"Ball: A Musical Tribute To My Lost Testicle" by The Catalysts at the Southern Theater

My favorite show from the 2016 Minnesota Fringe Festival is back! In fact, it never really went away. #TCTheater artist Max Wojtanowicz has been touring his original auto-biographical solo musical "Ball: A Musical Tribute To My Lost Testicle" around the state for the last two years. Shortly after being diagnosed with testicular cancer in January of 2016, his friend/collaborator/director Nikki Swoboda suggested he might want to write a musical about it. Unthinkable, yes, but that's what artists do, they process what's going on in the world and in their lives through their art, creating something that's both personal and universal. So that's what Max did. He journaled through the process of surgeries, chemotherapy, and recovery, and even invited Nikki and several composers into the chemo suite to start working on songs. He finished treatment in April (and is now in remission), and performed his show at Fringe that August. At the time it was so new and raw, a really emotional moving experience. Now with a few years of distance, it may not be quite as fresh, but it's just as moving. If you're in the Twin Cities, you can see it at the Southern Theater this weekend only before it continues its tour to places like the Mayo Clinic and the United Solo Theatre Festival in NYC.

Fringe Festival 2016: "Ball: A Musical Tribute To My Lost Testicle"

Day: 5

Show: 22

Title: Ball: A Musical Tribute To My Lost Testicle

Category: Musical

By: The Catalysts

Created by: Max Wojtanowicz

Location: Southern Theater

Summary: A solo musical show about one person's cancer experience that is as funny and musically delightful as it is heartfelt and moving.

Highlights: Friends, even though I'm only halfway through the 50+ shows I plan to see, out of the 168 shows in the Minnesota Fringe this year, I'm calling it: Ball: A Musical Tribute To My Lost Testicle is the best show of the fringe, and Max Wojtanowicz gives the best performance of the fringe. Even though it may not technically be acting since he's essentially playing himself and telling his own story, it's one hell of a performance. Firstly, he's as funny and charming and beautiful of voice as always. But even more than that, he shares his heart and soul with the audience in a beautifully and painfully real way, entertaining and connecting at the same time, which is the essence of art. The show is funny, clever, and well-structured as Max walks us through his initial diagnosis in January of this year, his surgery, and the physical and emotional effects of chemotherapy. Director Nikki Swoboda ensures that there's not a slow moment in the show, and it nicely builds from light-hearted to sobering to hopeful. The songs are fantastic and still stuck in my head (which is to be expected when you work with composers Jason Hansen, Michael Gruber, and Andrew Cooke, who also music directs), ranging from hilarious (a medley of songs with the word "one" in the lyrics) to moving ("be brave") to inspiring ("I'm gonna live anyhow, until I die"). Max had tears streaming down his face by the end of the show, as did, I'm guessing, everyone in the packed house. When you can take a painful and difficult experience and turn it into something that's entertaining, engaging, and moving, that's a true gift.

Warning: the performance I attended sold out, so you might want to make advance reservations or show up at the theater early to ensure a spot.

"Under the Gaslight" by the University of Minnesota at the Minnesota Centennial Showboat

For nearly 60 years, the University of Minnesota has been presenting a summer melodrama on a docked showboat on the Mississippi River, currently across from downtown St. Paul. The Minnesota Centennial Showboat was christened in 1958, as those who know their Minnesota history could guess ("in 1858 Minnesota became a state"). The first show was Under the Gaslight, which returns this summer for their last season at the Showboat (click here for more on the history of the Showboat). While this is only the second U of M show I've seen at the Showboat, I'm sad that it was my last. The creative team includes some of the top talent in town (including director John Miller-Stephany, musical director Andrew Cooke, choreographer Linda Talcott Lee, and costume and scenic designer Mathew J. LeFebvre), and the cast is chock-full of talented young people that are the future of theater in this town. The melodrama is a fun, entertaining, and little-seen genre that encourages the audience to "vocalize appropriately." The Showboat is a unique and charming venue, and I hope that someone puts it to good use (and will someone please do Show Boat on the Showboat already?!). Whether you've seen dozens of Showboat melodramas, or none, it would behoove you to board the Showboat one last time for this uniquely pleasing theatrical experience.

"Musical Mondays" at Hell's Kitchen, April 2016

Last night was the first Monday of the month, which means it's time for Musical Mondays at Hell's Kitchen! If you're a fan of musical theater, you need to attend one of these monthly cabarets featuring fabulous local talent performing musical theater songs, with a different theme each month. But be forewarned - like potato chips, once you attend one you won't be able to stop! Musical Mondays has also become a monthly gathering of the Twin Cities Theater Bloggers; this month I was joined by Gina from The Room Where it Happens, Laura from One Girl Two Cities, and Keith and Carol from Minnesota Theater Love. A good time was had by all as we discussed all things local theater (from impressive abs to impressive new musicals) and enjoyed some fun entertainment over yummy food and drinks. Join us on May 2, when the theme is "the lusty month of May!" Become a fan of the Musical Mondays Facebook page for information on schedule and performers.

