"Sweet Charity" at Artistry

Artistry is beginning their 2025 season in a similar fashion as their fantastic 2024 season: a classic musical staged almost like a concert with a full orchestra on stage, and fabulous dancing in front of it. The 1966 Broadway musical Sweet Charity, adapted into a movie in 1969 starring Shirley MacLaine, is an excellent choice for this type of treatment; it almost feels like a series of vignettes about a NYC dance hall hostess in the '60s, rather than one continuous story with beginning, middle, and end. The strengths of this Bob Fosse show truly are the music and dancing, with a story about a "dance hall girl" looking for love in all the wrong places and continually being rejected that feels a little dated. So why not put the focus on the music, dancing, and performances of this terrific cast? The result is an absolutely smashing production that soars with one big music-and-dance number after another. Sweet Charity continues at the Bloomington Center for the Arts through February 16.

"Crazy for You" at Artistry

Artistry is opening their 2024 with a winner - the 1992 Broadway musical Crazy For You, featuring music by George and Ira Gershwin taken from several early 20th Century musicals, including Girl Crazy. With book by Ken Ludwig (known for his comedic adaptations of classic stories) and music by the Gershwins, you really can't go wrong. Despite being only about 30 years old, it has the feel of an old-fashioned (in a good way) American musical comedy. Director Ben Bakken has staged it as a sort of concert version, with an almost unheard of 20-piece orchestra conducted by recently retired longtime #TCTheater Music Director Anita Ruth, at center stage and the focus of the show. The cast is smaller than the band, with just 12 performers (the Broadway production had more than twice that) playing all of the roles and performing in the small space in front of the orchestra with little in the way of sets and costumes. But while some elements of production are stripped down, the music, singing, dancing, and performing are full out and fabulous! The Sunday matinee on opening weekend was almost sold out, and word is only going to spread about how great this show is, so you would be wise to get your tickets now for the final two weekends.

"Shrek" at Artistry

To close out their 2021-2022 season that began with the gorgeous and timely Jason Robert Brown song cycle Songs for a New World, ushering us into the new world of post (mid) pandemic theater, Artistry is bringing us the joyful story of Shrek. This story of a lonely ogre who finds friends, community, and love is a celebration of the beautiful uniqueness of all of us freaks, and it's a really fun time. With a huge cast chock full of local talent; super fun fairy tale costumes; direction by #TCTheater veteran Angela Timberman, a master of making the audience laugh while tugging at their heartstrings; and a catchy score music directed for the last time by Artistry's soon-to-be-retired resident Music Director Anita Ruth, Shrek is a great choice for kids and grown-ups alike (continuing at the Bloomington Center for the Arts through August 14).

"Victor/Victoria" by Artistry at Bloomington Center for the Arts

Twenty-four years ago, a new musical premiered in Minneapolis before moving to Broadway. A new musical starring Julie Andrews, created for her by her husband Blake Edwards, based on the 1982 movie also created for her. Yet inexplicably Victor/Victoria is only now receiving its regional premiere. Theaters have a tendency to do the tried and true musicals that we all know and love, but there are so many rarely produced gems out there (see also this list of musicals written by women). Artistry is bringing us one such musical in Victor/Victoria, and even more in their 2019-2020 season (which includes the rarely done musicals A New Brain and Mame, as well as the regional premiere of the 2014 musical The Bridges of Madison County with music by Jason Robert Brown, one of the most gorgeous scores I've ever heard). And even better - Victor/Victoria happens to be very timely and relevant with its themes of gender fluidity and being free to be who you are and love who you want. The team at Artistry has delivered a gorgeous production of this big old-fashioned musical full of heart and humor.

Minnesota Fringe's "Women's March" at Minnsky Theatre

It's not August (the 75 feet of snow outside your door should tell you that) but that doesn't mean there's no Minnesota Fringe happening! In fact, they have at least one event every month through the festival dates of August 1-11 (and maybe after). In January, I attended the first Drafts and Draughts - readings of new works by Fringe companies, accompanied by local brew. In February the Fringe lottery was held (you can download a list of companies at the Fringe website). And this month brought us a mini-Fringe Festival called "Women's March," showcasing work by female-identifying artists. A few events were cancelled due to the umpteenth snowstorm of the winter, but it didn't stop the festival entirely. I attended two shows, and found it to be a wonderful event. The concept of a mini-Fringe at different times of the year is a fun one, so I hope they continue it. In the meantime, you can click here to see the full 2019 event list, including more Drafts and Draughts, free outdoor performances, and the annual Five-Fifths fundraiser. Yay Fringe!

