"Once" at the State Theatre

There's no big opening number, no splashy dance with dozens of chorus girls and boys, no pit orchestra, no large moving set pieces, no colorful glamorous costumes. Once is not your typical musical. In fact, according to The Cherry and Spoon Music-Theater Spectrum¹ it's not a musical at all, but rather a play with music. Yet this atypical not-really-a-musical musical won eight Tony Awards in 2012. Why is that? Why was this quiet and quirky musical based on a little Irish movie awarded Broadway's biggest prize? Perhaps because it is different from other musicals. Perhaps the voters awarded the creative and organic way music is used to tell this beautifully simple and non-traditional love story. Once is a new kind of music-theater, and proves that musicals don't always have to be big and loud to have a profound effect on the audience. Once is quietly, beautifully stirring.

This is the second time that the First National Tour of Once has stopped in Minneapolis, with largely the same cast, although this time it's making its home in the slightly more intimate State Theater². The tagline for this tour is "once is not enough," but for me, thrice is not enough as I would gladly go see it again every night of its brief one-week Minneapolis stay! Perhaps I'm biased - Once is one of my favorite movies and my favorite movie soundtrack, and it introduced me to my favorite musician Glen Hansard. But even without that prior attachment, it's easy to see that Once is something truly special. The music is raw and passionate, performed by a cast of 13 quadruple threats - they act, sing, dance (or at least move in a choreographed way), AND play an instrument. This folk-rock score written by the stars of the movie, Glen Hansard and Marketa Irglova, is not the kind of music you usually hear coming from the Broadway stage; it's quieter, less polished, and more real³. The story is simple and quiet - boy meets girl, boy fixes girl's Hoover, girl encourages boy to record his songs and follow his dreams, boy and girl go on with their separate lives, better for having met one another. John Carney's original story was adapted for the stage by the beautifully twisted mind of playwright Enda Walsh, retaining that unique Irish spirit⁴. The result as a whole is lovely, poignant, moving, and grand.

the loveable oddballs of Once

Since this is largely the same cast as last year, I'll repeat what I said then: As the guy, Stuart Ward has big shoes to fill - both those of Glen Hansard and Steve Kazee, who won a Tony for the role. And fill them he does, although in a different style than either of these predecessors. He possesses a gorgeous voice that's more musical theater than folk-rock, a moody intensity, and great stage charisma. The character of the girl changed so much from movie to stage that all thoughts of Marketa Irglova are gone, but Cristin Milioti (aka the surprisingly short-lived "Mother") left a great impression. Dani de Waal fills those shoes nicely in the quite tricky role of the girl, charming and sweet but not too perky. And when Stuart and Dani sing together, as on the Oscar-winning song "Falling Slowly," it's wondrous. The two are well supported and enhanced by ten wonderful actor/singer/musicians (and one adorable little girl). Standouts include Evan Harrington as the good-natured but tough music store owner, Scott Waara as the guy's sweet Da (with a really lovely pre-show song), and Matt DeAngelis, providing comic relief and powerful percussion as Svec (you know you're a true musical theater geek when you recognize touring cast members, as I did Matt; I clearly remember him as Woof in another musical obsession of mine, Hair, and in American Idiot).

The set is a pub that never changes, with tables and chairs brought out to represent different settings. Through it all, most of the cast remains on stage, watching from the sidelines. Dingy mirrors surround the stage and offer other angles of the action. The movement and choreography is so beautiful, subtle, and organic. There are no typical "dance numbers," just characters moving organically as the music moves them. Even the scene changes are beautifully and elegantly carried out, as not a moment is wasted.

The show begins before the show begins; the audience is allowed onstage to visit the pub and drink an overpriced beer through a straw. But it's worth it because the cast of musicians soon comes onstage for a traditional Irish session which you're able to witness up close and personal. After the audience is escorted off the stage, the session continues as the cast trades songs, until the musical baton is passed to the guy in the scarf, he belts out an impassioned "Leave," and the house lights go down. Just like that, reality fades and the world of the play takes over, and is so engrossing that it's like a dream. One that I hated to leave.

