Whoa, Nellie! The Outlaw King of the Wild Middle West

Following the success of 2023's The Defeat of Jesse James, the History Theatre is again tackling a Wild West (or Midwest) legend (in her own mind). Whoa, Nellie! The Outlaw King of the Wild Middle West plays from May 17 to June 8, and after opening night, I'm already hoping to see it again.

 

(l-r) Erin Nicole Farsté, Tod Petersen, Grace Hillmyer,

John Jamison II (center), Leslie Vincent, Thomas Bevan.

Photo: Rick Spaulding.

Whoa, Nellie! tells the rip-roaring musical tale of Nellie King, the “wily and scandalous female cowboy detective” whose countless criminal exploits and penchant for male attire made her an 1800s Minnesota media icon. By turns hilarious, tuneful, and deeply emotional, this grand spectacle resurrects an array of vaudevillian superstars to share a story of surprising contemporary resonance. Plumbing the depths of America’s obsession with celebrity, the show reveals potent historical truths around gender, addiction, mental health, and media sensationalism, as it follows Nellie’s desperate pursuit of the love, acceptance and transcendent immortality it promises. (History Theatre)

Since this is the History Theatre, it's about a real person, albeit one that not many people have heard of. Nellie King cut a swath through Minnesota and the Dakotas in the late 1800s, calling herself a detective (then a new profession) to enable her lying and thievery, while also making appearances on the stage.

The show is a moment out of time, with Nellie staging a show about her life on an opera house stage. She has gathered a troupe made up of notables from her era, none of whom were likely to have known King in real life, but who all share a history of being marginalized due to their identities. Each of these players also play a number of roles in the story of Nellie's life. If it sounds confusing, it's not.

The always-electric John Jamison II is superstar vaudeville performer Bert Williams. Erin Nicole Farsté brings wonderful presence and a killer voice to singer Aida Walker. As Julian Eltinge, a popular female impersonator of the era, Jay Owen Eisenberg deftly plays a number of male and female parts to perfection. Tod Peterson is John Durham, the impresario who brings Nellie's show to the stage, and plays roles from comical to threatening. Grace Hillmyer plays a hauntingly innocent ingenue. Leslie Vincent is a rough and tumble Annie Oakley, which made me want someone to cast her in Annie Get Your Gun ASAP. Therese Walth is the indomitable Nellie Bly. Thomas Bevan shows his range as a variety of Nellie's romantic conquests.

(l-r) Leslie Vincent, Em Adam Rosenberg, Tod Petersen.

Photo: Rick Spaulding.

Em Adam Rosenberg is captivating as Nellie King, whether Nellie is sweet-talking a jailkeeper, conning a mark, or romancing someone else's husband. With a stunning vocal range and impressive depth, Rosenberg plays Nellie's highs and lows with equal fervor.

Josef Evans wrote the book, lyrics, and music, and his script and songs address Nellie's life and times while drawing parallels to our current moment. There were many songs I'd like to hear again, but a favorite was the number performed by Walth, Vincent, and Farsté "You Gotta Be Crazy (Not to Go Crazy)" as a counterpoint to the mens' number "Hysterical Damsels."

Laura Leffler's direction keeps the story moving, with fun, appropriately period choreography by Joey Miller, who is also the associate director. The set by Joel Sass, representing a long-gone St. Paul opera house, and lights by C.Andrew Mayer are spot-on (pun intended). Bryce Turgeon's costumes give us a cheeky look at the actors in their undergarments, which makes their quick changes between characters an easy task.

The music, orchestrated by Robert Elhai and directed by Amanda Weis, provides great support to the singers with a small but mighty four-piece ensemble (Weis, Kyle Simons Baker, Corey Fitzgerald, and Audrey Q. Snyder).

Whoa, Nellie: The Outlaw King of the Wild Middle West is a wonderful night at the theater. Once again, History Theatre brings our region's history to life in the most magical way.

31 Days of Theater (You're Gonna Love Mayyyyy)

I don't need to tell you, loyal theatergoers, how important it is to support the arts and arts funding in these incredibly challenging times.

However, even as loyal theatergoers ourselves, we were delighted to see how incredible the theater offerings this May are, and reminded us what an amazing theater community we have here in the Twin Cities. (Naturally, check the website for dates/times.)

So without further ado, 31 Days of May Theater!

May 1: Fun Home at Theater Latte Da - A gorgeous production of the Tony-winning musical with a fantastic cast. (April 2 - through May 11)

May 2: Scarecrow on Fire at Illusion Theater - A take on the Oz story by Kevin Kling with another all-star cast: Dan Chouinard, Simone Perrin, Stephen Yoakam, and Kling. (April 25 - May 4)

May 3: The Nut, The Hermit, The Crow and The Monk at New Native Theatre - This comedy follows a zillennial brother and sister on a journey to heal from generational boarding school trauma, inspired by The Odyssey and Alice in Wonderland set to the soundtrack of Dark Side of the Moon! (April 16 - May 4)

May 4: Muyehpen by Exposed Brick Theatre - Written by Ehkhudah Zar, this is the first-ever theater production by a Knyaw playwright in the U.S. and shares the story of Muyehpen with a new generation. (performed in Worthington on May 4 only)

May 5: Sister Act at Lyric Arts - The entire run of this based-on-the-movie musical is completely sold out, which is a good reminder not to sleep on hot shows! (April 11 - May 11)

May 6: Joyful Noise at Bucket Brigade Theater - The unbelievably true tale of the unlikely origin of Handel’s Messiah by this charming theater, performed in an old church. (April 25 - May 10)

