Update: We Left the House! aka Some Shows We've Seen (Summer 2023)

Hello friends!

Our friends over at Cherry and Spoon and The Stages of MN have persuaded us to finally get out and see some theater. So we have! And dang it, we're going to tell you about it.

We Saw Some Shows - November 2018 Sum-Up

Here are a few short takes on shows we've seen lately.

In October, we saw The Haunting of Hill House by Theatre X at the James J. Hill House, which we were SO on board with immediately.

Just Because It's June, June, June - Upcoming Theater

Since this is a frequent conversation I'm having these days:

Friend: "Hey, what's a good show to see?"

Me: "Uhhhhhh ..."

Here are some shows we're looking forward to in June. Enjoy!

Catching Up - Post-Hiatus Post

Dear Friends,

We here at Minnesota Theater Love have dropped the ball on the AMAZING amount of theater in February and March 2017. Our apologies and thank goodness our friends at Twin Cities Theater Bloggers are ON IT. They are doing amazingly fun backstage videos and interviews in addition to reviews, so follow them on Facebook. All the cool theater kids are doing it.

So here's a super short look at some things we've seen lately--for posterity's sake.

Look at that fabulous set! Photo by Dan Norman

Six Degrees of Separation at Theater Latte Da - Holy cats, this SET. Walking into the Ritz Theater, Latte Da's new home (hooray!), I almost stopped in my tracks to take it in. I just wanted to live in that stage, with its expansive sofas, massive coffee table, and fabulous art (courtesy of artists from the Northeast Minneapolis Arts District). Scenic design was by Kate Sutton-Johnson. Great cast, of course: Mark Benninghofen, Sally Wingert, Patrick Bailey, Kendra Anne Thompson, and JuCoby Johnson. Great play. Also short. Man, I am REALLY out of practice. Oh, and there was a John Doyleish element of musicians and actors playing music onstage. It ain't easy to be an actor these days.

Dreamy Justin Kirk

Dinner at Eight at Minnesota Opera - Another world premiere opera from Minnesota Opera, with music by William Bolcom and libretto by Mark Campbell. Based on the play by George S. Kaufman and Edna Ferber. Minnesota Opera has done some beautiful new works in the past year, especially last year's The Shining. And hurray for new work! But this one didn't work. Set in the 1930s, the play is a classic of dry wit. And dry wit simply doesn't translate to traditional opera singing. Some good performances, though, especially Mary Dunleavy as Millicent Jordan. And it was short.

The 24 Hr. Plays at Pantages Theater - The 24 Hour Play Project brings together theater artists to create time-limited theater around the world that benefits various organizations. Playwrights come together and have 24 hours to write six short plays, which are cast and performed the following day. An amazing array of Twin Cities actors and playwrights were featured, as well as a few out-of-towners, like Justin Kirk. The evening was hosted by the charming and talented David Darrow, and his guitar, and benefited Spotlight Education and UMD Theatre Scholarships. Above all else, though, it was so lovely to be in an audience of people who LOVE theater and were so enthusiastic and appreciative. It made my bitter old theater heart grow two sizes.

Bradley Greenwald in The Sneetches.
Photo by Dan Norman

Booty and the Beast: A Tinderella Story at Brave New Workshop - Why do I not go to BNW all the time? This show, a hilarious blend of classic Disney fairy tales and modern dating drama, was so delightful and funny that my face hurt from smiling. Plus, you can text drink orders to your server. They should have a required coat check, though, like 54 Below. Those tables are tight!

The Sneetches: The Musical at Children's Theatre Company - Attended this sensory-friendly performance partly for work, and partly for fun. CTC works with the Autism Society of MN to put on regular sensory-friendly performances of their shows, featuring quiet spaces, low lighting in the house during the show, fidgets and noise-cancelling headphones and plenty of friendly volunteers. The show, featuring another fabulous cast including Max Wojtanowicz, Paul R. Coate, George Keller, Natalie Tran, Kim Kivens, Ryan Colbert and way more, was charming and beautifully designed. It seemed to go on a bit long though, belaboring the same points (but hey, it's children's theater). Then Bradley Greenwald showed up in a red wig, and a green plaid suit and livened things up immeasurably. Good fun and yay inclusiveness!

Kimberly Richardson in The Red Shoes.
Photo by Ron Ravensborg.

