"Don Giovanni" by Skylark Opera Theatre and Angels & Demons Entertainment at the Woman's Club of Minneapolis

For five years, I spent one or two nights at Concordia University's E.M. Pearson Theatre watching opera/operetta/musical theater as part of Skylark Opera's Annual Summer Festival. Last year, the festival was abruptly cancelled as the company went through financial and leadership challenges. I'm happy to report that Skylark is back, rebranded as Skylark Opera Theatre, now with their second show under new Artistic Director Robert Neu. The Summer Festival has not returned, but Skylark's commitment to presenting accessible opera in English hasn't changed. Their second production (after The Tragedy of Carmen earlier this year) is a site-specific production of Mozart's Don Giovanni, with new English translation by Robert Neu and Gabriel Preisser, who also plays the title character. It bears more than a little resemblance to last summer's site-specific Mozart (The Marriage of Figaro in the James J. Hill House) by Robert Neu's other company, Angels and Demons Entertainment, a co-producer of this show. Like Marriage of Figaro, this Don Giovanni is an intimate, immersive experience that one doesn't usually get with opera.

"The Marriage of Figaro" by Angels and Demons Entertainment at the James J. Hill House

One of Mozart's most beloved operas, performed by nationally renowned opera singers and local favorites, set in the perfect and intimate location of the grand and beautiful James J. Hill House? I'm in! In by the skin of my teeth, that is. I consider myself very lucky to be one of the 140* people (4 shows x 35 audience members per show) to have had the wonderful experience that was Angels and Demons Entertainment's production of The Marriage of Figaro (with support from the Twin Cities Opera Guild). I'm not much of an opera-goer, unless it's made more accessible by companies like Skylark Opera (who always perform in English, and whose Summer Festival will hopefully return next year). But this was perhaps the most accessible and engaging opera I've ever attended. Sung in English in four different locations within the house that perfectly suited the story, it truly felt like I was in the midst of this crazy upstairs/downstairs story. I only regret that the audience was so limited, and I hope that they bring the production back sometime and expand it so that more people can know this truly lovely and special experience.

"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.

"Carousel" with the Minnesota Orchestra at Orchestra Hall

One of the greatest musical theater composing teams, Rodgers and Hammerstein, had a smash hit with their very first show - Oklahoma!, based on the play Green Grow the Lilacs. For their sophomore outing they chose another play, the Hungarian Liliom, and adapted it into Carousel, which was a bit of a gamble due to the darker nature of the story and not-so-happy ending. But the risk payed off; Carousel was another rousing success and ranks among R&H's big five musicals. Shockingly, this musical theater geek has never seen the show in any form or listened to the score, an omission that is and will be corrected by two productions this spring. Bloomington Civic Theatre is doing the show next month, but first up is Minnesota Orchestra's semi-staged production of it with the full orchestra and a large ensemble cast, directed by Robert Neu. I can think of no better way to first experience this classic piece of music-theater than in this musically rich production, where the focus is on the score, which the orchestra and cast beautifully bring to life on the newly remodeled Orchestra Hall stage.

Being unfamiliar with the story, I found in it familiar bits from other works of theater. At first it reminded me of Porgy and Bess, until it turned a bit Our Town-ish in the second act, although it's also not dissimilar to Oklahoma! in some of the characters and themes (imagine if Laurey had ended up with Jud Fry instead of Curly). This is the classic good girl falls for bad boy story, in which the good girl sees the best in the bad boy, and the bad boy tries to be a better person for the good girl, but ultimately fails despite his love for her. In this case the good girl is mill worker Julie Jordan and the bad boy is carnival barker Billy Bigelow. They both sacrifice their jobs to be together, which unfortunately does not lead to happiness for the pair. Because of its themes of poverty and domestic violence, it's a difficult story, one that I have some issues with (including one particularly disturbing line in which Julie tells her daughter it's possible to be hit hard and not feel it - unacceptable), so I'm glad I have a chance to see it again next month and let it sink in a bit.

But now, on to the best part - the music! As a former bank geek (once a band geek always a band geek?), I'm always thrilled to be in the presence of an orchestra, and don't get the chance nearly enough. Our Minnesota Orchestra, conducted by Sarah Hicks, sounds marvelous playing this sweeping melodic score. And the cast, comprised of mostly local talent, is a dream. As Billy, Gabriel Preisser has a gorgeous and resonant voice, and brings out every emotion in the famous "Soliloquy" song. Sarah Lawrence sings beautifully sweet as Julie, and makes us feel her deep love and pain. It's great to see so many familiar faces and voices among the supporting players and ensemble, including the always great Kersten Rodau, Paul R. Coate (overheard in the audience: "Mr. Snow has the best voice"), Kathleen Humphrey, Riley McNutt (providing a bit of comic relief as charming rapscallion Jigger), and Gary Briggle. The finale song "You'll Never Walk Alone" (which I didn't know was from Carousel, or if I did know I'd forgotten it) sends chills down the spine and brings tears to the eyes.

