'Jim Aurora' Comes Alive in a Toe-Tapping Parody
    by Mark Wolf
    Rocky Mountain News
    June 13, 2003

     The curious and largely unknown saga of Jim Aurora is a
forgotten footnote in American pop history. Possibly because
he didn't exist. He wasn't one of Spinal Tap's drummers, but
you're getting the idea. In "Almost Denver: The Songs and
Failure of Jim Aurora", Rattlebrain Theater brings the
never-was singer-songwriter to life.
     Any resemblance to the late John Denver is strictly
intentional. It's Denver's melodies with Rattlebrain-reworked
lyrics that are the show's glue.
     Musical parody is tricky stuff. The material has to be
not only funny but also faux-authentic; that is, close enough
to the original in style and presentation that the reference
point is sharp.  Each time a picker puts thumb to guitar
string, Jim Aurora comes alive. The musical numbers are almost
uniformly clever and well performed. If you've seen any of
Rattlebrain's three previous productions you've glimpsed an
occasional musical moment, but nothing to prepare for the
level of performances by the five-person cast.  Michael
O'Shea, Tim O'Shea, Kris O'Shea, Dave Shirley and Jane
Shirley trade off singing lead with an instrumentation of two
guitars, a keyboard, drums and assorted percussion/novelty
things.
     If you're going to pull this off, the cast has to be able
to really sing and play. And they really can. It turns out
that what Rattlebrain has been good at - straight comedy
sketches - is the least effective aspect of the show. The
story is wafer-thin and the sketches that form the connective
tissue between the songs range from fairly amusing to
watch-checking tedious, especially as the show winds down.
Given the staging (four performers on chairs, the other behind
a drum kit, everybody wearing headset microphones) it's a
little like watching a radio show. You'd be tempted to switch
stations when people aren't singing.
     But when they are, the show rouses.
     Country Roads becomes Parker Road and the Aurora jokes
commence; not exactly cutting-edge but also not overdone ("Hey
it's good to see tract homes again" to the tune of "Back Home
Again").
     The gently demented folk song Porn and Jam is a
highlight, "Leavin' on a Jet Plane" is cleverly turned to an
homage to airsickness and "Thank God I'm A Country Boy" is
deconstructed as a tribute to unemployment. And on it goes
through knockoffs of "Calypso", "Follow Me" and others.
     You may walk out humming the laugh-out-loud takeoff on
"Rocky Mountain High."  And you'll wish they'd done more 
singing and less talking.

    <*> <*> <*> <*> <*> <*> <*> <*> <*> <*>