The Arvada Center for the Arts has been blessed with an amazing outdoor amphitheatre for summer productions, but unfortunately, because of finances, Crazy for You will be the last show they are able to produce in that venue. It is also the largest production produced by the Arvada Center. As if those reasons weren't enough you also have a spectacular production with astonishing visual appeal to attract you to Crazy for You.

Crazy for You is the story of Bobby Child who desperately seeks to be in theatre. Unfortunately, he is a banker by family tradition and can't get the chance he needs to be on stage. Bobby is sent to Deadrock, Nevada, to foreclose on an old theatre, but in the process falls in love with Polly, the theatre owner's daughter. To fulfill his craving for theatre and for Polly, he decides to stage a show at the Deadrock theatre with help from his friends in Zangler's Follies. The show incorporates well known Gershwin music such as "I Got Rhythm," "Embraceable You," and "They Can't Take That Away From Me" into a romping good time with humor, love, and dance.

Because the music isn't written for this specific show, the transitions from dialogue to song are at times awkward, but the transitions are quickly forgotten once the numbers get started. The music truly is the backbone of the show.

Another tremendous strength of the show is the use of both a corps of showgirls and a strong male ensemble. In most shows, the highlighted part of the ensemble is either a chorus of females or a small tight-knit group of males. Crazy for You incorporates both aspects with its Zangler Follies girls giving classic showgirl numbers and using a cowboy trio for harmonic additions and slapstick comedy. Having a diverse chorus with both female and male groups gives broader possibilities to the show, which are utilized well.

The most important aspect of Crazy for You, though, is its visual appeal. The stage lends itself well to the grandiose feel needed for the follies numbers and the large chorus tapping numbers. The New York City set is perfect with its backdrop of city lights and signage. The costumes are a spectacle to see with headpieces and frills that rival a Vegas show. Rounded out with excellent lighting and use of scrims, the show is continual eye candy from start to finish. Sally Burke, Gail Luna, and Gail Gober (costume, set, and lighting designers, respectively) are an invaluable part of making this show captivate audiences.

Another closely related strength of the show is its integration of props and sets into the action of the show, the most obvious example being Lank's Saloon. Because of the design, characters can walk into the saloon from the street as the set is changing, leaving no transition time between settings. Of course, the motor car used during the number "I Can't Be Bothered Now" is equally effective. To have Bobby rising into the air as well as the chorus girls pouring out of the small compartment is thrilling. Yet, what gives the show that extra pizzazz is the simpler uses of props. Troy Rintala's (choreographer) integration of simple things such as a newspaper, a roll of tickets, ropes, telephones, potted flowers, and suitcases into the dance numbers takes the creativity up a notch. It is in the details where shows surpass commendable and achieve incredible.

Unfortunately every show must have ups and downs. Arvada Center's Crazy for You has two flaws - the ensemble harmonies and the directorial timing. In large numbers, such as "Nice Work if You Can Get it" and the first act finale "I Got Rhythm," there are momentary breaks within the harmony. It isn't for long and certainly isn't horrendous, but they are present and just enough to make the audience tilt their heads when listening. The only other thing that hurts the music is the choice to speed up measures in a number of places. Almost every song is affected, and though normally such a decision wouldn't affect a show drastically, when dealing with classic Gershwin numbers (that most of the audience hums along with) it creates a clash of expectation and reality. Many people came to hear their favorite Gershwin tune and it is hard to hear them altered.

The choice of faster music isn't the only timing issue. The timing in the dialogue often seems too slow, possibly to balance the music. The ability to use moments of silence within dialogue is a challenge that directors and performers struggle with often. THe mark of a refined artist is the effective use of silence, but in this show it becomes awkward and almost unnerving at times. What is ironic is that the dramatic moments of the show flow smoothly, easily. It is in the exposition or comic moments that the slow tempo reigns. But not even timing issues can stop the charm and appeal of this show from winning over the audience.

A very important part of that charm is Carrie Johnson in the part of Patsy. Though she has limited lines, each one is a gem, and her delivery is superb. Her role adds a lighthearted beat in just the right places. Her bright face and fun voice have charisma that draws you in. Another ensemble performer not to be missed is Rob Castigan. He is an essential part of holding the cowboy trio together and his stage presence while dancing is eye-catching at least.

Also unforgettable is the number "What Causes That?" between Bobby and Bela Zangler. The precision with which they match each other in actions keeps the laughs rolling for the entire number. The music supports the number wonderfully and its memorable sound locks itself into your head for the rest of the night, or at least competes with the number "Slap That Bass" for first place in the catchy tune competition.

What is most important to remember about Arvada Center's Crazy for You is that, no matter the small flaws, the show still has great music, constant humor, and wonderful sights to see. It's not to be missed.

Crazy for You closes Aug. 4

Visit the Arvada Center at www.Arvadacenter.com

-- Tony Burnett