Stuart Ward and Dani de Waal

Unlike what Hollywood and Broadway usually tell us, not everyone gets a happily ever after kind of love, and maybe that's not even the ideal kind of love to strive for. If we're lucky, we get an hour, or a day, or a week-long encounter with someone who changes our life and pushes us forward when we've become "stopped." Maybe that's what life is, a series of moments, encounters, relationships, that might not last a lifetime although their effects do. That's what this story is about, and that's what these two people do for each other. It's a perfect love story, even though it may not end in the way that we're taught to expect. And it's also a love story about Ireland and its rich and unique culture, that the girl describes as "speaking and singing of what it is to be human." She tells the guy that he has "heart and soul," and this unique music-theater creation has heart and soul in spades, and speaks and sings of what it is to be human, with all the heartbreak, joy, disappointment, passion, connection, difficulties, and wonder it entails.

Once continues at the State Theatre in downtown Minneapolis through this weekend only. Whether it's once, twice, thrice, or more, it's a grand experience that's not to be missed.


1. The Cherry and Spoon Music-Theater Spectrum (TM pending): in a musical, characters sing in character, expressing their emotions and moving the plot forward. In a play with music, the music takes place in context, with characters singing in a way that would make sense in real life, and don't sing as the character. If you take the music out of a play with music, it still makes sense, although some of the impact is lost. If you take the music out of a musical, the story no longer makes sense.
2. Find out more about the State, Orpheum, and other local theaters in my "Review of Venues."
3. If you like the music of Once, check out Glen and Mar's follow-up album Strict Joy under their band name The Swell Season, or their solo albums Rhythm and Repose and Muna (among others), or the upcoming album commemorating the 25th anniversary of Glen's band The Frames.
4. For another taste of that unique Irish spirit, go see Guthrie departing Artistic Director Joe Dowling's loving ode to his homeland, the beautifully tragic Juno and the Paycock.


This article also appears on Broadway World Minneapolis.

"Once" at the Orpheum Theatre

I've taken some pretty incredible trips, but one of the most memorable was my hiking adventure in Ireland almost ten years ago. It was my idea of a perfect vacation - days wandering through the rugged beauty of the Irish countryside, and evenings drinking Guinness and listening to music in small pubs. One of my favorite memories is of one evening in the tiny town of Annascaul on the Dingle Peninsula, sitting in a crowded pub that seemed to hold every resident of the village, with everyone from the busboy to my fellow hikers trading songs. Because in Ireland, everyone is a musician. The musical Once (based on the 2007 indie movie of the same name, featuring music composed by its stars, Glen Hansard and Marketa Irglova) brings a small taste of that spirit to the Broadway (touring) stage. The stage is set up as an Irish pub, with audience members allowed on stage before the show and during intermission, where you can listen to music and even drink a Guinness (through a straw - OK that part's not authentically Irish). The musical Once is a refreshingly different type of Broadway musical (I actually think it's more like a play with music*), in that the music is more folky that Broadway scores normally are, with music performed by the cast, all of whom play one or more instruments. This eight-time Tony winner is a sweet, simple, soulful love story fueled by the raw power of Glen Hansard's music.

I should also mention that Once is one of my favorite movies, and that Glen Hansard, whose music I first heard in that movie, has become my favorite musician (check out his brilliant first solo album Rhythm and Repose, released in 2012). Which on one hand makes me predisposed to love the musical Once, but on the other hand makes me critical of the adaptation and what has been changed from the beloved original, although I try to view the movie and the musical as two separate entities created for two very different artforms. When I saw it on Broadway two years ago,** I wrote: "The musical is different from the film; where the film is subtle and internal with much left unspoken, the music is more cutesy and external with things more obviously spelled out (sometimes literally). But the film is so sparse that I suppose they have to fill it out for a live audience. I think it's quite successful and well done; the magic of Once is retained on stage, if in a slightly different form." The first national tour, currently stopping at the Orpheum Theatre in Minneapolis, features a different cast but that same undeniable magic.

The general plot of Once, both film and musical, is this: a street musician who works at his dad's vacuum repair shop has recently gone through a bad breakup and is disenchanted with life. He meets a young Czech immigrant woman who's full of life and encourages him to make music and get his girl back. In the movie, this encouragement is more subtle, but in the stage musical the girl is relentless in convincing the guy to move on (the characters have no names). They record a demo together of the guy's songs, and forge a deep and intimate connection through the music they make. But what I love about the movie, that thankfully they've kept in the musical, is that these are two people who meet and have an intense connection that profoundly changes the direction of each of their lives, and then they continue on different paths. In a Hollywood movie, they would end up together, but this seems much more real and poignant somehow. It's a true love story, but one that you don't often see on screen or stage. This quote by Albert Schweitzer reminds me of this show: "In everyone's life, at some time, our inner fire goes out. It is then burst into flame by an encounter with another human being. We should all be thankful for those people who rekindle the inner spirit." That's what these two people did - rekindle each other's inner spirit.

