Othello: The Remix at Minneapolis Musical Theatre

Minneapolis Musical Theatre's mission is to present rarely seen musicals, which has brought more than 40 area premieres to the Twin Cities. Their newest show is a gem of a musical, Othello: The Remix (playing April 21-May 7 at the Phoenix Theater).

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!

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.

The Knight of the Burning Pestle - Theatre Pro Rata at Dreamland Arts

The Knight of the Burning Pestle - sounds crazy, no? To be honest, it was a bit crazy, and clever, and funny - oh so funny. Written by Francis Beaumont in 1607, yes, you read that correctly - 1607, this play is known to be one of the first English Parody's - mainly making fun of Elizabethan theater. According to the vast knowledge on the interwebs (and yes, I am talking about wikipedia), the play satirizes chivalric romances, and parodies two other plays from that period: The Four Prentices of London (written by Thomas Heywood in 1592) and The Shoemaker's Holiday (written by Thomas Dekker in 1599).

Rachel Flynn, George Dornbach, Ben Tallen.
Photo by Charles Gorrill

I was a bit concerned thinking that the language and story would be hard to follow. After all, Shakespeare can be tough with some of his language play so I imagined that a parody of Shakespeare could be more tough. Wow - I was so wrong. The show starts with the cast of 'The London Merchant" coming on stage, walking around, warming up, making sure everything is in place. This takes place as the audience is coming in as well...or as most of the audience is seated. David Schlosser, Grant Henderson, Julie Ann Nevill, Andrew Troth, and Becca Hart take this time to do what they need to while in full view of the audience. Becca Hart (playing the Musician and Apprentice - but NOT a boy) really makes the most of it. She is on the floor picking up bits of dust, cleaning the legs of chairs, etc. It seems that they are all waiting for all the audience to get seated. When this happens, Becca blows a horn and the Prologue begins....at which point three more characters enter. George (a citizen played by Ben Tallen), Neil (his wife played by Rachel Flynn), and Rafe (their apprentice played by George Dornbach) all enter late and disrupt the prologue. George pulls out a bag of money, tells Prologue (David Schlosser) that he wants his apprentice Rafe to be on stage in a heroic role, gives him money and tells him to make it happen.

The remainder of the show is a very funny clash of needs. The cast of "The London Merchant" just want to perform the play they have been asked to perform and be done with it. Yet at every step, every scene - George and his wife either interrupt, or make demands to see Rafe do a certain bit. This combustion of desires plays out so well on the stage of Dreamland Arts. The casting is perfect, as is the direction. Every humorous moment is played seriously (which makes it more funny), and yet never milked for laughs. The frustration of the "London Merchant" cast slowly becomes more evident as George and Neil keep making demands and portraying truly bad audience behavior (but nothing you haven't seen in the current theater scene). Though the show was written in 1607, there is still plenty for a current audience to get out of seeing it. Theater and art have truly not changed as much as we may think it has - often time art is at the beck and call of those who fund it.

Ben Tallen and Rachel Flynn as George and Neil are fantastic. George Dornbach as Rafe...well, perfect...boyish and charming, has great skill with vocabulary, and really knows how to work his hair. The cast of "The London Merchant" is also...perfection. David Schlosser in all three roles (Prologue, Venturewell, and Michael) is great. His playing Michael is note-perfect, and a bit Oedipal. The chemistry that he and Grant Henderson (as the dashing and handsome Jasper) have shows that this acting troupe performing "The London Merchant" have been working together for a while. There is love there but also a bit of friction that is played so well. Julie Ann Nevill (as Lucy and Mistress Merrythought) is everything you could want for this role. Playing each character so differently, yet maintaining the classic Elizabethan acting style (as did the rest of the "LM" cast), and giving such great reaction faces...and singing! I have seen Julie Ann in a few things but was not aware of her charming singing voice. And speaking of singing - Andrew Troth (plays Humphrey and Master Merrythought) is also very funny. All of Master Merrythought's lines are sung and Andrew makes the most of them - playing to the audience of George and Neil, taking their demands in stride...so good. Finally Becca Hart is incredible. She plays the Apprentice so downtrodden - looking down, cowering almost, knees turned in; and yet the minute the Apprentice steps on stage in a character part - she is a different person. And such skill playing a variety of small instruments. So many moments that she made me laugh just by a small gesture, or look.

