"My Ántonia" by Theater Latte Da at the Ritz Theater

Back in 2010 (the birth year of Cherry and Spoon), Illusion Theater won two Ivey Awards (remember the Ivey Awards, Minnesota's own Tony Awards?) for their adaptation of Willa Cather's novel My Ántonia, one for playwright Allison Moore and one for Kate Guentzel, who played the title character. I didn't see it that year, but lucky for me Illusion continued to produce the show every few years, and even toured it around the Midwest and into Cather's Nebraska. I've seen it three times, most recently in 2019, and loved it more each time I saw it, calling the sparse 90-minute six-person play with music "a perfect adaptation, in that it captures the wistful and nostalgic tone of the novel as Willa describes the people and place she loved so much." I was excited and a little trepidatious when two years ago Theater Latte Da announced that a new musical adaptation of My Ántonia would be part of their NEXT new play development series. I saw the reading of the musical in development that summer and was reassured that the tone of the novel was maintained (unlike the recent musical adaptation of The Great Gatsby, which turned it into a romcom). And now after seeing the full production, even though I'll always have a special place in my heart for Illusion's play that made me fall in love with this story, I love seeing another version of it that fills out the story with more life and music. With a talented cast twice the size of the play, a lovely indie folk score that I wish I could download and listen to on repeat, and sparse design that evokes the achingly beautiful prairies that surround us, Theater Latte Da has brought us another beautiful adaptation of this classic American story (continuing through July 12).

"Salomé" at PAIKKA

Who knew there was an Oscar Wilde play that has never been professionally produced in the Twin Cities? Grant Sorenson, that's who. The actor-turned-director (he directed a couple of really great plays in the pre-pan years) moved home last year after receiving his MFA in directing from Boston University. Last fall he created a monthly play reading series called Table/Read, in which the audience doesn't know what play is being read until moments before it begins. And now he is producing and directing Salomé, hopefully the first of many unique and creative theatrical endeavors to come. Because Salomé is not just a play, at least not in the traditional sense of a stage and an audience separated by space and darkness. It's an immersive (but not interactive) experience that literally puts you right at Herod's banquet table. Which is not always a comfortable place to be, but always thoroughly captivating. With a talented eight-person cast performing literally a few feet in front of you and gorgeous 360-degree design, Salomé is not to be missed, especially if you're interested in theater that pushes the boundaries of what we think theater can be. But hurry - there are only three remaining performances and seating is limited.

"It's Only a Play" at Park Square Theatre

If you love theater (and if you don't, why are you reading this), you must get to downtown St. Paul ASAP to see Park Square Theatre's production of It's Only a Play, the first show in their 50th season. Written by great American playwright Terrance McNally, this is a play about theater and theater artists. It hilariously makes fun of theater and everyone and everything surrounding it (including too many celebrity references to count), but in the end it's a real love letter to theater that would have brought tears to my eyes in the way it speaks to what theater means to us, if I weren't laughing so much. It premiered Off-Broadway in the '80s but was updated to bring it into the 21st century for its 2014 Broadway debut, and feels as if it may have been updated even since then, so current are the references. Park Square is putting on a superb production in every way, including an impeccable local cast. This feels like a play that was made just for me, and every theater-lover (continuing through October 19).

Reading of "The Antipodes" by Table/Read at PAIKKA

After two years at Boston University earning his MFA in Directing, #TCTheater artist Grant Sorenson is back in town and jumping right in making good things. He has plans for a new theater company (which will hopefully continue the great and interesting work of Arrow Theater), but for now, Grant has introduced a new and exciting monthly theater event - one-night-only readings of new plays, fittingly called Table/Read. That in itself is a really cool idea, but what makes this series truly unique is that the name of the play is not announced until the moment the reading begins. We always go into the theater knowing something about the work, even if it's just the title and playwright. But often the promotional materials, social media, and/or the program have information on what the play is about - a short plot summary, character descriptions, or even just the location and time period of the story. It's extremely rare to watch a performance and know absolutely nothing about what's going to happen. And that's exciting! The first monthly Table/Read did not disappoint, with an excellent choice of play read by a powerhouse cast of nine of #TCTheater's best actors that gave fully realized performances despite having just one zoom rehearsal. And it was preceded by drinks and conversation in the lovely courtyard outside PAIKKA, an event space in Vandalia Towers. But I won't get too attached to that; each reading will take place at a different non-traditional space. Follow Table/Read on Instagram or watch their website for details on the next monthly reading. And for artists - check out the artist nights, intended to be a place where artists can connect.

