"Mary Poppins" at Artistry

Artistry's Mary Poppins may be just the thing you need right now. That is, an escape from reality into the magical world of everyone's favorite nanny, filled with talking dogs, moving statues, high-flying kites, and fantastic dance numbers. Watching the show is, indeed, a jolly holiday as Artistry's large and talented cast brings the beloved movie to life with unstoppable energy. This is my third time seeing the 2004 stage adaptation of the 1964 classic movie and P.L. Travers' series of books, with book by Julian Fellowes (creator of Downton Abbey) and about a half dozen new songs added. I still think it's a bit long and bloated, with several scenes, songs, and characters that could be cut to make the runtime more child (and me) friendly than the current nearly 3 hours (which of course is no fault of Artistry, they have to work with the piece as written). But on the whole it's a heart-warming and smile-inducing show filled with moments of magic and delight for any age.

"Coco's Diary" at the History Theatre

For their contribution to the #TCTheater holiday* season, History Theatre is bringing back their original play from five years ago, Coco's Diary, now with Christmas music and decorations! But it isn't really about Christmas of course, it's about a year in the life of a real live 13-year-old girl in 1927, living in what is now the Governor's Mansion on Summit Avenue in St. Paul. Adapted by Artistic Director Ron Peluso and Bob Beverage (the latter also choosing a selection of period tunes), Coco's Diary is, like Coco herself, quite charming. This play with music gives the audience a glimpse into the life of the wealthy on Summit Avenue in 1927, and reminds us that being 13 is the same no matter when or where you live.

"Complicated Fun" at the History Theatre

Just over a year ago, the History Theatre presented a new play with music called Complicated Fun as part of their annual Raw Stages festival. The full production opened last night, and while it maintains the humor, complexity, and fun that was present in the reading, adding all the elements of a full production has taken it to a whole new level. This very Minnesotan story about the Minneapolis music scene of the early '80s is like a long-ago unknown history play to me, something that the History Theatre does very well. Although I'm of the right generation, I was perhaps a bit too young, a bit too suburban, and much too nerdy to be aware of what was going on in downtown Minneapolis clubs, most notably, First Avenue (a venue I've only visited a few times in recent years to see my folky faves Glen Hansard and Punch Brothers). So while people who lived through and loved this musical era will probably enjoy this piece in a much different and perhaps more meaningful way than I, for the uninitiated it succeeds as great theater that invites us into an unfamiliar experience and world.

"Murder for Two" at Park Square Theatre

I do not advocate murder, unless it's of the fictional and musical variety. Then I'm all for it, especially when it's as delicious as Theater Latte Da's brilliant production of the Sondheim classic Sweeney Todd, as darkly hilarious as History Theatre's new original musical Glensheen, or as just plain fun as Park Square Theatre's Murder for Two, now playing on the Andy Boss stage. This two-person musical/comedy/mystery is funny, entertaining, and impressive to watch with its multitude of characters seen and unseen, and musical tricks by these two multi-talented performers.

In this delightfully silly murder mystery caper, Nic Delcambre is local cop Marcus who tries to solve the murder so he can make detective, and Andrea Wollenberg is everyone else. She is the wife of the victim, a murder mystery novelist who was shot in the forehead at his surprise party, as well as all of the guests at the party, including a ballerina, a grad student studying criminology, a bickering couple, a psychiatrist, a fireman, and a boys choir. They're all suspects, and Marcus interviews each of them in turn, with Andrea deftly transforming herself with a simple accessory, a change in voice, and a new physicality. It's quite a feat, and she pulls it off beautifully. The two actors seem very comfortable and playful with each other and the audience, ad libbing on occasion and making sure everyone is having a good time. And we are.

Nic Delcambre and Andrea Wollenberg

Oh, and did I mention that they both play the piano masterfully? And sing beautifully (or not, depending on the character)? Accompanying themselves and/or each other, playing together or separately or seamlessly switching in between, it's another challenging piece of the puzzle that is this crazy good show. Director Randy Reyes and his team (including Music Director Stephen Houtz) have intricately choreographed the show, executed in such a way that it looks easy breezy, which takes an incredible amount of skill, concentration, and practice.

