Review: Goodnight Moon

Review: Goodnight Moon | Denver Center for the Performing Arts | Randy Weeks Conservatory Theatre, Denver, CO | Curtain Up! | Eric Fitzgerald | November 4, 2025

🐰 Who doesn’t love a talking bunny, a bowl of mush, and a room where the furniture has choreography? In the Denver Center for the Performing Arts Theatre for Young Audiences production of Goodnight Moon, directed by Allison Watrous, the familiar bedtime ritual springs to life with a wink, a bounce, and a lullaby or two. It’s not trying to reinvent the moonbeam—but it doesn’t need to. With a cast of oversized friends and a color-saturated set that feels like a storybook cracked open on stage, this production knows its audience: the wide-eyed, the wiggly, and their grateful parents for a shared moment of wonder.

Adapted from the cherished book by Margaret Wise Brown and Clement Hurd, with book, music, and lyrics by Chad Henry, this stage version of Goodnight Moon leans into its source material’s rhythm and repetition with theatrical flair.

First published in 1947, the book has sold over 48 million copies and has been translated into 15 languages—a testament to its enduring appeal across generations and cultures. Under the direction of Watrous, Executive Director for Education and Community Engagement, the production balances playful invention with fidelity to the original text—inviting audiences to rediscover the quiet magic of saying goodnight, one object at a time.

The Bunny at the center of Goodnight Moon—played by Elton J. Tanega—guides the audience through the familiar bedtime ritual, surrounded by a cast of characters who animate the great green room with playful presence. Joanie Brosseau-Rubald appears as the Old Lady Bunny, as well as the Cat and one of the Bears; Heidi Carann Snider takes on the Mouse, the Cow, and another Bear; and Randy Chalmers rounds out the ensemble as the Dog, the Tooth Fairy, and the third Bear. Their collective work hums with the rhythm of a well-loved lullaby—each performer slipping seamlessly between roles to create a world that feels both cozy and kinetic.

Elton J. Tanega anchors Goodnight Moon with a Bunny full of curiosity and expressive charm, guiding the audience through each goodnight with a sense of discovery that never feels forced. Over the past three years, I’ve seen Tanega inhabit a wide range of roles across Denver stages, from a Prince in Cinderella to a Jersey Boy. He continues to grow as an actor, bringing a more profound emotional clarity and physical ease to each character he steps into, including this role.

Brosseau-Rubald brings a feline flair to the Cat, her movements precise and delightfully unpredictable. At the same time, Chalmers adds bursts of energy as the Dog and Tooth Fairy, punctuating the quiet with well-timed whimsy. Snider lends a gentle playfulness and amusement to her roles, with the Mouse and Cow offering moments of quiet charm and visual delight. The trio of tap-dancing Bears—played by Brosseau-Rubald, Snider, and Chalmers—work in tight ensemble, their synchronized presence adding texture and rhythm to the room’s nightly send-off. Each performer shifts with grace and intention to keep the world of Bunny rich and alive.

Allison Watrous’s direction is attuned to the rhythms and needs of her young audience. By seating the youngest attendees, and a parent or two, on the floor directly in front of the stage, she creates an immersive, participatory atmosphere that draws children into Bunny’s world without overwhelming them. Watrous’s choices reflect a thoughtful understanding of early childhood engagement, inviting curiosity, reinforcing repetition, and allowing space for wonder to settle in. Music direction by Jordan Ortman supports the production’s solid momentum, while Diana Dresser’s choreography adds plenty of bounce and pattern to keep the action visually engaging.

The design team brings Bunny’s world to life with a storybook sensibility that’s both familiar and fresh. Scenic designer Lisa M. Orzolek crafts a great green room that feels lifted straight from the page, with bold colors and playful proportions that invite exploration. Kevin Copenhaver’s costumes strike a balance between whimsy and function, allowing for quick character shifts without sacrificing charm. Lighting by Charles R. MacLeod adds warmth and gentle contrast, guiding young eyes through the action, while Jason Ducat’s sound design punctuates the quiet with well-placed cues that echo the rhythm of a bedtime ritual.

In staging Goodnight Moon, the Denver Center for the Performing Arts Theatre for Young Audiences continues its vital work of welcoming children into the world of live theatre—planting seeds of curiosity, empathy, and imagination that may grow into lifelong engagement. Under the excellent direction of Allison Watrous and brought to life by a stellar, shape-shifting cast, the production offers a first theatrical experience that is both accessible and artful. By crafting performances that meet young audiences where they are, DCPA fosters not just entertainment, but early arts literacy and communal joy. For many in attendance, this may be their first theatrical experience; with care and intention, it won’t be their last.

Goodnight Moon plays through January 25, 2026, at the Randy Weeks Conservatory Theatre.

For information and tickets: https://www.denvercenter.org/