Singular Sensation - A Chorus Line at the Ordway

Tom Berklund as Zach (Photo by Rich Ryan)

An empty stage, black curtains across the back and a single white line across the stage towards the front. That is what greeted us when we walked into opening night of A Chorus Line at the Ordway. It was exactly what we expected to see, and the performance did not disappoint.

If you are one of the few who does not know the story of A Chorus Line (both the story onstage, and the history of how the show came together), you can read about it here.
If you are interested in the history, I would recommend a great documentary named Every Little Step.

The story of A Chorus Line is about a cattle call audition. The stage is filled with dancers auditioning for a show (that is never named). Through the following two hours (no intermission), the dancers get cut down to the ones who stand on the line and tell the audience a bit of their story, talk about their passion for dance, and learn the dance steps. The show is set in 1975 (the year it opened on Broadway) with a few small updates. The costuming was perfect for that time period, as were the dancing styles.

Photo by Rich Ryan

The show starts with the basic audition number "I Hope I Get It." It starts with just a rehearsal piano playing for the dancers who are learning the number and watching themselves in the mirror across the back of the stage. Zach (the director/choreographer) tells them to do the whole number, away from the mirror and the orchestra (who sound incredibly through the whole evening) takes over. It was incredible, giving me shivers even remembering it!

After the first cut, we are left with seventeen actors. They stand on the line and Zach (played and danced incredibly by Tom Berklund) asks them to tell him about themselves. Some of them give in very easily to talk, others are a bit more reticent. As the characters tell stories, the other characters think about what stories they want to tell, or have memories of their own. Mike (Tim Hausmann) is great in "I Can Do That." Sheila (Pilar Millhollen), Bebe (Katie Hahn) and Maggie (Amanda Lea LaVergne) sing about being inspired "At The Ballet." This is one of my favorite songs and the last build before the end did not disappoint thanks to Maggie's amazing belt! This number was staged perfectly by Kerry Casserly and James A. Rocco.

This song leads into a montage called "Hello Twelve" where the cast sings about growing up, dealing with puberty, dating, life as an artistic child in a non-artistic school, being someone different, etc. Up till now, the cast has been on stage through the solo numbers, yet in the middle of this montage (when Diana sings "Nothing"), the cast exits. While I found it odd, neither myself nor my companion could remember when the cast came back onstage so clearly the moment worked well.

Diana (Katrina Asmar) has a great voice, and plays the part so well. After her number, the cast comes back on and the montage continues--again perfectly staged in that the actors sing their solos, and dance their numbers, but they land exactly in their original spot on the line. Val (Maria Briggs) sings the very well known "Dance: Ten; Looks: Three." Then the cast is sent on a break.

Molly Tynes as Cassie (Photo by Rich Ryan)

At the last minute, Zach calls back Cassie (Molly Tynes). It has been hinted at earlier that they have had a relationship. Cassie has her big number "The Music And The Mirror." This is an incredibly difficult number to stage and perform. It has such a long history of amazing dancers doing this number - from Donna McKechnie, Charlotte d'Amboise, and many others. This production's version is very good yet for me, it seemed to lack something. Molly was fantastic, however I felt the choreography was lacking something, some passion. One small issue with an overall fantastic production.

After this number, Larry (the amazing Tony Vierling) takes the whole cast downstairs to learn the final combination. Paul (Omar Garibay) comes on to tell his story--a very well known monologue about being gay, doing drag, and learning to live with dignity. The show ends with the number you have been waiting for all night: "One." Each actor comes on, takes a bow in a spotlight, then joins the chorus line where they all look the same.

Photo by Rich Ryan

It is the brilliance of the show that all these individuals that you have come to care for and be interested in, end up being like every one else. I feel that it really shows us that all this mass of humanity that we see in our daily commute - each on has their own story and is special.