For an extra treat, I saw the show on a "2 Sugar Tuesday." Those of you who've seen the charming and poignant Ivey-winning show 2 Sugars, Room for Cream, written and performed by Shanan Custer and Carolyn Pool (aka the Tina Fey and Amy Poehler of the Twin Cities), know just what a treat this is. In a new program, Shanan and Carolyn play hostess for one performance of many of the shows at Park Square this season. A mere $20 dollars gets you a ticket to the show, a pre- and post-show performance/ discussion/chat with the 2 Sugars ladies, and a free drink! Just look for the "T" on the calendar on each show's page on Park Square's website. Last night before the show Carolyn and Shanan told us a few things about the show and performers, and asked for questions from the audience. After the show, they facilitated a discussion with the uber-talented performers. All while being funny and charming and silly. It's a great deal, and a fun way to bookend an already fun show!

So, to review, go see Murder for Two for a delightfully silly murder romp performed by two nimble actor/singer/pianists/comedians. Then when the next show opens at Park Square, go to the "2 Sugar Tuesday" performance for a fun and unique theater experience. Got it?

"Mr. Burns, A Post-Electric Play" at the Guthrie Theater

I must confess: I've never seen a single episode of The Simpsons. Of course since I don't live under a rock, I'm vaguely aware of Marge, Homer, Bart and the gang. But this is one pop culture phenomenon that has passed me by. Even so, I can appreciate playwright Anne Washburn's play Mr. Burns, A Post-Electric Play, which uses The Simpsons to explore how pop culture survives after an apocalyptic event. While knowledge of The Simpsons might make the play more enjoyable (as evidenced by the people guffawing at every line in the row in front of me), it's still a fascinating look at survival and finding joy even in devastation.

The play feels like it's made up of three very different short plays. The first act takes place shortly after the nuclear disasters happened, causing "the grid" to go down. We meet a group of survivors, who are entertaining themselves by reminiscing about their favorite episode of The Simpsons, "Cape Feare," even while brandishing guns to protect themselves from intruders. Think The Walking Dead, except that between killing zombies, Rick and company talk about TV (maybe they do, we just don't see those scenes). To continue with the TV references, the tone of the show is somewhere between The Walking Dead and The Last Man on Earth, because it's a bit silly, but with a real undercurrent of darkness as survivors ask newcomers if they have any news about their missing loved ones.

the theater troupe performs (photo by Kevin Berne)

In the second act, we jump forward seven years to a time when things are still pretty messed up, but there are traveling theater troupes that perform episodes from TV shows. And apparently theater too, but who wants to watch Shakespeare when you can watch The Simpsons? Our group has formed one such troupe, and is in competition with other troupes. The group has differing opinions about whether their job is strictly to provide a much needed escape in a bleak world, or to enlighten and engage on a deeper level. Before the matter is settled, we jump forward another 75 years, after an intermission during which the cast dons extreme and specific make-up to transform themselves into characters from The Simpsons. The last act is the finished product of what was begun 75 years ago - a musical that blends the story of the apocalypse with "Cape Feare."

Mr. Burns is a bit of a hodgepodge, with serious, poignant, and very real scenes interspersed with the absurd - a music video montage of pop songs, a commercial for... something... that goes on and on, and the entire third act musical sequence. It's truly bizarro, but mostly in a good way. The original songs are great (music by Michael Friedman and lyrics by the playwright), and cleverly tie in several pop culture themes. And kudos to costume designer Alex Jaeger for covering the whole scope from apocalypse gear, to makeshift theater production, to amazingly bright and detailed Simpsons costumes for the musical.

Because this is a co-production with San Francisco's American Conservatory Theater, I was expecting a cast of unfamiliars. So I was pleasantly surprised to see local favorites Charity Jones (a traumatized survivor turned director), Andrea Wollenberg (who beautifully carries most of the singing weight in the third act), and Jim Lichtsheidl (I don't now about you, but if I'm ever in an apocalyptic situation, I'd like to be trapped with Jim Lichtsheidl singing Gilbert and Sullivan). Combined with the non-locals, they form a tight cast that willingly and enthusiastically jumps in with both feet, whatever the script calls for. In particular, Ryan Williams French gives a deliciously evil performance as the musical's villain.