"The Wizard of Oz" at Children's Theatre Company

Children's Theatre Company proves again and again that you don't need to be a child to enjoy a "children's show." Maybe it's because children are people just like grown-ups, and CTC treats them that way. Or maybe it's because we were all once children too. With their latest production of The Wizard of Oz, CTC reminds weary grown-ups what it is to experience the wonder and magic of childhood. They have brought one of the most iconic movies of all time to vivid life on stage. It's understandable why this show has a permanent place in their rotation - it's full of heart, color, wonderful music, and a beautiful message of home, family, self-discovery, and friendship. It's enough to restore your faith in humanity, at least for a moment. This so-called children's story is peppered with wisdom such as "It's always best to start at the beginning," "Some people without brains do an awful lot of talking," and "If I ever go looking for my heart's desire again, I won't look any further than my own backyard. Because if it isn't there, then I never really lost it to begin with." And if you don't tear up when Dorothy says her good-bye to her new friends in Oz, you might not have a soul.

"All the World's A Stage" - a Gala Tribute Honoring Joe Dowling at the Guthrie Theatre

The Guthrie Theater knows how to throw a gala. The 50th Anniversary Gala two years ago is one of my favorite theater memories, with amazing performances by many local and national favorites in celebration of 50 years of this national treasure of a theater we Minnesotans are lucky enough to call ours. Last Saturday night the Guthrie held another gala, and instead of just a general feeling of appreciation for the community, all of the respect, honor, and love was directed towards one person, Joe Dowling. Joe is resigning from his position of Artistic Director after 20 years (12 of which I have been a season subscriber), during which he oversaw the move from the original theater to the big blue beautiful building on the river and co-founded the Guthrie/U of M BFA program along with many other accomplishments. He is the longest tenured Artistic Director in Guthrie history (surpassing the previous holder of that record, his predecessor Garland Wright, by 11 years) and the most consistent leadership in the Guthrie's 52 year history. In that time he has worked with hundreds of theater artists, many of whom were on hand to partake in the celebration. The 90-minute performance included over 70 actors and showcased a dozen of the over 50 plays and musicals that Joe has directed in his tenure at the Guthrie, plus original musical and dance performances. But even more than the many wonderful mini-performances we were treated to was the overwhelming feeling of love, gratitude, and respect for this theater, this community, and the man who has helmed this theater for so many years. It was a truly magical night.

If you weren't there, here's a summary of the wonderful things you missed:

• The show opened (about 30 minutes past the scheduled 8:30 start time) with a rousing musical number in which a cast of too many favorites to mention sang what I'm assuming is an original song "There You Are," complete with some audience interaction. 
• We were welcomed by the hilarious lisping weeble-wobble brothers Bobchinsky and Dobchinsky, played by real-life brothers Kris L. and Lee Mark Nelson, reprising their roles from the 2008 production of The Government Inspector.
• Colman Domingo from the original cast of The Scottsboro Boys returned to serenade us with a beautiful and heart-breaking song from the show, "Go Back Home." The Scottsboro Boys is the brilliant last musical from Kander and Ebb, and played at the Guthrie in the summer of 2010 between stints off and on Broadway. I'm so grateful to Joe and the Guthrie for bringing it to Minnesota.
• Bill McCallum opened a series of scenes with the opening lines from my favorite play The Glass Menagerie, reprising his role of Tom from the 2007 production. The poetic musings by Tennessee Williams on time, memory, and illusion were the perfect way to start the show.
• Michelle O'Neill and Stephen Pelinksi performed the scene about choosing caskets from The Merchant of Venice, in which both actors appeared in 2007.
• This was followed by a selection from Chekhov's Three Sisters, directed by Joe in 2003, with Chloe Armao, Emily Gunyou Halaas, and Michelle O'Neill as the sisters.
• Joe directed The Importance of Being Earnest twice at the Guthrie, in 1998 and 2009. Hugh Kennedy and Valeri Mudek treated us to a scene from the play.
• A "dance interlude" by Megan McClellan and Brian Sostek (who also choreographed the show) did not last nearly long enough. When he leapt into her arms and she caught him and spun around, the audience gasped in delight. They are such effortless, charismatic, playful dancers.
• Master storyteller Kevin Kling delivered a hilarious, touching, and very Minnesotan tale about his work with Joe and the Guthrie.
• Sally Wingert belting out "Gotta Get a Gimmick" from Gypsy - is there anything better than that? Yes there is, because she sang original lyrics by Mark Benninghofen specific to the occasion and was joined by J.C. Cutler, Robert Dorfman, Jim Lichtsheidl, Tracey Maloney, and Isabell Monk O'Connor, each at their most gimmicky to make us love them. It worked.
• Another scene montage began with Bob Davis dryly delivering Minnesota fishing regulations from 2013's Nice Fish, a play I called "absurd, hilarious, strangely profound, and yes, somewhat inexplicable."
• A dramatic and star-studded scene from 2007's The Home Place made me wish I had a better memory, or could see it again.
• Michael Booth recited a monologue from Stoppard's The Invention of Love, directed by Joe in 2003.
• I will never tire of listening to Tyler Michaels sing "On the Street Where You Live," so I was thrilled that he briefly reprised his role from last summer's hit My Fair Lady.
• Four fantastically talented women (Helen Anker, Cat Brindisi, Melisa Hart, Greta Oglesby, and Regina Marie Williams) sang a montage of songs titled "Love's What We'll Remember" that included such Broadway classics as "Send in the Clowns," "Broadway Baby," and of course, the entirely appropriate "What I Did For Love."
• Once again, Jennifer Baldwin Peden made opera seem funny, accessible, natural, and completely effortless. She's sure to win any part she wants with "Adele's Audition Song" from Die Fledermaus.
• The last scene montage began with a scene from the ghostly comedy Blithe Spirit, last seen at the Guthrie in 1997, with Bradley Greenwald, Laura Esping, and Rosaleen Linehan playing man, ghost, and medium.
• Helen Carey and Peter Michael Goetz recreated an intense scene from 2002's All My Sons, another one I wish I could see.
• The scene montages concluded, fittingly, with the heartbreaking closing monologue from The Glass Menagerie, providing a nice bookend to the scene portion of the evening.
• This was immediately followed by a stirring a capella version of "The Hills of Tomorrow" from Merrily We Roll Along, performed by the ensemble. By the way, I should mention that Music Director Andrew Cooke led a fantastic six-person orchestra throughout the show and provided the arrangements. And Peter Flynn did a beautiful job directing the show and the many disparate scenes as they flowed together to form a whole.
• More than two dozen alumni from the U of M/Guthrie BFA program and A Guthrie Experience (or as I like to call it, the Guthrie's strong farm system) performed the As You Like It monologue that begins "All the world's a stage, and all the men and women merely players." They told of the seven ages of man, speaking alone or in small or large groups, from "the infant, mewling and puking in the nurse's arms" through "second childhood and oblivion, sans teeth, sans eyes, sans taste, sans everything." Such great young talent that the Guthrie has sent out into the world.
• Another U of M/Guthrie BFA graduate, Santino Fontana, who played Hamlet in the final production at the old Guthrie, impassionately sang "I Was Here" from The Glorious Ones.
• The closing number was the highly appropriate "You're the Top" from Anything Goes, beginning with Bradley Greenwald and Greta Oglesby, and continuing through all of the wonderful and beloved performers on that stage.

