (Rhansen Mars), an expert swordsman, the Prince of Cats.

Friends of Romeo’s, Mercutio (Sky Nelson), a rather coarse, loud-mouth, semi-mentor of his and Benvolio (Peyton McCandless), a cousin, also see a problem in these star-crossed lovers’ union.  These  teens, with their raging hormones, are not without their supporters, though, as the worldly Nurse (McCandless, again) is Juliet’s confidant and go-between for them.  And there is Friar Laurence (Laguzza, again) a tutor of sorts to Romeo, who tries to help their plight which, instead, backfires.  But the Capulet’s have their own suitor in mind for their daughter, Paris (Mars, again), a rather vain young dandy. Needless to say this will not end well for anyone.  To witness the outcome, you must see it for yourself.  “What Fools these Mortals be!”

The staging, by Lushington, is particularly engaging.  The actors, at times, not only play different characters but also become part of the set and even a dream-like sequence.  The death scenes of Mercutio and Tybalt are not so much violent, as they reflect a surprise and even sadness in them, as to what they’ve caused because of their rashness and brashness.  It is a story of today’s age, as well, of intolerance and man’s continued inhumanity to his fellow man.  “When will they ever learn?”  A fitting coda to that query might be, in view of current situations, “Quote the Raven, ‘Nevermore!’”

Hillery, a high-schooler, does very well as Juliet and even is the right age for the part.  Aldridge, as Romeo, is equally good.  Both embodying expressively the angst of youth that leads to the tragic conclusion.  Nelson and Mars, as the explosive rivals, are both excellent, giving some fresh perspectives to these well-worn roles, showing that blind bravado can have painful conclusions.  And Laguzza shines in the role of the Friar, giving us a conflicted man who tries to lighten the path in a dark environment.  The whole cast does very well in making topical an ancient subject and doing justice to the poetic language, as well.

Only hiccup I see is that they are in a cavernous space and when the exchanges get loud, some of the lines are lost because of an echoing effect in a large, empty space.  Toning down those very vocal areas and being more articulate at those times might help.

A personal note, the art work on the walls this weekend, are original water-colors by Sarah Andrews, who has her own newly-minted theatre company, Crave Theatre.  Her works are haunting and a bit disturbing.  They suggest an influence of war, politics, pain and alienation and they are for sale.  Worth a deep look.  For more information on them, call 503-931-5664.

I recommend this play.  If you do choose to see it, please tell them Dennis sent you.

Frankenstein—Modern Prometheans—E. Portland


“What a Piece of Work is Man…”

This new adaptation of the classic horror tale by Mary Shelley is adapted for the stage and directed by Paul Cosca.  It is playing at The Mister Theater, 1847 E. Burnside St., through July 2nd.  For more information, go to their site at www.modernprometheans.org or call 406-214-0695.

This famous tale from Shelley’s episodic novel has been adapted, spoofed and re-imagined many times for the screen.  Among the earliest is a silent one with Charles Ogle, as a crossed-eyed monster; then there is the famous (and still best) ones with Karloff as the creature; then a radio adaptation; Lee in Hammer’s take on it; a rather poor TV remake with Sarrazan as the creation; Corman’s cheapie; Gothic; Branagh’s with De Niro (great actor but can’t top Karloff in this); Burton’s animated, Frankenweenie, as well as Depp as Edward Scissorhands; The Bride, with Sting as the Doctor; the spoofs of Brooks,’ Young Frankenstein; the musical of Rocky Horror; and lately, the two Sherlock Holmes,’ of the American series and BBC’s mini-series, with the two actors alternating leads in a stage presentation, et. al.  Whew!

And now we have 5 actors (playing about 10 characters) on a mostly bare stage, spreading the story over several locations, with only minimum costumes changes and some clever lighting, to create the atmosphere.  Not only that, but the director and adaptor (Paul Cosca), also plays the title character of Dr. Victor Frankenstein!  I admit that when I agreed to see this, I was skeptical of this being successful as a stage presentation.  But I was pleasantly surprised.  The acting is quite good, the adaptation, although condensed somewhat, does capture the essence of the story, and Cosca manages the three major jobs very well.  It told in a story-telling fashion, which I like, in which the audience is employed to contribute their imagination to the process (something sadly lacking in today’s computerized landscape).