May 7: Sickle at Theatre Novi Most - A "pastoral apocalyptic" tale of four women attempting to survive a Russian-made famine in Ukraine. Amazing cast, includes Ukrainian supertitles. (May 1 - May 10)

May 8: The Lightning Thief at Stages Theatre Company - Musical based on the Percy Jackson books by Rick Riordan with a delightful young cast and ingenious staging. (April 11- May 11)

May 9: Waitress at Artistry - Production of the Broadway musical by Sara Bareilles with the usual Artistry artistry and skill. (April 17 - May 11)

May 10: Bart and Arnie by Melancholics Anonymous - Two pals making their way in the city. Existential dread and friendship. Puppets. Modern Dance. Whimsy. The financial difficulties of living in the big city and the highs and lows of art and commerce. (May 9 - May 18)

May 11: The Rainbow Connection: A Cabaret at the Hive Collaborative - It's time to play the music and light the lights with The Rainbow Connection - a cabaret of all things Muppety! Join us to laugh, cry laugh more, and sing along to your favorite Muppet tunes. Bring your Muppet Show knowledge to try and stump our expert! 

May 12: When We Are Found at Penumbra Theatre - Love’s newest fable is an achingly poignant and sometimes funny meditation on the passage of time and the persistence of love — and a hopeful prayer that what we seek finds us. (April 24 - May 18)

May 13: The Mousetrap at Guthrie Theater - Agatha Christie's murder mystery, the longest-running play in the West End. (March 15 -  May 18)

May 14: An Act of God at Six Points Theater - Four words: Sally Wingert as God. Also, written by the head writer of The Daily Show with Jon Stewart. (May 3 - May 18)

May 15: The Last Day of Pompeii: A New Musical at Gnarly Bard Theater - Road trip to St. Cloud and step into the shadows of history in The Last Day of Pompeii, a gripping new musical set in the heart of a city teetering on the brink of destruction. (May 5 - 18)

May 16: mixtape: adrift: true stories of being lost in the sauce by Wayward Theatre Company - An intimate collection of humorous to harrowing stories of folks who are looking for their way, delving for the answers and seeking a deeper understanding of themselves and this wild and weird world we all stumble through. (May 15 - 17)

May 17: & Juliet at Hennepin Arts - See the tour of the Broadway show that asks what would happen next if Juliet didn’t end it all over Romeo? (May 13 - May 18)

May 18: Three Sisters/No Sisters at Theatre Pro Rata - A new adaptation of Three Sisters by Anton Chekhov alongside No Sisters, a clever companion piece by Aaron Posner. Performed simultaneously! (May 9 - 24)

May 19: Puppet Lab Festival at Open Eye Theatre - A 2-week festival of radical, genre-expanding, boundary–pushing puppet work, the culmination of a 6-month development residency for emerging puppetry and mask artists.

May 20: The Nacirema Society Requests the Honor of Your Presence at a Celebration of Their First One Hundred Years at Guthrie Theater - Among the fantastic cast: Aimee K. Bryant, Joy Dolo, Darrick Mosley, Greta Oglesby, Regina Marie Williams. I mean, come ON. (April 20-  May 25)

May 21: Lolek by Open Window Theatre - Lolek brings to life the captivating story of Karol Wojtyla (later Pope John Paul II) and his heroic resistance to the Nazi Occupation of Poland as a young man during the Second World War. April 25 - May 25)

May 22: Berlin to Rugen at the Phoenix Theater - A new one-man show by Michael Rogers, writer and director of “As Above, So Below” (winner of Minnesota Fringe Artist Pick award and the What the Fringe!? - Best Drama award).  (May 21 - 24)

May 23: The Improvised Sword & Sorcery Campaign by The Bearded Company - In this award-winning improvised fantasy campaign, The Bearded Company will tell you a tale you won't soon forget. (May 22 - 24)

May 24: Violet at Ten Thousand Things - A young woman embarks on a cross-country bus trip in search of a televangelist she believes can cure a scar on her face. Always inventive, always inclusive, love TTT. (April 23 - June 1)

May 25: Whoa, Nellie! The Outlaw King of the Wild Middle West at History Theatre - Tells the rip-roaring musical tale of Nellie King, the “wily and scandalous female cowboy detective” whose countless criminal exploits and penchant for male attire made her an 1800s Minnesota media icon. (May 17 - June 8)

May 26: Between Riverside and Crazy at Park Square Theater - Pulitzer Prize-winning dark comedy from Stephen Adly Guirgis, this play explores family bonds, resilience, and the harsh realities of life in modern New York City. (May 14 - June 8)

May 27: NOOMA, An Opera for Babies at Ordway Center - NOOMA is an invitation into a vocal circus, a space where sounds, words, gestures and objects are offered, mimicked and transformed as we delight in the joy of making music together. Part of the Flint Hills Family Festival.

May 28: Ode to Walt Whitman at Open Eye Theatre - Bart Buch’s acclaimed ODE TO WALT WHITMAN is a tender, silent puppet poem that uncovers a dialogue between Walt Whitman and Federico Garcia Lorca

May 29: Matt & Ben at the Hive Collaborative - Before Good Will Hunting. Before J-Lo (both times). Before all those f*cking Bourne movies. They were just two best friends... (May 30 - June 30)

May 30: Significant Other at Lyric Arts - Directed by Max Wojtanowicz and diving into the complexities of modern relationships with humor and heart, SIGNIFICANT OTHER is a candid and charming exploration of all types of love. (May 30- June 22)

May 31: Sixpack at Jungle Theater - With a backdrop of the competitive world of Hmong volleyball, SIXPACK explores if a friendship can withstand the harms, betrayals, and messiness that happen when you feel your life pulling away from the future you envisioned. (May 31 - June 29)

Triassic Parq by Minneapolis Musical Theatre

We’ve said it before and we’ll say it again: If you want to see “rare musicals, well done” (their mission), you have to check out Minneapolis Musical Theatre. We’ve followed them for years and they excel in presenting fun, quirky, and heartfelt productions of musicals you won’t see anywhere else.

