Original post from July 25, 2020:
Friends, I am beyond thrilled to post my first #TCTheater review in almost five months. Yes it's a virtual performance streamed over Zoom, so it's not quite the same, but it's a chance to see some of my favorite artists being creative and having fun, while putting out new content during a pandemic that doesn't seem to be getting any better. That's cause to celebrate. And it's not too late to get in on the action. Park Square Theatre's RIDDLE PUZZLE PLOT is a new play written for this format by one of my favorite #TCTheater playwrights, Jeffrey Hatcher, about a group of actors connecting over Zoom during a pandemic (how meta!). It will play out over four installments, beginning this weekend, with a $30 ticket getting you access to all episodes, either with live and interactive pre- and post-show content on Friday or Saturday night, or to watch on demand later in the week. I watched it last night and it was truly delightful, and such a comfort to experience something akin to theater again.
Shortly into Might as Well Be Dead: A Nero Wolfe Mystery, I had a feeling of déjà vu. But this was a world premiere play, how could I have seen it before? Eventually it dawned on me - three years earlier I saw another Nero Wolfe play. The Red Box was the first adaptation of this popular NYC detective series by author Rex Stout, and Might as Well Be Dead is another (a fact that was somehow lost to me before I sat down in the theater). Playwright Joseph Goodrich once again adapted the book into a play, Peter Moore returns to direct on a very similar set designed by Rick Polenek, and several cast members reprise their roles. Hence the feeling of déjà vu. Yes, the story is formulaic, but it's a formula that works. A curmudgeonly yet noble hero detective, his charming sidekick, a series of murders, and suspects a-plenty. If you're a fan of mysteries and noir crime thrillers, this one's for you.
Yesterday, when most of the world was watching some sporting event on TV, I saw two plays in St. Paul that spoke to the African American experience. When I sat down to write about one or the other today, I found that I couldn't separate the two. Maybe it's just because I saw them on the same day, but it seems like the two plays really speak to each other. History Theatre's world premiere of The Highwaymen and Minnesota Jewish Theatre Company production of The Whipping Man ("one of the most widely produced new American plays of the last several seasons") essentially tell the same story, 90 years apart, one in St. Paul, Minnesota and one in Richmond, Virginia. A story that continues to occur today in cities and small towns across the country. A story of black people being sent to the whipping man, of being sold South, of having their homes bulldozed to make way for "progress," of being imprisoned at a disproportional rate, of being denied education, of being shot by the police for walking down the wrong street. Both of these plays are really excellent productions, not always easy to watch, that shed light on one of the most important issues of our time.
Expectations are high for Park Square Theatre's world premiere of a new adaptation of Charles Dickens' novel Great Expectations. Building expectations are a well-known and beloved novel, adaptation and direction by veteran local director Joel Sass, a diverse and talented cast, and the fact that Park Square has been continually raising the bar these last few years with the addition of a second stage and greater commitment to diversity of casting and programming. After attending opening night this weekend, I'm happy to report that these Great Expectations have been met with this innovative, funny, creepy, clever, suspenseful, and very well done production.
The old adage "the show must go on" was tested last night. On the day that Park Square Theatre's world premiere play Sherlock Holmes and the Ice Palace Murders was scheduled to open, Steve Hendrickson, aka Sherlock himself, underwent surgery for an aneurysm. The good news is he's going to be fine and will hopefully return to the show soon, but what to do about opening night? Director Peter Moore to the rescue! With one emergency rehearsal and script in hand, he took the stage to embody one of the most iconic characters in literature and film. And it was a success. Even though he often looked at the script (not even a show biz vet like Peter Moore can learn an entire play in a few hours), he never broke character and was able to convey that distinct Sherlock Holmes-ness. It probably helps that he's surrounded by a great cast playing multiple characters, acting a script written by one of Minnesota's best playwrights Jeffrey Hatcher, based on a novel by Larry Millett, based on the characters created by Sir Arthur Conan Doyle. That's a recipe for success that's able to withstand last-minute challenges.