Even though I'm not a fan of The Simpsons, and some of the references might have gone over my head, and some of the re-creations went on a bit long for my taste, Mr. Burns, A Post-Electric Play is no doubt incredibly creative and inventive. I'm sure if my TV were taken away from me, I'd search out anyone I could to discuss the finer points of my favorite episodes of The Office ("Booze Cruise" anyone?) or Game of Thrones.

The apocalypse is a popular theme in pop culture, so it's quite fitting and fascinating to see an exploration of pop culture in an apocalypse. It's about how we tell our stories, whether that's through theater, or television, or around a campfire, or whatever medium is left when all the lights go out.  Mr. Burns continues through May 9 on the Guthrie's Proscenium Stage.

"School for Lies" at Park Square Theatre

The School for Lies is a new adaptation of the classic French comedy The Misanthrope by Moliere; the title comes from the line "society is nothing but a school for lies," which summarizes the play quite well. This version, written by Venus in Fur playwright David Ives, maintains the setting (17th century France), characters (the French aristocracy), and plot (man disapproving of said aristocracy nevertheless finds himself falling in love with one of them), but recasts the story in modern language and delightful rhyme. Like all rhythmic language (see also Shakespeare), it requires some concentration on the audience's part (no sitting back passively here). But once you get into the flow of it, it's really quite clever, and this cast (directed by Walking Shadow Theatre's Amy Rummenie) does a marvelous job of bringing life to the language and the story.

The play centers around the widow Celimene and her court, including her cousin Eliante and three suitors. Into this mix Philinte brings his friend Frank, who has no patience for the pretenses of society and proceeds to offend everyone. Except for the women, who fall in love with him (sometimes with the help of lies). Celimene is facing a trial for slander, and asks Frank to defend her against her rival Arsinoé. Much comedy, mix-ups, and romance ensues, along with many spilled canapés.

The fantastic cast is led by Kate Guenzel, truly delightful as Celimene, and John Middleton, just terrific as Frank, the one grounded and real character amidst the silly fools. As Celimene's suitors, David Beukema, Brandon Bruce, and John Catron are each appropriately and uniquely buffoonish (one continually picking his nose, one a horrible poet, and one happily stupid). Also great are Anna Hickey as the sweet and charming Eliante, Jason Rojas (whose beautiful hair puts the wigs to shame) as the sincere Philante, and Andrea Wollenberg as Celimene's ugly stepsister-like rival. Last but not least is the scene stealer Skyler Nowinski as two beleaguered servants, relatively minor characters but the ones that get the biggest laughs.

Walking into the theater, the stage reminded me of something from Behind the Candelabra - glitz and gold everywhere. The costumes are outrageous in the best possible way, not to mention the wigs! Completing the looks are an epidemic of moles and warts. (Set by Robin McIntyre, costumes by Susan E. Mickey, wigs by David Hermann.)

The School for Lies continues at Park Square Theatre in cold and lovely downtown St. Paul through February 2 (discount tickets available on Goldstar.com). It's a crazy fun romp through 17th century France, in a fresh and modern way. Check out the video below for a taste of the madness:



The School for Lies from Park Square Theatre on Vimeo.

"Coco's Diary" at the History Theatre

Coco's Diary* is an adaptation of the recently discovered diary of a 13-year-old named Clotilde Irving who grew up in a mansion on Summit Avenue in the 1920s, the same mansion that now serves as the Governor's Mansion.  While her life in 1927 was probably pretty atypical, the daughter of a wealthy and privileged family, her experiences, thoughts, and manner of speaking are quite familiar to anyone who's ever been 13.  Coco reminds me of my 13-year-old cousin; everything is so dramatic, it's either the best thing that's ever happened, or the worst.  There is no in between when you're 13.  Coco was smart, precocious, charming, and a talented writer.  It's no surprise that the History Theatre chose to bring this story to life; it's a great story set in a specific time and place in Minnesota history, but it's also a universal story of the trials and tribulations of growing up.