Their current show, Triassic Parq, performed at Lush Lounge and Theater through April 13, is so tremendously rare, we've never even heard of it. And to be honest? It's a little bananas. It's about dinosaurs and gender, and faith and science, and it's utterly filled with chaos and camp. We've never seen anything like it. 

Parade Tour at Hennepin Arts (Orpheum Theatre)

Three days after Donald Trump was sworn in for his second term as President, the North American tour of Parade had its official premiere at the Orpheum Theatre in Minneapolis. The theme of injustice in America seemed terribly fitting.

Max Chernin (center) as Leo Frank with the
Company of Parade. Photo by Joan Marcus.

 
With a book by Alfred Uhry and music and lyrics by Jason Robert Brown (who was in attendance), Parade follows the true story of a Jewish factory superintendent who in 1913 was accused of murdering a factory worker, 13-year-old Mary Phagan. The musical originally premiered on Broadway in 1998 and won Tony Awards for Best Book and Best Original Score (out of nine nominations). Despite positive reviews, the show ran only 84 performances on Broadway, followed by a U.S. tour.

Crazy for You at Artistry

The cast and orchestra of Crazy for You
Photo by Sam Lavine

The production of Crazy for You at Artistry is a rare treat. There's only one weekend left, so hurry to get your tickets before it closes on February 11.

Crazy for You premiered on Broadway in 1992 as a "new" Gershwin musical. Creators Ken Ludwig and Mike Ockrent used the 1930 musical Girl Crazy as a rough outline and loaded the score with classic songs by George and Ira Gershwin like "Shall We Dance," "Embraceable You," "I Got Rhythm," "They Can't Take That Away From Me," "But Not for Me," and "Nice Work If You Can Get It," and many others. The plot is slight, involving a derelict theater in Nevada that needs saving, but it's just an excuse to get from one song to the next. 

Hands on a Hardbody at Minneapolis Musical Theatre

Hello! It's us! Returning from hiatus to bring you a very special message about THEATER.

It's back, baby! May is rich with theater goodness to see and love, but we're starting off with an old favorite: Minneapolis Musical Theatre and their upcoming production of Hands on a Hardbody performed at Luther Cadillac Roseville (April 22 - May 8).

A little backstory: Although they’ve been around since 1992, Minneapolis Musical Theatre (MMT) first came on our radar with La Cage Aux Folles in 2006. Starring founders Kevin Hansen and Stephen Meerdink as Albin and Georges and performed during the Minneapolis Pride celebration, this production was pure joy.

We’ve followed MMT ever since. Their mission is ‘rare musicals, well done’ and truer words were never spoken. We’ve seen a number of fun, quirky, and heartfelt productions of musicals we haven’t seen anywhere else including Chess, Kiss of the Spiderwoman, Zombie Prom, Zanna, Don't!, Mame, The Story of My Life, Reefer Madness, Sunset Boulevard, Bloody Bloody Andrew Jackson, Eating Raoul, and YES, Carrie, the legendary flop based on the Stephen King novel. 

Oh, and their 2016 production of Silence! The Musical, "an unauthorized parody of The Silence of the Lambs" was LEGENDARY (read our rave here). Featuring songs like "Are You About a Size 14?" and featuring a Fosse-inspired chorus of lambs, this show was so hilarious and spot-on, we saw it three times.

And it's not even our favorite MMT show (so far)! That honor belongs to 2018's High Fidelity, which was performed at Minneapolis beloved record store Electric Fetus. A close runner-up is the sweet two-person musical Daddy Long Legs, delightfully performed at the James H. Hill House, and one of the last shows we saw before COVID.

But enough about the past! Let's talk about a show you can actually go see!

Hands on a Hardbody is based on a 1997 documentary of the same name which depicts a yearly endurance competition in Texas that pits contestants against each other to see who can keep their hand on a pickup truck for the longest amount of time. The last contestant standing wins the brand-new truck. These competitions can last for days and takes place outside, under the Texas sun and in pouring rain.

The musical was commissioned by the La Jolla Playhouse and features a book by Doug Wright, lyrics by Amanda Green, and music by Trey Anastasio (of Phish fame) and Amanda Green. The show opened on Broadway in 2013 and closed after only 28 previews and 28 performances. Despite closing so quickly, the show was nominated for three Tony awards (including Best Score) and several Drama Desk awards.

Charles Isherwood in the New York Times described the La Jolla production as it "sings sincerely and with a rough-edged humor of the dusty margins of American life, where people live paycheck to paycheck if they are lucky enough to have a job, and chase a chancy illusion of sudden salvation if they are not." Sounds familiar, no?

We've all been through incredibly hard times the last few years, which why this show spoke to MMT Artistic Director Joe Hendren. “They’re all hoping for a better life - whatever that means to them. The characters, the music - it’s a wonderful slice of Americana that explores our shared humanity. In a word - it’s about hope.”

