"Coco's Diary" at the History Theatre

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

"Teen Idol: The Bobby Vee Story" at the History Theatre

Friends, I think the History Theatre has another hit on their hands. After the huge success of last fall's new original musical Glensheen, which received a second run and an Ivey award this year, they follow in the footsteps of the proven success of Buddy: The Buddy Holly Story with Teen Idol: The Bobby Vee Story. In a way, this story picks up where that story left off. Bobby Vee's career was born on the day the music died. But this new musical (or rather play with music if you want to get technical about it, and I do*) doesn't just rest on the nostalgia of baby boomers, who, let's face it, would come see the show no matter how good it was just to hear these great old hits of the '60s. Teen Idol is more than just a string of familiar hits, it's a well written and extremely satisfying play with music that tells the story of Bobby Vee's life, music, family, and rise to and fall from fame. Kind of like a cleaner version of Jersey Boys (Fargo ND is far from New Jersey and not just in geography). Featuring a star performance by Tyler Michaels, who continues to impress with his range of talents and characters, and an incredibly strong ensemble chock full of local talent, who all get their moment to shine, Teen Idol is a fantastic show no matter your generation.

"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 Belmont Hotel" by COLLIDE Theatrical Dance Company at the Southern Theater

COLLIDE Theatrical Dance Company is a new company whose mission is "to create original Broadway-style jazz dance musicals that engage and entertain audiences." It's a cool concept, and for a musical theater geek like myself who doesn't know much about dance, it's a great way to experience the beauty and storytelling power of dance in an accessible and familiar format. Like a musical without words, the story and emotions of the characters are conveyed simply and powerfully through movement and physical expression. Their inaugural production Lot of Living to Do told the story of prostitutes in the '30s trying to better their lives, and their new production, The Belmont Hotel, tells of a hotel owner with a failing business in 1929 who turns to bootlegging, and the effects that has on his family. Directed and choreographed by company founder Regina Peluso and featuring a talented ensemble of dancers, a fabulous on-stage five-person band, and two fantastic singers, it's a highly entertaining evening (free drinks from sponsors Stella Artois and Whiplash Wines don't hurt either).

The story of The Belmont Hotel is fairly simple. Losing money due to the Great Depression, hotel owner Frank (a light on his feet Jeff Quast) decides to go into business with a bootlegger (a smooth and seductive Patrick Jeffrey), introduced to him by the nanny (an appealing Renee Guittar). The money starts rolling in, but his wife (director/choreographer Regina Peluso) and daughter Lily (the precocious Dora Dolphin) are not happy with the change. A crisis neatly leads to a change of heart, the family is reunited, and everyone's happy again. Let's dance!

Dora Dolphin, Regina Peluso, and Jeff Quast
as the (sometimes not so) happy family

And what dancing there is! Regina's choreography is classic and fresh at the same time, beautifully executed by the leads and ensemble. But the youngest dancer steals the show; Dora Dolphin is already a star* at a young age, and is completely charming in Lily's dance with her daddy and alone on stage in her angry neglected dance. The ensemble numbers are also a highlight, especially the Act I closing number "Feeling Good" and the final number "Sing Sing Sing," and include some pretty amazing acrobatic tricks that I wished I could rewind and watch again!

The soundtrack to the story is a selection of jazz standards like "Stormy Weather" and "Mack the Knife (with a little Beyonce and Beatles thrown in for good measure), performed by the band with vocals on some songs. Katie Gearty has a dusky voice that's perfect for these songs, and Cameron Wright has impressive vocals, most evident in an a capella unmiked version of "It Don't Mean a Thing" that fills the cavernous space of the Southern Theater stage. I'm not sure there is a better stage for dance in the Twin Cities than the Southern, with its wide open stage, gorgeous brick arch backdrop, and excellent sightlines from the audience. Costumes are period appropriate (with the exception of an inexplicable untucked plaid shirt and khaki pants ensemble) and still allow the dancers to move freely and beautifully.

This is a short run so act quickly if you want to catch this production of the new original jazz dance musical The Belmont Hotel - only four more performances remain this weekend (discount tickets available on Goldstar.com). Recommended for dance aficionados and novices alike. COLLIDE's next production is Romeo and Juliet next spring. I cannot imagine Romeo and Juliet as a jazz dance musical, but I trust this company to make it work!

*Her bio notes that Dora will be in Gypsy at BCT next spring. From what I've seen of her, she will be a perfect Baby June!