The play begins in 1965 when Coco's mother dies, leaving her and her older brother Tom to sort through the house.  Coco discovers her diary and delights in reading it and remembering that time in her life, which mostly involved dancing, boys, and getting into and out of trouble.  Only after reading the diary is Coco able to say good-bye to the house.  Three actors bring this story to life through reading the diary and reenacting the scenes:

• Kacie Riddle (herself 13 years old) plays the young Coco.  It's amazing to me that someone so young can so handily carry a two-hour play.  Yes she has help from two very talented adult actors, but she is Coco, in all of her moods - funny, charming, dramatic, hopeful, despondent, and lively.
• Andrea Wollenberg (one of the hilariously evil stepsisters in Cinderella) is the adult Coco, as well as Coco's mother, Coco's younger sister, and several other characters.  Whether she's walking around on her knees and talking with a lisp, or sternly reprimanding Coco for her latest exploit, she brings great life to these different characters.  And she has a lovely voice!
• Jake Endres plays Coco's brother Tom, both the 1965 and the 1927 versions.  He also portrays her father, teacher, and any other characters needed for the story.  Jake also acts as the music director and accompanies much of the action on piano, as well as singing songs of the day in his beautifully deep voice.  I love plays that add music to the story-telling.  It's not a full-blown musical, but the music adds to the story and helps set the scene, especially because Coco is so obsessed with dancing.

The diary was adapted for the stage by Bob Beverage and Artistic Director Ron Peluso (who also directs).  The dialogue sounds as if it comes directly from the diary; I'm curious to read it and compare (the diary has been published in the book Through No Fault of My Own).  I also want to know what happens next in her life, which makes me wonder, was 1927 the only year that Coco kept a diary?  Or just the only one that survived?  (Read this article in the StarTribune to find out what happened to Coco.  Warning: it's not quite the happy ending we might hope for, but such is life.)  The set (by Rick Polenek) looks like what the inside of a Summit Avenue Mansion should, and I'm tempted to take a tour of the real thing.

Coco's Diary plays at the History Theatre in St. Paul now through March 25.  It's a delightful look at what is was like to be 13 in 1927, which it turns out is not so different from today.


*I received two complementary tickets to attend the opening night of Coco's Diary.

"Cinderella" at the Ordway

I always like to go to the Ordway's holiday production because it's typically an original production (rather than a touring show) featuring a mostly local cast.  Last year they did the colorful and super fun Joseph, the year before Beauty and the Beast.  This year's selection is the Rodgers and Hammerstein musical Cinderella, originally written for television in 1957 starring the great Julie Andrews.  The Ordway's production is magical and very sweet, and almost makes me believe in fairy tales, almost makes me believe that impossible things really can happen.  It was fun to forget that I'm way too old for fairy tales and immerse myself in the magical world that Cinderella lives in, if only for a little while.

A few of my favorite things:

• A huge cast of primarily local talent, including the divine Wendy Lehr as the Queen and Gary Briggle as her elegant husband, Reid Harmsen (aka Mark in RENT and Brad in Rocky Horror) as the enthusiastic steward and friend of the prince, and way too many ensemble members to mention here (but I had fun trying to identify them in the group numbers).
• The sweet-voiced and extremely likeable Jessica Fredrickson (another local with whom I was previously unfamiliar) as our Cinderella.
• A quite capable and swoon-worthy Prince in the form of Jeremiah James (the one non-local featured).
• Hilariously over the top performances by Greta Grosch (one of the original Church Basement Ladies) as the Stepmother and Colleen Somerville and Andrea Wollenberg as her two homely but hopeful daughters.
• A sassy fairy godmother (Tonia Hughes) who encourages Cinderella to make her own wishes come true, with a little help.
• Cinderella's animal friends adorably represented by puppets manipulated by dancers dressed in black (including Linda Talcott Lee who recently talked about her experiences working with the one and only Jerome Robbins).
• Two dimensional painted set pieces and backdrops that look like a storybook come to life.
• A seriously magical and seemingly instantaneous transformation from poor serving girl to belle of the ball and back again (I'm still not sure how they did that).
• Great musical theater songs like you would expect from R&H, fun dance numbers, and beautiful playful costumes.

One gauge of the success of a musical is if I leave the theater singing the songs and feeling like I could dance down the sidewalk back to my car.  By that criteria, the Ordway's Cinderella is a success.  A light and fluffy show, but very well done.