The Red Shoes at Open Eye Figure Theatre - Produced in partnership with Joel Sass’ Oddfellows Collective. Conceived, written, designed and directed by Joel Sass. Featuring performer Kimberly Richardson. This show is rather bananas and genius. If only we hadn't seen it on the last day, we'd be sharing the word far and wide. What's it about? Based on the Hans Christian Andersen fairy tale, and incorporating elements of vintage detective novels, and modern day anxiety, this show (as Sass writes in his Director's Note): "The Red Shoes evokes a highly stylized landscape of convoluted mystery, subconscious menace, fever dreams, and existential crisis." I'd also add that Richardson's performance was a tour de force, and the amazingly inventive stagecraft was fascinating. So many truly astonishing moments that will stay with me for a long time. This show is far too good to go away--I hope we see it come back.

Whew. Caught up now and ready to attack a new season of theater. Happy theatergoing, theater friends!

Das Rheingold at Minnesota Opera

From the very first notes of Wagner's beautiful overture coming from the super-sized orchestra on stage of the Ordway in Minnesota Opera's production of Das Rheingold, I was IN.

The musicians had to be on stage, since they number about twenty more than can fit into the Ordway's orchestra pit. Director Brian Staufenbiel turns this necessity into a strong production design that fits the material perfectly. Hearing Wagner performed live is an experience not to be missed.

Alberich (Nathan Berg) and the Rhinemaidens
Gorgeous production photos by Cory Weaver.

The musicians are periodically behind a scrim, but always in view. When the action starts, the Rhinemaidens frolic in the "pool" of the orchestra pit, with stage fog and watery reflections projected on the scrim to set the scene. This also puts the singers front and center, and it's wonderful to hear the voices so clearly. Mary Evelyn Hangley, Alexandra Razskazoff, and Nadia Fayad sound gorgeous and move beautifully, playfully spurning the advances of the Niebelung, or dwarf, Alberich (Nathan Berg in a fantastic performance), who wants the gold the maidens guard. (The great Anna Russell calls the Rhinemaidens "a sort of aquatic Andrews Sisters" and you really must check out her recap of the opera if you haven't seen it already.)

In the underworld, where the Niebelungen live, the gold gives Alberich the power to control others, including his brother Mime, sung by Dennis Petersen, who is very watchable, resembling Andy Serkis in his almost insectlike costume, herding an adorable bunch of supernumeraries as the other dwarves.

When the story moves above ground to visit the gods in Valhalla, they appear on a high catwalk above the orchestra, placing them physically and vocally above the rest of the cast.

And the cast is outstanding. Greer Grimsby is solid and in charge, and perfectly embodies Wotan, ruler of the gods. His relationship with Katherine Goeldner's Fricka feels affectionate and intimate. Richard Cox as the demigod Loge is a solid presence in his antler-like headgear, even as we doubt his intentions. Late in the opera, the magnificent Denyce Graves emerges as Erda, Goddess of the Earth. She wears a wonderful nature-inspired costume, and I was tempted to start entrance applause for her. I only wished the role were bigger and that we could have heard more of her glorious voice. 

Denyce Graves as Erda

The costumes and production design are steampunk-inspired, but not in a gimmicky way. Cameras make the giants Fasolt and Fafner (Jeremy Galyon and Julian Close, both wonderful) seem larger than life. The projections throughout are terrific and really add to the otherworldly setting.

The opera is performed as written, without an intermission, and runs two hours and 33 minutes. Surprisingly, I only saw one person leave their seat during the opera, and I'm pretty sure they were having a coughing fit. The opera's program includes a succinct synopsis and a handy family tree that traces the complicated relationships that proceed through the entire Ring cycle, of which Das Rheingold is only the first of four operas.

If this production is deemed a success, we may be fortunate enough to see the rest of the cycle in Minnesota Opera's coming seasons, and I truly hope that happens. Personally, I love Wagner's operas because of the complex mythology and the fact that things happen, unlike many operas where people just sing incessantly about love. [Editor's note: Some of us like people singing incessantly about love. ;)]

Gods and giants and dragons, oh, my!

As usual, Minnesota Opera have done a wonderful job of compiling supplementary information on the their website, including photos, costume sketches, and music.

And if you want to know even more about The Ring Cycle, check out the fab documentary Wagner's Ring, about the Metropolitan Opera's recent staging of the entire cycle. It's a fabulous look at a massive production and all of the backstage drama therein.