Thankfully, Minneapolis Musical Theater is not staging this show outside (you can't count on Minnesota weather), but at at the Luther Cadillac showroom in Roseville. In case you're worried about standing for an entire show, there are a variety of seating (and pricing) options available. You can also find content warnings and COVID policies at the website. 

MMT puts on quirky, funny, and heartfelt musicals and in non-traditional venues. They provide truly unique theatrical experiences. Hands on a Hardbody runs from April 22 through May 8 and will likely sell out quickly. Get your tickets soon!

See Also:

There are a ton of fascinating articles at the HOAH Broadway website about how a truck contest became a Broadway musical written by the guy from Phish.

Check out the "Something for Nothing" episode of  This American Life, which features audio from the documentary. 

For another look at an endurance contest in hard times, see the film They Shoot Horses, Don't They?" which features a Depression-era dance marathon.

Reimagining Done Right: 42nd Street at the Ordway

The Ordway caps its 2018-2019 Broadway season with a smashing production of the old-fashioned musical 42nd Street, playing through August 11.

42nd Street isn't the classic Broadway musical you might think it is: It didn't open on Broadway until 1980, the year after Andrew Lloyd Webber's Evita  premiered.

More about the show's history later, but first, the big question: how do you reimagine a musical that was already a period piece when it opened on Broadway?  You revisit the music and the dance.

This "Ordway Original" 42nd Street reprises a version first performed at Chicago's Drury Lane Theatre in 2017, directed (as is the Ordway's production) by Michael Heitzman. The production features the 2017 show's exciting new musical arrangements and orchestrations by Everett Bradley and amazing choreography by Jared Grimes.

42nd Street is a classic backstage musical, in which a talented newcomer shows up at a Broadway audition and manages to impress the creative team and the cast. When the leading lady can't perform, the ingenue becomes a star. Although the story is, as always, set in 1933, the musical arrangements are jazzier than we are used to hearing, and rather than using just the classic line of time-stepping chorines we expect, the tap dancing of the ensemble is loud, percussive, athletic, and thoroughly exciting to watch.

Guys and Dolls - Guthrie Theater

Why is the show logo cards when the
whole story revolves around a craps game? Hmm.

Although Love is in our name, sometimes we are not full of love. Sometimes we are killers of joy. Sometimes we can't just sit back and take in a show without giving it serious consideration--even if it's summer, even if it's a classic musical, even if it's at the Big G.

That said, here are three things we liked about Guys and Dolls (playing through August 25 at the Guthrie Theater):

1) Represent! Loved the racial and body diversity of the chorus--particularly the Hot Box girls. Yay for a diverse creative team as well. Well done, G.

2) New Faces! Lots of Guthrie debuts from local actors seen often on other stages. Gabrielle Dominique, although not new to the Guthrie, was a fabulous addition. Also, how can this possibly be comic genius Karen Wiese-Thompson's Guthrie debut???

3) Jon Andrew Hegge! Whether playing a hilarious Harry the Horse or as part of the chorus, he was one to watch. His dancing and pratfalls as the drunken gambler were fabulous, as were his subtle (for the show!) characterizations of Harry the Horse. Hegge is always a delight.

Photo by T. Charles Erickson

Which brings us to the rest of the show, which was pretty disappointing. We've got no issue with the Guthrie and their big summer musicals--after all, they get butts in seats. But we expect more of the Guthrie and all the resources they have on tap. If they're not offering either a fresh take on the musical or really leaning into the classic, then what is the point?

In recent years, the Ordway has presented modern takes or spins on classic musicals to wonderful effect. 2016's Paint Your Wagon featured a new book framing the gorgeous musical numbers that "populates the Gold Rush setting with a cast of characters seldom seen in a classic musical. The racial and cultural diversity here isn't window dressing, but is central to the story in a new and refreshing way." Damn Yankees (in 2015) used its diverse casting to start discussions on interracial relationships and the history of black baseball, while honoring the hell out of the musical. And Theater Latte Da has a great track record of reimagining musicals, such as 2017's Man of La Mancha, with its contemporary detention center setting.

Another option? Do it straight. Last year's Broadway revival of Hello, Dolly, which we saw with Bernadette Peters, was an absolutely perfect production of the musical. Gorgeous design, beautiful costumes, fantastic dancing, and top of the line performances. The Ordway's production of Jesus Christ Superstar in 2017 was another production that played it mostly straight but utterly honored the original show.

Photo by T. Charles Erickson

Guys and Dolls is already a nearly perfect musical. The book, written by Jo Swerling and Abe Burrows, captures the unique tone and character of the 1930s Damon Runyon short stories it's based on. The music and lyrics of Frank Loesser provide one show-stopping number after another. The show has been a much-revived musical theater classic since 1950. Even the book holds up surprisingly well, due mostly to the strong characters: Nathan Detroit, organizer of the "oldest established permanent floating crap game in New York" (Rodney Gardiner), his fiancée (of 14 years), dancer Miss Adelaide (Kirsten Wyatt), Sergeant Sarah Brown of the Save Our Souls mission (Olivia Hernandez), and Sky Masterson, tough guy gambler (Jeremiah James).

Guys and Dolls is a fable of Broadway and takes place in a specific, stylized New York setting with very distinctive language. The Guthrie production, directed by Kent Gash, brings the show forward to the mid-1950s, but one has to wonder why. Is it only so that the opening number "Runyonland" can incorporate coy nods to fifties icons like Marilyn Monroe (and the subway grate) and an Annie Get Your Gun lookalike? And why is Lt. Brannigan dressed like Dick Tracy, complete with two-way wrist radio? This choice doesn't even fit with the character, as Brannigan is a cop who cannot manage to shut down a craps game and Dick Tracy was a successful detective going after big-time criminals. Our biggest peeve about these sight gags is that Damon Runyon's world is very specific, and interpolating random pop culture characters dilutes the effect without adding anything.