The tale should be familiar to anyone that has viewed any of the above films of the story.  But to give you a flavor of it, it has to do with a young boy, witnessing the death of his beloved mother, wishing he could forestall death and the degeneration process, so he becomes a doctor.  Somewhere along the line he loses his original focus and become obsessed with creating life itself.  He spurns those who love him including the love-of-his-life, the enchanting, Elizabeth (Nicole Rayner), his supportive father, Alphonse (Kraig Williams) and his gentle, best friend, Henry (Kyle Urban), as well as the blessings of the university.

And so he stitches together cadavers, and extracts a brain from a dying youth.  The Creature (Thomas Zalutko) does indeed live but doesn’t seem too happy to be existing in such an alien environment and so goes on a rampage.  Eventually he learns language and friendship from a blind man in the forest but his hideous looks frighten the rest of the household, so he must fend for himself, withdrawing to remote regions.  Victor traces his creation to have a showdown.  The Creature demands that Victor now create a mate for him, in exchange they will disappear forever.  If Victor fails, then he will wreck havoc on all of Victor’s loved ones.  I will stop there, as not to give away the climax, but know that it isn’t pleasant.

As I said, the cast is quite good with special kudos going to Cosca as the creator of Victor, as well as the script and production.  Probably the most difficult character to create, though, is the Creature, as one has to decide whether he is mad, or sad, or just terribly misunderstood.  It is never fully explained in the original story why the Creature chooses to kill (although in the Karloff depiction, it is because he has the brains from a madman).

Zalutko does a credible job of picturing him as a “stranger in a strange land,” who has no moral scope or training to give him direction.  And so, like a child, he has temper tantrums whenever he doesn’t get his own way.  The question then becomes, who is really the monster/villain of the piece, the parent/creator who produces a child, then abandons him to the elements to forge his own way, or the child/creature, who is forced to flounder in a primeval soup of conflicting conducts of behavior?!  It is a dilemma that you should decide.
I recommend this production.  If you choose to see it, please tell them Dennis sent you.

Sunday, June 18, 2017

26 Miles—Profile Theatre—SW Portland

Road Trip

This powerful drama of relationships is written by Quiara Alegría Hudes and directed by Rebecca Martínez.  It is playing at the Artists Rep. space, 1515 SW Morrison, through June 25th.  For more information, go to their site at www.profiletheatre.org or call 503-242-0080.

Sometimes the best way to find your way home is…to get lost.  Already, when you are a teen, there may be a sense of fearlessness and indestructibility but there can also be the sense of isolation, frustration and desperation, especially if you are a child of a mixed marriage and your parents are separated.  And, faced with that realization, of not being fully aware of your roots, it is difficult to move forward.


Olivia (Alex Ramirez de Cruz) is just such a teen.  She is an editor of a news magazine, in which she chronicles her thoughts in a journal, and is the basis for this narrative.  Her white father, Aaron (Chris Harder), after being married for a few years to her Cuban mother, Beatriz (Julana Torres), and having a daughter by her, eventually falls in love with another woman, Deb, who he marries, and gets custody of Olivia because her mother is not yet a citizen.  But all is not at peace at her home, as her step-mother resents her, probably because she is of a Latino origin.  This fifteen-year-old then seeks out her, mostly absent, birth mother, who is now with another man, Manuel (Jimmy Garcia).

Sensing the desperation in her daughter’s voice, Beatriz chooses to rescue her and go on a road trip, not so much to see the sights of a cross-country journey, but to map out their own destinies.  Having lost about ten crucial years in their relationship, they discover some serious things have been lost in translation, as well, both figuratively and emotionally.  Along the path to an attempted reconciliation they find they not only have a language barrier, but differ in likes of music, food, ideas of sex, love, religious beliefs, and temperament.  What is lost can be found again.  But sometimes you need to cross a wide expanse to discover the closeness that was within all the time.  More I cannot tell you without giving away secrets so will leave it at that.