That is what makes this show so special as well, and why it endures. This production and choreography was spot on, the vocals and orchestra were amazing, and the cast was incredible. It really was and is a singular sensation, and you should go see it. It plays through February 28 at the Ordway on the main stage.

2 Gents, 1 Jungle - The Two Gentlemen of Verona at the Jungle Theater

With a few caveats, I am slowly falling in love with the Jungle Theater. While this is only the second show I have seen there, The Two Gentlemen of Verona was a thoroughly enjoyable evening of theater. I was there the 2nd night of performances and the house was full. Lucky for me I happened to be sitting in what appeared to be the 'theater section' - Craig Johnson sitting behind me, Matt Sciple next to me and many others down the row. The house was in a great mood for a Saturday night and ready for a great time.

L-R:  Valentine (Mo Perry) and Sylvia (Lenne Klingaman)

Photo Credit: Heidi Bohnenkamp

Sarah Rasmussen's production did not disappoint. This production was originally produced at the Oregon Shakespeare Festival in 2014 where it was the first all-female Shakespeare in that theater's history. The Jungle production was adapted from that OSF production and maintained the all-female cast. The story, in brief, is this. Valentine (Mo Perry) and Proteus (Christiana Clark) are best friends. Proteus is in love with Julia (Maggie Chestovich), and she with him. Valentine is sent to the court of Milan, and after making a promise of true love with Julia, Proteus follows him. When Proteus arrives in Milan he discovers that Valentine is in love with Sylvia (Lenne Klingaman) - and soon Proteus follows his lead. In fact, Proteus tells the Duke of Milan (George Keller) that Valentine and Sylvia are running away. The Duke banishes Valentine, Julia shows up in Milan in disguise as a man, and...go see the show. Some of these amazing actors play multiple roles - George Keller, for example, plays the Duke as well as the comic relief character of Launce. Her dog Bear also plays Launce's animal companion Crab...and he played it perfectly! Also on stage are such Twin City Theater legends as Barbara Kingsley and Wendy Lehr.

The casting was perfect. Each actor was spot on, finding the true emotions and humor of the show. The language and text was clear (which can be tough for Shakespeare at times). Julia comes across as very young and childish in the first act - a bit whiny, and overdramatic. However when she comes to Act II in disguise, she nails the new "character" so well. It was great seeing an actress play both sides of a character so clearly and so honestly. Honestly, I felt the same way for the full cast - fantastic.

The set is a nice open stage with onstage seating on the sides. The front of the stage has steps down both sides of the center section, a green topiary on each side, along with a lamp above the topiaries. The back of the stage has a wide door across the center which is open at times to change scenes, along with an entrance door on one side. There are trees on each side of the wide door, and a bench. One of the trees is designed perfect for climbing to an upper level that is set across the top back of the stage. The whole set by Andrew Boyce is in a pale pink, and is gorgeously lit by Barry Browning. The costumes are mainly white and black, though Julia has some color to her dress and the costumes in Milan are gorgeously colored. Great work by Morie Sine Clinton, and great wigs by Laura Adams. Though the show is 2 hours and 20 min, with a 20 min intermission - it never felt that way. The pace was fast and created a very entertaining evening.

Bright Half-Life at Pillsbury House Theatre

Bright Half-Life at Pillsbury House Theatre, written by Tanya Barfield and directed by Ellen Fenster, is perfectly titled.

Clocking in at a brisk 70 minutes, the play explores the romantic relationship spanning four and a half decades between Erica (Sarah Agnew) and Vicky (Jasmine Hughes) and takes place in short vignettes scattered through time.

We follow them through all of the events (and non-events) in a romantic relationship. Dashing back and forth in time, in seemingly random order, this show perfectly captures the elusive moments that make up life and love.

Jasmine Hughes and Sarah Agnew. Photo by Bruce Silcox.