Have you ever watched the Kennedy Center Honors, in which great artists are honored by the president and performances from admiring proteges? That's what this felt like. From where I was sitting, I could see Joe sitting on the center aisle about halfway up, just beaming. He came onstage after the final number to give a few brief words, in which he credited Tyrone Guthrie and the other previous Artistic Directors, as well as all the actors who've worked at the Guthrie beginning with Hume Cronyn and Jessica Tandy in the inaugural season, through Barbara Bryne (who, at 86, was there but in the audience rather than onstage), through the 70+ actors surrounding him onstage. It was such a love fest, and such a thrill to see so many artists whom I love, respect, and admire in one place, Joe Dowling chief among them.

But wait, that's not all! The evening continued with champagne (in real glasses!), dessert, music (the Minnesota Jazz Orchestra set up just in front of the endless bridge), and mingling. I had the chance to talk to so many of my favorite artists, some of whom I'd met before, some of whom I met for the first time. But there were many I didn't dare approach because they're just too intimidatingly amazing. I could have stood there gawking at the crowd all night and basking in the glow of this amazing theater community.

Here are a few photos from the after-party; I'll add more photos as they become available. Also check out my live twitter feed from the event @cherryandspoon.

champagne toast and tuxes

the dessert table - macarons and truffles

dancing to the smooth sounds of the Minnesota Jazz Orchestra

a memento from a magical night - this chocolate is too pretty to eat!

"Musical Mondays" at Hell's Kitchen, February 2015

Musical theater loving friends, if you're not at Hell's Kitchen on the first Monday of the month, you are missing out. This is when Sheena Jansen and Max Wojtanowicz gather a few of their friends, who just happen to be among the most talented musical theater artists in town, for a little cabaret show. They've been doing it for over two years now, and it just keeps getting better and better. Each month has a theme, and this being February, the theme for this month's show was love. And as much as I love hearing my favorite musical theater songs, I also enjoy the choices made by this crew that are perhaps a bit more obscure. It was a fabulously entertaining night of musical theater, and it also served as a preview for shows to come this spring and summer. Read on for highlights and to find out where you can see the cast on stages around town.

This month's performers are a veritable Who's Who in the local musical theater scene. In addition to hosts Max and Sheena, performers include Aly Westberg O'Keefe and Dominique Wooten from last fall's brilliant production of Next to Normal at Bloomington Civic Theatre; two of the Andrews Sisters from History Theatre's Christmas of Swing, Ruthie Baker McGrath and Jen Burleigh-Benz (whom you may also know as Snow White from last fall's delightfully irreverent fairy tale Disenchanted); Radames/Joseph/et al. Jared Oxborough; and everyone's favorite, who's been in too many wonderful shows to recount here, Bradley Greenwald. They performed solos, duets, and group numbers, all accompanied by the maestro Andrew Cooke on keyboard. The show lasted about two hours, with a brief intermission, with food and bar service available throughout the night. It's also a fun place for people watching, as over half of the audience are theater people.

Highlights of the show include:

• Group numbers are always fun, including the opener, "It's Love" from Wonderful Town, and the closing number, the entirely appropriate classic
  L-O-V-E. But that's not to say that the night was fully of lovey-dovey songs. Read on...
• Listening to Bradley Greenwald sing Cole Porter's "Begin the Beguine" is worth the price of admission alone (which, BTW, is a super cheap $5 suggested donation). Swoon!
• File under the category of "my favorite musical theater songs" - Ruthie's delightfully hopeful "I'm in Love With a Wonderful Guy" from South Pacific, Dom's powerful "Somewhere" from West Side Story, and Jen's terrific rendition of that little known song "Don't Rain on My Parade" from Funny Girl.
• Yes, I own the Moulin Rouge soundtrack, so I was delighted to hear Dom and Aly sing "Elephant Love Medley" in a most charming way.
• Jared sang a lovely rendition of "Hey There," a song from The Pajama Game that has become a classic.
• The cast showed off their talent for harmony with a couple of strong quartets and a trio - "Poor Child" from Wild Party (Dom, Jared, Jen, and Sheena), "Dear One" from Kiss of the Spider Woman (Bradley, Dom, Jen, and Ruthie), and "I've Decided to Marry You" from the last year's Tony winner Gentleman's Guide to Love and Murder (Aly, Bradley, and Ruthie).
• I'd never heard the song "Lying There" from the song cycle Edges, but Aly brought tears to my eyes with her beautiful and moving rendition.
• Somebody needs to cast Jen and Bradley in a show together, because they looked and sounded gorgeous together on "Carried Away" from On the Town, with oodles of chemistry.
• Somebody needs to cast Sheena and Max in a show together, because they looked and sounded gorgeous together on "Where Would You Be" from from one of those aforementioned obscure musicals The Roar of the Greasepaint, with oodles of chemistry. Oh wait, they've cast themselves in a show together, that they wrote!  Which brings me to...

The cast's upcoming shows (click on show title for more info):

• About his beautiful silver hair Bradley Greenwald joked, "I used to have brown hair, but I've been in tech for a week." He stars as Fagen in the Theater Latte Da/Hennepin Theatre Trust co-production of Oliver!, opening at the Pantages Theatre this week.
• Max Wojtanowicz is making his Ten Thousand Things debut in The Unsinkable Molly Brown, which opens next week. It's worth noting that TTT's last musical ended up on my favorites list last year.
• Chanhassen Dinner Theatre's resident Music Director Andrew Cooke begins rehearsing his cast and orchestra this week, for the new production of Mary Poppins. Performances begin on February 27 and run through the summer.
• Max Wojtanowicz and Sheena Jansen bring their charming, funny, and poignant auto-biographical musical Fruit Fly, a Fringe hit in 2012, to Illusion Theater this March.
• Forcing me to make the long drive out to Excelsior once again, Jen Burleigh-Benz is starring in Old Log Theatre's Dirty Rotten Scoundrels, also opening in March.
• Dominique Wooten is Bloomington Civic Theatre's Billy in their production of the classic musical Carousel, opening in April (can you believe I've never seen it?!).
• Ruthie Baker McGrath announced that she will be in a little show called The Music Man at the Guthrie Theater this summer.

And that's it for this month, folks. The next Musical Mondays takes place on March 2 and will feature the music of Cy Coleman (I know, I don't really know who that is either, so this one is sure to be educational as well as entertaining!). "Like" the Musical Mondays Facebook page for updates and more information.


This article also appears on Broadway World Minneapolis.

"Hello Dolly!" at Chanhassen Dinner Theatres

Everyone loves Dolly. The title character of the popular musical Hello Dolly! is a matchmaker, dance teacher, entrepreneur - basically a woman who knows how to get things done. She "puts her hand in" here and there, and makes people's lives better with her helpful manipulative ways. You can't help but love her, and you can't help but love the Chanhassen's shiny new production of this 50 year old musical. It's charmingly old-fashioned, with a fantastic cast from the lead to the supporting players to every last member of the ensemble, wonderful dance numbers, gorgeous period costumes with those all important extravagant hats, and familiar music beautifully played by the orchestra. It's silly and fun and adventurous - a grand old time.

It's the late 19th Century in New York City, and Dolly is tired of working to make everyone else's lives better at the expense of her own. She decides to marry the noted "half a millionaire" Horace Vandergelder, and asks her beloved deceased husband for a sign to move on. In order to catch the gentleman, who is one of her clients, she sabotages the other matches. He's supposed to marry the widow Irene Molloy, owner of a hat shop, but Dolly quickly squashes that. Instead Irene falls in love with Horace's employee Cornelius who, along with his friend Barnaby, has come to New York City for an adventure. Said adventures include a parade, a dinner they can't pay for, a quick trip to jail, and falling in love. But this is Dolly's story, and when Dolly decides she wants something, she gets it, for better or worse.

Highlights of the show include:

the mother/daughter act - Michelle Barber
as Dolly and Cat Brindisi as Irene

• As I said, this is Dolly's show, and Michelle Barber owns the role and ably leads the show. The highlight is Dolly's moment "Before the Parade Passes By," her declaration to live her life to the fullest. But another wonderful moment is the title song, when Dolly is being serenaded by singing waiters. Michelle is so easy and comfortable in the role as she makes her way across the stage and through the audience, shaking hands, kissing my table-mate on the head, sharing little asides and knowing winks with the audience. She just is Dolly.
• The Chanhassen has always been a family affair, and never moreso than in this show. Michelle's husband, by the way, is the Chan's Artistic Director and director of this show, Michael Brindisi. And their daughter, Cat Brindisi, is making her adult debut on the stage on which she grew up, after proving that this is no act of nepotism with brilliant turns in such shows as Aida and Hair (by a theater company she co-founded). As Irene Molloy (a role her mother played the last time the Chan did this show), Cat is strong and spirited, and provides a quiet, lovely moment in the otherwise busy and high energy show with the song "Ribbons Down My Back." As my companion said, I only wish she had a chance to sing more.
• "It Only Takes a Moment" to fall in love with Tyler Michaels and his unique performance style, and if you haven't already done so in one of his previous appearances, most recently as the Emcee in Cabaret, Prince Eric in the The Little Mermaid, or Freddie in My Fair Lady, you will here. Watching him dance badly as Dolly teaches Cornelius to dance is more fun than watching most people dance well. He brings an awkward grace and boundless enthusiasm to the role of this young man who's determined to have the night of his life.