The Shining - World Premiere at Minnesota Opera

Few things seem more unlikely than an opera based on a Stephen King novel. High culture meets bestselling horror fiction? Worlds converging? And yet, it's true. And it's practically perfect.

The Shining is a world premiere commissioned by Minnesota Opera as part of its New Works Initiative. Composer Paul Moravec is a newcomer to Minnesota Opera, while librettist Mark Campbell’s previous works include the world premieres of Silent Night and The Manchurian Candidate (both also commissioned by the Opera). The collaborators went back to Stephen King’s original 1977 novel, and not the well-known Stanley Kubrick film, which King was never happy with.

Brian Mulligan and Kelly Kaduce (photo by Ken Howard)

If you have somehow missed the book, the Kubrick film, or King's 1997 miniseries, The Shining is a novel about Jack Torrance, who gets a job as caretaker for the Overlook Hotel in Colorado over one winter. He brings his wife Wendy and their son, Danny, and plans to work on a play he is writing. He's hoping the isolated hotel will help him with his work, and to make a fresh start with his family, after his alcoholism and temper have cost him a teaching job. But the Overlook has other plans for Jack.

The line between musical theater and opera can be a little close, and some work is better suited to another genre. But The Shining is absolutely perfect as an opera. The music and libretto, natural and realistic in the beginning of the opera, perfectly encapsulates the increasing tension and heightened emotion of the story. The fantastic stage and production designs supports the music and cast at every point.

Production photo by Ken Howard

Minnesota Opera has put a ton of resources into this production, and it all shows on stage. Masterful projection design sets the scene, showing us the vast uninhabited expanses that surround the hotel, helping us to feel the isolation that soon envelops the Torrance family.

Layers of animation and projection combine with practical sets to blur the lines between the realism of the opening and the encroaching sinister forces as the hotel and its madness become all too real. 59 Productions, who designed the animations and projections, recently won a Tony for An American in Paris, and has contributed to a number of Broadway and Metropolitan Opera productions.

Brian Mulligan, Kelly Kaduce and Alejandro Vega
(photo by Ken Howard)

The cast was perfect. As the increasingly tortured Jack, Brian Mulligan used his beautiful baritone voice in ways both lovely and ugly, devolving at times into speaking and shouting, conveying the character’s state of mind. Minnesota Opera favorite Kelly Kaduce as Wendy was glorious as always, showing the intense love and commitment of her character as well as her growing fear.

As Danny, young Alejandro Vega was very good in the difficult role of this gifted child who experiences much more than the adults around him. His energy and focus were impressive, and made Danny feel like an actual child in spite of his gifts, which included channeling the voices of the hotel’s ghosts, with the chorus chiming in eerily.

Alejandro Vega and Arthur Woodley (photo by Ken Howard)

Aside from the Torrance family, the strongest (human) presence in the opera comes from Arthur Woodley as Dick Hallorann, cook at the Overlook. Hallorann is heading to Florida, but he recognizes that Danny has the shining (visions, or precognition) as does Hallorann. Woodley has a great deep voice with incredible ringing high notes. He was so in tune and in touch with the character’s protectiveness of Danny. He was a joy to hear and to watch on stage.

Also of note is a male quartet comprised of Mark Walters, Alex Ritchie, John Robert Lindsey, and David Walton, who sang at a pivotal point in the second act. They were truly sinister and sounded so good together, especially when Brian Mulligan joined them in song. The chorus, and other featured singers were all fantastic.

Look at that gorgeous production design!
(photo by Ken Howard)

In addition to the fantastic singing, the performers acted the play beautifully. The connections of the family felt very real, which made it all the more disturbing when things really start to go wrong. The violence necessary to the story was more realistic than most drama seen on opera stages.

Every bit as important as characters are the ghosts of the Overlook Hotel, and the hotel itself. Skillfully contrasted with the realistic, everyday relationships and activities of the Torrance family are the ghosts. They are first seen only as silhouettes, but as Jack’s mania grows, so do the depictions of the hotel’s creepy previous inhabitants, until Jack is moving freely among them.

Creepier and creepier. (photo by Ken Howard)

Modern opera can be a challenge: how can a modern composer create something on par with operas that have existed and been loved for hundreds of years? The Shining is a truly modern opera that features some lovely melodies, but is also truly unsettling. The music creates a tense musical atmosphere that was never overbearing but also never let up. Occasionally tough and sometimes discordant, the music is wonderfully performed to provide the creepy atmosphere that kept the tension mounting. 