With beautiful lighting by Wu Chen Khoo and a spare, but evocative set by Joseph Stanley, and subtle sound design by Katharine Horowitz, this play requires the viewer to sympathize and empathize with Erica and Vicky--even when they are showing their least sympathetic selves (as one does in a relationship at times).

The actors' work is exquisite, funny and moving and vividly realistic. The play itself is nearly perfect, with beautiful, realistic dialogue that captures the universality of life and love while still exploring a very specific relationship. Gorgeously done.

Throwback Review - Gypsy at Theater Latte Da in 2006

We caught a preview of Theater Latte Da's Gypsy this week, but as they're using previews to tweak the show, we saw a work in progress. And poor Michelle Barber was under the weather (but still did a fantastic job).

My program from 2006. Love all
the exclamation points!

Instead, let me take you back to October 2006, the last time Theater Latte Da produced Gypsy. In those days, Theater Latte Da often performed at The Loring Playhouse, located right around the corner from the Basilica. The theater was not terribly accessible, with a tall flight of steep stairs leading to the theater space, and the bathrooms were way down the hall, basically located in the office building next door.

Nonetheless, I feel incredibly nostalgic about Theater Latte Da's years there. I saw some of the best musical theater ever in that space.

In the last ten years, I've seen about 600 shows, and yet I still remember Theater Latte Da's 2006 production of Gypsy with affection.  (Although I still had to dig the program out to refresh my memory.) Both productions are/were directed by Peter Rothstein and music directed by Denise Prosek. I was a little surprised to see that Tod Petersen (as Herbie) and Eriq Nelson (as all of the adult male characters) reprise their roles in the current production.

Back to 2006 ... As Mama Rose, Jody Briskey had a staggeringly powerful presence (and belt!), and Simone Perrin brought Louise from shy wallflower to star with believable awkwardness and charming ease. The intimate, slightly rundown Loring Playhouse space lent a marvelous authenticity to the production. When not "on stage" the actors would sit in chairs alongside the stage, some playing instruments. This was long before we had ever heard of John Doyle (the director who had Patti LuPone's Mrs. Lovett playing a tuba in Sweeney Todd), and the effect was of a group of people telling this story with authenticity.

But what I remember most about this production is the trio of Erik Pearson (Tulsa), Randy Schmeling (Angie), and Reid Harmsen (Yonkers), who played the Newsboys, the Farmboys, and the Toreadorables. They also played (in order) Electra, Tessie Tura, and Mazeppa. They brought an unbelievable sweetness to their parts, particularly as the strippers. Gypsy gets a little dark, but their sincere and committed performances added the perfect amount of heart. (And their stripper costumes, by Rich Hamson, were wonderful!)

I wish Theatre Latte Da as much success with this production of Gypsy as with their previous production. Thanks for all the great years of musical theater, Peter Rothstein and company!

Silence! The Musical - Minneapolis Musical Theater at the Lab

Silence! The Musical (showing now through March 6 at the Lab Theater) is almost definitely the best parody musical based on a horror film that you'll see this year. 

Released in 1991, The Silence of the Lambs won five Oscars and scared the hell out of millions of people. Now that it's an indelible part of pop culture, why not make it a musical? And I can't think of a better local theater than Minneapolis Musical Theatre (and Steven Meerdink's Bitter Boy Productions) to take on this show.

You know the story: FBI fledgling Clarice Starling is sought out to interview famed serial killer Hannibal Lecter in order to find yet another serial killer. Although much of the original movie's script has become go-to pop culture punchlines (liver with fava beans and Chianti, it puts the lotion in the basket, ffffffftttttt) the movie is still genuinely disturbing.

Hannibal Lecter (Tim Kuehl) watches as Clarice
Starling (Emily Jabas) admires his artwork. (photos: Unser Imagery) 

So how can this possibly be a hilarious musical? (Which it IS.) Well, it starts off with a fabulously witty book by Hunter Bell, and music and lyrics by Jon & Al Kaplan that manage to be truthful to the source material and tuneful, while hilarious and shocking at the same time.