Honestly, a very funny, timely and smart comedy. This is one you may not ever see again so take the chance now. It plays at Dreamland Arts through June 19th. It is a small house so get your tickets early. And if that doesn't convince you - 90 min, no intermission. Our favorite.

The Glass Menagerie - Theatre Coup d'Etat at savage umbrella's SPACE

nobody, not even the rain, has such small hands - e.e.cummings

The printed version of The Glass Menagerie has this line at the front. After reading the full poem, it makes a bit more sense that it is attached to a "memory play." Memory is a tricky thing. As Lanny Langston writes in his director's notes "...It gives us the ability to look back on our lives and not only remember what has past, but relive it. We can find great comfort...more common, however, is the tendency to use memory as a weapon against ourselves." I feel that Tom Wingfield uses this play, this memory to beat himself up over what might have been, what changes could have been made in his relationship with his domineering yet loving mother, his dear sister, and how that may have affected his own life. It is a wonderful script (with which I have a few questions/problems for Mr. Tennessee Williams), and the production of The Glass Menagerie by Theatre Coup d'Etat is just as wonderful.

The production is being performed at SPACE, a location run by savage umbrella and located in the Vandalia Tower. It is on the third floor, possibly handicap accessible via a freight elevator, in a space that has been turned into a theater. We attended opening night which, while perfectly nice outdoors, the space was very warm. Luckily the heat fit into the script perfectly as the play is set in St. Louis, and much is said about the heat. Being a memory play, the set can be as fantastic as the recent Broadway revival, or it can be as realistic as wanted, or a combination of both. This production had a very realistic main set, with an abstract doorway/fire escape.

The show is perfectly cast, and very well directed. Cynthia Uhrich as Amanda (the mother) is so clear with the love that she has for her children. It is so evident that what she does, and what she says is all in hopes of making her children have better lives, to be better people. Sometimes this role leans too much on the character description of "...woman of great but confused vitality clinging frantically to another time and place." There are some productions where it seems as if Amanda were on her way to the loony bin. Not so here. Uhrich provides Amanda with a restlessness that is evident in the pacing, the near constant chatter, as well as the way she interacts with the Gentleman Caller...somewhat flirtatious, somewhat performance, but all heart.

Speaking of the Gentleman Caller - showing up in Act Two, being a "nice, ordinary, young man", and yet being a catalyst for change, desperation, loss, etc - well, that is a large burden to bear. Kevin Fanshaw (a 2016 Twin Cities Theater Bloggers Awards nominee for Best Actor in a play) plays the role perfectly. Hesitant, a bit shy yet clearly working on getting over his shyness, approaching Amanda and Laura with an openness that is polite, gentle, and yet very sweet. A great performance.

James Napoleon Stone & Kaylyn Forkey

Kaylyn Forkey as Laura, and James Napoleon Stone as Tom were fantastic. Their desires, fears, and even frustrations are so very clear. The moment where Amanda forces Laura to open the door to the Gentleman Caller was near heartbreaking with the amount of fear, and emotion both actresses put into it. Wow. Forkey showed that Laura is aware of how her shyness affects her social life, and her family, yet is also clear to show Laura trying to fight that shyness, trying to be better. It was a fascinating struggle to watch. Stone was also very clear in every motivation, even when he knew it may be hurtful to the family he had to follow through with what he needed to do. Stone is put through the emotional ringer in this part and not a single moment rings false. I even hoped the lights would stay down a bit longer before curtain call to give him time to compose himself - and that is a beautiful thing to be able to say. Stone also plays the restlessness that is evident in Amanda which is also evident in Tom - perhaps not as much physically but it is so clear that Tom needs to escape from that house.