"Scotland, PA" by Theatre Latte Da at the Ritz Theater

Theater Latte Da is opening their 27th season (the first programmed by new Artistic Director Justin Lucero) with a wild one. It's technically a movie adaptation, but it's based on the obscure 2001 movie Scotland, PA, not a blockbuster sure-fire hit, so somebody must have been inspired by this darkly comedic 1970s-fast-food-set take on Macbeth, one of Shakespeare's bloodiest tragedies (although all of his tragedies are pretty bloody). The musical premiered Off-Broadway in 2019 and was further developed as part of Theater Latte Da's NEXT program in 2022. It starts off as this really fun rock musical about working folks trying to get ahead, and ends, well, bloody. It's brought to life by a creative team with many Broadway credits, and a brilliant cast full of home-grown talent. So grab a burger, head to the Ritz, and buckle up for a wild ride of a musical, continuing through October 20.

"Murder on the Orient Express" at the Guthrie Theater

One of Agatha Christie's most well-known mysteries, Murder on the Orient Express, was first adapted to the stage just six years ago. Playwright Ken Ludwig brings his usual fun, fast, high-energy style to the adaptation. Previously unfamiliar* with the material, I found the Guthrie's new production to be constantly surprising and delightful. The production design that depicts an elegant art deco European train is stunning, and the ten-person mostly local cast is truly an embarrassment of riches. This Orient Express is pure entertainment from start to finish - a smart adaptation of a classic mystery perfectly executed by the cast and creative team, and even with a bit of depth as the famous detective Hercule Poirot contemplates the nature of justice and his role in it. Hop on board the Orient Express now through July 2. 

"Annie" at Children's Theatre Company

A healthy dose of optimism is exactly what I needed last Friday night, when it seems like coming out of this pandemic is one step forward and two steps back, on top of all of the other problems the world is facing right now. And optimism is exactly what Children's Theatre Company's production of Annie delivers, in spades. Ten years later, they're remounting their 2011 production with most of the creative team and even some of the cast returning. It's the first live performance at CTC since their original play Spamtown, USA closed early due to the pandemic 20 months ago, and it's a joyous return. Despite being written in the '70s and taking place in the '30s, Annie clearly resonates with 2021. People living in poverty struggling to survive while others live on "Easy Street," and bad feelings towards a former president who left us with mess to clean up, are stories that could've been pulled from today's headlines. Annie shows us the power of "Little Girls," at a time when we're looking to the younger generations, and women of all ages, to lead us out of today's challenges and into a better "Tomorrow."

"Twelfth Night" at the Guthrie Theater

For their annual Shakespeare production, the Guthrie is bringing us a truly delightful, innovative, and playful rendition of the comedy Twelfth Night. And in a surprising and wonderful choice, the cast is 100% local. I'm someone who often calculates that percentage at the Guthrie, and while I appreciate the chance to see national talent on the local stage, I'm also the biggest fan of our #TCTheater community, so I always want that percentage to be higher. It's wonderful to see that rich, deep, broad, diverse, incredibly talented community 100% represented on stage in this production. The show is as Shakespeare's comedies are meant to be - fun, playful, accessible, almost interactive, heartfelt, and hilarious.

"Matilda" at Children's Theatre Company

Please read about my decision to join the boycott of Children's Theatre Company here.

The successful musical Matilda (it ran for four years on Broadway, eight years and counting in the West End) is a musical led by child actors, so of course it's the perfect choice for Children's Theatre Company. Although they have a lot of talented adults on stage, and some of their shows even have entirely adult casts, what they do best is nurture and showcase the talent of #TCTheater's youth. And what a bunch of revolting children they are. Nine exuberant, precocious, stupidly talented kids lead us through this dark but inspiring story by Roald Dahl (who also brought us Charlie and the Chocolate Factory, and likes to show children getting the best of some truly cruel adults). The show is darkly funny yet surprisingly moving, with fantastic performances from the cast, young and old.

"The Agitators" at Park Square Theatre

When planning their 2018-2019 season, Park Square Theatre couldn't have known how timely and relevant The Agitators would be. But then again, the lives and work of Susan B. Anthony and Frederick Douglass will never not be relevant and urgent until their dream of an America that is equal and just for all is realized. And we have not yet reached that day. That's why football players take the knee during the National Anthem, and why women take to the streets in pink hats. It's the legacy of these two self-described (at least in the words of the play) agitators, people who stir things up and get people talking, because that's where change begins. Their legacy is also our right to vote, which these two (among many) fought so hard to secure for all Americans. With what feels like the most important mid-term election in history approaching, it's a perfect time for this play to remind us just why the vote is so important that these two agitators devoted their entire lives to it. Playwrights' Center core writer Mat Smart's smart (pardon the pun), funny, engaging, and inspiring play couldn't come at a better time.