And then, if you're Minneapolis Musical Theatre, which specialize in musicals rarely seen by Twin Cities audiences (their tagline is "Rare Musicals. Well Done."), you give it 112%. Every member of the cast performs with utter commitment and director Steven Meerdink creates the perfect tone.

The cast hits every joke in the script perfectly, and finds a few laughs that probably aren't in the script, yet never ever milks a joke. The show also has musical theater references that theater fans will love to pick out. You'll note references to Bob Fosse's choreography, Will Rogers Follies, Evita, Cats, and the King and I. These nods add an additional layer of fun to an already hilarious show.

Clarice Starling gets her Fosse on with the chorus of lambs.
Did we not mention the chorus of lambs?

The cast is spot on, referencing the actors' work in the film, but bringing it slightly over the edge in a hysterical way. From the moment that Emily Jabas sprints (slowly) on stage as Clarice Shtarling, you know it's going to be good. Tim Kuehl as Hannibal Lecter gives a delightful blend of menace and confusion, despite acting mostly behind glass and a mask. Alice McGlave gives a great boost to the thankless role of Ardelia (one of film's first black best friends), and Jordan Oxborough was a perfectly insane Dr. Chilton.

My personal favorite performance was by Ryan London Levin as Buffalo Bill. Originally played by Ted Levine in a balls-out, Gene Loves Jezebel-dancing, putting-the-lotion-in-the-basket, Precious-loving performance, Buffalo Bill is one of the most vivid characters in horror. Starting with his first song, "Are You About a Size 14?", Levin gives everything he has to this character and hits it perfectly. He gets Levine's (Levine/Levin/WHAT?) weird mumbly voice perfectly right, and actually has a fantastic singing voice. The entire chorus, including Gregory Adam (so good in MMT's Eating Raoul) and Daniel Lundin (excellent in this season's Murder Ballad) give amazing performances in a variety of roles.

The show is at the Lab Theater, which I hope Minneapolis Musical Theatre can use for future shows. The warm and inviting--but bare bones and industrial--space is perfect for a show like this. The beautifully constructed set by Darren Hensel made perfect use of the space, and the props by Valerie Larche lend a realistic (yet over-the-top) tone to the production.

Starling and Lecter face off  through the high-security window.

By the way, if you are faint of heart and delicate, you may be shocked by some of the material in the show. Hannibal Lecter's first song (of which the Washington Post said the title was too dirty to even hint at) uses a word that is rarely used on the American stage or in film. Hint: It starts with "If I Could Smell Her", and references a line by Multiple Miggs. That's all I'm giving you. But I you pass up this fabulous, hysterical show because of that, well, I would be sad. Go see this fun show!

PS: Every program received a postcard to help promote the show with a 20% off discount code. I don't feel right posting the code, but you could always mention you read about the discount in this review from us and maybe the box office will give it to you. Or check MMT's Facebook page for deals.

(co-written by KRL, Carly and Jules)

Newsies on tour at the Orpheum

 Joey Barreiro (Jack Kelly) (center) and the North American Tour
company of Disney's NEWSIES. © Disney. Photo by Deen van Meer. 

Extra! Extra! Read all about it! 
Newspaper sellers strike - and dance!

That's the idea behind Newsies, the musical that has finally made its way to the Twin Cities more than a year after the show closed on Broadway in August 2014. The wait surprised me, as I thought we were farther up the touring market food chain, but it might just be a fluke of timing and tour routing.

Newsies had an unusual road to Broadway, where it won the 2012 Tony Awards for Best Score and Best Choreography. Originally a little-seen 1992 film starring Christian Bale, the movie became a cult favorite on video and the most-requested Disney title not already adapted for the stage. After a successful run at New Jersey's Paper Mill Playhouse, the musical opened on Broadway and had a healthy 1005-performance run.The show also garnered a fervent following known as "Fansies."