Martínez has done a masterful job of staging this show.  It’s amazing what wonders can be produced with just two chairs to represent different locations in the story.  There is also a beautiful panorama of the scenic part of the journey (Daniel Meeker) and some simple but specific lighting (Kristeen Willis Crosser), both pros in their fields, which add to narrative.  Both Garcia and Harder have graced the stage a lot and are both very good in the connecting roles they play to support the major story of the two women.  Torres and Cruz are excellent as the mother and daughter and are equally effective when they are explosive, as well as in the tender moments, and everything in between.  Without a doubt anyone can identify with the relationship of these four people, as Hudes has skirted the seams of ordinary people in extraordinary situations.

I recommend this play.  If you do choose to see it, please tell them Dennis sent you.

Thursday, June 15, 2017

The Reunion—Imago Theatre—SE Portland

Letting Go

This avant-garde, dark comedy is written and directed by Carol Triffle (co-founder of Imago w/Jerry Mouawad, “John” in this production).  It is playing at their space, 17 SE 8th Ave. (just off Burnside, parking is a challenge in this area, so plan your time accordingly), through June 24th.  For more information, go to their site at www.imagotheatre.com or call 503-231-9581.

In the time of your Life, when were you the happiest?  Often folks will reflect on their childhood and youth.  And when you know it is time to “shuffle off this mortal coil,” what actions would you take to re-capture that period, perhaps that age of innocence, when you had all the time in the world (or so you thought) and were fearless and indestructible and free?  For me, those precious days were always associated with dogs, my eternal buddies.  But, on the other hand, reminiscence on the “good ole days,” can bring regrets of things that we should have done during those intervening years, and didn’t.  Hold every moment dear, and they will do the same for you.  But, do we?!

In Dolores’s (Danielle Vermette) case, this alluring time seems to be a “Reunion.”  And high school is a magical time for many, when the future lay at your feet, open to all possibilities.  In her case, she comes with her husband, John (Jerry Mouawad), who doesn’t seem at all happy with this intrusion to their lives.  Of course, the fact that she has a terminal illness isn’t such a hot idea, either.  The hall for this event is decorated with the appropriate razzle-dazzle but it seems that they are unfashionable too early (or too late), as only the band is left and what a motley crew they are.

Duke (Kyle Delamarter) seems to be the leader of the pack and he, with his fellow band-mate, Floyd (Sean Bowie), neither being any great shakes as singers, seem to have another agenda, like flirting with Delores, whom they have shaky, if any, memories of, and vice versa.  Tek (Jon Farley), the mostly silent drummer, seems to be in a world of his own.  The arrival of the hostess, the only other guest, Brittany (Megan Skye Hale), doesn’t seem to clear things up at all, as she keeps calling Delores by another name.  Granted, memories get fuzzy at reunions, thus nametags and old photos for recollections, but this gathering seems even more remote, until you discover the secret…

Obviously, I can go any further without being a spoiler, but I will say this really is a love story, of sorts, albeit out in left field, perhaps.  And maybe one should not take things too literally, as in many Imago shows.  There are layers upon layers, and stories within stories, and like a fine painting or piece of music, or play, what the observer contemplates of the proceedings is part of the purpose of the piece in the first place.  Not to say that this, or any artistic work, doesn’t have a meaning to the creator, but part of that magic is what the audience gleans from it, as it is meant to be an inclusive work of art.

For instance, does this event take place in a traditional setting and time, or is it set somewhere in the “windmills of [one’s] mind?”  Is the world only what we can touch and feel, or does imagination and wonderment play a part in our existence?  Are we a person dreaming we are a “butterfly,” or a “butterfly” dreaming we are a person?  What you take home from this story is just as valid as what the person next to you takes home, although it can be vastly different understandings.  “We are such stuff as dreams are made on and our little life is rounded with a sleep.”

