"Mrs. Porter and Mr. Parker" by Stage North at Open Book

Stage North returns, nearly a year and a half since their excellent production of the play Mauritius, with a new original musical revue all about two important artists of early 20th Century America - songwriter Cole Porter and poet/writer/critic Dorothy Parker, featuring the songs of the former and the poems and witticisms of the latter. In many ways they lived parallel lives, although they didn't seem to intersect much. Stage North's Artistic Director Peter Moore has imagined a conversation between them in some sort of afterlife where great artists go when they leave this world (sounds like a great place to spend eternity). It's funny and charming and a bit bittersweet; despite their upbeat work neither one lived a life without sorrow. And it's chock full of great songs from the American songbook, performed by six singers accompanied by a three-piece band in the intimate unamplified space at Open Book. Like in the opening song "Well, Did You Evah," it was utterly delightful to forget the awful headlines of the day for a couple hours and enjoy this swanky and entertaining party (continuing through March 29).

"Kiss Me, Kate" at Artistry

After yet another difficult weekend in the Twin Cities (ICE OUT NOW!), it was a welcome stress release to see a good old-fashioned musical comedy, full of classic Cole Porter songs performed by a gorgeous 14-piece onstage orchestra and fabulous dancing by a talented 12-person ensemble. With their production of the rarely done 1949 best musical Kiss Me, Kate, Artistry continues their tradition of the last few years opening their season with a classic musical, staged in a way that puts the focus on the music and dancing, with minimal sets or costume changes. This was actually my first time seeing Kiss Me, Kate, and while it may be a bit dated (and its source material problematic), this show is delightfully escapist entertainment. Even, or especially, with all the darkness in our world right now, it's good to be in community with audience and artists, to laugh and be entertained together. See Kiss Me, Kate at the Bloomington Center for the Arts through February 15.

"Red Hot and Cole" at Theatre in the Round

Cole Porter wrote many a song in the great American songbook, and dozens of Broadway musicals, his most famous being Anything Goes and Kiss Me Kate (currently being revived on Broadway). I previously learned about his career in musical theater and film at an installment of the Ordway's Broadway Songbook six years ago, but I didn't know much about his personal life. The musical revue Red Hot and Cole, now playing at the longest running theater in Minneapolis, Theatre in the Round, fills in those gaps. Song after hit song, interspersed with scenes from Cole's life and his fabulous and famous friend, all taking place at the swankiest cocktail party. It's an evening filled with great music and a deeper understanding of the man behind so many witty, clever, tuneful songs.

"Anything Goes" at the Ordway Center

The 1934 Cole Porter musical Anything Goes had a successful revival on Broadway in 2011 and won several Tonys, including Best Revival. That production is on tour and is currently playing at St. Paul's Ordway Center for one short week. I was invited to see it opening night and I thoroughly enjoyed it. It's a terrific new production of a classic musical, with many great songs, fun characters, clever one-liners and bad puns, a full orchestra, and a talented ensemble performing fantastic choreography.

Anything Goes takes place almost entirely on a cross-Atlantic voyage on a ship (which is how people traveled before the days of air travel, and it sound so much more fun). The cast of characters includes a lounge singer/evangelist named Reno Sweeney and her pal Billy, who stows away on the ship to prevent the woman he loves, Hope, from marrying a rich Englishman named Evelyn. Also on board is a low level mobster whom Reno and Billy befriend. The voyage is filled with mistaken identities, high jinx, romance, and of course, music.

Highlights include:

• Rachel York is perfectly cast as Reno Sweeney. She has a rich and dusky voice, both singing and speaking, that is perfectly suited to the character and the time period. Her performance is breezy and effortless.
• As Reno's pal Billy, Josh Franklin is quite dreamy - tall with a gorgeous voice and a charming way about him. From my seat in the last row of the theater, he reminded me of a taller Chris Messina (which is a good thing).
• Jeff Brooks is a hoot as Moonface, aka Public Enemy #13, especially in the nonsensical song "Be Like the Blue Bird."
• I love this score. Anything Goes was one of two musicals for which I played in the pit orchestra for my high school production (remember the Great Halloween Blizzard of '91? it preempted our opening night), so hearing that gorgeous pit orchestra brought back memories. After seeing the show I downloaded the 2011 cast recording and am enjoying listening to it; I'm not sure how I survived so long without it! "I Get a Kick Out of You," "You're the Top," "Friendship," "It's De-lovely," "Anything Goes," "Blow, Gabriel, Blow" - hit after hit after hit.
• Director and choreographer Kathleen Marshall won a Tony for the choreography of the Broadway production, and it is quite fantastic, especially the prolonged tap sequence to the title song at the end of Act I. It goes on and on as more people join in. Tap dancing is as much music as it is dancing, as it creates a rhythm that captivates the audience and carries us along. And as a general rule, I approve of dancing sailors in tight white pants.
• The set depicts the deck of a ship, with several levels and moving parts. The cute and tiny rooms move onto center stage when needed. The costumes are divine, especially Reno's wardrobe of gorgeous gowns.
• My one complaint is that if I wrote this show, I would have Billy end up with Reno instead of the bland Hope. I don't know how any man could notice another woman when Reno is in the room, and she deserves better than that weird Brit Evelyn. Billy and Reno are my ideal couple.