Speaking of the house - I had two very small quibbles about the use of the set and space. I mention them only because I think they will both make the performance even stronger (if that is possible). To start, the set was wonderful. The main room was covered in rugs, a few tables, chairs, and a sofa. Against the wall was the glass menagerie which also included many mobiles, and glass bits hanging from the ceiling. It was beautiful in a slightly disheveled way. The one exit had a few steps up to a landing, then a few steps down front off the landing. There was no door frame, nor door. First off, when using an imaginary door - it needs to be real to the characters on stage. The imaginary door had no weight, or size to it which most people may not have noticed but it could be a distraction to some. There has to be consistency in how it is being used. The other very small issue was regarding the light from the hallway. It seems that there is no backstage entrance/exit which means the cast has to come in through the front of the house. When the lights go down, it felt odd to sit in the dark, then have the door open, light stream in from the hallway as the actors walked past the audience to their places. I think that the cast entering in while house lights are at half would prevent this and not break the focus of the audience. At the top of the show, I thought it was late audience members coming in...not the cast.

Luckily, the production and performance was strong enough to overcome the two small issues I had. It is a great cast that is well directed and is performing at such an amazing level. Four actors keeping my attention and making this classic feel alive - they are truly succeeding in their mission which is to "...provoke an emotional and analytical response in our audiences by showing the depth of the human condition..." It is a show and a performance NOT to be missed. It plays through June 6.

Now, Mr Williams...about your script... And who do we ask to find out about the lovely music used through out?

Everyman - Open Window Theatre

Matt Berdahl Photography

I first went to Open Window Theatre back in November and really enjoyed the show. Today I went back to see Everyman. I need to make a confession. I graduated from college with a degree in Theater. Part of my schooling was Theater History in which we were required to read this play. I was lax and am quite certain I never read it, classic that it is.

Everyman is a morality play from the Middle Ages. The authorship is unknown, and the script is in Old English. It makes for some difficult reading, and in dialogue with the cast after the show - it makes for difficult memorization as well. As difficult as the script may be, the production was not. It was moving, colorful, educational, fun to watch, and at 90 min with no intermission - a great way to spend time. The space, this time, was set up in the round. There was a multi-level square set with various poles leading up to the ceiling. On the floor below one of the platforms was a white skull painted on the set. There were a few other designs in white along the tops of some sections. The set was all in shades of grey except for these few accents. Around the edge of the highest platform was written Psalm 27:1 in Hebrew, and in a dingy yellow paint. Being a morality play, I knew that there would be a faith-based tone to the show, and it didn't disappoint.

Matt Berdahl Photography

The story of Everyman is similar to Pilgrims Progress, or the Divine Comedy by Dante. It is the story of a man on a journey. In this piece the journey is taken by Everyman and it starts with Death coming to him and telling him that he must go to his final reckoning with God. Everyman reaches out to his friends Fellowship, Kindred & Cousin, and Goods. He asks all four of them to journey with him. They turn him away and so he is left to fend for himself. He searches for his Good-Deeds and finds them lacking but she tells him to seek out Knowledge. Knowledge persuades him to seek Confession, and to do some good deeds to help build up Good-Deeds. In doing this he finds the strength to move ahead in his journey...his journey toward death and possibly redemption.

It may seem odd that some of those words are capitalized, but they are character names. The cast of eight was fantastic through out. Everyman is played by Corey Mills, Nicole Goeden, Kiara Jackson, Elohim Pena, and Joann Oudekerk (these actors also played other roles). The character of Everyman is shown to truly be every man, and every woman. Everyman wears a scarf or shroud that is exchanged between actors in a very nice ritual. There are subtle props that get added and taken away as the journey moves on. Sharayah Bunce plays Death (and has the most incredible costume), as well as Good-Deeds. Siddeeqah Shabazz plays Knowledge, while Nathan Gebhard plays Goods and Discretion. As each actor was part of the chorus, or playing Everyman, the costumes (all designed by Josette Elstad) were simple and black. Each character though had specific costumes that fit so well to the history of the show, as well as being current.