Costume rendering by Karin Kopischke

Costume rendering by Karin Kopischke

The costumes, by costume designer Karin Kopischke, add to the stark contrast between the reality of the Torrance family and the surreality of the Overlook's other residents. Each costume is beautifully appropriate to each character, from the everyday 1970s wear of the Torrances to the uniforms of the previous caretakers and staff to the outlandish and unsettling costumes of the masked partygoers.

Honestly, the whole production was superb. Every element worked together perfectly to create a truly sinister and unsettling atmosphere while telling a great story of love and sacrifice that remains true to Stephen King's wonderful book. The Shining is a perfect evening at the opera. Hurrah to Minnesota Opera for commissioning this work; I hope this marvelous addition to the canon has a long, successful life.

(co-written by KRL, Jules and Carly)

Spring 2016 Preview - SO. Much. Theater.

If you need me this spring, I'll be at the theater.

As much as I'd like to be out gardening (not really), enjoying the sun (in theory), or taking a long run (stop laughing), I shall be inside a dark theater enjoying the best from our local purveyors of quality theater.

So here's a look at the shows I'm most excited for this spring!

C. at Theater Latte Da (The Ritz Theater)
March 30 - April 24
What: A musical adaptation of Cyrano de Bergerac with book and lyrics by Bradley Greenwald and music by Robert Elhai.
Why I'm Excited: Because it is an absolutely, utterly, gorgeous production of a wonderful new show. The music, in particularly the male chorus numbers, is astonishingly beautiful. Read more about from our friend Cherry and Spoon's rave review.

Buyer and Cellar at New Century Theatre
April 6 - April 24

What: One-man show about a Alex More, an unemployed actor who takes a job running the mall in Barbra Streisand's basement, originally performed off-Broadway in 2013.

Why I'm Stoked: Saw it in New York and the show is completely hilarious. We saw it with Michael Urie, and I can't think of a better local actor than Sasha Andreev to take on the sweet and funny role of Alex More.

The Fantasticks at Nautilus Music-Theatre
April 8 - April 19
What: Classic musical by Tom Jones about two young lovers and the fathers that try to separate them.

Why I'm There: a) That cast! Gary Briggle and Wendy Lehr as the young lovers, Christina Baldwin and Jennifer Baldwin Peden as their fathers, William Gilness as the mysterious narrator, and Brian Sostek as his sidekick. And b) There's no better place in town to hear amazing performers in charming, inventive productions AND unmiked in an intimate space.

Sunset Baby at Penumbra Theatre
April 12 - May 8
What: "A tough, independent woman in Brooklyn is visited by her father, a former revolutionary in the Black liberation movement who seeks to mend their broken relationship." (From Timeline Theatre)
Why It's a Must-See: Last year, Penumbra produced Detroit '67 by Dominique Morrisseau, and it was a beautiful, riveting night of theater. Also, Penumbra is hitting them out of the park this season.

Diary of a Wimpy Kid at Children's Theatre Company
April 12 - June 5
What: Musical adaptation of the wildly popular children's book series by Jeff Kinney.
Why: Four words: Produced by Kevin McCollum.

Lasso of Truth at Workhaus Collective in association with Walking Shadow Theatre Company(The Playwright's Center)
April 15 - May 1
What: A play that explores the origins of Wonder Woman, written by Carson Kreitzer.
Why I Am Excited (But a Little Sad): 1) Stephen Yoakam. 2) Projections by Davey Steinman (of Basement Creatures.) 3) It's Workhaus Collective's final show.  

Charm at Mixed Blood Theatre
April 22 – May 8, 2016
What: "A beguiling comic drama revolving around Mama Darleena, an African American trans woman in her 60s teaching an etiquette class to trans youth experiencing homelessness in a LGBTQI Chicago community center." (Mixed Blood website)
Why I'm Down: They had me at "beguiling." And I adore all things etiquette. Plus, important social issues and all that.

Leap of Faith at Minneapolis Musical Theatre
April 29 – May 22
What: Charismatic con man preacher has a change of heart (I assume).
Why I'm Up for It: I'm loving Minneapolis Musical Theatre's season this year and this one features the Twin Cities Gospel Choir. Yes, please.