"Children and Art" - A Cabaret Performance by the Cast of the Guthrie's "Sunday in the Park with George" at Lush

In what was essentially a very special episode of "Musical Mondays," the sublime cast of the Guthrie's Sunday in the Park with George (now playing through August 20) gathered at Lush on Monday night for a cabaret performance. Hosted by cast member Max Wojtanowicz (who also co-hosts the usual "Musical Mondays at Hell's Kitchen" on the first Monday of every month), the theme was "Children and Art," and the proceeds of the night went to an organization called Project Success. Partnering with the Guthrie and other theaters in town, Project Success provides support and activities (including theater and the arts) for young people in order to "motivate and inspire them to dream about the future, help them take steps to get there, and give them the tools the need to achieve their goals." A worthy cause, and a wonderful celebration of music.

"Sunday in the Park with George" at the Guthrie Theater

Of late, the Guthrie Theater has had a tradition of producing a classic crowd-pleasing musical every summer (most recently: South Pacific, The Music Man, and My Fair Lady). But inexplicably, they have never produced a musical by the great Stephen Sondheim on the main stage. Perhaps it's because Sondheim is not easy, to do or to watch; not as readily familiar and accessible as the classics of the '50s. But Sondheim is the Shakespeare of musicals, and it's about time the Guthrie remedied this gross oversight. They do so in splendid fashion this summer with their stunning production of what is perhaps the musical theater master's greatest masterpiece, Sunday in the Park with George, directed masterfully by Artistic Director Joseph Haj. Sondheim and frequent collaborator James Lapine first joined forces on this piece that won them a Pulitzer Prize, getting their inspiration from the 19th century painting "A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat, one of the leaders of the Impressionist movement. Artists being inspired by the work of another artist who lived a century earlier to create art about art. It's pretty meta, and no surprise that it's a favorite among musical theater artists. The Guthrie has assembled a sparkling cast and created a gorgeous design that brings this work of art about art itself to brilliant life.

"Le Switch" at the Jungle Theater

Two years ago I saw Philip Dawkins' one-act play Failure: A Love Story at the Minnesota Fringe Festival, and it was one of my favorite things I've ever seen at the Fringe. In fact I called it "everything I want in theater," a perfect blend of comedy and tragedy, with tons of heart (and it made me cry perhaps more than any other theater I've seen). At the time I didn't know who Philip Dawkins was, but now I know he's a Chicago-based playwright who is a core writer with the Playwrights' Center in Minneapolis. His name has come up again recently when his new play Charm (also a mix of comedy and tragedy with heart) was produced at Mixed Blood earlier this year. And now comes Le Switch, developed at the Playwrights' Center and having a rolling world premiere this year, including at the Jungle Theater. I'm happy to report that like Failure, it gave me all of the feels (although I only shed a few tears, not buckets, probably because there are no animals in this one). Like Failure, Le Switch is a funny and beautiful love story, but not just a romantic love story (although there is that, and a wonderful one). It's also a love story between a brother and a sister who are each other's only family; a love story between childhood best friends who, despite their differences, still love and support each other unconditionally; a love story between the main character and a man who was more of a father to him than his biological father ever was or could be. It's a fantastic new play and I'm excited to see where it goes next.

"Watermelon Hill" at History Theatre

The History Theatre in St. Paul is committed to bringing new plays and musicals to the stage, usually inspired by true events in Minnesota history. Their yearly Raw Stages festival, a series of workshops and readings of new works, often results in full productions in the following season or two. But I often wonder, what happens next? After a new play or musical is developed, produced, and well-received, where does it go? In the case of 2001's Watermelon Hill, it comes back again 15 years later. As much as I love seeing new works of theater on History Theatre's stage, I'm thrilled that they brought this wonderful old new work back to the stage, giving it a fresh new production. Inspired by historical events, Watermelon Hill tells the stories of three young women in the mid '60s, pregnant and unmarried, sent in shame to St. Paul's Catholic Infant Home to wait out their pregnancies, deliver their babies, give them up for adoption, and then leave and never look back. Surprisingly light and funny for such a somber topic, the play brings light to the all too familiar tale of the challenges and lack of education and choices facing women in the past, and perhaps to a lesser extant, even today. Along with The How and the Why and Nina Simone: Four Women, it's another fantastic choice of theater to present during Women's History Month.

"The Snow Queen" at Park Square Theatre

Inside Park Square Theatre on 7th Place in lovely downtown St. Paul, magic is happening. It's the magic of storytelling, something that has been happening for ages on this planet. Friends sitting around a campfire, telling stories of good and evil, trials, and friendship, with words, music, dance, puppets, tears, and laughter. This musical adaptation of the Hans Christian Anderson story The Snow Queen is something truly unique and special. It's so charming, whimsical, funny, creative, and yes, magical. But with a creative team that includes Doug Scholz-Carlson (director), Denise Prosek (music director), and Jim Lichtsheidl (choreographer), I would expect nothing less. They have assembled a terrific eight-person cast of actor/singer/ musicians (half of whom are new to me) to bring this charming fairy tale to life in an innovative and inspired way.