This eclectic work by Triffle, both as writer and director, is something you will talk about afterwards…and disagree on…and that is as intended, I believe.  I liked it very much.  It is good to see Mouawad on stage, as he normally directs many of the works here.  He is just as vibrant and mesmerizing onstage as I imagine he is behind the scenes.  Vermette, the focus of the story, invites us along with her on this unusual journey, as we experience the twists and turns and doubts, as she does, so we are co-explorers with her.  Very good job.  The rest of the cast adds to the bizarre nature of the story by always keeping us guessing as to the reality/sanity of them, which is as it should be.

I recommend this show, but know that it is not the “traditional” theatre you might be accustomed to seeing.  If you do choose to esperience it, please tell them that Dennis sent you.

Sunday, June 11, 2017

Rumors—Twilight Theater Company—N. Portland

"What Webs We Weave”

This early comedy, by the master comedic playwright, Neil Simon, is directed by Maury Evans.  It is playing at Twilight’s space, just off Lombard (upstairs), 7515 N. Brandon Ave. (free, small parking lot across from the theater), through June 25th.  For more information, go to their site at www.twilighttheatercompany.org or call 503-847-9838.

The play’s title is a bit of a misnomer as, although there are a couple of rumors characters bat about early on, the bulk of the play involves the deep holes we dig for ourselves when we try to avoid or cover up the truth of a situation.  But, that being said, these party guests take the cake for fabrication, as they spin and weave as no clothier ever could and, in the end, is an absolute masterpiece of misdirection.  Even then, though, they seem to lose the thread of the tale as it grows.

It starts out innocently enough, as eight upper-class friends arrive at the house of the deputy mayor to help celebrate his and his wife’s 10th anniversary.  But, as it turns out, we discover from the first arrivals, the high-strung, Ken (Rob Harris), and his determined wife, Chris (Alicia Turvin), both lawyers, that there has been an “accident” in their host’s home, that he has been shot, and his wife and servants are AWOL.  Their legal minds begin to churn, not wanting publicity for political reasons, and decide to disguise the truth, as other guests arrive.  (This could easily be a play-book for a current administration, I believe).

And, right on cue, a very upset, Lenny (Richard Barr), a CPA, and his more subdued wife, Clair (Laura Myers), manage to creep in, disheveled, as they have been in an accident.  Not long after them, a neurotic, Cookie (Greg Saum), a television, gourmet cook with a bad back, and her analyst husband, Ernie (Andy Roberts), make an entrance.  Then the final party guests appear on the scene, a State Senator wannabe, Glenn (Ian Leiner), and his sexy but ditzy wife, Cassie (Amanda Anderson), battling with each other.  All there true colors come out, as they discover the facts of the situation, but do they know the real story.

Of course, the one thing you don’t want to happen at his juncture, is for the police to arrive and, guess what, they do, in the form of Officer Welch (Tony Domingue), a take-charge kind of guy and his quiet partner, Officer Pudney (Rebecca Ovall).  Finally the truth must come out…but does it?!  Most of the exchanges you must experience for yourselves, as Simon is a master at comic writing, and I can’t give you any more of the plot without being a spoiler.

Evans has done a terrific job of staging this show, as well as finding all the subtle nuances and overt overtures that add immensely to the fun of the production.  He also has a very good cast.  They all have their shining moments.  Harris, a familiar and welcome actor in Twilight’s shows, as the ultimate example of fingernails on a chalkboard in human form, is amazing.  Barr as the concluding concoctor of the long-winded plot, truly deserved the applause he received after delivering the final blow.  Myers is a gem of under-playing, having a dry humor that is a perfect addition to the mad-cap mania occurring around her. Saum, as the suffering chef, chaffing for attention, is hilarious (eat your heart out, Harvey Firestein).  And Domingue, as the lone voice of reason, is a steadfast, solidifying force amongst the chaos.  But, as mentioned, they are all spot on.