In Larry Millett's story, Sherlock Holmes and his trusty partner Watson are on a three-month tour of the US in 1896. They're about to depart Chicago to head back to London when they read about the strange disappearance of a wealthy groom in St. Paul. The mystery is too much for Sherlock to resist, so they take a detour to St. Paul to see what they can find. What they find is a daughter and son of wealthy businessmen with a stake in the Winter Carnival, about to be married in the Ice Palace until the groom disappears and the bride suspiciously returns her wedding dress. Holmes and Watson team up with a local barkeep/ex-cop named Shadwell Rafferty, along with journalist Miss Pyle who wrote the article enticing them to come to St. Paul. They discover a horrific scandal in the groom's past, and secrets that the bride is keeping as well. Suspects abound, from family members to Ice Palace workers to the town burglar. It's great fun to watch these two sleuths uncover the truth, especially in the second act as the clues start falling into place with greater speed.
Steve Hendrickson has played Sherlock multiple times on Park Square's stage (most recently in The Adventure of the Suicide Club two years ago), so those of you who see the show after his recovery are in for a treat! But even now, Peter Moore does a fine job filling in for him, and Bob Davis is so comfortable in the skin of Dr. Watson (a role he has also played multiple times) that it seems like a quite natural pairing. As their new partner/friend/adversary Rafferty, E.J. Subkoviak is a delight with his Irish-by-way-of-Boston accent and roguish charm. Tamara Clark and Taylor Harvey do as much as they can with the roles of the plucky reporter and the bride with secrets (the world of Sherlock Holmes has always been a boy's club, but it's too bad a modern update doesn't have better roles for women). The rest of the cast ably plays multiple roles, including Neal Hazard as the affable driver and the grieving father; Jason Rojas, reveling in the opposite roles of the bride's spurned and moody lover and her spoiled rich boy brother; James Cada, almost unrecognizable in his three roles of the Swedish Ice Palace guard, the father of the bride, and the gruff police chief; and Stephen Cartmell, deliciously creepy as the cross-dressing burglar and mysterious as the ice sculptor.
The stage is mostly empty, surrounded by a scroll frame, with images that look like book illustrations projected on a screen at the back of the stage to set the scene. There are some creepy cool effects in this murder mystery, and a charming sled (scenic design by Lance Brockman). Amy B. Kaufman's period costumes are lovely, especially the hats worn by the would-be bride.
Despite the opening night set-backs, Sherlock Holmes and the Ice Palace Murders is a smart, funny, and entertaining mystery, with plenty of local references and jokes. The audience also seemed to enjoy the references to other Sherlock Holmes stories that I didn't get, not being a huge fan of the series. If you're a fan of Sherlock Holmes, or if you're looking for a light and fun summery mystery (set in the winter), you might want to check this one out (continuing through July 26).
This is Bain Boehlke's last full season as Artistic Director of The Jungle Theater, which he co-founded in 1991 (he will retire next summer). For the final production of the 2014 season, he has chosen the beloved American classic On Golden Pond, which was made into an equally beloved 1981 movie starring Katherine Hepburn and real life father/daughter team Henry and Jane Fonda. In a final trifecta, Bain has directed the show, designed the set, and stars as loveable curmudgeon Norman. It's a sweet, funny, beautiful triumph. Nothing showy or flashy or over-the-top, rather a lovely and quiet exploration of relationships and life.
On Golden Pond centers on Norman (Bain Boehlke) and Ethel (Wendy Lehr), who have summered together on Golden Pond in Maine for 48 years. It's a quiet and simple life, kept busy with picking strawberries, fishing, playing Parcheesi, and talking to the loons. Their only visitor is mailman Charlie (E.J. Subkoviak), who stops in for coffee when delivering their mail by lake. Their daughter Chelsea (Jennifer Blagen), who has always had a strained relationship with Norman, shows up with her fiance Bill (Michael Booth) and his son Billy (Peder Lindell). The boy ends up staying for a month, and he and Norman become fast friends. Chelsea suspects he's like the son that Norman always wanted her to be. We witness the course of the summer, from opening up the cabin and settling in, to packing up and heading back to city life. Having just turned 80 and suffering from heart palpitations, Norman talks as if he has one foot in the grave, which annoys and frightens Ethel. When the play ends, we're not sure if they'll return to Golden Pond next summer, or if we've just witnessed Norman and Ethel's last summer on their beloved lake. But all in all they've lived a good and happy life, if not perfect, and we can be certain that they'll enjoy whatever time they have left, whether it's 10 more days or 10 more years.