Complicated Fun: the Minneapolis Music Scene at History Theatre

April 30–May 29, 2016
What: Exploration of the Minneapolis music scene of the 1980s.
Why I'm Interested but a Little Freaked Out: My youth is going to be on stage at the History Theatre. The History Theatre. That means I am OLD. Still ... I love that they're leaping into more recent history. Will the History Theatre be rocking? Will I need those kids to get off my lawn?

The Shining at Minnesota Opera
May 7 - 15
What: It's all there in the title. World Premiere, no less.
Why I'll Be In the Front Row: I love Stephen King AND opera! It's as though they made it just for me! Thanks, Minnesota Opera!

Trouble in Mind at Guthrie Theater
May 7 - June 5
What: "It is 1957 in New York and rehearsals have begun for a racially integrated production, one the company hopes will be the next hit. But when prejudices and stereotypes emerge, African American actress Wiletta Mayer faces a difficult decision: should she swallow her pride and compromise her values to achieve her lifelong dream of playing a leading role on Broadway?" (Guthrie website)

Why I Won't Miss This One: New play, by Alice Childress. (Can we talk about all the women playwrights on this list? And the women playwrights of color? HURRAH!) Fascinating story. Support representation at the Big G! And the lovely Mr. Haj.

A Night in Olympus at Illusion Theater
May 7 - June 4
What: I read the description and I really don't have any idea. Mythology? Zombies? Geeks? Wish fulfillment?
Why I'm Underlining This One: Really just a big list of names: Jeffrey Hatcher, Bill Corbett, Chan Poling, Dieter Bierbrauer, Aimee K. Bryant, Norah Long, Randy Schmeling and oh, so many more.

The Changelings at Ten Thousand Things
May 13 - June 5
What: Play by Kira Obolensky. They could put on a dramatic reading of the phone book, and I'd be there in the front row.
Why I Won't Miss It: See above. And because I don't miss a TTT production. Ever. Also, yay Joy Dolo! One of my new favorite local actors!

Happy Spring Theatergoing! And don't worry, Spring will be a little late this year.

Did I miss something amazing? Let us know on Facebook or Twitter!

Tosca - MN Opera at the Ordway

Kaduce and Capalbo - (c) Dan Norman

To paraphrase Rodgers and Hammerstein - What a Grand Night of Singing!! Tosca is the second of Puccini's four best known operas, coming between La Boheme and Madame Butterfly, and Turandot (his last opera written about 20 years after the first three). There are other operas that he wrote and many of the arias from these operas are among the worlds most famous. At least two of the best known arias are from Tosca - Vissi d'arte from Act Two, and E lucevan le stelle from Act Three. All that to say that the opera is well known, and well loved, and yet it was my first time seeing a full production.

Powell and ensemble - (c) Dan Norman

The curtain went up to a stunning set of the inside of the church of Sant'Andrea della Valle. There is a large statue of the Madonna rising out of a gorgeous gold halo design set at an angle in the center of the set. Stairs surround this halo, and the projected backdrop is filled with paintings. The synopsis will fill you in on the details of the story which will allow me to focus on the production and performance. Angelotti (as sung by Andrew Lovato) enters through the house and runs on stage to hide in the chapel. All the other characters enter from backstage, or off stage. The first act sets up a lot of story, and is wonderful in showing how jealous Tosca (the glorious and MN Opera favorite Kelly Kaduce) is, as well as how faithful and religious she is. It also shows so clearly how much she and Cavaradossi (the amazing Leonardo Capalbo) are in love. They have a true passionate love for each other that echos through out the rest of the opera. Cavaradossi also hints at how evil Scarpia (as wonderfully sung by Stephen Powell) is and how lustful he is - though he is the chief of police. Towards the end of Act One, there is a Te Deum sung in honor of the defeat of Napoleon. The chorus is on stage, the Te Deum is being sung while Scarpia is singing about how much he wants Tosca and will have her. During this, Tosca leaves and is followed by a police agent - both leaving through the house and out the back door of the house. As gorgeous as this moment was musically, and theatrically - it was an inconsistent moment as those were the only two times the cast walked through the audience. One small misstep in my opinion to an otherwise fantastic production.

