"The Hobbit" by Zephyr Theater at Aamodt's Apple Farm

Theatre in the Round's virtually sold-out run of playwright Greg Banks' 5-actor 90-minute adaptation of The Hobbit (which was commissioned by and premiered at Children's Theatre Company in 2019) closed less than two months ago. Just last night, Stillwater-based Zephyr Theatre opened their production of this play, outdoors at Aamodt's Apple Farm. Why another production of The Hobbit so soon? Why not? The two 2026 productions are so different from each other, and so different from the 2019 production, as to almost feel like different adaptations of J.R.R. Tolkein's beloved first novel in what would become the Lord of the Rings universe, that has delighted audiences for almost 90 years. TRP set their production decades in the future after an apocalyptic event, with survivors gathering to tell each other stories as their only entertainment, and really leaned into the importance of storytelling, and this story in particular. Zephyr's production is in a beautiful outdoor setting, making it easier to imagine the green fields and dense woods of Middle Earth, and leans into the idea of the reluctant hero, and the importance of standing up for what's right, especially in terms of supporting our friends, neighbors, or even strangers who are suffering injustices (something that, as the director notes in the program, feels very familiar in the Twin Cities in 2026). But this is still very much a story of dwarves and trolls and goblins and elves, and one brave hobbit who left his her cozy home to help a friend (continuing through August 2).

"The Glass Menagerie" by Theater Latte Da at the Ritz Theater

Every now and then, Theater Latte Da ("we don't do musical theater we do theater musically") tries their hand to a play (e.g., their 2024 production of Stones in His Pockets). This season, Artistic Director Justin Lucero has chosen Tennessee Williams' tragically beautiful and beautifully tragic play The Glass Menagerie (which happens to be one of my favorite plays). Thankfully, Latte Da has not turned The Glass Menagerie into a musical, but they have subtly infused it with music via live underscoring, as well as live video projections from onstage cameras. The result is perhaps the best realization of Williams' quintessential (and semi-autobiographical) memory play that I've seen. It's dreamy, and cinematic, and intimate, and nostalgic, and heartachingly beautiful. The innovative and risk-taking concept is gorgeously executed by the entire team, with a cast that is simply perfection. Pay a call to the Wingfields now through March 1; you won't be disappointed, but you may feel pleasantly melancholic after the visit.
UPDATE: extended through March 8!

"Robin Hood" by Zephyr Theatre at Aamondt's Apple Farm

On one of the hottest days of the summer, I sat outside in the blaring sun and stifling humidity watching a new-ish retelling of the classic Robin Hood tale. Only for theater would I put up with such miserable conditions! To their credit, Zephyr Theatre had coolers full of water bottles and wet washcloths which helped immensely. And to the actors' credit, they recognized the situation and brought it into the story, instead of pretending we were all sitting inside an air-conditioned theater. But the good news for you is that next weekend's weather forecast looks much nicer, so if you go it will be a much more pleasant experience for you. But even with the heat, I enjoyed this fun playful show with a great cast, featuring the directorial debut of Children's Theatre Company's longtime company member Reed Sigmund, who's comic stamp on this production is very much evident. Join the adventure at Aamodt's Apple Farm (a beautiful and easy to access location just outside of Stillwater off 36) this weekend only!

"Diary of a Wimpy Kid: The Musical" at Children's Theatre Company

Diary of a Wimpy Kid: The Musical - I've got an animal heart for you. Even though I have no familiarity with the successful book series or movies, I felt obliged to see Children's Theatre Company's world premiere musical adaptation because of the talk about a possibly Broadway run, and producer Kevin McCollum also produced my favorite musical RENT (which celebrates its 20th anniversary this week). But all sense of obligation quickly went out the window as the show won me over with it's clever and musically diverse score, universally relatable story of a kid trying to find himself in middle school, and most of all this incredible cast of mostly Twin Cities youth. Whether you're a kid stuck in the middle (school), or a jaded grown-up, Diary of a Wimpy Kid: The Musical is simply irresistible, and I think it's going to go far.

