We meet Jill (Colleen Somerville Leeman) on a rough morning after a New Year's Eve wedding at which she was a bridesmaid, judging by the hideous dress she is wearing. She's single, but decides to try online dating to break her relationship slump. She is encouraged by her friends Maya (Stephanie Bertumen), a new-agey lesbian in a long-term relationship and Hayley (Katharine Strom), who seems to be expert in one-night-stands. Soon Jill's mother (Debbie Swanson), an extremely busy online dater, is also urging her to take the plunge.
Colleen Somerville Leeman and C. Ryan Shipley performing at Musical Mondays at Hell's Kitchen.
Jill has a hopeless crush on her not-single coworker Rob (C. Ryan Shipley), but views a lot of profiles and goes on dates with a bunch of guys, played with a variety of hats and demeanors by David Beukema. Watching Beukema's quick changes from one bad match to another is fun, and he does a good job of making each one funny in a different way.
Will Jill meet her match? Well, it's a musical, so...
Shannon McDonald and Brittany Shrimpton have written a script full of the foibles of modern dating, and Rosie Sauvageau's music and lyrics cleverly expand on the script's ideas. The show is fun, if a bit on the light side, and it will be interesting to see what this team takes on next.
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.
In the novel, a world-famous soprano is hired to sing at a birthday party for a Japanese industrialist, held in an unnamed South American country. When the party is taken over by terrorists, the partygoers are held hostage in the home of the country's vice president. It's a perfectly gorgeous novel, and one I've read over and over again. As an opera fan, I think so often of this quote:
"All of the orchestra supports her now, it reaches with the voices, lifts the voices up, the beautiful voice of Roxane Coss is singing her Gilda to the young Katsumi Hosokawa. Her voice vibrating the tiny bones deep inside her ear. Her voice stays inside him, becomes him. She is singing her part to him, and to a thousand other people. He is anonymous, equal, loved."
Photo by Andrew Cioffi
I adore the feeling of the tiny bones in my ear vibrating. To me, this novel is about the transformative power of music (opera!) to bring solace in hard times, to bring people together, and to cross language and cultural barriers. It's a lot to ask of an opera.
And hurrah for new opera! Hurrah for opera companies taking a chance and commissioning new work. Hurrah for composer Jimmy Lopez and librettist Nilo Cruz, both of whom bring their rich culture (Peruvian and Cuban-American respectively) to this traditionally white, European art form. And hurrah for an opera with absolutely marvelous racially diverse characters and performers.
Nilo Cruz and Jimmy Lopez,
Sir Andrew Davis and Kevin Newbury.
Photo: Todd Rosenberg
So here's the thing: The premise is of a soprano so talented that a Japanese industrialist goes all the way to an unnamed South American country to hear her sing. Her singing is so transcendent that it changes everyone who hears it. This is a tough task and, frankly, there is a reason why most operas performed are from centuries past--these exquisitely melodic arias have stood the test of time. It is a lot to ask of a contemporary composer to create an aria that shows off the voice and touches the heart as effectively as Dvorak's Rusalkaor "O Mio Babbino Caro" from Gianni Schicchi.
And here's the other thing: In the book, the music transcended language. In fact, the primary character emerged to be Gen, the Japanese industrialist's translator. With opera, it can be difficult to distinguish between the languages--especially as they're all subtitled in English. When I heard that Andrew Stenson sang in eight languages, I was astonished. It's hard to really see the singing crossing barriers when a) everyone sings, and b) you can't distinguish languages.
I also feel like there were too many people moving around the stage, and we weren't able to distinguish the characters--the relationships would be hard to determine if you hadn't read the book. And I adore this book, so it's particularly hard to let go of those strong characters. They also took away the unnamed aspect of it and made it more specific to the original incident that inspired the book, which took place in Peru, which took away some of the mystery of the book.
I can actually see Bel Canto more as a play with music. You can still play with language, and bring in the amazing arias, but keeping it less musical would make it more powerful. And I'll say it: I adore this book.
That said, YAY NEW OPERA. I look very much forward to more work by Jimmy Lopez, and more operatic work by Nilo Cruz. And I look forward to seeing what shape this opera takes as other opera companies take it on. I feel extraordinarily lucky to have seen it at the beautiful Lyric Opera House.
Want to know more about this opera? Check out Lyric Opera's handy Online Opera Guide. There's also tons of information on their website including sneak peeks at the music, behind the scenes videos, and book discussion guides.