Kaduce and Powell - (c) Dan Norman

Act Two takes place in the Farnese Palace, which is police headquarters. The set is a dark set, multiple levels with a curved staircase at the back. The main platform has a gorgeous dinner table set out, three chandeliers hanging and a projected backdrop of deep red curtains. On the dinner table were two or three candelabras with candles burning. This is the setting for the central conflict between Tosca and Scarpia with Cavaradossi's life hanging in the balance. While one of my friends commented that Scarpia was not evil incarnate at the start of the opera, I totally disagree. I felt that his entrance in Act One was chilling and clearly made the chorus uncomfortable. At the same time you realize during Act Two how evil and twisted this character is. Stephen Powell did a fantastic job of slowly dropping the mask and showing Scarpia's true nature. I have to admit I was tense all through this act and it was great! Kelly Kaduce's "Vissi d'arte" was magnificent and moving. The physicality of this actress astounded me again after seeing her in Rusalka. The fighting between her and Scarpia, the manhandling that she deals with was so realistic and well done. You could clearly see that they were struggling. The moments between her and Cavaradossi during this act were heartbreaking. The chemistry between them was as hot as the chemistry between Tosca and Scarpia was cold and hateful. The curtain comes down on Act Two with Scarpia dead on the floor, and Tosca slowly walking up the stairs to exit, dragging her shawl behind her, the candles almost burnt down - a fantastic visual.

Capalbo - (c) Dan Norman

The last act takes place on the top of Castel Sant'Angelo. The day is starting, a shepherd boy enters and sings a song, bells are ringing and dawn is slowly breaking. Cavaradossi is brought in to prepare for the firing squad. He makes one final request to write a letter to one he loves and will miss dearly. The aria was spellbinding. Tosca enters to let him know what transpired at the end of Act Two, that Scarpia provided them both with safe passage and that the firing squad will be shooting blanks. The firing squad enters, shoots him and leaves. Tosca stands watching them leave while telling Cavaradossi to "stay down, don't move until they are gone." She turns, once they are in the clear, and heads to the body of her lover. The final minutes of this opera were wonderful to watch. The choices that Kelly Kaduce make, that Tosca makes were so clear and it made the final moment inevitable.

The whole production was beautiful to watch and hear. The orchestra, lead by Anne Manson, was gorgeous, making every moment count. Costumes and set by Lorenzo Cutùli were perfect - colorful when needed, muted with a flash of color at times...Tosca's gowns were stunning. The one thing that I wanted to see though was blood. I know it can be messy, and difficult to work with at times but Scarpia is stabbed in the heart, and Cavaradossi is shot - there should be some blood and stage magic to portray that. Again, such a small issue - certainly not anything that others would pick up on, and it didn't lessen the wonder and beauty of this production. It plays through March 26th and if you have a chance, you should go see it. Gorgeous through and through.

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!

Rusalka - Minnesota Opera

Simply gorgeous.

Photo: Dan Norman

That may be all you need to know about this production of Dvorák's opera Rusalka. This was one of Dvorák's last operas and the story is certainly familiar. Rusalka is a water-nymph who falls in love with a human Prince. She desires to be with him and so she goes to a witch to become human. The side-effect of this change is that she has no voice. Sound familiar?

The opera is told in three acts - each about an hour long, yet they never felt long. The curtain rises to a raked stage with stone features and a bridge across a crack in the center. The back and sides of the stage have a projection on them, along with some netting coming down from the fly-space. The whole feel is of being underwater, and we see Rusalka (Kelly Kaduce) fall in love. Soon after the projections change to reflect a forest and we see some dryads are playing and dancing, while also flirting with the water-gnome - Rusalka's father (Ben Wager). Rusalka enters, speaks of her love, sings to the moon and heads off to change her life. That is the essence of Act One but oh, the music and singing!!

Photo: Dan Norman

Act Two starts off in a way I had never thought of. It is made very clear that though the Prince and Rusalka have only been with each other for a week, they are still intimate and passionate - though the Prince's passion is fading. The location is the castle and while some of the rock formations have been moved, the rest of the set is very cold and hard - projections in color with no warmth. The costumes are all in black, white, and grey while Rusalka is in a stunning vibrant red. This act shows the decay of the short relationship, Rusalka's growing unhappiness, jealousy, and despair, the Prince's lack of understanding and his movement towards the next best thing - a human Princess. This act is set at a a party to celebrate the engagement of the Prince to Rusalka, so naturally there are guests and dancing. The guests were paired off and dancing together through most of the act. It was fantastic! Each of the women's costumes was unique and gorgeous. More than that though - each dancer clearly had a character and a relationship with their dancing partner. Through the act these relationships clearly started to falter - sometimes with humor as characters were getting drunk, othertimes with anger and face-slapping. These dancers/actors were a joy to watch - Erin Drummond, Betsy Gaasedelen, Kevin Iverson, Lauri Kraft, James Kunz, Jennifer Mack, Tony Vierling, and Joey Weaver.