I'm not sure what's "semi" about this staging, other than the absence of large set pieces, which are not missed. The small set pieces (benches, crates, and darling hand-held but almost full size carousel horses) are really all that's needed to hint at the scene, with the dialogue and music and our imaginations doing the rest. There's nothing "semi" about Samantha Fromm Haddow's lovely costumes, which include the working folks' garb, a wide range of carnival costumes, and ballerina Louise's light and flowy dress with matching jacket. Nothing "semi" about the choreography by Penelope Freeh either (who also gracefully dances as Louise), with the ensemble ably performing charming group dance numbers. And the staging makes good use of the area behind and in front of the orchestra.

I now understand what all the fuss is about over Carousel, and I'm glad that this gorgeous production was my first introduction to it. I look forward to getting to know it a bit better at Bloomington Civic Theatre next month. In the meantime, if you can make it to Orchestra Hall this weekend, do so.

"The Fantasticks" and "The Mikado" by Skylark Opera (in collaboration with Mu Performing Arts)

It's (sort of) summer, which means it must be time for Skylark Opera's Summer Festival! Every year they present two shows in repertory, typically classics from musical theater or operetta. The last two years I've attended one of the two shows, but this year I was able to see both. Unlike in past years, there is no overlap in cast or orchestra between the shows. Another new feature this year is that The Mikado is being presented in collaboration with Mu Performing Arts, which continues their tradition of the past few summers of putting a new and Asian-American spin on a classic (they've previously done Into the Woods and Little Shop of Horrors). This year they reinvent Gilbert and Sullivan's The Mikado, famous for not only its music but also its stereotypical representation of Japan. But first up - the world's longest running musical.


The Fantasticks
This small-scale musical opened Off-Broadway in 1960, where it has played almost continuously ever since. I saw it there four years ago in the Jerry Orbach theater (named after its most-famous and well-loved original cast-member), and was absolutely charmed by it. I'm happy to report that Skylark Opera's production is just as charming, funny, silly, smart, wacky, and entertaining.

The Fantasticks is a fantastical story that also rings true. It's a love story, but with a sharp edge so that it's not too sappy. A boy (the charming and charismatic Matt Berdahl) and girl (the equally charming Quinn Shadko, with a lovely voice) fall in love, living next door to each other on opposite sides of a wall. The wall was put up by their fathers (Jeffrey Madison and Paul R. Coate, who are hilarious and sound fantastic together), seemingly to keep them apart. But it's a bit of reverse psychology, as the two are pals who really want their offspring to marry. They arrange a kidnapping with the smooth and seductive bandit El Gallo (Gabriel Preisser, possessing the necessary height, deep voice, and devilish smirk). Everything goes as planned and the couple are happy together. Until the second act, when they get bored with and annoyed by each other. They go their separate ways to experience the world on their own, and find out things aren't so great out there after all.

This is a small cast for a musical, with a small onstage two-person orchestra (Min Kim on harp and Andrew Fleser on piano). There is a bit of stage magic in the use of props and confetti, all supplied by the graceful Penelope Freeh, who never utters a word as she guides the story along (she also nicely choreographed The Mikado). In addition to a lovely and lively score which includes the wistful "Try to Remember" and the love song "They Were You," the play also features some poetic monologues by narrator El Gallo. It's a strange and delightful mix of a play, with music, sword fights, slapstick comedy, a sense of melancholy, a bit of cynicism, and also the hope of young love. No wonder it's the longest running musical in the world!

There is a curious paradox that no one can explain.
Who understands the secrets of the reaping of the grain?
Who understands why spring is born out of winter's laboring pain?
Or why we all must die a bit before we grow again?
I do not know the answer
I merely know it's true
I hurt them for that reason
And myself a little bit, too.


The Mikado
The English writing duo Gilbert and Sullivan are famous for their fast and clever lyrics and witty satirical send-up of the British establishment (see also HMS Pinafore). They set one of their most popular works, The Mikado, in Japan, which "allowed Gilbert to satirise British politics and institutions more freely by disguising them as Japanese" (Wikipedia). In doing so, they also play on stereotypes of Japan, and many productions throughout its history have employed yellowface (casting Caucasian actors as Asian characters). Mu has attempted to remedy the situation by rewriting some of the libretto and casting Asian actors in the main roles, thereby eliminating the offensive stereotypes while keeping the charm and wit of the original piece. I've never seen another production of The Mikado so I can't speak to what has changed, but I like what I saw, and I trust that Mu did it right (because they usually do).

