Posted by Curtain Up! on Oct 05, 2026
Review: [title of show] | Vintage Theatre: Berg-Young Cabaret | Aurora, CO | Curtain Up | Eric Fitzgerald
On Vintage Theatre’s Berg‑Young Cabaret Stage, [title of show] arrives with scrappy, self-aware charm that fits neatly into the space’s intimacy. The production leans into the Cabaret’s close quarters, inviting the audience into its theatrical world with a wink and a nudge. It’s a show that thrives on proximity—actors within arm’s reach, jokes tossed out like confetti, and a premise that depends on the audience being willing conspirators in its creative chaos. In this setting, the material feels at home, even when the show’s ambitions occasionally outpace its musical and narrative footing.
Created for the 2004 New York Musical Theatre Festival, [title of show] has always embraced its scrappy, self‑referential roots. With music and lyrics by Jeff Bowen and a book by Hunter Bell, the show’s “let’s write a musical about writing a musical” energy suits the intimacy of Vintage Theatre’s Berg-Young Cabaret Stage. Under Nick Martinez’s direction, this production leans into that original DIY spirit, using the space’s closeness to highlight the show’s playful, meta‑theatrical charm – those moments when the show casually reminds you it knows it’s a show.
In [title of show], Jeff (Travis Hudson) and Hunter (Caden Riehle) decide to write a musical, mostly because the New York Musical Theatre Festival deadline stares at them like an unblinking cat. They rope in Heidi (Savannah Marino), the resident vocal powerhouse, and Susan (Emily Johnson), who specializes in dry commentary and existential side‑eye. Together, the four stumble, joke, panic, and occasionally create something, turning their creative chaos into the plot.
The performances in [title of show] are solid overall, with two that rose slightly above the rest. Travis Hudson’s take on Jeff was commendable—straightforward, unfussy, and supported by a warm vocal tone that carried him through the role with confidence. The same can be said for Savannah Marino as Heidi, who offered a steady, grounded performance and sang with clarity and warmth.
Emily Johnson’s Susan was a standout, with understated comedic instincts that landed with precision and gave the show an easy, lived‑in humor. But the evening’s most memorable turn came from Caden Riehle as Hunter, who delivered a performance that truly hit with impact—vocally dynamic, emotionally agile, and fully attuned to the show’s meta‑theatrical heartbeat. His work elevated every scene he was in and gave the production its sharpest edge.
L to R: Travis Hudson, Emily Johnson, Caden Riehle, Savannah Marino | Photography credit: RDG Photography
Aldo Allgoode, credited as Larry and serving double duty as the production’s music director, is essentially the show’s engine, holding down the keyboard for the full ninety minutes. He plays with an easy confidence that keeps everything moving—clean, responsive, and always in sync with the cast’s energy. Nothing he does is showy, but the steadiness and musicality he brings make the whole production feel tighter and more alive. And he’s not just tucked away behind the piano; he slips into the action once or twice, adding a quick wink to the audience that fits the meta‑theatrical vibe without pulling focus. His presence gives the show a quiet assurance: no matter how chaotic the characters get, the music—and the heartbeat of the evening—is in very good hands.
Nick Martinez’s direction makes smart, intentional use of the Berg‑Young Cabaret Stage, turning what could feel like a constraint into one of the production’s greatest assets. The staging fits the space with precision—intimate without ever seeming cramped, and fluid enough to keep the show’s meta‑theatrical momentum alive. Martinez also cultivates clearly defined character arcs, allowing each performer to carve out a distinct presence rather than blending into the show’s self‑referential swirl. That attention to individuality strengthens the ensemble, giving the production a sense of shape and emotional clarity that can easily get lost in [title of show]’s playful chaos. His direction ultimately provides the framework that lets the cast’s best moments land with real impact.
Several musical moments stood out across the evening, beginning with “What Kind of Girl Is She?”, sung with an easy blend of humor and harmony by Heidi/Savannah and Susan/Emily. The company delivered “Montage Part 3: Development Medley” with crisp energy, leaning into the show’s self‑referential chaos without losing the thread. Susan/Emily gave “Die Vampire, Die” a sharply individual spin, finding both the bite and the vulnerability in the number. While these selections were especially memorable, much of the score throughout the night was simply good storytelling—songs that moved the narrative forward, revealed character, and kept the audience engaged without demanding attention for their own sake.
In the end, [title of show] is a pleasant 90‑minute diversion—light on its feet and never pretending to be anything more than it is. It won’t rearrange your worldview, but it does offer a gentle breather from the noise and heaviness that tends to follow us in from the parking lot. It’s a small show with a self‑aware charm, and Vintage’s production leans into that with ease. [title of show] plays through October 21 on the Berg‑Young Cabaret Stage at Vintage.
Information and Tickets: https://www.vintagetheatre.org/performances/titleofshow