It's quite remarkable that a piece written in 1934 is still fresh, funny, and entertaining almost 80 years later. Now that's a classic. Playing through this weekend only at the Ordway - so get your tickets now!

the show-stopping tap dance "Anything Goes"

"Broadway Songbook: The Words and Music of Cole Porter" at the Ordway McKnight Theatre

The final selection for the popular Broadway Songbook series this season at the Ordway is Cole Porter. I didn't think I knew that many of his songs; I've only seen one of the 28 Broadway musicals he wrote (Anything Goes, the Broadway touring production of which will soon stop at the Ordway). But Cole Porter is one of those great American composers whose songs you know even if you don't think you do. He wrote back in the day when songs from Broadway musicals crossed over to popular culture, and they've stayed there. Songs like "Let's Do It," "Don't Fence Me In," "You're the Top, "I Get a Kick Out of You," "Another Op'nin," and "I've Got You Under My Skin," all written for musicals, many of which have been forgotten, but the songs remain. Ordway Artistic Director James Rocco brings his usual charm and enthusiasm as host of the evening (or afternoon), sharing facts about Porter's life and career (at one point he exclaims in an aside, "this is my favorite part!"), and singing and hamming it up on a few songs himself. He's joined by Musical Director Raymond Berg on piano, who flawlessly keeps the show moving, and a cast of six local musical theater actors (Jennifer Baldwin Peden, Gary Briggle, Joshua James Campbell, Kersten Rodau, Kirby Trymucha-Duresky, and Regina Marie Williams), all of whom don't just sing these songs, they perform them. And they all look gorgeous - the women in silver and fuscia cocktail dresses and the men in tuxes. Cole Porter deserves this respect. The only thing missing is the champagne!

A few of my favorite parts:

• Regina, Josh, and Kirby turn "Let's Do It" into a charming trio. You know the song, "Birds do it, bees do it, even educated fleas do it. Let's do it, let's fall in love!" As we learn throughout the show, this is a typical Cole Porter song - it features a list of items in a theme, and is a bit naughty. Or as James says, "wickedly sophisticated."
• Proving that he really could write a song about anything, Porter took a sentence overheard at a restaurant and turned it into "Miss Otis Regrets," a deadly funny story song, perfectly performed by Gary.
• Most of these songs are upbeat and funny, but a few are sad and lovely. Regina sings a few of them with the appropriate longing and melancholy - "Love for Sale" and "(You'd Be So) Easy to Love."
• They wisely give Josh several beautiful ballads, "Begin the Beguine," "In the Still of the Night," and "At Long Last Love." All of them just gorgeous.*
• Jennifer brings her effortless voice and style to songs both funny ("I'm Unlucky at Gambling") and touching ("I Get a Kick Out of You").
• A song written for Porter's favorite leading lady, Ethel Merman, is of course performed by Gary, and it is indeed "De'Lovely."
• I'm just waiting for Kirby's breakout role. She's long been a standout in the ensemble at Bloomington Civic Theater, and she proves with great performances of "Give Him the Oo La La," "My Heart Belongs to Daddy," and "Always True to You" that she can hold the stage on her own. Funny and charming with a fabulous voice, someone's going to cast her in a lead role soon. 
• To end Act I, Kersten walks through the house and encourages the rest of the cast to sing in a rousing rendition of "Blow Gabriel, Blow." She's a fantastic comic actor/singer (see also Xanadu) and she brings that to "Find Me a Primitive Man" and "Brush Up On Your Shakespeare," but also shows her sensitive serious side in "When Love Comes to Call."
• The Kiss Me Kate medley makes me want to see that show sometime (especially since I finally just saw Taming of the Shrew, the Shakespeare play on which it's based). The cast shares the duties on several songs, and also performs a little choreography. I also loved the group rendition of "You're the Top" from Anything Goes, in which the cast trades lead, like tossing the ball back and forth.
• James' style as host is very laid back and casual, which I enjoy, but the performances are all professional and top-notch, the show flowing smoothly and flawlessly from start to finish.

This is the last production at the Ordway's McKnight Theatre before it is demolished to make way for a much larger concert hall for the St. Paul Chamber Orchestra. If you're as sad to see it go as I am, make plans to attend "The Night of a Million Stars" this coming Sunday evening. Not quite a million, but at least a few dozen stars will make their appearance! The Broadway Songbook series will continue next year on the main Ordway stage, which just doesn't have the intimacy and charm of the McKnight. But I'm sure they'll make it work somehow. In the meantime, "Broadway Songbook: The Words and Music of Cole Porter" continues for one more weekend, get your tickets now if you can!


*The multi-talented Josh Campbell will soon be directing "TO LIFE! A Benefit to End Gun Violence" at the Varsity Theater, an evening of music and theater featuring a great local cast, with proceeds going to Protect Minnesota. It's sure to be a fun evening for a great cause. Click here for more information and to purchase tickets.