God dresses like Astaire, has the cadence of Walter Winchell, and is at least as clever as Eric Mather. All of this comes as comforting information.

Mather has long been a staple of Denver improv circles (and now Good Times commercials), but at Miner’s Alley Playhouse in Eric-Emmanuel Schmitt’s The Visitor, he takes on a dramatic role and sprinkles it with just enough amusements to make the Creator a thoroughly entertaining fellow.

Now here’s a dangerous combination: Reyna Von Vett, musical theater performer possessed of bawdy personality and righteous pipes, has joined forces with Michelle Baldwin, aka Vivienne VaVoom, the grand mistress of Denver burlesque. The two open their shows, back to back, tonight in the rechristened Black Box Burlesque at the New Denver Civic Theatre.

Curious Theatre Company has accomplished what should be impossible: taking that most permanent of states, death, and turning it ethereal.
The company has no small quantity of assistance from Sarah Ruhl, the border-busting playwright who in The Clean House at Denver Center Theatre Company and now in Eurydice at Curious, artfully marries the prosaic and the poetic.

Ruhl’s script provides the template from which Curious, a company originally built of designers, soars into the ether. Even as the story, based on the Greek myth and codified by Ovid, becomes almost unbearably tragic, the aesthetics of this production make the spirit fly.

Apparently I’m not the only one who found Lydia to be a breakthrough play in 2008. Octavio Solis’ family drama, which premiered at Denver Center Theatre Company, is one of six finalists for the nation’s largest new-play award.

Don’t underestimate the silly.

Done well, silly is of inestimable value (although I will try to estimate it herein). And at the top of their game, nobody does silly like Buntport Theater Company.

Their 25th original piece (can we just bow down to that achievement for a moment, please?) is, of all things, a musical. A synth-pop, ’80s-inflected, joyous story of lonely lives intersecting via the absurdity of the U.S. Postal Service.

It was only a year ago that area performers Barbara Gehring and Linda Klein were filling houses at the petite Avenue Theater with their comic tribute to adolescence, Girls Only. Now the show is hitting the road, opening March 21 in Des Moines at the Temple Theater. Gehring and Klein, however, are staying put.

Why wouldn’t they? They can’t be everywhere, and currently the show is averaging 90 percent capacity in an open run at the Garner Galleria Theatre of the Denver Center for the Performing Arts. Rather, their script has been shaped into a replicable entity and three actresses have been hired out of New York and Los Angeles to play the parts of, well, Barbara and Linda in Des Moines. The Iowa version is a co-production between Denver Center Attractions and Civic Center of Des Moines. It’s the first of what may be many: Currently in negotiations are productions in Chicago, Cleveland, Tampa, Pittsburgh, Toronto, Dallas, Sacramento and Seattle.

“There’s somebody in Australia (interested), but that’s a bit premature,” says DCPA president Randy Weeks.

Was the train wreck that was Real World: Denver not enough? Was MTV not satisfied with leaving LoDo paved in vomit?

Kathleen M. Brady in “The Trip to Bountiful”

Denver Center Theatre Company has had some kind of prescience this season — the kind that makes its work more relevant, but painful for audiences.