the boss and his hard-working employees
(Keith Rice, Adam Moen, and Tyler Michaels)

• Who else but Keith Rice, a longtime favorite at the Chan, could play Horace? Even though "It Takes a Woman" may be the most sexist song in musical theater history, it's somehow almost charming coming out of the mouth and person of Keith Rice. The last time I saw Helly Dolly! I did not get the appeal of Horace at all, but I do now. Of course no man is quite good enough for our Dolly, but he'll do.
• Several actors shine in smaller roles. As second fiddle Barnaby, Adam Moen holds his own with Tyler and is quite charming himself, and the two often dance and move in perfect unison. Jessica Fredrickson is sweet and adorable as Irene's assistant and friend, and as Horace's niece Ermengarde, Krysti Wiita wails perfectly on pitch. As per usual, Kersten Rodau steals her few brief scenes as Horace's (mis) match Ernestina, turning her beautifully powerful voice into something hilariously grating.
• All elements of the production are top-notch, from Tamara Kangas Erickson's choreography perfectly and precisely performed by the ensemble (oh, those dancing waiters!), to Rich Hamson's gorgeous costumes (spats! hats! gowns!), to the simple set by Nayna Ramey that lets the show shine, to Andrew Cooke's always wonderful onstage orchestra (with banjo!).

This fun, charming, entertaining, perfectly cast, and well performed classic musical plays all winter. The weather may be getting colder, but it's always warm and pleasant at Chanhassen Dinner Theatres*. Dolly will never go away again... until February, when Mary Poppins takes her place.

the cast of Helly Dolly! (all photos by Heidi Bohnenkamp)

*If you happen to go in the next month or so, you should also head over to the Arboretum for TigerLion Arts' lovely and poignant outdoor walking play Nature, about the friendship of Ralph Waldo Emerson and Henry David Thoreau.

"My Fair Lady" at the Guthrie Theater

There's a reason My Fair Lady is one of the most beloved musicals of all time. Not only does it feature a bunch of wonderful songs by Lerner and Loewe that have become classics (including "Wouldn't it be Loverly," "Get Me to the Church on Time," and "I Could've Danced All Night"), but it's based on the George Bernard Shaw play Pygmalion that deals with issues of class, gender, societal expectations, and the intersection of wealth and power. It's a musical that has style and substance. The Guthrie's gorgeous new production does well by this classic. The show is perfectly cast, the familiar music sounds great, the choreography is fantastic, and the sets and costumes are luscious. This hugely entertaining show is definitely a must-see summer blockbuster musical.

I'm not sure the obligatory plot summary is necessary here; even if you think you aren't familiar with the story, you probably know it. It's been retold many times, from the original Shaw play (which was in turn based on a Greek myth) to the Julia Roberts movie Pretty Woman. A gentleman takes a lower class woman and transforms her into a "lady." In this case, the gentleman is Professor Henry Higgins, who studies phonetics and is intrigued by flower girl Eliza's poor accent, and makes a bet with his colleague Colonel Pickering that he can transform her into a lady in six months time. Eliza does indeed learn to be a "lady," but retains her spirit and even teaches 'Enry 'Iggins a bit about being a human being in the process.

Higgins, Eliza, and Pickering celebrating their success
(Jeff McCarthy, Helen Anker, and Tony Sheldon,
photo by Joan Marcus)

Most of the lead roles are played by non-local actors from around the country and the world, and even though I'm biased towards our wonderful local community of theater artists, they're all fabulous. Helen Anker, from England, is so charming and spirited as Eliza, and believable in the transformation from Cockney flower girl to sophisticated lady. Jeff McCarthy is the perfect Henry Higgins - even though he's thoughtless, selfish, prideful, and kind of a jerk, there's something so appealing and charming about him that you love him even as he annoys you with the stupid things he says. I just wish that this was more of a singing role, because unlike the original Higgins, it sounds like this guy can really sing. Rounding out the trio is Aussie Tony Sheldon as a delightfully amusing Pickering. And of course, we can't forget about Eliza's pop, a charming rogue as played by Donald Corren.

The large ensemble is full of too many familiar faces to mention, all of whom are great fun to watch. And they create some full and gorgeous harmonies (e.g., the "Loverly Quartet") under Andrew Cooke's musical direction, accompanied by his six-piece just barely off-stage band. Featured roles played by some of our local favorites include Robert O. Berdahl as the hair-flipping Hungarian, Angela Timberman (who can still crack me up with a single look) as Higgins' loyal yet exasperated housekeeper, and Melissa Hart as Higgins' mother, the only one who truly has his number. And then there's Tyler Michaels. His rendition of on "On the Street Where You Live" is a definite highlight of the show; I wanted to reach for the remote and rewind so I could watch it again! (Luckily he comes back for a brief reprise in the second act.) Not only does Tyler have a great voice, but he brings a unique physicality to every role he plays, including this one. Freddy has an awkward grace, he's a bit of a clutz around Eliza, but the love he feels for her flows out of every pore. I've never seen this song performed so comically and physically before - leaping across the stage, standing on top of props, dancing with bicycles and flowers and whomever wanders into the scene. It's truly joyous.