"Putting It Together" and "La Rondine" by Skylark Opera at E.M. Pearson Theatre

One of the theatrical highlights of the summer, Skylark Opera's Annual Summer Festival, is upon us! As usual, the two shows playing in repertoire include one that's more of a traditional opera (but always in English) and one that skews a bit more towards musical theater: Puccini's La Rondine and the Sondheim musical revue Putting It Together (put together by Sondheim himself). As someone who loves musical theater but doesn't venture into the world of opera very often, Skylark's Summer Festival offers a fun, easy, accessible way to enjoy to dip my toes into the opera scene and indulge my love of musical theater. Both shows are highly entertaining with excellent casts and orchestras. But the runs are short with just four performances of each show. So read on, take your pick, and get your tickets before this all-too-brief Summer Festival is gone like the all-too-brief Minnesota summer!

Putting It Together
A terrific five-person cast, a fantastic eight-piece orchestra, and over 30 of Sondheim's greatest songs. What could be better?! Written in the early '90s, Sondheim pulled together songs from over a dozen of his musicals (including some that were cut from the original shows) and tied them together loosely with the story of two couples, one that's been together a long time and one that's just starting out. This allowed him to use many great relationship songs from the likes of Merrily We Roll Along, A Little Night Music, Company (my personal favorite, and perhaps Sondheim's as well because he included five songs in this revue), Follies, and the movie Dick Tracy. (Does anyone remember that Sondheim wrote five original songs for the 1990 movie? Me neither, but he included four of those five songs in this revue, maybe because it was so recent.) There's not much of a story here, so much as a study of relationships, and all of these diverse songs work surprisingly well to explore different facets of these relationships and give us a picture of who these people are (although some work better than others - the wolf's song from Into the Woods doesn't really fit in any context outside of the woods, although it is a commentary on a certain kind of relationship).

On a set that looks like a posh and sparse NYC apartment with a terrace, the long-married couple, the new couple, and their butler/commentator have a dinner party, dressed of course in tuxes and gowns. Each song is like a little story in itself, exploring a different facet of the relationships. There's little to no dialogue tying them together, although the commentator does declare the theme of certain segments, like "seduction," "desperation," and "competition." The long-married couple is full of regret ("The Road You Didn't Take" from Follies) and desperation ("The Ladies Who Lunch" from Company), the new couple full of hope ("Marry Me a Little" from Company) and sweetness ("Unworthy of Your Love" from Assassins). The men talk about women ("Have I Got a Girl for You" from Company, "Pretty Women" from Sweeney Todd) and the women talk about men ("Every Day a Little Death" from A Little Night Music). And then there are some silly songs that don't have much to do with anything but are fun nonetheless ("More" from Dick Tracy, "Buddy's Blues" from Follies).

Jeffrey Madison, Emily Gunyou Halaas, Paul Coate,
Vicki Fingalson, and Gabriel Preisser (photo by Matt Bellin)

The original 1993 Off-Broadway production starred Julie Andrews. Despite having Julie Andrews' cute pixie cut, Emily Gunyou Halaas is not known in this town as a singer, but rather as a talented actor in straight plays. I suspect that will change after this performance, in which she proves that singing is another tool in her acting toolbox that is readily available to her. I've always thought she has a melodious speaking voice, and she sings like she talks. Not only is her voice lovely, rich, and pleasant to listen to, but she brings all of her acting talent to the song, making us feel every emotion in Sondheim's intricate lyrics, which is perhaps the most important part of musical theater. She tackles some of the most difficult songs in this show ("Could I Leave You" from Follies, "Getting Married Today" and "The Ladies Who Lunch" from Company) and comes out on top every time.

The rest of the cast more than holds their own, and they all sound beautiful individually and in various combinations of duets, trios, and group numbers. Commentator Paul Coate nicely delivers "Invocations and Instructions to the Audience" from Frogs (which sounds a lot like my recent audience DOs and DON'Ts post) and the super fast and funny "Buddy's Blues" from Follies. As the husband, Jeffrey Madison hits some poignant and creepy notes, respectively, in "The Road You Didn't Take" from Follies and "Hello, Little Girl" from Sweeney Todd. The new couple Vicki Fingalson and Gabriel Preisser share a lovely duet in "Unworthy of Your Love" from Assassins, as well as some nice solo moments including Vicki's seductive "Sooner or Later" from Dick Tracy and Gabriel's triumphant "Marry Me a Little" from Company. And of course, no Sondheim revue about relationships is complete without one of his best songs on the subject, "Being Alive" from Company, a song I've heard many times but never quite like this, as the entire company joins in on a beautiful five-part version of the song.

With direction by Robert Neu and music direction by Andrew Fleser leading this terrific cast and orchestra through some of Sondheim's best work, put together by the man himself, Putting It Together is a must-see for fans of Sondheim, and music-theater in general.