Photo by T. Charles Erickson

And although the crowd applauded it at first sight, we didn't love the giant lighted "Guys" and "Dolls" signs hanging over the stage. Understanding that it's not a realistic set, it's still hard to fathom why those words are hanging over the characters during the show. If there were other Times-Square type signage and those words stayed lit at the end of the show, it might be clever. But as a standalone element used seemingly randomly to generate applause, it didn't work for us. Yes, we're picky. What's your point?

The whole thing could have used a bit more subtlety and left us with many questions. Do women have to be wearing visible garter belts to be identifiable as prostitutes (in the opening scene)? Was a drop with rows of pictures of old cars (which looked like shabby chic art from Home Goods) really appropriate shorthand for the underwhelming "Havana" setting? Why did one of the characters in "Runyonland" have a 1960s beehive complete with can of hairspray? Why is the tape outline on the floor so visible? Why is there no explanation of why the show is re-set in the mid-1950s?

Photo by T. Charles Erickson

Don't get us wrong: Kirsten Wyatt was very delightful as the loveable Miss Adelaide, but her histrionics made her seem to be suffering from more than a psychosomatic cold (although her sneezes were adorable). The rest of the main characters felt too contemporary, to the point that Runyon's very specific syntax was lost. Rather than seeming natural (in Runyon's unnatural, stylized way), lines like "She is a beautiful doll, all right, with one hundred percent eyes," felt forced.

There's very little that we require of Guys and Dolls. Having seen myriad productions of the show from Broadway revivals to community theater, we just need two things: 1) The show to honor the material, the gorgeous arrangements and songs, and 2) For our two couples to have chemistry ("Chemistry?" "Yeah, chemistry.") and believable relationships.

We'll say it again: This is the Guthrie. As a "leading 21st-century arts organization", which "creates transformative theater experiences that ignite the imagination, stir the heart, open the mind, and build community through the illumination of our common humanity" (Guthrie website), we expect BETTER.

If you're going to play the show straight, then play the show straight. The rearrangements were unnecessary and undercut the gorgeous material. The rich harmonies ending "The Oldest Established" and "Sit Down, You're Rockin' the Boat" didn't get their due with so much focus on movement rather than musicality. Simply not taking back the minks at the end of "Take Back Your Mink"--especially when they left the final line ("Well? Wouldn't you?") does not create a feminist take. Why are cast members stepping? And why, oh WHY is the Guthrie squandering the talents of Regina Marie Williams, Katie Bradley, Robert O. Berdahl, Caroline Innerbichler, Karen Wiese-Thompson, and Angela Timberman? ANGELA TIMBERMAN, y'all. Come on.

And if you're not going to play the show straight, nor are you going to add new layers (as the Ordway has done so successfully), then why do Guys and Dolls? Why not bring the Guthrie's considerable resources to a show that isn't as well known? Hundreds of musicals debuted during Broadway's Golden Age, so tackling one of the others would be a real challenge. Or HEY, what about one of the many, many amazing musicals produced in the sixty-nine years since the debut of Guys and Dolls.

But maybe that's the point. Maybe neither the Guthrie nor its audience wants to be surprised and delighted by a musical. But we do.

Leslie Vincent and Kelly Houlehan in Jefferson Township
Sparkling Junior Talent Pageant

And that's why we're recommending to you to skip Guys and Dolls and head over to Saint Paul for Keith Hovis's Jefferson Township Sparkling Junior Talent Pageant (through July 28 at Park Square Theatre). You have the opportunity to see a new, charming musical by a future prize-winning writer, performed by an amazingly talented cast. Trust us. Go see this instead.

And hey, since this show made us long to hear T. Mychael Rambo sing "Sit Down, You're Rockin' the Boat," why not check out 42nd Street at the Ordway (July 23 through August 11 at the Ordway) starring Rambo, Tyler Michaels King, and Jamecia Bennett?

There's a great big world of theater out there. Take a chance!

Be More Chill - Minneapolis Musical Theatre

Minneapolis Musical Theatre's production of Be More Chill is a rare opportunity to see one of the hottest shows on Broadway right here in Minnesota.

And let us tell you friends, we VASTLY preferred MMT's version to the Broadway version. Read on to discover why!

Be More Chill is a theatrical sensation. With music and lyrics by Joe Iconis, book by Joe Tracz, and based on the 2004 novel of the same name by Ned Vizzini, this new musical premiered at Two River Theatre in Red Bank, New Jersey in 2015. Last year, the extended off-Broadway run at New York's Signature Center picked up a cult following, and in February 2019, the musical opened on Broadway. The show has been compared to Dear Evan Hansen for the way it speaks to young people, who are the show's most fervent fans.

The cast of Be More Chill. Set design by Robin McIntyre. Photo by Scott Pakudaitis.

We witnessed this wild affection for ourselves when we caught Be More Chill in previews on Broadway. The show, however, left us cold. If it wasn't for our affection and respect for Minneapolis Musical Theatre's excellent work (like last year's amazing High Fidelity), we probably would have skipped it altogether. We are so glad we didn't!

Maxwell Emmett Ward as Jeremy.
Photo by Scott Pakudaitis.

