Our story begins in 1964, divided into four scenes that all play out in the basement of a Lutheran church in small town Minnesota over the next couple of years. In each scene, the ladies (and Pastor Gunderson) are preparing for an event - the annual lutefisk and lefse dinner, a funeral, an Easter fundraiser, and a wedding. They make the food, brew the coffee, and serve the people, all while chatting about their lives, families, and small town gossip.
What makes this show work is the performances by the talented cast, particularly the three originals who know their characters so well and fully embody every eccentricity, while also making them very endearing. Janet Paone plays Vivian (but you can call her Mrs. Snustad), the grande dame of the basement, and she is an absolute gem. Every facial expression, every line delivery, every pause for comedic effect, is perfection. Local comedy legend Greta Grosch (who wrote all eight sequels) is hilarious as farmer's wife Mavis, and Dorian Chalmers is a delight as the more sophisticated lady Karin (she lived in The Cities for a time, aka the Sodom and Gamorrah of the prairie). Karin's daughter Signe is also off in the cities attending the U, but comes home for all of these events. She's played by newcomer to the basement Via Logan (because no one can pull off being 19 for 20 years), and fits right in with the veterans. Rounding out the cast is Paul Sommers as Pastor Gunderson, portraying all the loving exasperation with these ladies who make the church run.
Director Curt Wollan has directed and produced all installments of the series, so he also knows the material very well, and knows what works to bring out all of the humor and zaniness. There's some great prop work and fun physical comedy (the latter mostly on the part of Greta Grosch) on a set that looks every bit the typical Minnesota church basement - brightly painted walls, tile floor, neatly labeled drawers and cabinets, a fridge stocked with so much prop food, and four doors (because in a farce, which this show is at times, more doors = more funny, especially if one of them sticks). And it doesn't hurt that the theater is actually in the basement and a bit chilly, and they play organ hymns before the show and during intermission, putting us right there in the basement. Characters are dressed in period costumes that reflect their personalities - more stylish for Karin, more youthful for Signe, more practical for Mavis, and more house dress for Mrs. Snustad. They wear different costumes in every scene, with attention paid to shoes, overshoes, and outerwear. (Scenic and props design by Erica Zaffarano, costume design by Trina Benedict.)
The original score (written by Drew Jansen, with music direction by Dennis Curley) is fun and catchy, with some lovely mid-Century girl group harmonies. Unfortunately they sing along to a recorded music track, rather than live musicians, but I suppose that's what makes the show so portable and able to run for so long. The ladies perform some charming choreography (by Lexie Swenson based on Wendy Short-Hays' original choreography).
I've spent a lot of time in church basements (I went to a Catholic elementary school, and the church basement served as our gym and lunch room, not to mention countless weddings and funerals and other events), but I'm sorry it took me so long to get to this basement. This show is a hoot and a half. It's great light-hearted feel-good fun, and a Minnesota audience loves Minnesota references and jokes, which this show is chock full of. If you want to go a little bit deeper, it also celebrates community and family and supporting each other through times of need, and encourages embracing change while still holding on to the traditions that matter. Church Basement Ladies is a tradition in and of itself, and I'm glad to finally experience it.
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| Greta Grosch, Janet Paone, Dorian Chalmers, Via Logan, and Paul Sommers (photo courtesy of Church Basement Ladies) |