La Rondine
Perhaps most famous for La Boheme (this inspiration for my favorite musical RENT), Puccini called La Rondine "perhaps, my best music" (per a note from director Ben Krywosz of Nautilus Music-Theater). Written in the early Twentieth Century, Skylark sets the story in 1920s Paris. The three acts depict different phases in the life of our heroine, Magda. The first act takes place in her posh Paris apartment (reusing some of the set pieces from Putting It Together). At a dinner party with friends, she reminisces about an exciting and romantic encounter with a man long ago. But now she has settled for a comfortable but loveless life with her patron (or sugar daddy, to put it in modern terms) Rambaldo. The second act takes place in a crowded dance hall, where Magda has decided to go in disguise for a bit of excitement. There admidst the dancing and revelry she meets the charming young Ruggero and they fall instantly in love (because such things happen in opera). She decides to leave Rombaldo and run away with Ruggero to the country, where we see them living blissfully in act three. But alas, their love cannot last because... something about Magda's shameful past? She doesn't think his mother would approve? They ran out of money? It doesn't quite ring true that in 1920s Paris these two crazy kids would conform to social standards and not be able to make it work. But tragedy is as sure to happen in opera as sudden all-consuming love, and the story ends on a tragically beautiful note.

the cast of La Rondine (photo by Matt Bellin)

Cecilia Violetta Lopez is a star as Magda. Not only does she have a stunning voice, but she makes you feel Magda's every emotion, from dissatisfaction to hope to resignation. As Ruggero, Won Whi Choi is her match. They both have huge voices, and when they sing in harmony it's really quite something. The large supporting cast is great and creates some stirring sounds when their voices join together on this gorgeous score. Lindsay Russell provides some comic relief as Magda's spunky and ambitious maid Lisette, and Norman Shankle is lovely and charming as Madga's poet friend and Lisette's secret lover. Paul Hindemith does a good job with Rambaldo, despite the distracting and borderline offensive old man make-up (is "oldface"a thing?).

Skylark's Artistic Director Steven Stucki conducts the 20+ piece orchestra through this lovely and luscious score. Lynn Farrington's costumes recreate that '20s flapper look for both the high society crowd and the dance hall revelers with dropped waist dresses, smart hats, headbands, and jewels. Kit Meyer has designed a flexible set of faux-marble columns and pieces that can be rearranged for the necessary sets in both shows.

Both shows in Skylark Opera's Summer Festival are perfectly lovely and a wonderful summer treat. Head down to St. Paul's Concordia University campus in the next week to see one or both of these very different but equally satisfying shows.


This article also appears on Broadway World Minneapolis.

"Cyrano" at Park Square Theatre

The story of Cyrano de Bergerac is one everyone knows, even if you haven't seen one of the many dramatic interpretations of this 17th Century French poet's life. Despite being familiar with the story (Cyrano is in love with Roxane but fears that she could never love him back because of his unusually large nose, so he agrees to supply the poetic words of love to the handsome Christian that cause Roxane to fall in love with him), I hadn't seen the play before last year (although I have seen the 1987 Steve Martin/Daryl Hannah flick Roxanne, if that counts). Bradley Greenwald's musicalized translation of the original late 19th Century play, presented as part of Theater Latte Da's new work initiative last year, was my first exposure to the full story. Park Square Theatre is currently presenting another new-ish translation by Michael Hollinger, and with a fantastic cast, impressive set, and "immediate, rhythmic, and lively" language (as the playwright himself notes in the program), it's a wonderful interpretation of this story that is a great mix of comedy and tragedy.

There's a feeling of a-play-within-a-play as actors wander on stage before the show begins and start prepping, dressing, and adjusting wigs. The character of Le Bret (Shawn Hamilton) functions as a sort of narrator, setting the stage and introducing characters. Cyrano (J.C. Cutler) and Christian (Sam Bardwell) are soldiers in the same regiment, the former known for his skill with words and the sword, and the latter a bit of an unknown as newcomer to the regiment. Cyrano is in love with his beautiful cousin Roxane (Emily Gunyou Halaas), so when she tells him that she loves the handsome Christian, he agrees to look out for him. Unbeknownst to Roxane, he also agrees to write letters to her from Christian, who is not blessed with the gift of poetry as Cyrano is. Roxane continues to fall in love with Christian through his (Cyrano's) letters, culminating in a lovely balcony scene reminiscent of Romeo and Juliet. The second act sees Cyrano and Christian going off to war, with Roxane in pursuit, unable to be parted from her love. When she tells Christian that she loves him for his soul, and would love him even if he were ugly, he realizes that it's Cyrano she truly loves, not him. It's a tragically bittersweet ending, as truths are revealed too late.    