Norman and Ethel (Bain Boehlke and Wendy Lehr, photo by Michal Daniel)
Everyone in the cast does a fine job, but On Golden Pond is all about Ethel and Norman, and Wendy and Bain are perfection. Their decades of friendship and collaboration are evident in the very real and natural relationship between Norman and Ethel. Bain physically inhabits the role of Norman with a slow and deliberate gait and labored breathing, but an internal fire as he verbally challenges everyone he comes up against, while still showing occasional glimpses of vulnerability. Wendy's Ethel has the busy energy of a retired woman with things to do, who loves her family wholly. She calls Norman a nitwit and "you old poop" with great affection. Watching these two local legends (both have Ivey Lifetime Achievement Awards) is a true pleasure. I had a smile on my face throughout the show and tears in my eyes at the end.
As always at the Jungle, the set is a perfect representation of the story. The cozy cabin is packed with books, photos, tchotchkes, games, blankets, and hats, like an actual cabin that has been lived in and loved for 50 years. It's a place I'd love to spend the summer, a place that feels familiar to anyone who has a summer retreat. The costumes (by Annie Cady) are vaguely '70s, especially with the younger set, but in an unobtrusive way. Ethel and Norman's clothes look comfortable and lived-in. The sideburns, bell bottoms, and phone operator are the only things that make this seem like a period piece; otherwise it could be happening on any lake in Minnesota or elsewhere.
On Golden Pond continues through December 21, so you really have no excuse not to head to this lovely little Uptown theater to see it. It's a great example of the quality theater that the Jungle has been producing for over 20 years under Bain Boehlke's leadership, that will hopefully continue after his tenure concludes next year. But for now, take this opportunity to watch a couple of legends in a beloved American play. You won't soon forget it.
By: Renegade Play-Reading Company and Rough Magic Performance Company
Adapted by: Catherine Johnson Justice
Location: Rarig Center Thrust
Summary: Shakespeare's comedy Twelfth Night split into two shows, one focusing on the separated and disguised twins Viola and Sebastian, the other on the supporting characters.
Highlights: I was thinking this would be a Hamlet/Rosencrantz and Gildenstern are Dead kind of pairing, but rather it's really just Shakespeare's original, only split in two by subject matter. It's a fun idea, and well executed by director Terry Hempleman (who also appears as the Duke in one of the two shows) and the excellent large cast. I saw What You Will first, which tells of the shenanigans of the members of the lady Olivia's (Alayne Hopkins) household, including a delightfully dopey Sam Bardwell as Sir Andrew, the always entertaining E.J. Subkoviak as Sir Toby, a mischievous Katie Kaufman as Maria, and Sasha Andreev with some strong monologues as Malvolio, going from proud to ridiculous to pitiable. The second hour tells the main story of Twelfth Night, with Catherine Johnson Justice and Clarence Wethern as the twins getting mixed up in the wooing of Olivia by the Duke. The two stories are tied together by Emily Zimmer's ukulele-playing fool. It's a clever idea and a fun way to view Shakespeare in a new way, performed by great actors.
I love a summer mystery at Park Square Theatre. Taking a break from Sherlock Holmes (The Adventure of the Suicide Club last year and The Ice Palace Murders next year), this summer's mystery comes from American author Rex Stout, who wrote over 70 novels and short stories over a period of 40 years about his crime-solving hero, Nero Wolfe. Nero is similar to Sherlock in that he's a brilliant and quirky character who relies on his sidekick to help him function in the world. Although Stout's stories have been adapted into numerous films and TV shows, this world premiere production of The Red Box is the first stage adaptation. Smartly written by playwright Joseph Goodrich, sharply directed by Peter Moore, with beautifully detailed period costumes and set, and energetic, precise, yet loose and comfortable performances by the entire cast, The Red Box is fun and entertaining summery mystery theater.
The Red Box is the fourth Nero Wolfe novel and is set in 1936 in Nero's NYC brownstone. Nero rarely leaves the house, preferring to spend time with his orchids, his beer, and the delicious gourmet meals prepared by Fritz, his personal chef. Instead, he sends his "boy Friday" Archie Goodwin out into the world when required. In the case of the titular red box, Nero is hired by a young man named Lew Frost who's concerned about his cousin Helen's safety after her friend is poisoned. Soon Lew's father and Helen's mother get involved, as well as family friends. What unfolds is a complicated family drama full of secrets and half-truths. Nero attempts to untangle this mess and get to the truth of the murder(s) by interviewing the parties involved, while Archie dutifully takes notes and adds his two cents. He also works with a police inspector, although it's unclear who's helping whom. It's a suspenseful mystery that will keep you guessing, but the real fun is watching these characters as they navigate the waters of this story.