In the fictional town of Titipu, the son of the emperor (or Mikado) is disguised as a traveling musician (a second trombone). Franki-Poo (Phong Nguyen) is looking for his love, Tum-Tum (the adorable Isabella Dawis). Sadly for the lovers, she is the ward and betrothed of the Grand High Executioner Co-Co (Randy Reyes, hamming it up in the best possible way). Because of the complicated laws of the land (which include a mandatory punishment of beheading for the crime of flirting) and Franki-Poo's desire to die if he can't be with Tum-Tum, Co-Co grants them permission to marry for a month, after which time Franki-Poo will be executed and Tum-Tum can marry Co-Co as planned (do you follow?). This crazy plan is approved by Co-Co's right hand man Pooh-Bah (from which we get the term pooh-bah), played by the very entertaining Alex Ritchie. The Mikado himself (an impressive James Ramlet) appears in the second act and plans must be changed. Co-Co woos Franki-Poo's previous betrothed Katy Shaw (Ashley Cutright, with a voice that fills the theater) so that Franki-Poo can confess his true identity, marry the woman he loves, and not be executed (still following?). Yes, it's a silly and convoluted story, but it's great fun. 

The songs are fast and funny, especially those that have been rewritten with modern references. This huge cast of over two dozen sounds amazing when they all join their voices together. Along with the gorgeous 20-piece pit orchestra (directed by Steve Stucky), the sound coming from these singers and musicians is full and lush and layered. I appreciate that Skylark presents their productions "without artificial amplification." In the proper room, with people who know what they're doing, no mics are needed, and it's a refreshing change to hear the pure and natural sound of music.


I would say that if you only have time to see one show in Skylark Opera's Summer Festival, it's a tough choice which one to pick. The more intimate musical with a lovely score and whimsical nature, or the full and lush operetta with the huge cast. But since The Mikado is completely sold out, the choice is easy - see The Fantasticks (which, if pressed, I might choose as my favorite of the two). Only two of the total three performances remain, so act fast! Perhaps Skylark needs to consider a longer run for next year's festival. After creating these beautiful shows, it a shame that more people don't get to see them!

"Wonderful Town" by Skylark Opera at the E.M. Pearson Theatre

This is my second year attending Skylark Opera's summer festival, and I quite enjoy it. It introduces me to classical musicals that I've never seen (or in this case, heard of), which is a great thing for my continued musical theater education. Skylark follows last year's On the Town with another classic Bernstein/ Comden&Green collaboration - Wonderful Town. In addition to the similar names, both are traditional musicals set in New York City, with slightly dated stories but great music (you really can't go wrong with a Leonard Bernstein musical). This year's show features many of the same actors as last year, which in this case is a good thing. It's another well done production of an American classic.

Wonderful Town follows two sisters from Ohio as they move to NYC to pursue their dreams, one as an actor, the other as a writer. They rent a run-down studio apartment on Christopher Street in the West Village, where they meet many interesting characters. They encounter several obstacles to fulfilling their dreams, but this being a 1950s musical (the action takes place in 1935, but the musical was first produced in 1953), they eventually overcome and are successful in life and love. (As Neil Patrick Harris sang at the Tonys, wouldn't it be nice if life were more like theater!)

A few of my favorite things:

• I'm afraid Sarah Gibson is being typecast as the 1940s tough broad after playing a similar role last year and this. But she's so great at it! Her Ruth is my kind of heroine - a tall, strong, independent, capable woman (who therefore knows "One Hundred Easy Ways" to lose a man).
• Sarah Lawrence also returns from last year's festival, playing the pretty, perky, popular blond Eileen, who, unlike her sister, easily attracts men wherever she goes...
• ... including the amusingly diverse trio of the newspaper man Bob (Gabriel Preisser, who sounds beautiful on "A Quiet Girl" and "It's Love"), the nerdy Frank (Paul R. Coate), and the slimy Chick (Riley McNutt).
• The huge ensemble portrays lots of different characters in this colorful city, with several great ensemble dance numbers. I particularly loved the sharp, rhythmic, almost Fosse-like "Swing." (choreography by Penelope Freeh)
• Fantastic period costumes! (designed by Lynn Farrington)
• Last but not least, the fabulous score: clever, catchy, beautiful, silly. I only knew one song, the gorgeous duet performed by the sisters - "Why oh why oh why oh, why did I ever leave Ohio?" (Thanks to Sue Sylvester and her mother, Carol Burnett.) Oh how I love a great big pit orchestra sound!

Ruth (Sarah Gibson) and Bob (Gabriel Preisser)

If you're interested in classic musical theater and opera, be sure to check out Skylark Opera's summer festival, playing for one more week at the E.M. Pearson Theatre on the Concordia University campus in St. Paul. The festival also includes the opera Mlle. Modiste, which I don't plan to see because opera's not as much my thing, and I have a hard enough time seeing all of the musicals and plays I want to! (But you know what Stephen Sondheim says about the difference between opera and musical theater...)