Sidebar on Lyric Opera of Chicago: This is a fabulous place to see an opera. Gorgeous house and dining room, ample lobby space for mingling and enjoying cocktails, and having seen shows from the second tier and the front row, I can say both are wonderful. And the staff! From box office, to bar, to elevator operator to ushers, they are amazingly friendly and helpful and provide world-class customer service. Also, if you get the chance, take their backstage tour. It's worth it just to see the costume department (oh, those gorgeous Der Rosenkavaliercostumes!) up close.
It's at Chicago Shakes, which is a fabulously intimate space on Navy Pier, with one of the best lobby bars ever;
It's written by David Ives
The show art was cute
Technically, David Ives adapted the play from the French Restoration play Le Légataire universel by Jean-François Regnard. Never heard of it? Us neither.
Described on Chicago Shakespeare's website as a "cheeky romp" and directed by John Rando, Heir Apparent is about young (and handsome) Eraste (Nate Burger) who must be named as the sole heir by his miserly uncle (Paxton Whitehead) before he can marry the beautiful Isabelle (Emily Peterson). He's aided in his endeavors by his servants Lisette (Jessie Fisher) and Crispin (Cliff Saunders), and occasionally thwarted by Madame Argante, Isabelle's mother (Linda Kimbrough) and diminutive lawyer Scruple (Patrick Kerr).
Adorable lovers Eraste (Nate Burger) and Isabelle
(Emily Peterson). Photo by Liz Lauren.
Essentially, hilarity ensues, and ensues and ensues, to the point that the woman next to me snorted (in a hilariously unladylike fashion) while laughing and the woman next to my sister said to her at intermission, "You're really enjoying this, aren't you?" And we did. To a person, the cast was spot on and totally committed, despite our catching one of the last performances of a long run. I am putting every single one of them on my don't-miss theater list.
Sidebar: One of the funniest audience interactions I've ever seen happened during this show. At one point, in all of the madcappery, Crispin stops and checks in with the audience to see if they're following the plot. He happened to pick out a couple in the front row--just two rows in front of us--to direct his comments to. The hilarious part is that she was reading her program, I mean, READING her program to the point that she didn't notice him talking directly to her, just a few feet from her. And to add to that, he looks past her and notices that her husband is actually asleep. You could see his glee at that discovery, and the whole interaction was hilarious. (Eventually, someone poked her.)
Genius comedy by Jessie Fisher (as Lisette) and Cliff Saunders (as Crispin).
Photo by Liz Lauren.
Great talk-back after the show as well with the cast. I love Chicago Shakespeare. It's one of those theaters that makes me sigh that it's not located in my town. Can I at least move to Chicago for Shakespeare 400, a yearlong, citywide celebration of Shakespeare's work?
Oh, and did I mention their awesome bar? It's like a miniature pub, and it's the only theater I know that serves Champagne in real glass flutes. It's a classy joint, that Chicago Shakes. (Reviewed by Carly)
We recently caught Gotta Dance at the end of its limited run, and I'm so glad we did.
I mean, how can you pass up an opportunity to see a pre-Broadway world premiere of a new musical? Especially one that is directed and choreographed by Jerry Mitchell (Kinky Boots), with a book co-written by Bob Martin (The Drowsy Chaperone) and starring Lillias White, Andre de Shields, Georgia Engel, Stefanie Power, and Nancy Ticotin. And did I mention Lillias White? You just can't pass that by.
Gotta Dance is inspired by the story of the New Jersey NETSational senior hip hop dance team portrayed in the 2008 documentary of the same name. The show starts at auditions for a senior dance team, and it isn't till our intrepid cast make it through auditions that they realize it's a hip hop dance team. Alison (Tracy Jai Edwards), kicked off her own team for being too old (28, I think), is tasked with whipping these dancers into shape. Cue drama: Do they really have what it takes? (Spoiler: Take a guess.)
I see a lot of theater, and I have seldom seen a show where the audience is so obviously and completely on board. They are all-in from the beginning right through the ending--laughing, sympathizing, cheering on the characters. It was an amazing audience experience, and one I'll remember for a long time. And I was right there with them.
A few things I really loved:
The Characters:
It's a dance team, so there are a lot of characters. Having just seen a lot of indistinguishable characters onstage in Bel Canto, I was a little worried. But Bob Martin and co-book writer Chad Beguelin have created realistic, fully fleshed-out characters with strong and relatable stories. I also love how racially, culturally, age and gender-diverse the cast is.
The Cast:
Come ON. Lillias White? Hearing Lillias White sing in person is basically on my theater bucket list. And Andre De Shields was so magnetic and mesmerizing. Georgia Engel appears to have a painting in her closet, and her comic timing is exquisite. Every member of the cast was fabulous.