Joe Chvala's flying foot choreography, well performed by the ensemble, shines in the elaborate and busy group numbers. He incorporates percussive slapping and clapping, as well as the use of props from brooms to parasols. The prim and proper ladies and gentleman at the races create some beautiful images as they move delicately and gracefully across the stage. In contrast, the entire street comes boisterously alive in the audience's favorite scene (judging by the applause that continued for several minutes), "Get Me to the Church on Time." Fabio Tobloni's costumes are gorgeous as expected (the extravagant hats! the spats!), and the set by Walt Spangler is truly impressive, with three massive moving pieces that turn to reveal different facades, including Higgins' two-story library with spiral staircase. All of these pieces come together beautifully under Joe Dowling's direction to create a feast for the eyes and ears.

My Fair Lady continues through the end of August. It's sure to be a big hit, and deservedly so. The show is so full of life and energy and dance and music, it's almost impossible to take it all in in one sitting. Lucky for me I get to see it again with my season ticket, so I'll have a chance to relive the many wonderful moments.


This article also appears on Broadway World Minneapolis.

"Radio Man" by the History Theatre at Minnesota History Center

The final installment of what has been an excellent new works series sponsored by the History Theatre is Radio Man, by Minnesota’s own radio man Garrison Keillor. In case you've been living under a rock for the past 40 years, Garrison is the creator/writer/host of a radio variety show called A Prairie Home Companion. This 40-year Minnesota institution has spun off countless books, CDs, DVDs, a movie (for which I was a never-seen extra), and now - a play. I admit I'm biased because I love Prairie Home in all of its form, so I can't objectively view it as simply a play, as someone who's unfamiliar with the show would. Having said that, I found it to be another great way to experience the truly delightful world of A Prairie Home Companion.

Radio Man is like watching an episode of APHC play out on stage, with the addition of glimpses into the back-stage goings-on, as well as musings about the host's childhood. Led by a very familiar seeming host, we meet other familiar characters such as cowboys Dusty and Lefty and private eye Guy Noir. The host's child self also appears onstage, telling stories about the origin of his love of radio and his desire to live and work in that world. The "Lake Wobegon" story about the death of Byron Tolefson blends into the real life of the play as the ghost of Byron appears and ponders the meaning of life and death. In addition, the host is confronted by the station manager, his sister, and a woman from his past. Over the course of one evening and one episode of this ongoing radio show, the host experiences something much more - an existential rumination on life itself.

Once again, an extremely professional and talented cast of actors breathes life into the written words. Pearce Bunting plays the host, with a spot-on Garrison Keillor impression. From the red socks and the glasses, to the way he holds his hand to his face while talking, to the shuffling dance as he's taken by the music. The adorable Noah Deets plays the host's 10-year-old self, with remarkable maturity and ability in this unusual format for someone so young. Various characters real and imagined are portrayed by Jon Andrew Hegge, Laurie Flanigan-Hegge, Jake Endres, Summer Hagen, and the dryly hilarious Angela Timberman. Of course APHC would not be complete without music, and there's much of that here, successfully woven into the story in the form of jingles and performances by guests (with musical direction by Andrew Cooke).

In the post-show discussion (a lovely feature of Raw Stages that allows the audience to share feedback with the creators), Pearce was asked what it felt like to play a real person who was sitting in the room. Pearce responded that Garrison's words resonate with so many of us because he's telling our story, so in a way he's in all of us, or all of us are in him. He said if he continues in the role (which I sincerely hope he does), the trick will be to find a little bit more of himself in the character and less of Garrison. A few other people pointed out that the ending went on a little too long. I agree with that, but after a little tightening and restructuring (Garrison was busily taking notes throughout the reading), this has the potential to be a charming play about a familiar and beloved Minnesota institution. I consider Garrison to be the Mark Twain of our generation, a folksy humorist telling stories of Americana that ring true. It's lovely to hear that voice coming from a theater stage through the mouths of actors, and to experience the wonderfully quirky world of A Prairie Home Companion in a theatrical format.

This was my first time attending History Theatre's annual Raw Stages festival, and I enjoyed it so much and was very impressed by the creators and actors putting together such professional and entertaining readings in such a short time. Each one of the four works presented is so different, showcasing great variety in the history of Minnesota and in its theater. I hope to see each one of them further developed and given a full production. (Read about all four plays here.)

"Joseph and the Amazing Technicolor Dreamcoat" at the Chanhassen Dinner Theatres

celebrating 45 years at the Chanhassen
(can you name the actor who appears
three times, and the actor currently
starring in a Broadway musical?)

On last week's episode of A Prairie Home Companion from Town Hall in New York City, Garrison Keillor said a good musical can "pick you up and throw you up in the air." The Chanhassen Dinner Theatres' new production of Joseph and the Amazing Technicolor Dreamcoat is just such a show. While I was a little disappointed that they chose to do this show for the third time in the last seven years, I can see why they picked this one to repeat. In addition to being a big commercial success for them, it's a fun, light, happy show - just what you want to see in the summertime (that is hopefully coming). With a super high energy cast, great performances in lead and featured roles, fantastically performed music, and a colorful set and costumes, it's fun for all ages. You will leave the theater feeling a little lighter. And hopefully the success of this five-month run will give them the freedom to choose something a little bit risky and interesting for their next show.