"She Loves Me" by Artistry at Bloomington Center for the Arts

This was my third time seeing She Loves Me in under a year, and I'm not mad about it. Yes, I would prefer that the people of #TCTheater talk to each other a little more so as not to produce duplicate shows, but it happens (e.g., everyone jumping on the Ordway's bandwagon - the Guthrie producing West Side Story the year after they did, the same for Chanhassen Dinner Theatres and Mamma Mia!). If there's a musical I have to see three times in a year (OK I don't have to, I choose to, because I'm me), I'm glad it's this darling little gem of a musical. Each theater (see also Lyric Arts and DalekoArts) brings their own spin to it, and a different delicious cast. Now playing at Artistry in Bloomington, She Loves Me is definitely worth a visit, whether or not you've seen it on stage recently, or perhaps one of the other iterations of the 1937 Hungarian play (such as the 1940 Jimmy Stewart movie The Shop Around the Corner or the 1998 Tom Hanks/Meg Ryan remake You've Got Mail or the successful 2016 Broadway revival of She Loves Me broadcast live via BroadwayHD). It's a sweet, funny, charming, and relatively egalitarian love story considering when it was written.

"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.

Minnesota Fringe Festival 2018: "Not Fair, My Lady"

Day: 1

Show: 1

Title: Not Fair, My Lady!

Category: Comedy / Musical Theater

By: Colleen Somerville Productions

Created by: Shanan Custer, Anita Ruth, Colleen Somerville

Location: Mixed Blood Theatre

Summary: A series of vignettes and songs about the portrayal of women in the American musical theater canon, as well as the role of women in creating theater.

Highlights: My first show of the 2018 Minnesota Fringe will no doubt stand as one of my favorites of the fest. Written by talented #TCTheater artists Shanan Custer and Colleen Sommerville, with musical arrangements by Anita Ruth, it's funny, smart, and insightful. The impetus for the show is the misogynist old shows that are being revived on Broadway* this year in the midst of the #MeToo movement, but really there are so many "classics" in which women's roles are limited and stereotypical, a fact that's startlingly obvious in a couple of montages of snippets from a wide variety of musicals new and, well, mostly old. There are also a couple of familiar songs with new lyrics that talk about the problem, and also about what it's like to be a women working in musical theater, particularly women of color, and women who are bigger than size 2 or older than 25. A fabulous and diverse cast of seven talented women (Colleen Somerville, Courtney Miner, Falicia Nichole, Kecia Beth Stimmler Rehkamp, Marcie Panian, Rue Norman, and Suzie Juul) beautifully perform the funny and insightful songs and sketches, and also speak about their own experiences in a meaningful way. I couldn't love this show more and it couldn't come at a better time. Women can write musicals too!

Read all of my Fringe mini-reviews here.


*I saw the revival of Carousel on Broadway this spring and it's stunning. Yes that line is awful, but as they say on Crazy Ex Girlfriend, the situation is a little more nuanced than that. And I recently saw Guys and Dolls on stage and watched the movie, and am flabbergasted that the Guthrie chose it as their 2019 summer musical. The entire premise of the musical rests on archaic gender stereotypes. Really, Guthrie?!

"The Last Five Years" at Artistry

If you're a musical theater nerd, I don't need to tell you what an ingenious piece Jason Robert Brown's The Last Five Years is. A simple story of a relationship told from both sides, one chronologically forwards, one chronologically backwards. Premiering in Chicago and Off-Broadway in the early aughts, L5Y received a bit of a resurgence recently due to the recent movie adaptation; Artistry's nearly sold-out show is the fourth local production I've seen in (sorry) the last five years. And I have to say, I enjoy it a little more each time I see it. In fact I very much enjoyed this production, partly because of my familiarity with the complexities of the piece, and partly because it's really well done. The Black Box space is small enough to provide the intimacy the piece needs, with just a sparse two-person band, and a truly fantastic young cast in Aly Westberg O'Keeffe and Ryan London Levin. The run is nearly sold out, so call the box office if you want to get into this one (continuing through February 11, more info here).

"Musical Mondays" at LUSH, January 2018

New location, same great entertainment. The monthly cabaret series formerly known as "Musical Mondays at Hell's Kitchen" has moved locations and is now "Musical Mondays at LUSH." The Northeast Minneapolis location is a nice space, slightly smaller, but with free street parking! This Monday, hosts and founders Max Wojtanowicz and Sheena Janson hosted the 4th Musical Mondays at LUSH (and the 55th overall!), with the theme of Bock and Harnick. While those names may not be familiar (they weren't to me), their work likely is, their most well known musicals being Fiddler on the Roof and She Loves Me (of which there are two productions coming up in #TCTheater this spring, if you go a little north or south - Lyric Arts in Anoka and DalekoArts in New Prague). Truth be told I knew very few of these songs, so it was a fun musical theater education.

"The Drowsy Chaperone" at Artistry

I hate theatre. Well, it's so disappointing, isn't it? You know what I do when I'm sitting in a darkened theatre waiting for the curtain to rise? I pray. Dear God, please let it be a good show. And let it be short, oh Lord in heaven, please. Two hours is fine, three is too much. And keep the actors out of the audience. God. I didn't pay a hundred dollars to have the fourth wall come crashing down around my ears. I just want a story, and a few good songs that will take me away. I just want to be entertained. I mean, isn't that what it's all about? Amen.