Photo: Dan Norman

Act Three - well, I'm sure you have figured out some of the ending by now so I won't go into it. Let me just say that it was just as gorgeous as the first two acts. It has beautiful projections (all by Wendall K. Harrington), gorgeous singing, and a very moving ending. What made this night more memorable is that the man playing the Prince fell ill earlier in the week. So AJ Glueckert stepped in after singing off-stage during the dress rehearsal and learning the blocking the day previous. I love live theatre! The opera may seem like a big show yet the cast was a cast of nine singing roles. They sang their hearts out and provided one of the more generous curtain calls I've seen - calling up not only the conductor but also three other members of the production team. Gorgeous and fantastic production - go see it.

Review - The Magic Flute at MN Opera

from the MN Opera Website

There is so little that needs to be said about this production other than GO SEE IT!

The Magic Flute by Mozart, currently playing as part of Minnesota Opera's 2015-2016 season, is a charming opera that is about love, revenge, trials and rewards. It is probably best known for the Queen of the Night aria, and possibly the charming duet between Papageno and Papagena. The first time I heard anything from this opera was in the film Amadeus. I also saw a wonderful production at Theatre de la Jeune Leune back in the day.

from the MN Opera Instagram

When this production (a co-production between the German Komische Oper Berlin and the British theater group 1927) was first performed here in the Twin Cities a few years ago, I heard nothing but rave reviews. After seeing it opening night, I would happen to agree with these reviews. It was an amazing and fun production.

from the MN Opera Instagram

What made it so good? Beyond the fantastic singing by the leads and chorus, and the amazing playing of the orchestra - it is the production. It is set as a 1930s silent film.

I realize this sounds crazy so let me explain. The set is a simple white wall with certain portions that turn around to reveal actors. Everything else is projected on the white background. You can see from this backstage pic how it works. And from an audience view, it works great! It allows for some really great visuals, and some very funny moments. Papageno has a pet cat that keeps showing up, and watching the actor interact with the projection is just charming.

One of the aspects of this production I really enjoyed were the recitatives. This may sound odd except they kept the silent film style so the actors pretended to speak while the projections showed what they had said. All of this was done to a harpsichord (piano?) that sounded like a player piano from a silent film. It was imaginative, never boring and gorgeous to watch.

So, if you have any doubts - go see it and judge for yourself. If you need further evidence, check out this trailer. It is a fantastic production!

Carmen at Minnesota Opera: Review Round-Up

Carmen is one of the great, crowd-pleasing operas that opera companies know will sell tickets, and from all reports, the sales for Minnesota Opera's current production are thriving.

Never seen Carmen? Missed it the last time Minnesota Opera performed it in 2004-05? (Or before that in 1996-97, 1990-91, 1987-88, or 1980-81?)

Here's the scoop from one of my favorite opera books: Weep, Shudder, Die: A Guide to Loving Opera by Robert Levine, who sums it up as "the story of a doomed-yet-hot cigarette-factory-worker-slash-smuggler and her crazed soldier-boy lover." If only all opera summaries were as succinct and descriptive! A bit more from Levine:

"When Carmen first appeared more than a century and a quarter ago, it sent shock wavers through decent society everywhere. Women were fighting and smoking onstage, and the heroine was the most brazen and unrepentantly sexual creature audiences had ever seen. ... By today's standards, Carmen seems a free-spirited young woman with a somewhat dubious taste in boyfriends. Jose, however, is obviously a sexually repressed lunatic who had never been out of the clutches of his mother and virginal girlfriend, filled with angers and frustrations just waiting to explode. Ripped from today's high school headlines."

Here's the thing: I love that Minnesota Opera is selling lots of tickets to this opera--I love that it will give them a good basis for doing more engaging, challenging work, such as last season's staggeringly perfect The Magic Flute, as well as new operas such as The Manchurian Candidate.

Christian Zaremba and Andrew Lovato in
Girl of the Golden West. Photo by Michal Daniel.

And keeping it all about theaterlove ... I am SO glad to finally see Christian Zaremba, Minnesota Opera Resident Artist, in a role (Zuniga) that gives him more to do. He's appeared in a number of small parts all season, and has always done a fabulous job. He's not a focus-stealer in any way, he just embodies his characters beautifully and lends gravity and depth to all productions.