As the guy, Stuart Ward has big shoes to fill - both those of Glen Hansard and Steve Kazee, who won a Tony for the role. And fill them he does, although in a different style than either of these predecessors. He possesses a gorgeous voice, more musical theater than folk-rock, a moody intensity, and great stage charisma. The character of the girl changed so much from movie to stage that all thoughts of Marketa Irglova are gone, but Cristin Milioti (aka the surprisingly short-lived "Mother") left a great impression. Dani DeWaal fills those shoes nicely in the quite tricky role of the girl, charming and sweet but not too perky. And when Stuart and Dani sing together, as on the Oscar-winning song "Falling Slowly," it's wondrous. The two are well supported and enhanced by ten wonderful actor/singer/musicians (and one adorable little girl). Standouts include Evan Harrington as the good-natured but tough music store owner, Donna Garner as the girl's strong and supportive mother, Raymond Bokhour as the guy's sweet Da, and Matt DeAngelis, providing comic relief and powerful percussion as Svec (you know you're a true musical theater geek when you recognize touring cast members, as I did Matt; I clearly remember him as Woof in another musical obsession of mine, Hair, and in American Idiot).

As I mentioned, the set is a pub that never changes, with tables and chairs brought out to represent different settings. Through it all, most of the cast remains on stage, watching from the sidelines. Dingy mirrors surround the stage and offer other angles of the action. The movement and choreography is so beautiful, subtle and organic. There are no typical "dance numbers," just characters moving organically as the music moves them. Even the scene changes are beautifully and elegantly carried out, as not a moment is wasted.

The eight-time Tony winning musical Once is only in town for a week. Although the weather outside is atrocious, if you can make it through the snow to the Orpheum Theatre, I promise you will be rewarded with warmth, music, Guinness, and a lovely and unique evening of music-theater. (Click here for more info and to purchase tickets.)



* My two criteria for differentiating a "musical" from a "play with music" are this: 1) in a musical, characters sing in character, and 2) in a musical, songs move the plot along, so that if you removed the songs, the plot would no longer make sense. In a play with music, removing the songs does not change the plot, although it will diminish the effectiveness and impact of the piece. In Once, all of the songs are sung in context (street musician, open mic at a pub, a recording session), characters don't break into a song and sing their thoughts and feelings. Hence I believe it's a play with music. The Tony eligibility committee obviously disagreed with me.
** Yes, I plagiarized myself again. You may call it lazy, I call it being efficient.  ;)

Glen Hansard at First Avenue

I saw the eight-time Tony winning musical Once on Broadway this spring, based on one of my favorite movies and featuring music from some of my favorite musicians. It was fantastic, but last Saturday night was even better. I had the chance to once again experience that music (and more) from one of its original sources - Glen Hansard. He's touring with the release of his first ever solo album, Rhythm and Repose, having previously recorded and toured with the Irish band The Frames and with his Once partner, Marketa Irglova (under the name The Swell Season). He had a ten-piece band with him, including horns and strings, and was obviously having a great time exploring this new side of his music. It's like the band was a new toy, and he was playing around with the different sounds they could make. I like Glen best when it's just him and his guitar, and there was plenty of that, but it was fun to hear him with that full rich sound around him.

At this point in his long career, Glen is in fine form, even more passionate and expressive than the other three times I've seen him (with The Swell Season). Performing songs from the new solo project, as well as from Once (although not "that song") and The Frames, he gives everything he's got to his band, the audience (or tribe, as he refers to an audience that "gets it"), and the shared experience of music. He loves to ask the audience to sing, and I'm happy to comply with that request. It's your typical Irish celebration of music and togetherness.

Another cool thing about Glen is that he often brings lesser-known Irish musicians on tour with him, supporting his fellow countrymen. This time his opening act was The Lost Brothers, and I loved them. They're from Ireland, but they sound like a folky Americana duo (which is my kind of music). Nice harmonies, great songs, ballads and uptempo numbers. Here they are doing a cover of "Moon River" in honor of Andy Williams' recent passing.