"Fiddler on the Roof" at Artistry

Tradition! The opening song of Fiddler on the Roof speaks of the traditions in the little Russian town of Anatevka in the early 20th Century, setting the stage for a story steeped in tradition, when to hold on to it and when to let go and embrace a new way of doing things. The new production at Artistry (formerly known as Bloomington Civic Theatre) is also steeped in tradition. There's nothing really new or innovative about this production; it's a faithful interpretation of this classic musical that, though a bit too long, is full of beautiful and familiar music and much heart in this universal story of a specific family. Artistry has assembled a huge and talented cast, and as always the score sounds gorgeous coming from the nearly 20-piece pit orchestra. If well done traditional classic musical theater is your thing, you might want to check this one out before it closes on May 8.

"The Best Little Whorehouse in Texas" at Artistry

In one of those strange local theater programming coincidences, I have seen The Best Little Whorehouse in Texas twice in the last year, after never having seen it before in my life. But I enjoyed the charmingly corny show at the Old Log last summer, so I was happy to give it another go as part of the former Bloomington Civic Theatre's first season as Artistry. I think I like it even more the second time around! First of all - it's a whole lot of fun (whorehouse + '70s + Texas = fun). But if you look a bit deeper, you'll see some prescient themes in this 1978 Broadway hit about the influence of TV and the media to ignite hysteria, as well as the power of women over their lives and their bodies, or lack thereof. If you're not convinced yet, let me give you a few more reasons to see this show.

"Yeston & Kopit's Phantom" at Artistry (formerly known as Bloomington Civic Theatre)

There's a new Phantom in town. OK it's not exactly a new Phantom, but rather one that's lived under the shadow of the musical theater juggernaut that is Andrew Lloyd Webber's The Phantom of the Opera, the longest running show on Broadway and "the most financially successful entertainment event to date." What hope, then, does any other musical adaptation of the early 20th Century French novel have? Maury Yeston and Arthur Kopit (who also wrote the 1982 Tony-winning Best Musical Nine) had already begun their musical adaptation when Webber's premiered in 1986 and took over the world. Consequently, Yeston and Kopit's version never made it to Broadway, but it has had many productions around the world, and now, in Bloomington MN at the newly renamed Artistry. Not being a huge fan of Webber's version (read more about that here), I was curious to see what another version might look like. While it's still not my favorite story, I found Artistry's production of this different sort of Phantom to be lovely, touching, and well performed by the cast and orchestra.

This Phantom follows the same general outline as the book and other adaptations, although they all differ on the details. The general outline: a disfigured man haunts the Paris Opera House, he falls in love with and kidnaps the beautiful young opera singer Christine, and tragic things happen. The details: in this version, the Phantom, aka Erik, has lived below the Opera House all of his life, having grown up there after his mother dies. He tutors Christine in opera technique, and only kidnaps her to save her from the diva who's trying to sabotage her. She seems to genuinely love him, but alas, they can't be happy together, because this is still Phantom.

I've only seen ALW's Phantom once, and I found it to be a bit difficult to follow, slow and draggy in parts, and way too melodramatic. This Phantom doesn't have those problems. It's still a preposterous story (why does someone who basically grew up in a sewer and rarely appears in public go about dressed in pristine tails and a fancy cape?), but Erik's origin story explains more of why is he the way he is, the show moves along with a fairly good momentum, and while it's still dramatic, it's a bit sweeter and with some lighter moments.

Yeston's score is lovely and melodic, with the duet "You Are Music" a highlight. As per usual, Anita Ruth's 20-piece pit orchestra plays it wonderfully, and the cast is full of strong singers. Courtney Groves is radiant as the young Christine, and has a sweet and lovely voice. William Guilness brings great dark and conflicted emotion in his portrayal and his strong deep voice. She's all lightness, and he's all darkness (which I guess is the point of the piece), and they sound beautiful together. Other highlights in the large and talented ensemble are Riley McNutt as Christine's patron, Alan Sorenson as Erik's friend with a secret of his own, and Carl Schoenborn and Angela Walberg as the new owners of the Opera House, the latter adding humor with her diva-like scheming.

One of the main focuses of that other Phantom is the huge chandelier that almost drops on the audience. While there is a dropping chandelier here, it's less of a spectacle, but still impressive, as is the set. The massive two-story structure with movable steps, multiple doors and entrances, and surprising nooks and crannies may be the most elaborate I've seen on the Artistry stage. It doesn't overpower the story but provides the appropriate grandeur for the Opera House (set design by Benjamin Olsen). Ed Gleeman's luscious costumes complete the look of Paris high society.

If you're a big fan of ALW's Phantom, you might want to give this one a try just to see a different take on the story. If you're not a big fan of ALW's Phantom, you might find this one more to your liking. It's less of a spectacle and more of a story, with a beautiful score beautifully realized. Yeston & Kopit's Phantom continues through November 14 (discount tickets available on Goldstar).