This fine nine-person cast is led by E.J. Subkoviak and Sam Pearson, both of whom are on stage for most of the show. E.J. is just perfect as Nero Wolfe - smart and stoic, thoughtfully pouring and drinking his beer, taking pleasure only in the descriptions of the meals he's about to eat. Sam is obviously having a great time playing Archie Goodman, which means he's great fun to watch, delivering the prologue and epilogue directly to the audience with a smirk and a wink, doling out one-liners with an arched brow and a flip of his hair. Other standouts in the cast include Michael Paul Levin as the frazzled police inspector, and Jim Pounds, in a dual role as Nero's chef/butler and the mysterious Frenchman.
the cast of The Red Box on the set
The set by Rick Polenek is a beautifully detailed reproduction of Nero's NYC brownstone office, full of fine furniture, books, and artfully placed objects. I'm a sucker for period costumes, and these (designed by A. Emily Heaney) are gorgeous. From the men's three-piece suits and fedoras, to Archie's sweater vest, to the women's demure dresses and hats. The whole production is top-notch; even the scene changes are done well - the lights dim, characters remain in character as they leave or enter the room, Fritz comes through to clear glasses and rearrange props.
This really is an incredible true story. In 1960, a 15-year-old Wisconsin boy was friends with both Jackie Robinson, who broke major league baseball's color barrier, and the 35th American President John F. Kennedy. One would think that this was a story made up to create a great play, except that it's true. Ronnie Rabinovitz met JFK through his father, a prominent lawyer in Sheboygan who worked on Kennedy's campaign in the 1960 presidential primary. Ronnie also wrote fan letters to Jackie Robinson, who responded, leading to a lifelong pen-pal relationship that included telephone conversations and in-person meetings. When the History Theatre's Artistic Director Ron Peluso heard this story, he commissioned Midwest playwright Eric Simonson to write a play about it, which was presented as part of last year's "Raw Stages" new works festival. The Incredible Season of Ronnie Rabinovitz is now being presented with a full production at the History Theatre's downtown St. Paul stage. It's a really engaging and entertaining look at baseball, politics, and civil rights through the eyes of one precocious teenager.
JFK and Mr. Rabinovitz talk politics
(photo by Scott Pakudaitis)
There's lots of fourth wall breaking in this play, with Ronnie beginning the play talking directly to the audience and acknowledging that this is a play in which he's telling his remarkable story, and breaking into the action several times to explain things to the audience. It's quite a clever and effective device, a great way to relax and engage the audience. The action of the play flashes back and forth between two evenings when the two Jacks are in the Rabinovitz home on separate occasions. Kennedy wants Robinson's support in the election, and asks Ronnie's father to talk to him about it. But Robinson supports Humphrey first, Nixon second, and won't be budged. A scene showing the meeting of the two men explains why. Already retired from baseball in 1960, Jackie was active in Civil Rights, and his visit to Wisconsin prompts racist graffiti that seems to upset Ronnie's father more than it does Jackie.
The strong cast begins with the adorable and exuberant Jack Alexander as Ronnie. Mark Benninghofen is great as always as his father, and Teri Park Brown provides much of the comic relief as his mother. Peter Middlecamp plays JFK with the suave charm a Kennedy requires, and Ansa Akyea is comfortable in the role of Jackie Robinson, which he also played in Children's Theatre Company's Jackie and Me last year. Rounding out the cast are E.J Subkoviak with an amusing turn as the sheriff, and Jim Stowell as a frustrated striker.
Jackie Robinson in the Rabinovitz living room
(photo by Scott Pakudaitis)
The very cool set (by Rick Polenek) looks like it's from a 1960s TV show. But not with the harsh realism of Mad Men, more like the nostalgia-tinged sitcoms from the era. Picture Rob and Laura Petrie's living room, in color. In fact that sums up tone of the play as well, it's a little like a 1960s sitcom, with the precocious child, the hard-working, stern, slightly comic father, and the apron-wearing mother making her husband drinks and hors d'ouevres. It just so happens that into this sitcom wander two of the most famous Americans of the 20th Century. The play includes many amusing local references (cheese curds!), although I couldn't figure out why Wisconsonites would be Atlanta Braves fans, until I discovered that they were the Milwaukee Braves until 1965, and the Brewers didn't arrive until 1970.