"Into the Woods" by Theater Latte Da at the Ritz Theater

I first saw the Stephen Sondheim/James Lapine musical fairy tale mash up Into the Woods four years ago, and have seen it several times since then, including the recent star-studded movie. Every time I see it I like it more. I think Sondheim is like Shakespeare in that it has a very specific rhythm and cadence to it that takes a minute to get used to, but the more time you spend with it, the richer and deeper it becomes. Such has been my experience with Into the Woods, so I was primed to love my favorite theater company Theater Latte Da's production of it. But it has exceeded my expectations, and even Sondheim newbies will be enthralled by this brilliant staging of a brilliantly written musical. Latte Da has pared down this big Broadway musical to something that feels intimate and innovative, using a small cast and orchestra, and inventive and thoughtful choices in every detail of the production. This, my friends, is Broadway re-imagined, or at least how I would like to see Broadway re-imagined. Simply put, it's sublime.

Where better to set Into the Woods than in Germany, birthplace of fairy tales as we know them? And why not make it a beer garden for extra fun and specificity? The stage is set the moment you walk into the lobby of the charming Ritz Theater, where a sign reading "Theater Latte Da präsentiert Ab in den Wald" hangs over the concession stand, which sells delicious Bauhaus beer and pretzels, or as the German nerd in me likes to say, Bier und Bretzeln (yes, I was the one on Opening Night wearing the Austrian hat I bought in Salzburg 20 years ago when I studied abroad there). The stage itself has been laid bare with no walls or backdrops; you can see the whole stage area, back to the unfinished walls. There is no backstage, everything happens in front of you, including costume changes and sound effects, which are cleverly created by the cast. Trees are constructed by what looks like wooden fencing spiraling to the sky, and after the giant comes through, half of the trees fall creating obstacles that each character maneuvers in their own specific way, athletically, carefully, or clumsily (set design by Kate Sutton-Johnson). All prop pieces look organic to the scene, including chandeliers made of antlers and the most adorable cow, constructed from an old-fashioned buggy with a wooden pail for a head and a piece of rope for a tail, and a little bit of imagination (properties design by Benjamin Olsen). Actors walk out on stage RENT-like with the house lights still up, and then begin to tell the story, making the audience feel like we're all in this together.

the beautiful cast of Into the Woods(photo by Heidi Bohnenkamp)

Director Peter Rothstein has made a genius decision to cast just 10 actors in these 20 roles, and once again has chosen the perfect actors for each part, with clever pairings of characters to an actor. It's such a delight to watch the über-talented David Darrow transform from the hard-working earnest baker to a pompous and shallow prince in a matter of seconds as he doffs one hat and dons another behind a tree; or the young star-in-the-making Brandon Brooks kill Jack's mother as the steward in one scene and mourn her as Jack in the next; or Peter Middlecamp go from the evil stepmother to the charming prince and back again several times within one scene (not to mention his deliciously devilish wolf, Hollywood - you can keep Johnny Depp, I'll take Peter Middlecamp any day). Dan Hopman is a wonderful narrator and emcee, slightly detached and observing, until he's forced into the story. Britta Ollmann only has one role to play, Cinderella, but she does it beautifully. Kendall Anne Thompson and Shinah Brashears are excellent as the stepsisters as well as the witch's sheltered and absurdly long-haired daughter Rapunzel and the fearless and spirited Little Red, respectively. Kate Beahen is warm and human as the Baker's wife, and also climbs inside a tree to voice Cinderella's mother. Elisa Pluhar brings to life both Jack's exasperated mother and Little Red's doomed Granny. Last but certainly not least, Greta Oglesby is a commanding voice and presence as the witch, in both of her forms.

But this is Sondheim, so let's talk about the music. Music Director Jason Hansen on piano leads just two other musicians (on cello and wind instruments) in this sparse three-piece orchestra that, despite being a significantly trimmed down orchestration, leaves nothing to be desired. The ten singers all sound gorgeous, alone and in delicious harmony. There's not one false note, moment, or performance in the entire show. Listening to David and Peter duet as the pompous princes complaining about their women is the opposite of "Agony," in fact it's a highlight in a show that's one highlight after another. The "No One is Alone" quartet is poignant and beautiful, as is Greta's rendition of perhaps the most well-known song, "Children Will Listen." And any song that has all 10 cast members on stage singing and moving at the same time is the best. In fact, the cast never leaves the stage (no backstage, remember?), and simply sit in a chair on the side of the stage when not in the scene. Costume changes happen in full view of the audience, which seems to say "hey, we're putting on a show," and invites us to use our imagination to play along.