Christine and the Phantom (Courtney Groves and William Guilness)

"Hairspray" at Artistry (formerly known as Bloomington Civic Theatre)

Bloomington Civic Theatre has recently rebranded themselves as Artistry, and they've set the bar pretty high for the new direction of the organization. Their first production, a new take on the old favorite Hairspray, is fun and lighthearted, has a powerful and very relevant message about equality and self-love, is performed by a dynamic and diverse cast, and is directed and choreographed with great energy and spirit. It's an all-around wonderful show and is sure to be a smashing success (get your tickets now before they sell out). If Hairspray is any indication, I expect Artistry's inaugural season* to be the top-notch!

At this point I'm sure everyone's seen some version of Hairspray, whether the original movie, the musical based on the movie, or the movie based on the musical based on the movie. Normally this would be a recipe for disaster, but this story is so rich and music-filled that each iteration works. Despite not looking like the prim and proper skinny girls on her favorite TV show, The Corny Collins Show (think American Bandstand), Tracie wins a spot on the show and begins to dance on TV. She can't understand why her "colored" friends can't be on the show, so she arranges a protest and is promptly thrown in jail. But she gets out, continues towards her goal, wins the boy of her dreams, and achieves racial harmony through dance.

What does a 2002 Broadway musical based on a 1988 movie set in 1962 have to do with 2015? As it turns out, a lot. Tracie Turnblad is a heroine for the ages, proving that a young woman who doesn't meet society's standards of beauty can live a happy and fulfilling life, fall in love, and enact social change (all while dancing and singing!). And more than 50 years after the fictional events of the show take place, we are still traveling that road towards racial equality. The protest scenes include signs saying "Black Lives Matter" and "Hands Up, Don't Shoot," landing the show squarely in the present day and bringing an even greater poignancy to the song "I Know Where I've Been." Lyrics such as "there's a road we've been traveling, lost so many on the way" and "there's a struggle that we have yet to win" mean even more today. And somehow singing "I Love You Baltimore," and the entire show that's based on John Waters' love letter to his hometown, takes on a deeper meaning after the events that played out there earlier this year. I was moved to tears several times, which is a rare thing in musical that's also this much fun.

Brandon Caviness and Gracie Anderson
as Edna and Tracie Turnblad

Artistry has compiled a fantastic cast, and it's nice to see some new faces among the familiar ones. Starting at the top, Gracie Anderson is everything you could want in a Tracie Turnblad. She can sing and dance with the best of them, but more importantly, she has great charisma and winningly portrays Tracie's huge heart and spirit. As teen heartthrob Link, Nicholas Kaspari is no Matthew Morrison (who is?), but he's got some smooth moves and oodles of charm, and makes Link worthy of Tracie's affection. It's refreshing to see parents as loving and supportive of their daughter and her crazy dreams as Tracie's parents are. Brandon Caviness is fabulous in this role of a lifetime as the hausfrau Edna who learns from her daughter that it's not too late to take her place in the world, and Alan Holasek's Wilbur is all sweet and lanky awkwardness. The two of them make a charming and "timeless" couple.

"The Big Doll House"

2014 Spotlight Award winner Angela Steele proves she's more than worthy of that honor with her terrific performance as Amber, the mean girl everyone loves to hate (and she looks like a blond bouffanted Cristin Milioti). Catherine Noble is hilarious as Tracie's gum-popping sidekick Penny. Is that Melissa McCarthy stealing scenes in a number of roles from the president of the hairspray company to a cop? No, it's Meagan Kedrowski, but she coulda fooled me with her very specific comic creation of these characters, complete with funny voices and weird faces. Last but definitely not least, Bey Jackson's performance as Motormouth Maybelle, and specifically his rendition of the aforementioned Civil Rights anthem "I Know Where I've Been," is a thing of inspiring beauty.

A hallmark of BCT/Artistry is their traditional pit orchestra let by Anita Ruth, but in this show it's so much fun to see them on stage like a big band on a TV show, sitting behind the Painted Ladies of Baltimore on this simple but effective set by Erica Zaffarano. Ed Gleeman's '60s period costumes are fabulous and might make you miss Mad Men a little less, with the men in sharp suits and the women in lovely full-skirted dresses (several of which I would like to own). And kudos to wig designer Paul Bigot for creating the appropriately over-the-top hairsprayed hairdos.

When the director is a choreographer and a former American Bandstand dancer, you know there's going to be some amazing dancing in the show. Michael Matthew Ferrell has teamed with choreographer Kristin Iiams to create a fun and fast-moving show with such sharp, fast, fun, and very '60s dancing that I wish I were born a few decades earlier. In the capable hands of dance captains Emily Madigan and Krysti Wiita and this dynamic young cast, the dancing is a joy to watch. Warning: it's hard to sit still watching this show!

Hairspray is a show that's been done many times in the last 13 years, so you might wonder, why now? Artistry answers that question by bringing a feeling of relevance and immediacy to this poignant and moving story wrapped up in fabulous '60s song and dance. And it's a beautiful thing to see such diversity on stage and in the audience, especially at a theater in the suburbs (other suburban theaters - take note!). Hairspray continues through September 13, get your tickets now because they're going to be hard to come by (also check for discount tickets on Goldstar).