Written by Tim Rice and Andrew Lloyd Weber in the late 1960s, Joseph and the Amazing Technicolor Dreamcoat is based on the biblical story of Joseph, youngest and favored son of Jacob.  He was sold into slavery by his jealous brothers, but because of his talent for reading dreams, he rose to power as the Pharaoh's second in command.  He led the country through bounty and famine, and forgave his brothers when they unknowingly came to him for help. In other words, it's just a fun romp about slavery and famine. This is an entirely sung-through musical, with no spoken dialogue. It's pretty intense musically, and the almost thirty-person cast and nine-piece onstage orchestra (under the musical direction of Andrew Cooke) sounds full and fantastic.

Some highlights of the show:

• The show may be named after Joseph, but the main character is nameless. Jodi Carmeli reprises her role as the Narrator and is completely comfortable in the role, vocally and from a character standpoint. She carries the show and is a wonderful friendly guide for the audience (and the two lucky children picked to join the actors on stage*) as she leads us through the story with a winking, knowing look (you'll be OK Joseph, we've been outside and seen the marquee).
• In a completely different role from the last time I saw him (Theater Latte Da's Aida), Jared Oxborough is a delightful Joseph - childlike and almost goofy (my friend compared him to Keanu Reeves in Bill and Ted's Excellent Adventure). His voice sounds fantastic as always. "Close Every Door" is the one somber moment in the show, a bit of a tonal disconnect with the rest of the show, which is almost giddy. This is an angsty song, but there's zero angst in this show, so it doesn't quite fit. Still, it's a nice vocal moment for Jared.

the Pharaoh (Keith Rice) with his many admirers
(photo by Rick Spaulding)

• Keith Rice may have let his hair go gray, but he's still got it! He steals the show as the Elvis-like Pharaoh, making the women faint by flexing his jewel-nippled pecs, doing the splits, thrusting his hips, curling his lip, and singing in that great baritone voice of his. He really hams it up in the best way.
• Joseph's eleven brothers sing in full and beautiful harmony in a variety of styles - the twangy "One More Angel in Heaven," the mock-mournful French "Those Canaan Days," and the tropical "Benjamin Calypso." In the latter song, the brothers are pleading for mercy for Benjamin (Tyler Michaels, with his usual expressive physicality), who has been wrongly accused of stealing. As Benjamin tries to escape the accusation, Tyler non-chalantly whistles "Bye Bye Birdie," a nice nod to the last show at the Chan, in which he also appeared.
• The choreography by Tamara Kangas Erickson is fun and fast, and very ably performed by the energetic young ensemble. Julianne Mundale, one of the best dancers to ever grace the Chanhassen stage, gets her fantastic dance scene (in which I swear she almost kicks herself in the face).
• In a show with the phrase "technicolor dreamcoat" in the title, you expect color. And costume designer Rich Hamson delivers. The coat is indeed technicolor, and everyone from the Egyptian slaves to the brothers to Joseph in his sparkly gold loincloth are well-clad (almost making one forgive the bad wigs and fake beards). The set (by Nayna Ramey) is dominated by huge letters on rollers spelling out "JOSEPH" that are cleverly used as various set pieces.

Joseph and the Amazing Technicolor Dreamcoat is a safe choice for the Chanhassen, but they really deliver. Director Michael Brindisi says in a note in the playbill, "I think we'll just do it and have fun." Light, fun, happy, and highly entertaining - sometimes that's all you need from a musical. The show continues through August so you have plenty of time to make your way out to the Southwest suburbs and check it out. (I only hope it's not snowing when you see it, like it was when I did.)

Joseph (Jared Oxborough) with his pleading brothers
(photo by Rick Spaulding)

*If you have a little one with a yen for the theatrical, you can enter them into a drawing before the show in the lobby. Two lucky kids are chosen each night to join the cast on stage and take part in the show. You might also want to consider the Chanhassen's summer musical theater camps.

"Roman Holiday" at the Guthrie Theater

you can keep the diamond,
I'll take the Vespa!

Before last night, I thought that Xanadu at the Chanhassen Dinner Theatres was THE musical to see this summer. But after seeing Roman Holiday at the Guthrie, I have to amend that statment. There are two musicals you need to see this summer: Xanadu for the fun, campy, winking look at movie musicals, and Roman Holiday for a lush production of a good, old-fashioned musical.

As usual, I have never seen the classic movie on which this musical is based. This new musical written by Paul Blake incorporates songs of Cole Porter into the story of Princess Anne, who escapes her strict diplomatic schedule to spend a day touring the city of Rome with a gentleman she meets on the street. What she doesn't know is that he's a journalist who knows exactly who she is, and is planning to write a story on her. In the fairly predictable plot, they two fall in-love-for-a-day and he rethinks his plan. Even though this is a new musical, it feels like a classic, with gorgeous orchestrations of classic songs, big dance numbers, and a compelling romance. 

Francesca (Christina Baldwin) and her dancing boys

The Guthrie has assembled a fantastic cast of both local talent and imports from Broadway. The two leads fall into the latter category. Stephanie Rothenberg is absolutely delightful as the wide-eyed, enthusiastic Princess Anne. Edward Watts is perfect as the tall and dreamy Mr. Bradley. Both have beautiful voices. Another Broadway import, Jim Stanek, is charming as the third member of this friendship (and partner in Mr. Bradley's scheme). A few locals round out the principals, including the great Michelle Barber as Anne's aunt and confidante. And as I've said many times before, Christina Baldwin can do anything - from silly to serious and anything in between (did you catch her in the Moving Company's lovely Werther and Lotte?). Her Francesca is funny, flirty, and fabulous, singing and dancing with a bunch of boys.