Be More Chill is about a young social outcast named Jeremy Heere (Maxwell Emmett Ward), who lives at home with his divorced father (Christian Unser) and hangs out with Michael Mell (Jim Belden), his best friend and fellow outcast. Jeremy has a crush on Christine Canigula (Caitlin Featherstone) and gets involved with the school play to get closer to her. Jeremy is casually bullied by popular Rich Goranski (Nick Manthe), but Rich nonetheless shares with Jeremy his secret of social success: an oblong gray pill called a squip. You can pretty much guess the rest, if you've seen a movie.

Even though Broadway is considered to be the pinnacle of theatrical entertainment, there are times when a show just doesn't work for us on Broadway. Spring Awakening was a show we couldn't stand on Broadway, but Theater Latte Da's production with the U of M was a revelation. The same with Be More Chill. The Broadway production was over-produced with lots of flashing lights, no heart, and little humor. MMT's version could not be more different.

For one thing, Jeremy is played by Maxwell Emmett Ward, who we last saw as Dick in MMT's High Fidelity. He not only gives sweetness and realism to Jeremy, he is also fantastically funny, with devastating timing. Did we mention his incredible voice?

Jim Belden as Michael.
Photo by Scott Pakudaitis

As Jeremy's best friend Michael, Jim Belden kills "Michael in the Bathroom," one of Be More Chill's most memorable numbers. Caitlin Featherstone perfectly captures Christine Canigula's quirky and endearing personality. The chemistry and relationships between all three give this production its heart and soul. There are apparently changes in the script as well, with MMT using the off-Broadway script that was made available for licensing. But the changes didn't stand out, except that we felt much more connected to the characters and invested in the outcome in this production.

Ward with Caitlin Featherstone as Christine.
Photo by Scott Pakudaitis.

The scene that really exemplifies the difference in the shows is "Two-Player Game," where Jeremy and Michael express their friendship through a video game. On Broadway, the song was accompanied by lights and projections simulating the game, but MMT's version, the two characters connect through their physicality in wielding their game controllers in coordination.

Also notable is the physical coordination between Jeremy and the embodiment of his Squip (Mike Tober). Ward really seems like the Squip is controlling his movements against his will, which is both funny and scary.

Director Sara Pillatzki-Warzeha, who also directed High Fidelity (which we saw three times), brings the best out of the talented young ensemble. The actors feel like the teenagers they are playing, and they enthusiastically perform Abbi Fern's choreography. A kick-ass band, conducted by Anna Murphy, adds to the fun.

Go see this and support Minneapolis Musical Theatre. They are doing beautiful work, and they imbue all of their work with talented artists and plenty of heart.

When: April 5 - 28, 2019
At: Illusion Theater
Running Time: Two hours and some?

And in case you're wondering how MMT's excellent production compares to the Broadway one, here's the New York Times review of Be More Chill by Ben Brantley:

"This all sounds like more fun than it is — at least for anyone over the age of 21. (That’s a generous cutoff point.) The acting, singing and dancing (choreographed by Chase Brock) are all, to put it kindly, frenetic. The set (by Beowulf Boritt), lighting (Tyler Micoleau) costumes (Bobby Frederick Tilley II) and projections (Alex Basco Koch) bring to mind bright fan fiction comic books drawn in fluorescent crayon."

Black Nativity (2018) at Penumbra Theatre

Always a great way to start the holiday season off on the right note, Black Nativity is back at Penumbra Theatre, running through December 23.

This perennial favorite tells the story of the birth of Christ through music and dance, with many familiar faces and voices.

110 in the Shade - Second Fiddle Productions

The third and final production of this season for Second Fiddle Productions was 110 in the Shade. Directed by Joey Clark with Music Direction by Nic Delcambre, the show is based on The Rainmaker by N. Richard Nash from the 1950's. This work was also made into a film in 1956, and finally into a fantastic musical in 1963. The score was written by Tom Jones and Harvey Schmidt - best known as the writers of The Fantasticks, most recently seen here in the Twin Cities in an amazing production by Nautilus Music Theater.  As with all Second Fiddle Productions, this was a reading. The actors had their scripts, music stands, and some hints of costumes. No set, no big orchestra, no make-up, just the essentials: actors, music, and the desire to tell a story.

And what a great story. You can read about it on one of the many links above but in short it is about a spinster, a con man, and a town coming together. While it may read like "The Music Man," when put into the hands of Schmidt and Jones - you get a very different feel. Less bombastic, brassy tunes, and more smart, introspective, gorgeous melodies. I have to confess, Schmidt and Jones do not always write music you can hum along with, or music that may linger in your brain. As an actor, I find that you have to spend time with their music to really have it stick. I couldn't stand the show The Fantasticks until I performed in it. I understand the music better, it hums for me, and I felt very similar about 110. That isn't to say that the music isn't good - it is very good. Just to state that unlike many shows where you leave the theater singing a song from it, you may not with this one. The show when first written was very operatic and so it took some cutting down before it played on Broadway in 1963. Luckily even from the start there was one real stand-out tune. You can see it here with the 2007 Broadway Revival Cast (as seen on the Tony Awards).



After the original Broadway production, there was a London production (the only one so far) that played 101 performances. There was a revival at the New York City Opera directed by Scott Ellis, choreographed by Susan Stroman, and with Karen Ziemba in the role of Lizzy. This production was recorded by Jay Records with a nice full orchestra. As with all Jay Record recordings, every note in the score is recorded - from the Overture, to entrance music, underscoring, etc. It is a really great way to preserve a score. The cast for this not only had Karen Ziemba, but also Richard Muenz, Ron Raines, Kristin Chenoweth, and both Tom Jones and Harvey Schmidt! Finally it was revived in a Roundabout Theater Company on Broadway in 2007. It was directed by Lonny Price with designs by Santo Loquasto. Not only did it have Audra McDonald as Lizzie, and John Cullum as her father, it also had Steve Kazee as Starbuck. This production was recorded by PS Classics.

