The Denver Project

Reviewed by Holly Bartges

During and after the production of Curious Theatre’s The Denver Project, I felt I had just returned to San Francisco’s Haight Asbury district, hearing again, another poetic/musical concert by the Hippy Generation. All the while, wondering what did this production have to do with the Denver’s homeless? OK, the Democratic convention was mentioned, along with the Rockies and the Broncos, but words do not a place make. There’s a bridge, but it could be any bridge. The horrible decapitation of homeless people was referred to, but then again that’s not an exclusive “Denver Project.”

Tyee Tilghman in a scene from Curious Theatre’s production of The Denver Project.

Written by Bronx-based playwrights, Steven Sapp and Mildred Ruiz, The Denver Project was directed by Dee Covington. The ensemble cast includes Tyee Tilghman, John Jorcheck, Candy Brown, Misha Johnson, Jude Moran, Jaime Lujan, and Akil LuQman. All of the actors, for the most part, are well-established, competent actors, but in this type of piece difficult to determine quality. Rhymic poetry is a completely different medium than acting. Oh, yes, it could be argued that these actors were indeed acting, but acting behind a self-induced barrier.

Theatre provides opportunity to care about something or someone, but there was nothing or no one given to care about. The stories were not unique. The media over the years has actually done a grand job relaying individual stories. The rhythm of the poetry and rhythm of the music became a barrier between actor and actor, character and character, and character and audience, a barrier that dissolved any opportunity for sympathy, or empathy. After a while the rhythm became annoying for its lack of creativity and versatility. I found myself hoping for the mournful sound of a saxophone or a story-telling flute for creative spice.

Not even new plush theatre seats can cut the edge off an hour and half production that takes on the feel of three hours.

Having the cast begin with an angry piece, pointing a finger at the audience, slamming “It’s your fault” isn’t exactly a way to win friends and influence people. Our fault? I don’t think so.

Some lines skip by with sharp accusational words suggesting “they” insist the homeless have no dreams. I have yet to hear anyone state that publicly or under the breath. Some have thwarted their own dreams, but the media over the years has provided ample time for the homeless to talk about their hopes and dreams. Several success stories have been noted, along with some not so successful stories.

Although there is no story as such, the production takes place on and under the new Millennium Bridge off Platte Street, where a self-appointed family of Homeless live.

Theatre Off Broadway’s production last fall, of Barbara Lebow’s play Tiny Tim Is Dead ran circles around the Denver Project for soliciting understanding, wisdom and empathy for the homeless. This production does none of that.

The Denver Project offers no new information, no wisdom, no perspective, nothing that hasn’t already been said, nothing to chew on, and nothing to think about unless one has had their head in the sand for the last 20 years. The media has done a grand job of keeping people informed.

Yes, there is the story of the married 20 years, Tank and Jewels (Moran/Lujan), falling in love, getting married, a new baby and the loss of a job. And the Iraq veteran with posttraumatic stress, who didn’t get, couldn’t get needed assistance.

Tie, (Tilghman) and Skully (LuQman) come close to creating a caring piece of a man living on the streets encouraging a young teen to seek help, but the rhyming words and stylized movement stands in the way. This piece does point in the direction of the street people who rationalize sleeping out under the stars in freedom over against seeking assistance in shelters. The truth is there are expectations, rules, and regulations connected with shelter assistance, rightfully so, specifically concerning drugs and alcohol. Shelters are confined unknown places. Here under the bridge they have their “family”, with their own self-made protocol.

When one becomes aggressive and is insulted by being give a dollar, demanding a ten dollar bill, as some have done, chances are they aren’t even going to get the dollar bill. Anyone with insensitive gaul opening their money-filled wallet in front of a homeless person deserves whatever ridicule comes their way.

Jurcheck playing the role of an elitist reminding us there have always been homeless and always will be and any attempt to curb it is a waste of time, takes on comedic performance flair rather than an honest attempt to express a popular societal opinion.

Johnson’s portrayal of the slick hard core mental health doctor perturbed because Tie won’t stay around long enough to get an adequate evaluation for hearing loss rubbed me wrong. I have met several people who work directly with the homeless, carry an empathetic passion for their work. They know human nature isn’t going to positively respond to doing something because they should. It takes creative work. It takes building trust, it takes a whole lot more than just saying “but you have to”. No, they don’t have to, It takes inspiration, It happens.

Tribal Song got boring, redundant, and annoying with its lack of creative variety. It seems Sapp and Riuz were more interested in flaunting their particular well-known style of combining poetry with rhythm than they were diving into the unique homeless situation in Denver.

The Denver Project offers no solution, no inspiration, no wisdom, no perception, or comprehension, leaving the audience up in the air. Of course, we couldn’t expect the characters to have solutions to their problems. If they had a solution, they wouldn’t be where they are. Well, some of them have a solution. They are where they want to be. That’s not conjecture. I have heard some of them actually say that.

Denver’s ten-year plan for the Homeless has been well publicized, and it is to be applauded, but the Denver Project appears to be working against the Plan rather than for and with it.

Nothing was said about the con artists who panhandle for the fun of it. Even the media has brought this to light. Several years ago, I met a man at a party who lived in Cherry Creek and was a highly successful financial planner with an office high above 17th Street. Sweet tasting lubricants loosened his tongue at the party and he boasted about sneaking to the 16th Street Mall two or three times a month in well worn old clothes and a fake beard to panhandle just for the fun of it. Only his secretary knew about his secret life. His wife, hearing it for the first time the night of the party, was mortified. He thought it was no big deal, even thought it was funny. He had been doing it for several years. Did he donate the funds to agencies serving the homeless? No, it was put into a secret account allowing him to buy expensive big boy toys and gadgets that he bragged about not having to pay taxes. He managed to not only put a damper on his wife’s good time; he put a damper on the entire party. His game came to an end that night.

Several people I know, including myself, have fantasized on ways and means to help, often when scrutinized not only proved impractical but dangerous. The most logical helpful means comes right back to supporting agencies who work directly with the homeless. That isn’t a new idea. The media has been pushing this for years. There are also plenty of volunteer opportunities, With a program playing to the anger of characters pointing at the audience shouting It’s your fault” certainly isn’t conducive or inviting or inspirational to get involved in anyway shape or form.

I do applaud Curious for giving it a try. What had I hoped for? Insight, perspective, wisdom, that’s what, on the uniqueness of Denver’s homeless population. It is a truth that many live only one paycheck away from being homeless, and that’s scary, all by itself. In spite of it all, if The Denver Project gets the juices running, as it did mine, productive, honest conversations could well ignite a spark of creativity and go somewhere and do something.

If you do go, take a can of food, and Curious will donate it to The Gathering Place and New Genesis.

Curious’ Sanctuary opened last Saturday serving beer and wine, a great place to hang out before and after the performance, for some, at least. Unfortunately, it is in the balcony and not accessible to people who find stairs a challenge. Even though my injury is temporary, stairs and inclines make me think twice. With that long staircase to the balcony I didn’t have to think twice. In this day and age ignoring access to people with disabilities is a crime, no matter what the situation, what the reason, what the justification.