Joe (Edward Watts) and
Anne (Stephanie Rothenberg)
in front of the Trevi Fountain

There's such great familiar talent in the ensemble that it was almost distracting. Instead of watching the main action, I was laughing at John Skelley as a mustachioed ice cream man, or marveling at the grace of Broadway vet (and local talent) Linda Talcott Lee, or watching Ann Michels dance with Tony Vierling, or recognizing Jared Oxborough beneath sideburns and a goatee. This cast has serious chops - singing, dancing, and making the background action almost as compelling as what's in the foreground.

As usual at the Guthrie, the production value is at the highest level possible. The costumes (by Matthew J. LeFebvre) are to die for, even ones that only appear on stage for a brief moment in the background. Gowns, hats, gloves, shoes, all gorgeous. The show also features amazing set construction (designed by Todd Rosenthal), with various pieces floating in and out from the sides, back and above. They've even recreated a portion of Rome's famed Trevi Fountain. Last but certainly not least, the orchestra sounds gorgeous. I should know, I was sitting almost directly behind the conductor, Andrew Cooke. This production truly is a feast for the eyes and ears!

Roman Holiday is playing in the Proscenim stage at the Guthrie from now until August 19. Check it out to see a Broadway-quality musical featuring lots of home-grown talent.

"H.M.S. Pinafore" at the Guthrie Theater

My favorite production that I've seen at the Guthrie in the past eight seasons of being a subscriber is the Gilbert and Sullivan musical (or opera) Pirates of Penzance, in the spring of 2004.  It was the final show of my first season as a subscriber, and I loved it so much I immediately bought a ticket to see it again.  It exemplified everything that's good about the Guthrie - a huge cast comprised of local and national talent, beautiful choregraphy and direction, gorgeous sets and costumes, all-around high quality entertainment.  So when I saw another Gilbert and Sullivan show on the schedule for this season, my expectations were high.  I attended the opening night* of the show, and I was not disappointed.  I'm not sure it eclipses my memory of Pirates, but it came close and was reminiscent of that show that I loved so much.

I saw a production of H.M.S. Pinafore about five years ago at Theatre in the Round, so I was somewhat familiar with it, although since that was before my days of blogging I don't remember a whole lot about it.  I know that the music has been changed and "modernized" for this production, but I'm no expert on Gilbert and Sullivan so I can't really speak to that, other than I enjoyed what I heard.  The fantastic orchestra is onstage (Andrew Cooke is the musical director and arranger), which is fun to see because the orchestra is usually not visible in the thrust theater.  The set is the deck of a beautiful ship.  And the costumes, like in Pirates, made me drool.  The women wear gorgeous dresses that are all bright colors and flounces and bustles and ruffles.  And the hats!  Of course costumes mean little when the substance isn't there, but that's not a problem in this case.

The plot of Pinafore is similar to Pirates: star-crossed lovers who come from different classes, singing and dancing seamen (in this case sailors in the Queen's navy), a woman with a secret about our hero's birth, and an appearance by the venerable Barbara Bryne as Queen Victoria.  The earnest lovers Ralph (a lowly sailor) and Josephine (the captain's daughter) are played by Aleks Knezevich and Heather Lindell, both of whom have gorgeous voices that are a pleasure to listen to.  The woman with the secret is called "Little Buttercup," and comes on the boat to sell trinkets to the sailors.  The versatile Christina Baldwin, most recently seen in The Moving Company's original piece Come Hell and High Water, is quite amusing in this role.  Equally amusing is Robert O. Berdahl as the buffoonish captain who's never sick at sea and never swears.  Well, hardly ever.  His crew salutes him while snickering behind his back, for which he abuses them.  Josephine is betrothed to the ruler of the Queen's navy - Sir Joseph (Peter Thomson, also hilarious), who is accompanied by "his sisters and his cousins and his aunts" (the wearers of the aforementioned gorgeous dresses).  There are a dozen sailors on deck who perform many wonderful dances (choreographed by David Bolger).  The most impressive is a show-stopping tap dance in the second act.  I love a good tap dance, especially when performed by dancing sailors!

I had never been to an opening night at the Guthrie before (my season tickets are usually later in the show's run), so I wasn't quite sure what to expect.  At the end of the performance, director Joe Dowling (Artistic Director of the Guthrie) came onstage to talk a little about the show as well as the 5th anniversary of the new Guthrie building.  There was much applause for the show as well as for the Guthrie, and what it means to this community.  After the performance there was a champagne reception in the lobby, although I didn't see too many actors in attendance (it is a little hard to recognize them out of wardrobe).  All in all it was a wonderful evening at the theater, one of many I've had in this beautiful building.  H.M.S. Pinafore is playing all summer, and it's great summer blockbuster entertainment.

*I received two complimentary tickets from the Guthrie to attend the opening night of this show.  Since I have season tickets I would have seen it anyway, but this gave me the opportunity to see it earlier in its run and tell you all about it earlier.  I'm looking forward to seeing it again with my season ticket next month, and seeing how the show has grown (as well as possibly catching some of those one-liners I might have missed).

Update: it was even better the second time around!  Everyone seemed more comfortable in their roles, and therefore they were able to have even more fun with the material.  This is such a fun, high-energy show, I don't think I would ever tire of watching it.