*The musical theater season continues with Yeston and Kopit's Phantom, The Best Little Whorehouse in Texas, and Fiddler on the Roof. Also check out the plays in Artistry's black box theater.

"Next to Normal" at Bloomington Civic Theatre

Diverging from the usual feel-good classic musicals, Bloomington Civic Theatre is currently presenting Next to Normal, one of the few musicals to win a Pulitzer Prize for drama and perhaps the most brilliantly written musical of this century. Unlike shows like Guys and Dolls or Singin' in the Rain, you won't leave the theater feeling happy and carefree. You'll leave feeling emotionally exhausted and perhaps continuing to think heavy thoughts for several days. Next to Normal is not an easy show to watch, but it's such a rich and rewarding experience. I couldn't be happier that there are not one but two local productions if it this season, at BCT now through November 15, and at Yellow Tree Theatre next spring (which is sure to be a much different show with their small intimate stage). This was my fifth time seeing Next to Normal, and BCT's production is as beautiful and heartbreaking as ever.

Next to Normal tells the story of what at first appears to be a normal American family, until the cracks begin to show. Diana and her husband Dan married young and started a family. They suffered a great tragedy that triggered Diana's bipolar disorder, which she's been dealing with for years. Everyone in the family suffers in their own way. Dan has to be the strong one as Diana falls apart, and therefore never gets the chance to deal with his own feelings about what happened. Their children, Gabe and Natalie, live in the shadow of the tragedy and are trying to deal with it on top of the normal problems that come with adolescence. Natalie's afraid that she'll follow in her mother's footsteps, and Diana's unable to be the mother that she wants to be. Diana hits rock bottom and undergoes ECT, aka shock therapy. It erases her memories, both the good and the bad, and she struggles to get her life and family back. One of the things that this show does is play with the idea of "normal." There is no such thing as a "normal" family; all families look different and are dealing with their own unique issues, both big and small. As Natalie sings, "I don't need a life that's normal, that's way too far away, but something next to normal, would be OK."

Karen Weber gives a raw and fearless performance as Diana, taking her to all her highs and lows, a voice full of emotion. Sean Dooley broke my heart as Dan, the caregiver in the family who sacrifices himself to take care of everyone else. Like he did in RENT, Blake Rhiner gives a passionate and powerful performance as their son Gabe. Aly O'Keeffe (née Westberg) brings her effortlessly beautiful voice to the role of daughter Natalie, imbuing her with all the angst, despair, and hopefulness of a teenager. Rounding out the six-person cast are Erin Patrick Miller, sweet and funny as Natalie's "perfect for you" boyfriend, and the powerful-voiced Dominique Wooten as the doctors.

Music director Anita Ruth usually helms a big traditional pit orchestra, but in this show she directs a six-piece onstage rock band, which is fantastic. Director Joel Sass also designed the set (as he does at the Jungle), and it's really cool. The use of levels, representing different rooms in the house, is continued from the original Broadway set but on a more manageable scale. The sharp clean lines of a modern and orderly home contrast with the chaotic inner life of this family. Barry Browning's bold lighting highlights the changing tones of the songs.

Next to Normal is a truly brilliant musical, but a heavy one, dealing with issues of mental illness, codependency, drug abuse, suicide, and grief, albeit with moments of humor (a great relief to the audience). It's a perfect example of what musical theater can do; it can be so much more than just light frothy entertainment (although there's a place for that too). Next to Normal is real, relevant, poignant, smart, funny, deeply emotional, and yes, profound. Check it out at Bloomington Civic Theatre through November 15, just don't expect big colorful dance numbers (discount tickets available on Goldstar).


This article also appears on Broadway World Minneapolis.

"Guys and Dolls" at Bloomington Civic Theatre

I love a big old-fashioned classic musical* at Bloomington Civic Theatre, and Guys and Dolls is definitely that. This 1955 musical with a well-known score by Frank Loesser is one of the most beloved musicals of the last century. As per usual, it gets fine treatment by BCT, with fantastic choreography and direction by Matthew Michael Ferrell, Anita Ruth's always wonderful pit orchestra, a huge and energetic ensemble, bright and beautiful period costumes, and fine performances by the leads. If you're a lover of classic musicals of the '50s - this is it.

Guys and Dolls centers around the underground gambling business in NYC and a mission trying to save the sinners. Nathan Detroit runs the big craps game in town and is always looking for a place to hold it, while trying to hide it from Adelaide, Hot Box dancer and his fiance of 14 years. To get the money to secure a location for the game, Nathan bets big-time gambler Sky Masterson that he cannot convince pious mission worker Sarah to go to Havana with him. Sky wins the bet, but it's not quite that simple. To win Sarah's heart, he bets against the guys' souls to get them to come to a meeting and save the mission. And everyone lives happily ever after.