The Songs:
I tend to judge new musicals by whether I'll remember any of the songs when I've left the theater, or if I'd want to listen to the cast recording months later. The songs in Gotta Dance (music by Matthew Sklar and lyrics by Nell Benjamin) easily passes those tests. I particularly loved how specific to each character the songs were, and how much they developed already full characterizations. And don't forget the excellent beats and the rousing group numbers.
This is a funny, touching, sweet and fun show. I'm hoping for a strong and healthy run on Broadway (opening in Fall 2016) and beyond.
This is a small play in the best ways. The script, by Daniel MacIvor, focuses on just two people coping with an event that affects them both. Kyle (Wade A. Vaughn) and Hamilton (David Mann) Best are brothers who are not close when we meet them. When a tragedy brings them together, they - and we - learn more about their relationship through clever dialogue that gradually reveals the characters and their situations.
Wade A. Vaughn, David Mann/
Justin D. Gallo Photography
Vaughn and Mann are perfectly cast as brothers, very different people who are more alike than they would probably admit. No one pushes your buttons like a sibling, and these brothers feel real.
The story itself is simple, but watching these two interact is just delightful. To see their dramatic and comedic acting in such an intimate space is a true pleasure.
Natalie Novacek's direction, with lighting by Courtney Schmitz, perfectly set the scenes on a simple single set credited to the company. Simple and quick changes of A. Emily Heaney's costumes are effective in showing the passage of time and place as well.
Loudmouth has done wonderful work in the past, including a riveting production of MacIvor's solo show (Cul-de-Sac) in 2013, starring Vaughn. The Best Brothers is another excellent example of this company's work and a welcome reminder to keep track of this company and their stellar work.
“There’s the Green Mill . . . There’s the Ramada Hotel . . . is there really a theater here, right by 494?” A bit confused, I finally noticed the small neon sign that pointed the way past the hotel lobby, made my way down the steps and into the Plymouth Playhouse. Imagine my surprise to discover an intimate 200 seat jewel box of a theater with nice wide rows, great lighting and warm sound in the middle of Western Suburban Minneapolis.
I was also a bit confused at the beginning of Country Roads: The Music of John Denver. Where is this going? What kind of show is this? Is this a play or a concert? They started with a few favorites though and I was soon sucked in by the energy and talent of the performers (I hesitate to say “cast”) starring the multi-talented Dennis Curley and led by guitarist and banjo picker Tony Wirth. Country Roads is easy to enjoy. Curley’s vocals are toned beautifully for Denver’s songs, the musicians are very connected with one another and I was frankly a little jealous of the fun they seemed to be having on stage. Obviously they’ve played together before and truly enjoy the music. At best when really rocking on songs like "The Eagle and the Hawk" and "Calypso," the ensemble’s tight harmonies shine beautifully in the more contemplative "Fly Away" and "Perhaps Love," especially in duets between Curley and vocalist Dorian Chalmers. Amy LeGrand’s fiddle solo in "Annie’s Song" is a particular highlight as well as the ensemble’s vocals on "Back Home Again." I also feel the need to call out the lighting in general but especially during "Sunshine On My Shoulders." ISWYDT (see note), designer Jim Eischen!
Country Roads is more of a jukebox concert than a play or musical. The songs are interspersed with Curley’s personal reflections, stories from friends about their John Denver memories and audience groups/birthday call outs a la Prairie Home Companion. What’s missing in Country Roads is the story of John Denver himself. As a fan, I welcome information about his life (good and bad), what led him to write particular songs, his activism, and/or his relationships. I think this also is a missed opportunity on the part of the production to bring in those people in every audience who are along for the ride - not really John Denver fans but with someone who is or just riding along with their group to see a nice show. Hearing about John Denver’s life would make the show more meaningful and could only serve to create more fans.
As cute a theater as the Plymouth Playhouse is, I couldn’t help but want to see this show in a different venue. Toes tapping and heads bobbing, the audience sang along softly. But despite the valiant attempt to get us riled up, it felt a bit closeted in a dark basement on a cloudy and cold Thursday afternoon. This show (and the natural imagery in Denver’s music) deserves bright warm sunshine, cold beer and a crowd free to sway and sing along at the top of their lungs. As they’ve done with past shows, I hope they’ll take Country Roads to the MN State Fair or other fairs and festivals this summer to open it up to a more diverse audience who might not think to attend theater at all, let alone in Plymouth, Minnesota. There’s good to be found in John Denver’s ability to turn an appreciation for nature and love into beautiful music. And there’s good to be found in little suburban basement theaters like the Plymouth Playhouse. Hopefully fans of John Denver will be led to The Plymouth Playhouse and vice versa. The existence of both, make Minnesota a great place to experience entertainment.