The Incredible Season of Ronnie Rabinovitz is the History Theatre doing what it does best - presenting an entertaining and informative new play about a moment in Minnesota (er, Wisconsin) history that has larger implications to American history. It's an entertaining, engaging, nostalgic look back at the extraordinary friendships of one ordinary youngster. Playing through February 23, with discount tickets available on Goldstar.com.*
*If you've never used Goldstar.com, I highly recommend that you sign up. They offer half-price (or better) deals for many theaters around town. You'll receive a weekly email that will tell you about some of the deals available. Click here for more information and to see all of the great deals currently offered.
I have to admit, before seeing the world premiere play Courting Harry at the History Theatre, I was afraid that a play about a couple of Supreme Court Justices would be dry and boring. I was pleased to find out that it's anything but; it's actually an amusing, engaging, entertaining, and yes, educational play. Playwright Lee Blessing has framed the story of Minnesota-raised Harry Blackmun as a conversation between him, his childhood friend and Chief Justice Warren Burger, and the audience. This informal conversational style invites the audience into the lives of these powerful men who helped shape the laws of this country over several decades. Their most famous case is the landmark abortion decision Row v. Wade. Despite the fact that they both voted in the majority, it began a division in their friendship that was never mended. Courting Harry is both a historical play about a 40-year-old case that's still very much debated today, and a very personal story about a lifelong friendship.
Harry Blackmun was a bit of a pack rat - upon his death he left behind over 1500 boxes containing a half a million documents, both personal and professional. The stage at the History Theatre is filled with boxes overflowing huge shelves. Harry (the charming and natural Clyde Lund) begins to tell his story to the audience and is interrupted by Warren (a suitably gruff Nathanial Fuller), a sort of afterlife conversation. Four researchers in white coats (Jamila Anderson, Charlotte Calvert, Sam Pearson, and E.J. Subkoviak) sift through the documents making notes, pulling out pertinent letters and reading from them to support the story. It's very well-choreographed and a clever way to add interest to the story and make it more than just two people talking in an empty room. We meet a few other characters played by the ensemble, including Harry's mother and daughter, and presidents Nixon and Clinton (very entertainingly portrayed by E.J. Subkoviak, who has graduated from playing Nixon's campaign manager last year in 1968 to the man himself). When Harry is appointed to the Supreme Court, everyone puts on a black robe to illustrate that part of the story, with justices coming and going through the years like a game of musical chairs. Remaining constant through it all are Harry and Warren, growing further and further apart, until they, too, move on.
As someone who does not enjoy politics, I'm impressed that playwright Lee Blessing, director Joel Sass (who also designed the simple and stately set, as per usual), and the cast have managed to make a play about politics and the law so engaging and relatable and human. But I shouldn't be surprised; the History Theatre has a knack for telling important stories about Minnesota and American history that entertain as much as they inform. I don't know why I never learned about Harry Blackmun in history or civics class (or maybe I did and I just don't remember), but I know about him now and I won't soon forget, proving once again that everything I know I learned from theater. There is a renewed effort to place a bust of Harry Blackmun in Minnesota's State Capitol, as a famous son of Minnesota who achieved much on the national scene, including being an advocate for women's rights. Contact your local representative if you agree, and head to the History Theatre between now and March 24 to find out more about the life of Minnesota's Supreme Court Justices. I promise, it's much more fun than it sounds. (Discount tickets available on Goldstar.com)
the cast of Courting Harry at the bench (photo by Scott Pakudaitis)
I've seen a lot of ridiculous shows lately (and I mean that in a good way) - Xanadu, Absolute Turkey, The War Within/All's Fair - and the Jungle Theater's Noises Off is another one. Not only is it a show within a show, it's a farce within a farce. Featuring a spectacular cast of favorites, intricately choreographed chaos, and over-the-top backstage drama, it makes for a very entertaining night at the theater. Noises Off was written by English playwright Michael Frayn after watching one of his plays from backstage: "It was funnier from behind than in front and I thought that one day I must write a farce from behind." Six actors, one director, and two stagehands are putting on the fictional farce Nothing On. Act I shows us their final dress rehearsal, with the director watching from various parts of the audience. Act II is one month later, and the stage is turned around so that we get to see everything that happens backstage, while still hearing and catching glimpses of the onstage performance. It's a wild ride, and impossible to keep track of everything that's happening. Affairs, misunderstandings, drunkenness, tempter tantrums, and that's just backstage! Finally, in Act III the stage is turned around again and we get to see the performance, which has fallen apart. It's disastrous, painful, and hilarious.