Mark my words: This guy is one to watch. He can act, he has a strong physical presence, he is exceedingly comfortable on stage in a variety of roles, and he can really sing. I think he could be one of the great new opera stars, and I will be very excited to brag that I spotted him way back. (He even showed up on the hilariously admiring Barihunks blog and Twitter feed--I assume a tee shirt will be coming his way soon.)

Siena Forest, Kyle Ketelsen, and
Bergen Baker. Photo by Michal Daniel

More love? Kyle Ketelsen, who was last at Minnesota Opera in Anna Bolena, plays Escamillo, and as soon as he steps on the stage (or is driven onstage), the energy level jumps. He's an amazingly riveting performer, with a strong, confident voice and presence, and something that is too often lacking in opera stars--actual sex appeal. I still remember (okay, it was only two seasons ago) his love scenes as Enrico VIII in Anna Bolena. They were astonishingly hot--especially for opera, which is often pretty low on the temperature scale. He's fabulous but is on stage for far too short a time.

As for the rest of the production, the Director's Notes in the program say it all: "A Boogie Nights Carmen." You can read more here.

Set in the 1970s, the primary aspect that reflects this concept is the costuming. The range of costumes spanned from 1940s housedresses and aprons to ill-fitting hip-huggers to Carmen's Missoni-like dress. When the smugglers all gathered in the mountains (quite a lot of them), it looked like the Manson Family has turned to smuggling--vintage Playboys, no less. Also, I love you Minnesota Opera, but that was some of the worst fake smoking I've ever seen.

That said, I'm happy for Minnesota Opera to have a great-selling show. I hope this encourages more people to come see their other work, especially The Magic Flute, a fabulous production that they're bringing back next season.

Here's what reviewers are saying about Carmen:

'Carmen' Review: Minnesota Opera Shifts Story to '70s, and It Soars - Pioneer Press

"Any significant flaws can be attributed to the opera itself, which tests your capacity for compassion with its opportunistic heroine, abusive hero and no real romance to speak of, just libidos run amok."

Minnesota Opera's 'Carmen' is Disappointing - Star Tribune
"It would be nice to report that the company’s new “Carmen,” unveiled at the Ordway Center on Saturday as the season’s final production, moves forward, offering a compelling vision for the next 20 years. It doesn't." 

Carmen - Aisle Say Twin Cities
"MN Opera's 'Carmen' set in post-Franco Spain, is saucy, dazzling, and you'll be singing the "Toreador" song for days."

Carmen - The Minneapolite

"This is a lush, sexy world and every inch of the stage seems to pulse with that sensual energy. Embrace a bit of tragic yearning and don't miss Carmen."

The Manchurian Candidate at Minnesota Opera

I have been attending Minnesota Opera for years, and I have seldom seen an audience as attentive as the one at Saturday night's World Premiere of The Manchurian Candidate.

I love a world premiere. Even if you've not seen the classic film from 1962 (or its less classic remake in 2004) , this story is a well-known piece of popular culture. The opera is based on the novel by Richard Condon (and I'm guessing heavily influenced by the movie as well), with music by Kevin Puts, libretto by Mark Campbell, conducted by Michael Christie and stage directed by Kevin Newbury.)

To be totally honest, I'm often a bit disappointed by 'new' operas. Where are the big chorus scenes? Where are the sweeping melodies and the emotional highs and lows?

Although I still longed for those things, I enjoyed The Manchurian Candidate thoroughly. The story of a soldier brainwashed by Communists to become a political assassin, this tale chillingly portrays "the fear and paranoia in politics" (thank you, Director's Notes), as well as complicated (oh, so complicated) familial relationships, wonderful sweet romances, and tenacious friendships, as well as the political intrigue.

 I have to say, it's all grounded in Matthew Worth's thoughtful and emotional portrayal of the central role, with wonderfully strong performances by Brenda Harris and Leonardo Capaldo as well (only a few of a stand-out cast).

Gorgeously sung and acted by all, this opera was a fascinating and thought-provoking evening of theater. Concept, set, staging, costuming (gorgeous dresses, btw), plot and music all came together for a fascinating night of opera. And at only two hours and ten minutes with intermission, it sped by.

Don't forget that Minnesota Opera has a number of wonderful program relating to opera around town and at local libraries.  You can find the full schedule on their website, as well as tons of videos and behind-the-scenes clips from The Manchurian Candidate.