Matt Berdahl Photography

While the language of the play may be difficult, this production (directed by Jeremy Stanbary) made every motivation, every bit of the journey clear and easy to understand. One part that made it easy was the constant movement through out. The movement and choreography was by Corey and Betsy Mills (from SPARK Theater + Dance), along with live music by Kurt Larson. There is a lot of underscoring to this show, at times making it more difficult to understand what was being spoken or sung. However the show is really worth seeing.

Open Window has a redemptive vision to their work. The work they do is good, interesting and gets you thinking. They have a good space (which has had some work done to it) and I intend to continue to see what they put on. I hope you take a chance and see this classic, yet rarely done, theater piece.

edited 3/3/16 to make small updates, and give credit to the photographer

Gypsy - Theater Latté Da, Hennepin Theatre Trust

© 2016 George Byron Griffiths

Up until this point in my life I had never seen a live production of Gypsy. I had heard a few cast recordings - of which there are at least five from Broadway and one from London - Merman, Lansbury (London cast but also played Broadway), Daly, Peter, LuPone and Imelda Stauton. I had watched both film versions - the Rosalind Russell and the Bette Midler - but never a live production. I had read the comments - "the best American musical", "the greatest musical", etc and honestly - not convinced. Everything that I knew told me there was no need. The show is so ingrained in many theater-kids worlds (especially of a certain age) that not only do I not feel the need to explain the story and characters, but I didn't really feel a need to see a show about a bossy stage mom who can't let go.

© 2016 George Byron Griffiths

However...this production has totally changed my view about this show!! The Theater Latté Da production of Gypsy (part of the Broadway Re-Imagined series by the Hennepin Theatre Trust) is now playing at the Pantages Theater in Minneapolis. Starting with the stage covered with piles of furniture, props, etc and a single ghost-light on stage, I was intrigued. The fantastic overture (usually over five minutes long) was turned into just the opening fanfare - and even then the trumpets sounded ghostly and far away. It was clear that we were starting at the end of something, and as the show progressed we realize it was the end of vaudeville. A false proscenium descended onto the stage and the show started. Historically Mama Rose barrels down the aisle of the theater, through the audience yelling "Sing out, Louise!" Michelle Barber chose a different path and it made all the difference in the world. Her tone was chiding and a bit weary - like she has consistently had to tell her daughter this over and over and over. She was a strong woman and loving mother who has her children's best interests at heart. She wants them to succeed, and is willing to do almost anything to make sure they do. Through the trials of Act One - the children growing up, starting to make their own decisions in life - Barber's Rose is growing with them. She is getting strong and more determined to the point that at the end of Act One, when Baby June has left the show and Mama Rose turns to Louise to tell her that she will be the new star - there was an audible murmur of disbelief through the house. Barber is amazing in showing the audience the journey this character is on, and the audience is right with her.

© 2016 George Byron Griffiths

While the show Gypsy is about Rose, there are some fantastic actors and characters on stage. Peter Rothstein has done wonders with this cast. There is quite a bit of double and triple casting which works every time. Baby June played by Victoria Wyffels grows up to be Dainty June played by Shinah Brashears. Shinah consistently played with her age on stage - providing a soft "r" so that "Caroline" sounded like "Cawoline". Yet the minute she was playing June (instead of her on-stage Dainty June) that "r" turned right back into a hard "r." It was a fantastic choice. And the fact that I just now realized that Shinah plays two other characters (after being so great as June), I find that amazing. The incredible Tyler Michaels also plays three roles - Georgie (at the top of the show), then the grown-up Newsboy Tulsa (doing a great "All I Need is the Girl"), then totally changing gears and playing the stripper Electra! Who doesn't want to have that sort of versatility in their skillset!! And speaking of versatility, I have to mention Eriq Nelson - playing the gross Uncle Jocko at the start, then following it up with nine other characters!! Bravo! Each character through out the whole show was so individual that you never think of who is playing it, nor do you realize who is playing it at times.