Speaking of costumes, Samantha Haddow's costumes beautifully suit the theme, with the aforementioned hats, lederhosen, peasant gowns, and most importantly, pieces that can easily be added or removed and instantly define the character.

Theater Latte Da's inventive and sublime interpretation of Into the Woods continues through March 29. If you're a fan of music-theater, it's a must see.


This article also appears on Broadway World Minneapolis.

"How the Grinch Stole Christmas" at Children's Theatre Company

'Tis the season for stories of sad, lonely, grumpy people who experience a change of heart and learn to love their fellow citizens, whether of London or Whoville. After a double bill of Christmas Carols last week, I saw a similar story this week in Dr. Seuss' classic fable How the Grinch Stole Christmas. Like Scrooge, the Grinch hates Christmas, people, and dogs. Also like Scrooge, the Grinch learns how wrong he was, not from ghosts but from one sweet open-hearted little girl. Where A Christmas Carol is the perfect image of a Victorian Christmas, The Grinch takes place in the fantastical rhyming world familiar to anyone who's read Dr. Seuss, or had it read to them, as the case may be with much of Children's Theatre Company's audience. It's a bright and colorful, silly and funny, sweet and heart-warming tale of redemption and love.

In this musical adaptation by Timothy Mason (book and lyrics) and Mel Marvin (music), which premiered at CTC in 1994 before moving on to other stages, including Broadway, the Grinch's story is told by his dog Max, who is now an old dog ready to move on from the cave in the mountain above Whoville. But first, he shares with the audience the remarkable transformation he witnessed. No mention is made of what has happened since that pivotal Christmas long ago, or where the Grinch is now, but it's a clever device that allows much of the original descriptive rhyming language to be used. Old Max remembers how disagreeable Grinch was when he was an eager young pup, and how he forced him to help steal Christmas from the Whos. The plan failed when the Whos woke up on Christmas day to find all their presents, decorations, and food gone, but still sang and made merry, filled with the joy of togetherness and the spirit of the holiday. The Grinch realized that perhaps Christmas is more than presents and roast beast, his heart grew three sizes, and the rest is history.

On the night I attended the show, understudy Max Wojtanowicz stepped into the role of the Grinch, as he will continue to do for the next week or two until Reed Sigmund returns to the show. He more than capably fills the furry green shoes of the Grinch, performing with such gusto and heart in a role he didn't expect to play. He's deliciously and delightfully evil, especially when interacting with the terrified Whos, keeping them on pins and needles as he's alternately insincerely nice and truly horrifying. He fits right in with the large (and small) talented ensemble; I guarantee you will not know you are seeing an understudy.

The rest of the cast is pretty great too. Brandon Brooks is adorable and full of puppy-like energy as young Max, the perfect happy yin to the Grinch's grumpy yang. H. Adam Harris mirrors that spirit as old Max, but with the slowness and nostalgia that comes with age. Little Natalie Tran, stealing scenes across town, continues that tradition here with her adorable performance as the cutest Who, Cindy-Lou, with a voice as clear as a bell. There are almost as many kids on stage as there are in the audience, and they're all so animated and enthusiastic, born entertainers every one.

The original songs are fun and well performed by the cast and live pit orchestra, although I was disappointed that "You're a Mean One Mr. Grinch" was not sung but just played by the orchestra after curtain call. The CTC stage looks like something right out of a Dr. Suess book, with cartoonish and playful set pieces (by Tom Butsch), and bright and colorful costumes that are somehow cute despite being the most unflattering shape - a bit wide at the hips and high in the forehead (by David Kay Mickelsen).

How the Grinch Stole Christmas continues through January 4. Bring your little Whos for a fun and heart-warming holiday treat, or go by yourself - I've learned that it's OK for adults to go to the Children's Theatre by themselves. This Grinch is fun for adults, children, Whos, and furry green grumps.


This article also appears on Broadway World Minneapolis.