the cast of Noises Off as the cast and crew of Nothing On
I've never seen a playbill that has a second, fictional, playbill within it. We get to read about the cast of Nothing On, complete with bios. This fictional cast is temperamental, difficult, and possessing questionable levels of talent. Fortunately the real cast is nothing like them; they're all brilliant in their portrayal of these quirky characters. (Although to be fair, we don't know what's going on in the real backstage of the Jungle; I imagine that would be quite entertaining as well, but hopefully with less violence.) Cheryl Willis is the veteran actress and star of Nothing On, who mixes up her lines and has jealous affairs with her fellow actors. Ryan Nelson (a fave from Yellow Tree) is the actor who can't complete a sentence that's not written for him. Summer Hagen is the flighty blond whose exaggerated performance is exactly the same every time, even if everything around her changes and it no longer makes sense. The divine Bradley Greenwald, who has a seriously killer singing voice but who is equally good at playing silly, is the simple man who needs a motivation for everything his character does. Add to that the very funny E.J. Subkoviak as the exasperated director, the nimble Kimberly Richardson as the awkward stagehand, Neal Skoy as the other awkward and overworked stagehand, Stephen D'Ambrose as the revered and famous actor who's also a drunk, and last but not least, Kirby Bennett (whose Girl Friday Productions is producing a Tennessee Williams play I've never seen, Camino Real, next year), and you have one dynamite cast. Directing all this craziness is Joel Sass, who also designed the reversible set, both difficult tasks beautifully done!
If you've never visited the cozy Jungle Theater in the Lyndale/Lake area of Minneapolis, this is a good time to start. I've really enjoyed their season so far, and it looks like it's only going to get better with Waiting for Godot starring Nathan Keepers and Jim Lichtsheidl, and In the Next Room with a fabulous cast of women (and a few men). But don't wait for those shows, Noises Off is a very funny farce with a talented cast. Even though it's three acts long, you won't have any trouble staying awake for it with all the craziness going on in this fictional theater world. I've never thought about what actors do between their exits and entrances, but now I'll be imagining all kinds of crazy backstage shenanigans!
I love HBO's Boardwalk Empire, about gangsters in Atlantic City during Prohibition. There's something about that era of history that seems glamorous and delicious, even though the reality of it was violent and dark. The History Theatre offers a fun and campy look at this era in our very own hometown. Capital Crimes: The St. Paul Gangster Musical* is a little like Boardwalk Empire the musical, without the heavy drama, and with the Depression-era Midwest as the backdrop instead of AC. I almost wish they had gone a little bit further into camp; there were some more serious moments that didn't quite fit the tone of the show. But all-in-all it's a fun show that is sure to make you want to learn more about these criminals and their involvement in Minnesota history. And it's pretty cool to think that some of these things happened just a few blocks from where you're sitting. That's what the History Theatre does best - shed light on the complicated and varied history of our beloved state.
The show tells the true story of Barker-Karpis gang, who were bank robbers, murderers, and kidnappers working throughout the Midwest, including Minnesota, where they kidnapped local beer tycoon William Hamm. This story is told through the eyes of crime reporter Nate Bomberg who acts as narrator (Jake Endres, also playing multiple other roles, much as he did in the last History Theatre show, Coco's Diary). We see the Barker brothers, their mother, and Alvin Karpis as they plan and commit crimes. We also see J. Edgar Hoover and the FBI chase them, in particularly Karpis as Enemy Number One.
A few highlights of the show:
Get there early for the pre-show entertainment - an onstage speakeasy, complete with dancing, singing, drinking, and fighting. I kept waiting for the dancers to return during or after the show, but sadly they never did.
E.J. Subkoviak again plays a government official with questionable motives and techniques. In 1968he was Nixon's adviser John Mitchell, and here he's Hoover. One of the highlights of the show is his hilarious song "Perfection." This show is at its best when it's tongue-in-cheek, not taking itself too seriously.