(Sidebar: I have the two most recent recordings and they are both wonderful. I do not have, nor have I heard the original cast recording but it is on my to-do list. There are some great songs and performances on these recordings - totally worth looking into, starting with the 2007 PS Classics album)

So, I know this is more of a write-up about the show itself instead of the amazing cast from Second Fiddle. Honestly - an amazing cast of fantastic local actors and singers. And here is the best thing about Second Fiddle. Not only do you get to see and hear a show live that you rarely have a chance to, but they also get the cream of the crop when it comes to performers. Jennifer Eckes, Doug Anderson, Max Wojtanowicz, Shelli Place, Suzie Juul, Adam Qualls, Elena Glass, Christian Unser..and that is JUST the Ensemble!! Shinah Brashers was spot on in the role of Snookie, Kory LaQuess Pullam was great as File. Bill Marshall, Paul Coate, and Robbie Droddy were all spot-on as H.C., Noah, and Jimmy Curry. Eric Morris - I have no idea why I haven't heard him before but he was amazing as Starbuck. And Therese Walth as Lizzy Curry....here is the thing. I was sitting behind a pillar and so I couldn't see her. Yet I knew exactly what was going on just by listening to her voice. She was fantastic and I look forward to see her, and more of this group of actors soon. And that is one of the best things about Second Fiddle - great local performers doing what they do and love best....telling stories through song and music.

Second Fiddle is gearing up for their fourth season (which I have heard rumors of what they want to do and it will be incredible). While they have received some wonderful grants from the Metropolitan Regional Arts Council, and some very generous donations - you can also make their fourth season happen by going to www.givemn.org and search for Second Fiddle. Give to the Max day is coming up and there are a LOT of local theater groups who could use some love. That is on Nov 17th so take a look and share the love.

Chess - Second Fiddle Productions

All photos from the London Playbill

One of the things I love most about these Twin Cities is having so many options when it comes to theater. Yes, we have all of the great community theater, along with theater companies, comedy troupes, puppets, children's theater, touring shows....and then the ones that few people know about. The Playwrights Center (which hosts new work, works in progress, etc), and Second Fiddle Productions.

Second Fiddle Productions, according to the message from Ruthie Baker (Artistic Director & Founder), was created to breathe life into uncommon and rarely produced musicals. It also strives to give artists a chance to collaborate with fellow artists, go after dream roles and have input on show selection (adapted from the back of the program.) These productions are done at Camp Bar in downtown St. Paul. There is a stage, chairs, music stands, microphones and a small band - which is really all you need for a staged reading. Drinks are available through out the show, and the space is intimate and perfect.

The latest reading they had was of the 1984 pop-musical Chess. From the notes written by the dramaturg Gina (from The Room Where It Happens), the show was first conceived by Tim Rice in 1979. He wanted to do a musical about the Cuban Missile Crisis and approached Andrew Lloyd Webber. Webber was working on Cats and suggested Benny Andersson and Björn Ulvaeus of ABBA fame. They started working on it in 1983 and released a concept album in 1984. That was when the world first heard (and made a hit out of) "One Night in Bangkok" as well as a few other songs. In 1985 Michael Bennett started working on a production in London. Due to his failing health it was taken over by Trevor Nunn and opened in 1986. I had the great pleasure of seeing it on Jan 24th, 1989. Looking back there were clearly moments of Bennett genius that stuck with the show, and in my memory - it was a great show! I also had the pleasure of seeing and hearing Anthony Head (Giles from Buffy, the Vampire Slayer) sing the role of Freddy Trumper, the American. Of course, I didn't know him at the time but it was a great voice!

After the Cold War ended, but while the London production was still playing, Trevor Nunn decided to revise the show for Broadway. They added some new music, some backstory and sent it out into the world...which did not care for it at all. However it did have some great performers - Judy Kuhn, David Carroll, Richard Muenz, and Jessica Molaskey were all involved. This production was revised again before it was sent on tour in 1990. I also saw this production and while I enjoyed the music, it was not a good production...despite great performers like Carolee Carmello, Gregory Jbara, and Barbara Walsh.

Since then it has been reworked a bit more. While it may not be known well in the US, they still love it in Europe. There was a 1994 Concert recording, there was a Danish tour in 2001, a Swedish production (which I believe is also available on DVD and is quite good) in 2002, then the revised performance here in the States. It was a one-night Actors Fund benefit concert performance that eventually in 2008 became the concert version from the Royal Albert Hall - with Josh Groban, Adam Pascal, and Idina Menzel. Since then it has had another tour in Denmark, as well as Hungary.

The cast from the Second Fiddle reading included so much amazing local talent - Ruthie Baker sang the role of Florence, while Ben Bakken killed it in the role of Freddie Trumper (what an amazing voice). Singing across from Ben was John Brink (as Anatoly) and Zoe Pappas as his wife (both previously seen at the Ordway in the Kander & Ebb Songbook). Jim Ramlet sang Molokov with a very lovely bass voice that just rang through the room. The remainder of the cast was top-notch and very comfortable with a very wordy and difficult score. It is even more proof that Second Fiddle knows exactly what it is doing and how to do it so well - even with a very limited rehearsal period. It was a joy hearing this wonderful music again, and the performances were just incredible. I will continue to attend their shows and support them in any way I can. By the way, if you still want more info about Chess, this may be the book for you.