© 2016 George Byron Griffiths

One of the many great things about this production is that Mama Rose is played by Michelle Barber, while Louise (later Gypsy Rose Lee) is played by her daughter Cat Brindisi. Seeing these two on stage, the similarities physically and vocally was perfection. And if you thought that you saw Mama Rose get stronger and have a slow build during Act One, just wait till you see what Cat does in Act Two! From the sad, lonely girl (especially in the adorable "Little Lamb" number) who just wants some attention, to the very strong, capable and brilliant burlesque icon that Louise becomes - Cat brings you along her journey the whole way. You get an amazing sense of who this character could be in the number "If Mama Was Married." It is a great duet between the sisters and personally, I can't think of a better version. Her entry into burlesque and watching her become the star that Gypsy Rose is at the end of the show was also brilliant. So many great curtains and gowns. I'm not sure how she accomplished this without an amazing dresser! This production, and this cast was worthy of the standing ovation it received at the end. Here in Minnesota, you can't always say that.

Quick note to the Pantages, and other theaters. Please rethink the policy of allowing drinks and food into the theater. I was continually being distracted by the sound of candy wrappers, ice clinking, etc all the way through Act Two. Beyond that (and the very limited restrooms you have), I love your space! It was the perfect space for this production - especially considering that Gypsy Rose actually played the Pantages.

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.

Seldom done Shakespeare - Pericles at the Guthrie

front of program - krl

Pericles is a seldom performed Shakespeare (maybe - see note) that is playing at the Guthrie Theater. It is the first production directed by the new Artistic Director of the Guthrie - Joseph Haj. He had previously directed this at the Oregon Shakespeare Festival, and this production is a done in association with that Festival. The casting was done via the Oregon Shakespeare Festival as well so while it is the directorial debut at the Guthrie of Joseph Haj's, I get the sense that it is the same production he directed in Oregon.

And it is a great production worth doing again!! The set is a multi-level set in shades of grey and black. The back of the stage has a cyclorama that is used for projections. There are also clouds set across the top of the cyclorama. When the lights go down, the stage and backdrop are covered in stars. The stars slowly move up to the cyclorama and spread out in circles. At times through out the play, the stars come back in an actual star shape - giving the idea that certain events that take place are fate and written in the stars.

Pericles (Wayne T. Carr) is the story of the Prince of Tyre (not based on the historical Pericles), who decides to try to marry a certain Princess, the daughter of the King of Antioch. To marry her, he must first answer a riddle. However the answer to the riddle speaks to the fact that the King of Antioch is in an incestuous relationship with his daughter. When Pericles realizes that, he also realizes that he can't answer the riddle out loud, nor can he continue living in Antioch without fearing for his life. He leaves via the sea. A storm takes down his ship and he is washed ashore in Pentapolis. Here he is found by fishermen who tell him the King of Pentapolis is holding a tournament for the hand of his daughter. Pericles wins the hand of Thaisa (Brooke Parks), and within a verse or two from Gower (the narrator), time has passed and Thaisa is expecting.

view from bridge - krl

The rest of the story - well, I don't want to give it all away. The story is told in a very episodic manner, with Gower (Armando Duran) telling us where we are in the narrative and whose story line we are going to see next. The play itself starts with "To sing a song that old was sung..." and so there is quite a bit of music by Jack Herrick in this work. Some of the verse is sung, and often there is underscoring to scenes. I found the music and singing to be very good, yet at the same time I thought perhaps it wasn't as necessary. The show is 2 hours and 20 min. long, and while it was very good - I also think the singing extended it longer than it needed to be. That written though, it was very enjoyable. The costumes and set were at the usual Guthrie standards - simple effects to show the ocean, storms, near-drowning, etc. Each actor in the cast was very good. They were all making their Guthrie debuts and it was good to see new faces on the stage, especially some actors of color. The cast was far more mixed than the audience - though there were some school groups which were good to see on a Wed. night.