Roxane and Cyrano
(Emily Gunyou Halaas and J.C. Cutler)

There are many reasons to see this show, but the number one reason is J.C. Cutler's beautiful and nuanced performance as the titular hero. His impressive talent (see also last season's Red) is a perfect fit for Cyrano; he's everything you want Cyrano to be. His voice is loud and commanding or soft and gentle, he's smart and witty, an ace swordsman, and speaks entrancing words of love. It's easy to see why Roxane falls in love with him, albeit unknowingly. The always great Emily Gunyou Halaas is a Roxane worthy of his affections, smart and spirited. Sam Bardwell is perfectly charming as Christian; even though he may not be able to put words together very well, there are still plenty of reasons to love him, and you almost wish that Roxane could see and love him for who he really is.

This wonderful cast of nine seems much larger, as everyone except for J.C. plays multiple roles, quickly coming and going from the stage with dizzying speed. Of special note are Jon Andrew Hegge and Craig Johnson who each create such different characters they're almost unrecognizable from one to the other, with fast and fantastic costume changes happening backstage. Jon transforms from the town drunk to the kindly nun, and Craig from the theater owner to Roxane's over-protective and fluttery pastry-loving nurse, and several characters in between.

When the director is also a choreographer as Joe Chvala is, you know that movement is going to be an interesting and integral part of the show, as it is here. One example is Cyrano's famous battle against 100 thugs, which is a delight to watch (with fight choreography by Annie Enneking). The period costumes (by Matthew J. LeFebvre) are gorgeous, from Roxane's flouncy dresses to the men in tall boots and capes. The set (by Robin McIntyre) is dominated by two large set pieces with stairs and a balconies that move and turn to create different shapes and spaces on stage. Lastly, there are also a few musical interludes that feel organic and are quite fun and lovely.

Cyrano is many things in one play - great comedy, a tragically beautiful love story, sword fights and epic battles, and beautifully poetic language. This impressive production is playing at Park Square Theatre now through April 6.

"Uncle Vanya" at the Guthrie Theater

Since I'm a Guthrie season subscriber (this is my 11th season), I just go when they send me, which for Uncle Vanya happened to be in its final week. There was not a big crowd on Tuesday night (I think the opening of the fantastic Tribes has overshadowed it), but those who were there seemed to enjoy it, including me. I've never seen a Chekhov play (not counting a production of The Seagull over 20 years ago of which I have zero recollection, even though it was my first ever Guthrie show), and honestly when I think Russian literature my first reaction is... ugh. But a few minutes into the show I realized Uncle Vanya is not at all intimidating or fomidable or dry; this adaptation by Irish playwright Brian Friel is a very accessible telling of a bittersweet story, a mixture of laughter and melancholy. With a charming set and the usual fantastic cast of Guthrie favorites and a few newcomers, I found it to be quite enjoyable - a bittersweet, melancholy, funny, thoughtful, and insightful play.

Set in late 19th century Russia, Uncle Vanya tells of a group of relations living on a country estate. Sonya (Emily Gunyou Halaas) and her Uncle Vanya (a charmingly befuddled Andrew Weems) work the estate that she inherited upon her mother's death years ago. Her ill and aging father Alexander (Robert Dorfman) has returned to the estate with his new young wife Elena (Valeri Mudek), and has plans of his own. Also living at the estate are Vanya's mother Maria (the legendary Melissa Hart, making the most of a small role), the nanny (Barbara Kinsley, so memorable in August: Osage County at Park Square a few years ago, here creating another distinct character), an eccentric family friend nicknamed Waffles (the always fantastic Jim Lichtsheidl), and occasionally the town doctor (John Catron, with another great drunken scene). It's a diverse group of characters who interact with each other, having conversations in small groups or alone on stage, talking directly to the audience.

Valeri Mudek, Jim Lichtsheidl, Andrew Weems,
and Emily Gunyou Halaas

Not a lot happens in the play; it's more of a study of life through these characters. The doctor is an environmentalist and talks about the destruction of the forests and the ecosystem in a way that has become scarily real in the 100+ years since the play was written. Poor Sonya is blissfully in love with the doctor but he's completely unaware of her. Everyone falls in love with the married Elena; she leaves many broken hearts in her wake but is not unsympathetic herself. Alexander mourns his exciting life as a famous professor that is now largely behind him, and Vanya struggles with the drudgery of every day life with no excitement or happiness. The play ponders such ideas as: What does it mean to be happy? Why are some people destined to live happy and full lives while others don't? Why do some women have all the men fall in love with them while others must toil away on the family farm? No clear answers, but we must endure!

The charming set was designed by Michael Hoover (who seems to be the busiest and definitely one of the best set designers in town); it looks like a life-size dollhouse. Three different rooms in the house are distinctly created in exquisite detail - the front porch, a living room, and a bedroom. Two of the sets are split in two and move in from either side to join in the middle. It's a delight to watch.