Josiah Austin Gulden as Karpis looks like a young Nucky Thompson (with better teeth), has a great voice, and makes a compelling hero-criminal. You almost want him to get away with his crimes and retire with his "girl" and start a family.
Speaking of, the two gangster girlfriends are played by the clownish (I mean that as a complement) and loose-limbed Kimberly Richardson and the more serious and lovely-voiced Anna Reichert. Paula and Dolores take "stand by your man" to a whole new level.
You can definitely see touches of director Noah Bremer of Live Action Set in this show. His theater company excels at physical theater, using their bodies and movement to set the scene and tell the story. There are some really lovely moments of that here, but I found myself wishing for more.
I love period costumes, and E. Amy Hill does a beautiful job bringing the 1930s to life without being too over-the-top about it. Wear your long strand of pearls or your fedora and you'll fit right in.
*I received two complementary tickets to attend the opening night of Capital Crimes: The St. Paul Gangster Musical.
I have to admit, I'm enamored of the late 1960s. The music, the fashion, Woodstock, HAIR, people standing up for what they believe in. It all seems so thrilling and, well, cool. But the late 60s were not all love beads and peace signs. It was a tumultuous time in our history, particularly 1968, the year that is the focus of an exhibit at the Minnesota History Center and a corresponding play by the History Theatre. Two of our country's leaders were assassinated, the Vietnam War was at its height with hundreds of people dying every week, protests on our own soil turned deadly, and there was a dramatic and pivotal presidential election. All of these events and more are covered in the exhibit and the play, and I learned so much more about this era that I find so appealing.
The play is comprised of seven scenes that showcase returning soldiers, the Civil Rights movement in various forms, people's reactions to the assassinations, the election, and Apollo 8. The scenes are strung together with songs and dialogue as the cast guides us more or less chronologically through the year. History Theatre's Artistic Director Ron Peluso structured the scenes (written by seven different playwrights) and directed the play. Standouts in the cast include Lindsay Marcy, who plays three different characters equally well (the new wife of a soldier, a modern-day TV reporter in a clever tie-in with WCCO news, and the New Jersey mother of a future astronaut). Randy Schmeling (who was in the first production I saw of one of my now favorite musicals, HAIR, at the Pantages in 2004) is a convincing Bobby Kennedy and a charismatic modern day astronaut visiting his family at the time of his birth in 1968, congenially interacting with the audience. Perhaps the funniest scene (although at times scary funny) is a creative re-imagining of newly elected president Richard Nixon's experiences that year along with his friend and campaign manager John Mitchell. Paul de Cordova and E.J. Subkoviak have an easy chemistry, and Paul does a great Nixon as well as a pretty good Johnny Carson (not surprising since he so convincingly played three different characters in last year's The Pride). Last but not least is Karen Weber's (the witch in last year's Into the Woods) moving portrayal of Rosemary Clooney struggling with depression after the death of her friend Bobby Kennedy.
The music is great, although I would have liked more of it. We only hear snippets of songs between scenes, when I wanted to hear the whole song. This isn't a musical, it's a play with music. The band is made up of students from McNally Smith College of Music in St. Paul (which shares a space with the History Theatre's usual location), and they sound pretty groovy. They start playing 10 or 15 minutes prior to showtime, so get there early if you want to hear some full song selections from this great year of music. The play itself begins and ends with songs from HAIR, the ground-breaking musical that dealt so well with the issues of its day, which seemed quite perfect to me.
In the last week I've seen two pieces that deal with tumultuous times in American history: the fantastic musical Ragtime at Park Square Theatre, and this play. I see a lot of similarities between the two. In 1906 and in 1968 our country was dealing with issues of war, violence, race and gender discrimination and the fight to end it, poor people demanding to be heard. All of things these things we're still dealing with today. It's good to look back on our history and remember how far we've come, and how far we have yet to go. The struggle, the journey, is not yet ended.
If you go, I would recommend getting to the History Center a few hours early to peruse the exhibit (your theater ticket gets you $2 off admission), but check the website for hours to make sure they're open. The cafe there has good, local food (again, check the website for hours, Tuesdays seem to be a good day to go). And if you, like me, love the 1960s aesthetic and are tempted to buy everything with a peace sign, stay away from the museum gift shop. They have some dangerously cute stuff.