I recommend this show.  If you do choose to see it, please tell them Dennis sent you.

Avenue Q—Triangle Productions!—NE Portland

Puppets Rule


This Triple-Crown, 2004, Tony-award winning musical is back again for the third time by special demand, and is again directed and designed by the one and only, Donald Horn (Triangle’s driving force).  It has music and lyrics by Robert Lopez and Jeff Marx, book by Jeff Whitty and musical direction by the one and only, Jonathan Quesenberry.  It is playing at their space in The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd. (free parking lot to the West of the bldg.), through July 1st.  For more information, go to their site at www.trianglepro.org or call 503-239-5919.

The above title may not only refer to Avenue Q (think about it)!  This show has been referred to as the dark side of “Sesame Street,” since it is about a neighborhood incorporating puppets and humans.  But, know this for sure, it is not for children!  That being said, I would call it more of a realistic and honest look at what makes humans who they are, all colors of the rainbow but having shades of gray.  “To err is human…” and so do all the inhabitants of Avenue Q.  First, recognize flaws in oneself, then learn to adapt and embrace new ways of thinking and behaving.  When accomplished, it will be a far, far better world, I believe.

The story involves a newbie to the ‘hood, Princeton (Isaiah Rosales), fresh out of college and now graduated to the city of hard knocks to find his fame and fortune…or, just his Purpose in Life would be sufficient.  The Super for the apartments is Gary Coleman (Raphael Likes), yes, that Gary Coleman.  Princeton eventually meets his neighbors.  There is Kate Monster (Hannah Wilson), a teacher who wants to start a School for Monsters and, although of the Monster clan, there seems to be an attraction.  Then there is Brain, (Dave Cole), a rather lame comedian, and his betrothed, Christmas Eve (Justine Davis), a counselor.

There is Rod (Matthew Brown), a rather meticulous sort and Nicki (James Sharinghousen), a bit of a slob, who are roommates.  The elusive, upstairs neighbor is Trekkie Monster (Sharinghousen, again), who’s pastime is indulging in porn.  Also, although not a neighbor, there is the vampish, Lucy, the Slut (Kelsey Bentz), who’s talents seem to be in keeping a good man down, or up, depending on the circumstances.  And I haven’t even mentioned the singing Moving Boxes or the Bad Idea Bears, the “looser” side of one’s alter-ego.   These characters, and more, will come together and attempt to create a community in which dreams are found, secrets revealed, purposes discovered, lives changed and friendships formed.  Sounds pretty much like the world we already live in and people we know so, if you dare, take “a walk on the wild side” with the incomparable residents of “Avenue Q.”

The songs and music are a hoot and pretty much tell the story of what you might discover in this neighborhood.  There is “If You Were Gay,” “Everybody’s a Little Bit Racist,” “The Internet is For Porn,” “Fantasies Come True,” and “Schadenfreude” (you’ll have to see it to discover the meaning).  All the songs/lyrics are part of the story and all quite compelling.  My favorites are the show-stopping (both song and singer, Wilson), “There’s a Fine, Fine Line” as well as the touching, “The More You Ruv Someone” (Wilson & Davis).  All these songs need strong singers and Horn has the cream of the crop for this production!

Wilson is a stand-out (as she was as the young Liza in a show earlier this season).  She has a dynamite voice and is a fine actor, too.  A career awaits her in this field, I believe, if she so chooses.  Sharinghousen is always a favorite onstage, not only as a singer, but actor as well.  He shines again here, too.  Davis and Bentz have powerful voices for the characters they portray.  And Rosales is perfect as the innocent to this big, bad world.  Horn, as always, is an unstoppable force when creating a show.  As I once mentioned, some friends and I saw this in the Big Apple and honestly liked Horn’s vision better!