Uncle Vanya closes this weekend, so you only have a few more chances to see this lovely production of a classic. I'm looking forward to seeing the final play in the Guthrie's 2013-2014 next summer - the recent Broadway hit Vanya and Sonia and Masha and Spike, a sort of modern twist on Uncle Vanya. That's some pretty clever season programming.

"Clybourne Park" at the Guthrie Theater

The Tony Awards will be presented this weekend in New York City. But if you want to catch last year's winner for best play, Minneapolis is the place to be. Bruce Norris wrote Clybourne Park as a follow-up to one of the most important American plays of the 20th century, Lorraine Hansberry's A Raisin in the Sun (which I saw four years ago, a co-production with Penumbra Theatre also in the Guthrie's Proscenium Theater). The 1959 play about an African American family buying a house in an all-white neighborhood deals with issues of racism and desegregation. In Norris' follow-up, we see how things have changed since then, and how they haven't. The first act of the play is set in 1959, in the very house that A Raisin in the Sun's Younger family buys, as we see the other side of the story that play told. We follow the one white character in Raisin, a neighborhood representative named Karl who tries to buy the family out, as he talks to the homeowners and tries to convince them not to sell to the Youngers. Act II jumps forward in time 50 years but the place remains the same. The house has become run-down, the neighborhood working class and mostly black. The tables are turned as a white couple meets opposition from neighborhood residents to the changes they want to make to this house in a neighborhood that is undergoing gentrification. Clybourne Park is a really well-written and well-constructed play, funny and smart and sharp, and the dream cast includes some of the best actors in town. In other words - it's a definite must-see.

1959 (photo by Michael Brosilow)

The house in question is owned by Bev and Russ. Or rather, was, as they're selling to move to a new location and a better life. Bev is busy packing boxes with the help of her black housekeeper Francine, while Russ sits by eating ice cream and reading a magazine. They've had sorrow in this house, the specifics of which unfold throughout the first act. The couple is visited by a few friends, including Pastor Jim, and Karl and his deaf wife Betsy. Karl pleads with Bev and Russ not to sell to a "colored family," as his patient wife sits by not following much of the conversation. He pulls Francine and her husband into the discussion, who politely refuse to take part and make their exit. Things get heated as Karl won't give up and Russ won't give in. The house is sold, and 50 years later, we see the same cast inhabiting different, although sometimes slightly similar, characters. A white couple has bought the house and is planning to make significant changes. They are meeting with an African American couple who lives in the neighborhood and has brought a petition against them. Both couples have brought their lawyers and are trying to work through the petition, which never seems to happen as other discussions take place. The discussion soon devolves into a trading of racist jokes, reminding me of the satiric song from Avenue Q ("Ethnic jokes may be uncouth but you laugh because they're based on truth. Don't take them as personal attacks, everyone enjoys them, so relax"). Both acts feature awkward, uncomfortable, and down-right ugly conversations about race, and it's fascinating to observe the differences and similarities between the two time periods. The way that the sexes and the races interact with each other differs greatly between 1959 and 2009, and the language they use is different, but many of the underlying themes are the same.

2009 (photo by Michael Brosilow)

I just can't say enough about this cast, most of whom portray two different characters in two different time periods. Jim Lichtsheidl is the bad guy in both stories, but even when he's bad he's good! He's the same character but different manifestations of him appropriate to the time, and he manages to give each of them a specific way of moving and talking. Playing his wife in both acts is Emily Gunyou Halaas, who clearly delineates the 1950s submissive wife (who's deaf and relies on her husband to translate for her) from the modern wife who's an equal partner and not afraid of telling her husband he's an idiot. Bill McCallum has the most diverse characters - the 1950s depressed husband and father much different from the sweaty unsophisticated construction worker - and wrings the most life out of both. Kathryn Meisle is sympathetic as the concerned and nagging wife, and hilarious as a modern-day lawyer who has to make everything about her. She absolutely cracked me up with her every word, every look, every gesture. Peter Hansen, another favorite, plays a sort of peacekeeper role in both acts - Pastor Jim who tries to smooth things out between his friends, and one of the lawyers trying to facilitate the discussion. Shá Cage easily transforms from the 1959 polite but knowing housekeeper into 2009's strong woman standing up for her neighborhood. Ansa Akyea is her supportive husband in both, the same but different. All of these actors (and a late appearance by talented young actor Steven Lee Johnson) work so well together; it's just a joy to watch them dig into this meaty material.

The set, designed by Rachel Hauck, is truly incredible in the way it is transformed from the beautiful home in the first act to the run-down wreck in the second. The bones are the same but the surface shows wear - peeling wallpaper, dirty and stained walls, doors and fixtures no longer where they were. I would love to watch that transformation take place behind the curtain!