Highlights of the show include:

• The music. The score includes such favorites as "Bushel and a Peck," "Adelaide's Lament," "If I Were a Bell," "Luck Be a Lady," and "Sit Down, You're Rockin' the Boat," all played and sung beautifully be the orchestra and cast.
• Michael Matthew Ferrell's choreography. The group numbers are so much fun to watch, from the opening number, creating perfect tableaux of city life, to the Hot Box Girls performances, to the smooth swinging Havana scene, to the crapshooters sharp dance. And these guys and dolls can dance.
• Ed Gleeman's costumes. Men in rainbow-colored suits, two-toned shoes, and hats used as props in dances - what's not to love about that? The women look pretty smashing too.
• Bill Rolon and Rachel Weber. Perfectly cast as Nathan and Adelaide, they absolutely sparkle and crackle on stage, individually (Nathan working the guys, Adelaide's charming lament and leading the Hot Box Girls) but especially together ("Sue Me" is a highlight, funny and tender). They even look the part; somehow the height difference (in Adelaide's favor) only makes them more perfect for each other. This is a relationship you can understand and root for, despite the overly long engagement.
• The voices of Holli Richgels and Joshua Paul Smith. I always find the Sky/Sarah romance less appealing than Nathan/Adelaide, but these two sound lovely together.
• The charming trio of Lamar Jefferson, A.J. Longabaugh, and Andrew Newman. They're almost like narrators of the show, singing the opening number and the title song in enthusiastic harmony. And Lamar is pitch perfect as Nicely-Nicely, singing the crowd-pleasing "Sit Down, You're Rockin' the Boat."

This faithful and fun production of a beloved musical theater classic continues through September 14. You might want to get your tickets sooner rather than later, as this one is sure to be popular (Goldstar tickets are currently sold out but check back in case more dates are added).

*As much as Guys and Dolls is a quintessential example of a classic piece of musical theater that BCT does well, their next show is a great example of a new and modern rock musical, Next to Normal. I'm excited to see BCT step out of their comfort zone a bit with this devastatingly brilliant Pulitzer Prize winning musical that features a small six-person cast and typically onstage rock band rather than a traditional pit orchestra.

"Gypsy" at Bloomington Civic Theater

What better time to see the classic 1959 musical Gypsy than on Mother's Day weekend? Based on the memoirs of Burlesque star Gypsy Rose Lee, it features the quintessential stage mother in Rose, who puts all of her hopes and dreams into her daughters as she guides them through their Vaudeville career. There's nothing really new or noteworthy about Bloomington Civic Theatre's production, it's just a good, solid, classic interpretation of one of the best musicals ever written, full of great songs and complex characters.

We first meet Rose and her daughters Louise and June in an audition, as she famously calls out directions including "sing out, Louise!" Baby June is the star, a pretty and precocious little girl in blond ringlets, and Louise is the older and less talented daughter forced into the shadows. Rose promises her girls she will make them stars, and travels around the country getting them bigger and better gigs with the help of Herbie, their manager who's also an unofficial husband/father figure to the family. Louise and June soon outgrow the little girl act but their mother refuses to let them grow up. A teenage June runs away with one of the boys in the act to form their own act. Herbie and Louise encourage Rose to walk away and concentrate on their family, but Rose is not someone who gives up. She turns all of her focus to making Louise a star in a recycled version of the old act. But Vaudeville is dying, so the act ends up in a Burlesque theater. Rose promises that this will be the last gig and she will marry Herbie and walk away when it's over. But when given the chance to make Louise a star in the Burlesque world, she takes it, and shoves Louise into the spotlight. Surprisingly, Louise takes to this new role and shines, not needing her mother any more. In one of the most famous musical theater songs, Rose makes one final plea to the universe, asking when it will be "Rose's Turn" after all she's sacrificed.

Here are some great things about the show:

• Everyone in the cast (which includes a lot of new faces at BCT) does a fine job, but there is one star in this show and that is Sally Ann Wright as Rose. As one audience member behind me noted, "she's perfect for the role." With a strong voice and commanding presence, she simply is Mama Rose. 
• Another who's perfect for the role is ten-year-old Dora Dolphin as Baby June. Already a veteran of Twin Cities stages (see also This Side of Paradise at the History Theatre and Collide Theatrical Dance Company's Belmont Hotel), the role of an adorable, precocious, talented young blond who's about to become a star is one she was born to play.
• Also great are Kristen Husby, who believably takes Louise from the tomboy-ish second fiddle to the elegant stripping star; Paul Reyburn as the solid and steady Herbie, the calm in the middle of the storm; and Martino Mayotte who makes a charming Tulsa and dances divinely on one of my favorite numbers in the show, "All I Need is the Girl."
• In one of the highlights of the show, the three strippers in the Burlesque club are all fantastic and play their "gimmick" well - Emily Jansen's "bump it with a trumpet" Mazeppa, Jessie Ladig's "do it with finesse" Tessie Tura, and Megan Love Warner's enlightening Electra.
• All the technical elements are spot-on, as per usual at BCT. Lots of set parts moving in and out (designed by Tiffany Fier), great choreography by Shannon Roberg, that big full pit orchestra that I love to see on these classic musicals with Anita Ruth at its helm, a large cast playing multiple roles, all under the direction of Zach Curtis.
• This is one of my favorite musical theater scores (music by Julie Styne and lyrics by Stephen Sondheim), with such great and memorable songs as "May We Entertain You," "You'll Never Get Away From Me," "Everything's Coming up Roses," "Together Wherever We Go," "You Gotta Get a Gimmick," and "All I Need is the Girl."