Paint Your Wagon at the Ordway

 For a perfectly delightful summer night at the theater, go see Paint Your Wagon, the new Lerner and Loewe musical that opened Thursday night at the Ordway (playing through August 21).

Wait, what? Paint Your Wagon is a new musical? But wasn't it a movie where Lee Marvin and Clint Eastwood sang? And a hilarious musical joke on The Simpsons? Yes to all of the above.

Paint Your Wagon was the 1951 Broadway follow-up for Alan Jay Lerner (book and lyrics) and Frederick Loewe (music), whose Brigadoon was a hit four years earlier. The show had book trouble from the start, and when it was made into the 1969 film, the story was thrown out and a new plot accompanied the songs, which were always the strength of the show.

The show has never been revived on Broadway, and doesn't get a lot of productions, due in part to the lack of a compelling storyline. The Ordway has partnered with Seattle's Fifth Avenue Theatre to commission a new book by Jon Marans, the Pulitzer-nominated author of Old Wicked Songs. The production was first performed at Fifth Avenue and now comes to the Ordway as the first show in the 2016-2017 season. 

Grim times in No Name City.
(Production photos by Tracy Martin.)

Despite being a huge fan of musical theater, I didn't know much about the previous iterations. What's wonderfully refreshing about the new book is that it populates the Gold Rush setting with a cast of characters seldom seen in a classic musical. The racial and cultural diversity here isn't window dressing, but is central to the story in a new and refreshing way.

In 1849, gold is discovered in California, and settlers converge on a desolate place that they call No Name City. The travelers include Jake Rutland, a businessman accompanied by his slave, Wesley. When they cross paths with free black man H. Ford, Wesley starts to see a different future for himself. William has come from Ireland to make his fortune and return to his wife back home. As more men come to No Name City, Jake opens a saloon. Even on the frontier, where cooperation means survival, Jake segregates his clientele, who also include prospectors from China. But it's clear that not everyone agrees with his strictures, and much of the push and pull of the story involves these disparate people learning to live together and accept each other - or not. 

Armando (Justin Gregory Lopez) and a nicely cleaned up
Ben Rumson (Robert Cuccioli)

Of course, it's a musical, so there is also romance. Grizzled trapper Ben Rumson comes to the aid of Armando, whose Mexican family and their land were lost to the influx of white settlers. They arrive at the same time as a Mormon swindler with his two wives, one of whom is purchased by Ben to keep her out of Jake's hands. The town is livened up later by the arrival of some showgirls and Ben's daughter. As time passes, the town's fortunes rise and fall, some people learn to get along, others allow fear to turn to hatred, and everyone has to deal with the vagaries of the gold supply and the weather. 

It's a compelling chronicle of a fascinating time, but of course is held together by the music. "They Call the Wind Maria" and "Wand'rin' Star" are the most familiar tunes, but all of the songs, newly arranged for this production by Ian Eisendrath, are effective and catchy expressions of the time and place. 

Girls! Gold! Wigs!

Lerner and Loewe had a gift for writing to their setting, whether the Scottish Highlands in Brigadoon or the court of King Arthur in Camelot, and once again, the songs here are particularly appropriate to the tine and place as well as the characters. The energetic "I'm On My Way" and "Whoop-Ti-Ay!" show off the talented ensemble, while "Wand'rin' Star" and "Cariño Mio" are examples of songs that fit the characters perfectly. The fourteen-piece orchestra provides beautiful accompaniment for the gorgeous singing. A simple set perfectly sets off the wild, energetic choreography.This show has some serious fluid and powerful movement. And not a moving staircase to be found!

Robert Cuccioli, whose many Broadway credits include originating the title role(s) in Jekyll and Hyde, has a wonderful larger-than-life presence as Ben. From his introduction as a bushy-bearded, beaver-trapping loner to the complex married man trying to find a way to live his life, you cannot take your eyes off of him. His rich and robust voice utterly soars in "They Call the Wind Maria" and "Wand'rin' Star," two of the best-known songs in the show. I was pleasantly reminded of John Raitt.

Armando (Justin Gregory Lopez) and
Jennifer (Kirsten DeLohr Helland) get cozy

As Armando, Justin Gregory Lopez has a crystalline tenor voice and endearing comic timing. He creates a wonderfully layered character, and his relationships with Ben and Ben's daughter Jennifer are complex and moving. As a bonus, his voice blends beautifully in duets with Kirsten deLohr Helland's Jennifer.

A few standouts: Rhett George plays free man of color (and barber) H. Ford, and with his rich voice, comic timing, and strong character, was the heart and soul of the show. Jared Michael Brown plays the (mostly) villainous Jake Rutland with tons of wicked charm, as well as a beautiful head of hair. Twin Cities favorite Ann Michels plays Cayla Woodling, Ben's love interest--they have wonderful chemistry together, and they sing real pretty too.

The Ordway has created (and co-created) some fabulous productions in recent years (including The Sound of Music, The Pirates of Penzance, and Damn Yankees) and their excellent work continues to inspire and entertain. 

Paint Your Wagon honors the beautiful songs of Lerner and Loewe while simultaneously telling a modern, thoughtful story of a moment in American history when people from a range of origins all came together. Representation matters, and it's so exciting to see it onstage at the Ordway.

(co-written by Jules and Carly)