Based on the true story of striking newspaper sellers in 1899 New York, the plot follows Jack Kelly (Joey Barreiro) and his pals as they decide to fight back against unfair pricing hikes from the papers' publishers, particularly the publisher of the World, Joseph Pulitzer (Steve Blanchard). With the help of Katherine, a young newspaper reporter eager to write about hard news (Morgan Keene), the newsboys rally together to push for better terms not only for themselves, but for other child laborers in the city.

Although he dreams of a life far away from the streets of New York, Jack alternately embraces and avoids his destiny as a leader and the Newsies work through rousing songs like "Carrying the Banner," "The World Will Know," "Seize the Day," and "King of New York," The songs don't so much move the story along as they provide opportunities for the Newsies to dance.

Newsies defy gravity!
Original company, North American tour of Newsies. © Disney. Photo by Deen van Meer. 

And wow. What dancing! As choreographed by Christopher Gattelli, the ensemble races through grand jetés and pirouettes and performs flips and other stunts. A standout among the very talented ensemble is Jordan Samuels as Specs, whose awe-inspiring flips suggest that he has a special relationship with gravity. He's also a great presence in the chorus, with an energy that stands out from the crowd.

The leading performers were fine, though I couldn't help wondering what it would have been like to see Jeremy Jordan as Jack. On opening night, the cast was also dealing with occasional sound balance issues and some mysterious noises. Overall, the script (by Harvey Fierstein) is just serviceable, with catchy songs by Alan Menken (music) and Jack Feldman (lyrics). It's easy to see how this show became a favorite with the young girls, both those who loved the movie and those who were introduced to the show. For me, the dancing is the real draw. Even if the dances don't do much to move the story forward, they are a joy to watch.

Memory Boy - Project Opera at the Lab Theater

Project Opera is a training program for young singers, from grades 4 - 12. In conjunction with the Minnesota Opera New Works Initiative program, they created a new kids opera - Memory Boy. It has a very limited run at the Lab Theater. Memory Boy is based on the book by Will Weaver, a MN author. The story is about a family escaping from the cities to their cabin up north. There has been a cataclysmic change in the environment and the people, and the safest place is north, away from others. The main character is Miles, and it is his family and his story that we follow through this hour-long, eight scene opera. The opera was composed by Reinaldo Moya with a libretto by Mark Campbell.

This was my first experience with Project Opera and I believe that everyone on stage (from the orchestra to all the singers) where between 4th and 12th grade. If that is the case, WOW!!! We have a lot of talent, young talent, in these Twin Cities. The Lab Theater was set up with audience risers on one side, and the stage on the other. At the back of the stage was a riser with the 13-piece orchestra. The cast was a cast also 13 in number but with a very large chorus. Since there a total of six performances, some of the cast members only sing three of the six. The names listed are who I saw at the first performance (though Kjell does sing at all six). Alex Stokes (playing Miles) was very good with a strong voice, and clear character. In fact the whole family - Sarah, the sister (Emma Shine), Natalie, the mom (Erica Thelen), and Arthur, the father (Kjell Redpath) were great! They sounded very good together and in their respective solos. Also standing out was the character Kurz (Jonathan Rhodes), and the nurse (Tessa Larson). Kurz has quite a bit of singing and he was fantastic! 

Musically it sounded very much like John Adams to me. The music was a bit on the minimal side (not in a repetitive Glass or Reich way), but with a very nice waltz thrown in and a lovely jazz section. The libretto was very good and clearly told a story. There were a few transitions that I felt could be stronger but out of the cheering audience of parents and family, I may have been the only one to think that. Also, there were a few moments where the acting could have been stronger but was par for the course considering the age group and the focus of the program. Honestly, I really enjoyed myself and thought it was a very good piece. I was truly amazed at the talent of these kids and am looking forward to more. Bravo to the Minnesota Opera for having such a wonderful program!