Gypsy continues at Bloomington Civic Theater through May 25 (with discount tickets on Goldstar). If you've never seen this classic on stage, this is a great production to introduce you. And even if you've seen it many times, it's still fun to revisit old favorites. 

BCT has announced their 2014-2015 season and I'm super excited to see that they've chosen the brilliant new rock musical about a family dealing with mental illness, Next to Normal. I think it's great that they sometimes venture out of their comfort zone of classics that they do so well, which next season include Guys and Dolls, La Cage Aux Folles, and Carousel - one I've never seen but have been wanting to. But first - the final play this season is The Odd Couple, which I am going to see for two reasons - Sam Landman as Oscar and Wade Vaughn as Felix. Trust me, you don't want to miss these two.

"The 25th Annual Putnam County Spelling Bee" at Bloomington Civic Theatre

The 25th Annual Putnam County Spelling Bee is a delightful, hilarious, and at times poignant look at a middle school spelling bee. I've seen the 2005 Tony-winning musical four times now, and I never tire of it. Bloomington Civic Theatre's new production is of course perfectly cast and very well executed, with Anita Ruth's small but still beautiful pit orchestra and Joe Chvala's unique eye for movement and direction. It's different than the large-cast traditional musicals they often do, which I love because it shows the full range of what musical theater is and what BCT can do.

The entire show takes place within a spelling bee competition, with a few flashbacks or fantasies to help explain certain characters. But basically it's a spelling bee, following the spellers from the moment they arrive at the bee, through triumphs and defeats, to the crowning of the winner. Along with the six quirky characters in the play, four audience members* are asked on stage to participate in the bee, adding an element of improvisation. Three adults try to wrangle the kids and keep the bee running smoothly, to varying degrees of success.

Highlights of the show include:

• Real life husband and wife Nicholas Leeman and Colleen Somerville play the adults presiding over the bee. Nicholas plays Vice Principal Panch with the perfect dry wit and occasional exasperation (and he's also the improv master as he deals with whatever the audience members throw him). Colleen's lovely voice is put to good use as former spelling bee champ Rona Lisa Peretti, with maternal fondness for the spellers and nostalgia for the bee. Not surprisingly, they have great chemistry, although Ms. Peretti does not return Mr. Panch's growing affections.
• As the bee's "comfort counselor," opera-trained Dominique Wooten cuts an imposing figure and can really belt (see also Les Miserables), and brings heart and humor to the paroled prisoner trying to help these kids deal with the disappointments of life.
• Six twenty-somethings convincingly play tweens and are all perfectly cast. Like she did in Carrie: The Musical for MMT last fall, Jill Iverson plays a complex and troubled teenager with a difficult relationship with her mother, but Olive is a bit lighter than Carrie and her story has a much less devastating outcome. Ryan London Levin is quite funny as former champ Chip, who's eliminated under unfortunate circumstances. Andrew Newman is adorable as the loopy and sweet Leaf Coneybear who knows he's "Not that Smart" (a role originated by Modern Family's Jesse Tyler Ferguson). Marcy Park is the least-developed character among the kids, but Hope Nordquist makes the most of her moment, a very active and busy "I Speak Six Languages." Andy Roemhildt plays all of the quirks of the singularly unique William Barfee to the hilt. Finally, Maisie Twesme is a standout as Schwartzy, with a lisp and a facial tic that never waver and a knack for engaging the audience spellers.
• The songs are mostly fun and light, with clever lyrics and catchy melodies. But occasionally the score is quite lovely and heart-wrenching; the musical highlight is the gorgeous three-part harmony in a fantasy sequence with Olive and her distant parents, with the three strong voices of Jill, Colleen, and Dominique blending beautifully together.
• This is an unusually small orchestra for BCT, but that's what the piece calls for, and as per usual it's spot-on. Joe Chvala's choreography captures the awkward movement of pre-teens, not quite in control of their bodies.
• I like to go to BCT on days when they have a post-show talk-back and listen to the cast and creative team talk about the experience. My favorite moment was when the cast was asked why they do this if they're not paid (much), and Ryan responded, "theater is crack!" As someone who saw over 150 shows last year, I heartily agree!

As Anita pointed out in the talk-back, this sort of light comedic show is harder than it looks. It takes a lot of work to make the precisely timed comedy look as effortless and natural as this. If you've never experienced the unique delight of Spelling Bee, do yourself a favor and head out to Bloomington between now and February 16 (discount tickets available on Goldstar). And make your plans for next season at BCT which was just announced. It looks like another great one; I'm particularly excited about Next to Normal (which I've seen several times and love) and Carousel (a classic I've never seen but have been wanting to).