The play is a comedy. Traditionally this means that no one dies at the end instead of the newer meaning of being a laugh-riot. The play is also one of Shakespeare's Romances so it has some fantastical aspects, including the goddess Diana. This helps provide a great ending that is simply gorgeous and moving. So should you go? Of course!! The quality of work that is done at the Guthrie is incredible, and this comedy is not done that often so you should certainly give it a shot. Personally, I would rather see a "new" Shakespeare than another Hamlet or Midsummer. As good as his plays are to read, they were written for the stage and so they should be seen when possible.

note: according to the notes in the program, there was a prose narrative published in 1608 by George Wilkins. Since Pericles is generally dated around 1607-1608, some scholars believe that Wilkins collaborated with Shakespeare on this work. Others believe that he just drew heavily on the play to write his own version.

Review: Joyce DiDonato

What an amazing place we live in. Where we can go from seeing a brand new play on a Saturday night in the midst of Art-a-Whirl, to seeing an internationally acclaimed mezzo-soprano on Tuesday. The amazing Joyce DiDonato gave a recital as part of the Schubert Club at the Ordway Center for the Performing Arts. She was, in a word, glorious.

She opened the first portion of the recital with "Canciones clasicas espanolas" by Fernando Obradors. Seven songs in Spanish that showed her range, not only vocally but in character. Each song was not sung, but performed. With the amazing David Zobel on piano, each song had a story to tell, a character to show. I had never heard of this composer and was really charmed by this selection of songs. Obradors had written four volumes of "Classical Spanish Songs", and this was the first volume. It was a perfect opening to warm up the audience to what they could expect for the remainder of the recital. Following that, she went back to an earlier composer, and one which she is probably better known for - Rossini.  She sang the "Willow Song" from Otello and it was beautiful and moving.

She ended the first half of the recital with a Beaumarchais Trilogy - three songs from two operas based on the plays of French writer Beaumarchais. The first two were from Le Nozze di Figaro by Mozart, and the final from Il barbiere di Siviglia by Rossini. The first aria was "Voi che sapete" from The Marriage of Figaro. This was sung by Cherubino which is a pants role (woman playing a man), and Ms. DiDonato clearly had fun singing it. Following this was a beautiful and charming aria "Deh vieni, non tardar" also from the same opera. She ended the trilogy with "Una voce poco fa" from The Barber of Seville. While this is a very well known aria and performed often, I had mainly only heard the recordings of Callas. It was a true joy to hear a different take on the aria.

I'm going to pause here because here is the thing about recitals. The music is wonderful and the performance is brilliant. But what about the visuals? For those of us who love theatre and opera, sometimes the visuals can be missed in a recital. The main stage of the Ordway was turned into a perfect recital hall with dark brown back walls. A single piano in the center, and a wonderful singer. You can't ask for much more. Yet, I feel like I need to write some about what DiDonato was wearing. The first half of the recital she was in a beautiful pale green gown (see below). It was strapless with a gather at the left front side giving some movement to the gown. She had a gorgeous v-shaped necklace as well. For the second half, she came on in a stunning multi-color dress. The dress was form-fitting, full length, and had long sleeves. Trust me, it was much more fun to watch than a simple tuxedo on any male performer.