Clybourne Park is the kind of play that I love - smart, funny, and well-written, it made me laugh, and feel, and think, and squirm in my seat a little. It takes a big bite out of current issues without offering pat answers, but gets the audience thinking. What more can you ask of a play? I know I like pretty much everything (I'm a bit of a stamp tramp like Marshall on How I Met Your Mother), but this is the best play I've seen in months, maybe even all year. I hope this play is a smash hit this summer, it deserves to be. I hope people go see it and then have those uncomfortable conversations, it's the only way we can hope to move past them. Clybourne Park officially opens this weekend and runs through August 4 - put this play first on your list of things to do this summer.

"When the Moon Hits Your Eye" by Theater Latte Da at the Lab Theater

Continuing their mission to "create new connections between story, music, artist, and audience by exploring and expanding the art of musical theater," Theater Latte Da is presenting three new works as part of "NEXT: New Musicals in the Making." The creators spend two weeks workshopping the piece with Theater Latte Da's Artistic Director Peter Rothstein, Music Director Denise Prosek, and a talented cast of local actor/singers. At the end of that period they present the work to audiences, who are invited to give feedback on what they've seen. For a musical theater fan like myself, it's an exciting opportunity to observe and maybe even take part in the creation of a new piece of music-theater.

The first installment, When the Moon Hits Your Eye, was presented last weekend at the gorgeous Lab Theater. This "play with music" was written by playwright Jon Marans (who also wrote Old Wicked Songs, which Latte Da did at the Guthrie Studio in 2008) and features several diverse songs in the public domain. It's a slice of life in the neighborhood known as Hell's Kitchen in NYC, specifically the corner of 48th Street and 9th Avenue. It's a fantastic neighborhood that's rich with stories (if you're in NYC to see some shows, do not eat anywhere near Times Square, instead head over to 8th or 9th Avenue, where the real people live, work, and eat). Our characters include engaged couple Natalia (Emily Gunyou Halaas) and Larry (Rudolph Searles III), Natalia's mother Felizbella (Michelle Cassioppi), her ex Matthew (Steven Grant Douglas), and the grieving Debbie (Sara Ochs), all of whom live in the same building. Their landlord Gian Carlo (Raye Birk) also works in the barber shop on the ground floor, and the widow Liz (played by Nancy Marvy), who used to teach in the neighborhood, is friendly with the residents. These seven characters make up a little family, and the play shows us a few days in their intersecting lives - weddings, affairs, first dates, illnesses, break-ups, career changes, and other usual stuff of life. And of course, music accompanies their life. Music as diverse as an Italian opera, the plaintive Boll Weevil song ("lookin' for a home"), a haunting Scottish border ballad, a Mongolian love song, and a Portuguese celebratory song. The characters narrate each others' actions (partly due to the fact that this is a reading, partly as a story-telling choice), but in a really interesting and interactive way. They don't just blankly read the narration, rather they convey their feelings about what's going on through the reading. The language is beautifully descriptive; you can easily visualize the action as it plays out in different areas of the building. All of these pieces combined to tell a really lovely story, funny, poignant, and completely engaging. I think the creators have something really special here, and I'm excited to see where it will go next. Although I might call it a musical rather than a play with music. Characters sing to each other in character, espressing their emotions, and walk down the street singing. That, to me, is the very definition of a musical.

I know this is supposed to be about the work, but without the fabulous performances by every one of the seven cast-members, you cannot appreciate or even really see the work. They spent about two weeks with this material, and though they had scripts in front of them, they were able to create fully rounded characters with a wonderful chemistry and sense of family between them. Steven and Emily's duet on the border ballad is an absolute dream, Sara sings gorgeously in Mongolian, and Rudolph's Italian opera is thrilling. Raye and Michelle portray a sweet and tender later-in-life love story, and Nancy's character is the heart of the building. And did I mention that they all speak in authentic-sounding accents, and sing in multiple languages? This wouldn't be an easy piece to do with four weeks of rehearsal, how much more challenging with only two weeks and a constantly changing script!

As anyone who reads this blog knows, musical theater is my favorite thing in the world. But I think I love it most for what it can be, and often isn't in whatever movie has been most recently adapted to the Broadway stage. Theater Latte Da strives to elevate the art form that is musical theater and move it into the future. That's what NEXT is all about, and judging from the first selection, it's going to be an amazing three weeks at the Lab Theater. Up next is C., a new musical adaptation of Cyrano de Bergerac by Robert Elhai and Bradley Greenwald. Following that is Bessie's Birthday, which has been expanded from the one-act musical presented as a part of Passage of Dreams four years ago (one of my favorite shows of the year). I remember thinking when I saw it that it could and should be expanded into a full-length musical, so I'm thrilled that they're doing just that.

If you're a fan of music-theater, or just enjoy seeing the creative process at work, I highly recommend you attend one or both of the remaining selections in "NEXT: New Musicals in the Making."

the beautiful bare stage of the Lab Theater,
where anything can happen