*The audience spellers are given obviously easy or difficult words depending on if the script requires them to stay or leave. But they don't always comply, which is part of the fun. The cast told of someone who misspelled an easy word, which caused them to have to rearrange the song order. And there's always that one person who's a great speller and gets even the hardest words right. At the show I attended they finally had to trick him with to/too/two (which reminds me of the 30 Rock joke about the game show Homonym).

"Les Miserables" at Bloomington Civic Theatre

I'm not one of those Les Mis fanatics. I first saw it on tour over a dozen years ago, and what I remember most about it is that it was really long. I liked it well enough to buy the soundtrack, which I listen to periodically; the score is gorgeous and includes some wonderful songs. But I've never really connected with it like I have other musicals (I'm more of a RENThead). That changed a little when I saw the movie last year, but that too felt long and a little exhausting. But after seeing Bloomington Civic Theatre's new production of Les Miserables, I finally see what all of the fuss was about. It does not feel long or tedious; every moment is completely engaging. The music soars in the hands of this talented cast of singers and the big gorgeous pit orchestra (Anita Ruth has written some new orchestrations to replace the synthesizers, adding bassoon and guitar and doubling some instruments), and the themes of redemption, forgiveness, and love are so compelling. I've seen just about every musical production at BCT for the last few years and I always enjoy what they do, but Les Miserables is the best thing I've seen there so far. It's absolutely thrilling.

In case you're unfamiliar with the theater juggernaut that is Les Miserables, here's a quick primer. The musical premiered in London in 1985 and arrived on Broadway in 1987, and became one of the longest running musicals in both locations. Based on the 19th century novel of the same name by Victor Hugo, it follows the life of Jean Valjean from the release from his 20-year imprisonment for stealing food, to his involvement in the French Revolution, and many points and characters in between. Always on the run from Inspector Javert, Valjean tries to make a good life for his adopted daughter Cosette while struggling with his past. As director Karen Weber (who went back to the original text to inspire the tone of this production) writes in a note in the playbill, "It is a sprawling morality play, set against a tumultuous period in French history. That setting illuminates and encapsulates the suffering and oppression of generations of the French people, the human spirit crying for an end to that suffering, and the desperate measures taken to end it."

Valjean and Javert
(Dieter Bierbrauer and William Gilness)

One of the reasons I was so excited to see BCT's production of Les Mis is the cast. As anyone who's read this blog with any regularity knows, I'm a big fan of Dieter Bierbrauer, and have been since I saw him play Tony in West Side Story at the Chan years ago. I will see him in anything (even a musical that takes me back to the 80s, my least favorite decade), and I love seeing him in iconic musical theater roles like Jean Valjean, the troubled hero of Les Miserables. In addition to Dieter's typically perfect vocals, this is a very physical performance as he transforms from a young man beaten down by years in prison, to a respected businessman, to an aging man who walks like he's lived long and suffered much (but can still easily sling a young man across his shoulders). He carries the character's suffering in his body and his voice. "Bring Him Home" is a highlight, so beautiful and heartfelt. I didn't think anything could top hearing Dieter sing "Being Alive," but this just might have.

Of course Dieter is not the only star in this show. There are so many characters who have great moments in song, and BCT has chosen the perfect actor for each one. William Gilness is a great adversary as Inspector Javert, strong and unmoving in his goal to find Valjean, until Valjean shows him mercy and he is unable to process it and doesn't know how to go on with life. Laurel Armstrong beautifully embodies the tragedy of Fantine. The talented Aly Westberg is an incredibly sympathetic Eponine, another tragic character, and her "On My Own" is another highlight. Riley McNutt has a strong voice as Marius, with Molly Jo Hall as his lovely Cosette. Carl Shoenborn and Sally Ann Wright are entertaining as the comic relief innkeepers. Dominique Wooten is magnificent in a scarlet jacket; his cries to war make me want to climb a pile of rubble and wave a red flag! From the oldest to the youngest, this cast brings these characters to life. In a post-show discussion, Karen said that she told her cast that it's not enough to sing beautifully (as they are all capable of doing), but they also need to tell the story in a compelling way. Mission accomplished.

Once again, Michael Hoover designed a functional and appropriate set. Stairs to a balcony provide many levels on which Karen effectively places the action. A rotating center piece allows set pieces to enter and leave the stage smoothly, most effectively the barricade in the second act. As it spins we see both sides of the barricade. Costume designer Ed Gleeman has dressed the cast in period clothing both desperate and opulent.

Les Miserables is such an inspiring story. Through a moment of kindness, a man's life is changed and he goes on to affect others' lives by passing on that kindness. But through it all he's still just a man, with doubts and regrets and struggles. In short, it's the human experience. I see a lot of theater, and it's not often that I'm moved to a standing ovation (in fact sometimes I resent it when everyone stands up and I'm obliged to follow). But this is one of those times when I was eager to stand up and applaud and show my appreciation for all the work that went into creating this marvelous theatrical experience. Les Miserables is playing at BCT through November 16, get your tickets now before it completely sells out! (If you have no plans for Halloween, discount tickets are available on Goldstar.)