Speaking of the second half, she started it with two arias from Cleopatra. The first was from Marc'Antonio e Cleopatra by Hasse, while the second was from Giulio Cesare by Handel. Listening to her fluid runs and trills during these two pieces, this is a style of music almost written for her voice. She showed so much control yet wasn't holding back either. They were and are fantastic showcases for the magic that is her voice, and the training and experience she has had. The recital closed with another song-cycle, "Venezia". This one was by Reynaldo Hahn, and is originally seven songs about Venice. She performed six of the seven. She stated before starting that this set of songs really opened her up to the power of music when she first discovered them. She was enthralled with how evocative the lyrics and the music were. I can attest that it is true. It is a gorgeous song-cycle that I will be listening to more.

And that was the program. Of course, after the last note started to fade, the first of many standing ovations began. The first of many you say? How can that be? Well...when there are three encores, the audience is given plenty of time to applaud and show their love and appreciation. The first encore was from La Donna del lago by Rossini. I am not sure of the specific aria, but it was beautiful. Another standing ovation and she came back on to seeing a Neapolitan Art Song called "Don't Forget Me." She stated that she felt a bit selfish saying the title, which gives you an idea of her charm and sense of humor (she did name a cd "Drama Queens" after all). Again, this was a very moving and beautiful piece.

Her final encore may have been a tribute to Minnesota. She spoke earlier before the second encore of her travels here before starting college. She stated that she was looking at St. Catherines and wondered a bit about the possibilities. When she came back on for the last encore, it was a simple song, a familiar song, and the perfect song to end the evening - "Over the Rainbow" by Harold Arlen. To make it more perfect, David Zobel added a few notes from "Una voce poco fa" at the very end.

If you have a chance to see Joyce DiDonato perform, please take that chance. Either live on tour, or in some of the numerous "Live in HD from the Met Opera." You will not be disappointed. If you want to hear some samples of these pieces, you can find them on I-tunes, or Classical Archive.

Hysteria Unleashed ... The Crucible at the Guthrie (Guest Post!)

It’s funny, but during my viewing of The Crucible, currently being performed at the Guthrie Theater, a quote by Norman Bates--yes, that Norman Bates--came to mind. “We all go a little mad sometimes. Haven’t you?”

Photo by T. Charles Erickson

Triggered by a snippet of dialogue in the play, in some ways it beautifully describes Arthur Miller’s allegorical play. Miller employs the Salem witchcraft trials to parallel the Joseph McCarthy hearings and the blacklisting of individuals believed to be Communist supporters. This also became known as the "Witch Hunt," the search for subversive communists and the naming of names which was a necessary element of the effort to “out” these people. These events were occurring in the 1940s and early 1950s and were the impetus for Miller’s play. In time, Miller himself would be called before the committee to name names, which he refused to do.

The Guthrie staging is a strong production with a stalwart cast of noteworthy local theater talent. Even the smaller roles, which are key to the success of this retelling, are cast with adept actors who elicit strong performances, among them Raye Birk, Wendy Lehr, Peter Michael Goetz, and many more.

Photo by T. Charles Erickson

But the standout in this stirring production was Erik Heger in the role of the tragic John Proctor. His sensitive, nuanced performance was a revelation and his anguish was tenderly moving even among this distinctive cast of theater professionals. He certainly deserved the extra applause and solo bow at the end of the show. I should say that everyone appeared to be on the same page at the end and felt that we had witnessed something grand in the theater with his towering performance.

All of the technical aspects of the show were noteworthy and came together as a whole. The set design by Richard Hoover was fittingly minimal and the surreal tree motif was an excellent choice and added a great deal to the theme of uncertainty and fear lurking in the wings. Jane Greenwood’s costumes were perfectly suited for the period and the lighting, sound and music all added depth to this unnerving drama of false accusations, of where being innocent before being proven guilty is not an option. 

Sadly, it’s really not that far removed from what’s still happening in society today. This is a good opportunity to see a stellar production of an American classic on the stage. It’s a long, but engrossing, and thought provoking experience.  (Contributed by Rickjallen.)