Quesenberry and his band of musicians are always an asset to Horn’s shows and they don’t overpower the actors, either, which often happens in a musical.  I loved the set and puppet.  The set was built by Demetri Pavlatos, puppets (some) by Steven Overton and Marty Richmond over at Portland Puppet Museum/Olde World Puppet Theatre (Trekkie, Kate and Lucy only) and James Sharinghousen helped with the assistance of working with the puppets.  It should be noted that there is full frontal, puppet nudity with a sex scene in this production and some partial back-al exposure by one of the humans, as well as raunchy situations and language.

This show created one of the biggest upsets in Tony history in 2004, as this little show won all the top prizes for a musical, beating out the heavily favored, “Wicked.”  I highly recommend this production.  If you do choose to see it, please tell them Dennis sent you.

Sunday, June 4, 2017

The Language Archive—Portland Playhouse at CoHo—NW Portland

A Language For All Ages

This insightful play by Julie Cho is directed by Adriana Baer.  It is playing at the CoHo space, 2257 NW Raleigh St. (finding parking is a bear in this neighborhood, so please plan your time accordingly), through June 11th.  For more information, go to their site at www.portlandplayhouse.org or call 503-488-5822.

The above Language, of course, is Love.  But as to how to communicate in that verbage is the tricky part, as each feeling creature has its own interpretation of how to express him or herself.  What one may be feeling does not necessarily translate easily into words.  There is an Art to that.

George (Greg Watanabe) works with languages, trying to preserve what are considered the last remnants of cultures that may be dying out.  He may be a communication expert at this but is less successful when it comes to his home life and his wife, Mary (Nikki Weaver), who seems to be depressed and crying all the time.  She may also be leaving odd notes that seem to make no sense.  She is unlike rigid George, who supports the adage, everything in its proper place, and has no time for tears.  A match probably not made in Heaven.

But he does have a loyal assistant, Emma (Foss Curtis), who understands his drive, and is willing to comfort him and be his pal when needed.  May we also say that she is totally smitten by him.  But does he notice, of course not.  No hope, you say?  But wait, the home front may be breaking apart and some sunshine might filter through to those who suffer from unrequited love.

But, first to work, and then to…whatever.  They have the River People, Alta (Sharonlee Mclean) and Resten (Victor Mack), in their tests, products of one of those dying languages/civilizations, who are constantly arguing…but in English (!) which, of course, defeats the whole purpose of the experiment.  They explain, quite convincingly, that English is the language of strife, of war, and their language is for romance.  Of course, in this day and age, it seems that all languages are tinged with hatred now.

But, according to one famous poem, it may all be for naught.  An Emperor of yore had written across a monument, for all to view his fearsome glory he had created and yet, looking around the statue, was only an endless sea of sand!  Will we be like that, an empty cipher in someone’s book?  They proclaim in the play, it is not the language that dies off first, but the world for which it was created.  Will we eventually be those creatures, looking upon a barren landscape on the ruins of abandoned hopes and promises?!

To go further down the path of the story would be telling, so you just have to see it for yourself, to observe if a German instructor will put Emma on the road to happiness; whether an old man will inspire love again through baking; and will an odd couple be an inspiration for true love.  See a common theme in all of this?  Hope springs eternal, they say, and that Hope rests in our Youth.  May it be truly said that we have inspired them toward tolerance and compassion, away from being lemmings, and simply following others over the cliff into the abyss.

This play is thoughtful and inspirational on many fronts and Baer is exactly the right leader to nudge it forward.  Having been the driving force behind Profile Theatre, she has shown her artistic chops here in just as bold a way.  Her use of space and choice of cast is spot on.  I have reviewed all these actors before and they all came out shining examples of their Art, as they do here.  And they have the added burden of dealing with speaking other languages, too.  Mack and Mclean are both pros and it shows.  They have multiple roles in the show and their characters all come alive with only changes in their gestures, speech and postures, that’s great acting.  Curtis is just fine as the recognizable person who may not have loved wisely, but too well.  Weaver sheds light on the complex role of a woman trying to break out of her conventional role and find herself, her true calling.  And Watanabe is terrific as a martinet, discovering he is human after all.

I highly recommend this show.  If you do choose to see it, please tell them Dennis sent you.