The bottom line is this: if you have a chance to see Glen Hansard live, take it. He's one of those performers where the music takes possession of him, and he can barely contain it as he shares it with the world. Check out his solo album Rhythm and Repose; it's my current favorite. A wide range of songs and sounds but all obviously coming from the same place, it's just an all around brilliant collection of music. Here he is singing "Bird of Sorrow," which starts out quiet and sweet and builds to a passionate cry of "I'm Not Leaving" (he's said that this song is about Ireland).



For more videos from this and other concerts, visit the Cherry and Spoon Youtube channel.

"Once" at the Bernard B. Jacobs Theatre on Broadway

The soundtrack to the 2006 Irish movie Once, featuring music by Irish musician Glen Hansard of the band The Frames and Czech musician Marketa Irglova, is my favorite movie soundtrack.  It literally has not left my car CD player in the last five or so years.  I also love their CD Strict Joy, released under the name Swell Season, and am eagerly awaiting the June release of Glen's first solo CD, Rhythm and Repose.  I've seen them perform live several times and they're amazing musicians.  Glen in particular is one of the most passionate musicians I've ever seen live, and I'll continue to go see him whenever he's in town.  So it was with much excitement and trepidation when I heard that there was going to be a stage musical version of the film.  I love the story and the music, but would they be able to translate the magic of the film to the stage without ruining a good thing?  The reviews were pretty good, but I had to see it for myself (hence this trip to NYC).  Good news: I loved it almost as much as the original.  The musical is different from the film; where the film is subtle and internal with much left unspoken, the music is more cutesy and external with things more obviously spelled out (sometimes literally).  But the film is so sparse that I suppose they have to fill it out for a live audience.  I think it's quite successful and well done; the magic of Once is retained on stage, if in a slightly different form.

The general plot of Once, both film and musical, is this: a street musician who works at his dad's vacuum repair shop has recently gone through a bad breakup and is disenchanted with life.  He meets a young Czech immigrant woman who's full of life and encourages him to make music and get his girl back.  In the movie, this encouragement is more subtle, but in the stage musical the girl is relentless in convincing the guy to move on (the characters have no names).  This sort of perkiness could be annoying, but in the hands of Cristin Milioti it's quite charming and irresistible.  She walks the fine line of being sweet and quirky without being cloying.  Steve Kazee as the guy is no Glen Hansard, but he may be the next best thing.  His voice is smoother than Glen's, more musical theater than folk-rock, but by the time he finished the first song, the raw and heart-wrenching "Leave," he had won me over.  He effectively played the heartache of the character and his slow coming back to life through the interaction with this girl and the music they make together.  What I love about the movie, that thankfully they've kept in the musical, is that these are two people who meet and have an intense connection that profoundly changes the direction of each of their lives, and then they continue on different paths.  In a Hollywood movie, they would end up together, but this seems much more real and poignant somehow.  It's a true love story, but one that you don't often see on screen or stage.  I ran across a quote by Albert Schweitzer that reminds me of this show: "In everyone's life, at some time, our inner fire goes out. It is then burst into flame by an encounter with another human being. We should all be thankful for those people who rekindle the inner spirit."  That's what these two people did - rekindle each other's inner spirit.

The two strong leads are surrounded by 11 talented musician/actors (one of whom is an adorable little girl) who play instruments (fiddle, guitar, drums, etc.), sing, act out several roles, and generally contribute to the atmosphere of Irishness.  Standouts in the cast include the impressively bearded Paul Whitty as the owner of the music store who's smitten with and protective of the girl, and David Patrick Kelly (of Twin Peaks fame) as the guy's stoic but supportive father.  But really they're all wonderful musicians and actors.  When not involved in the action, they sit around the edge of the stage, which is made up to look like an Irish pub (from which you can buy overpriced drinks before the show, although sadly they do not have Guinness, which is how you know it's not a real Irish pub).  The scene transitions are interesting and graceful, with the pub serving as a bank office, the girl's apartment, and the guy's bedroom.  The choreography is sparse and lovely, very organic to the story and characters.  One effect I think they could do without is the surtitles.  At times they display the dialogue in Czech as it supposedly is being spoken by the Czech characters, while we hear them speak English.  Later they display the English translation when the girl is speaking Czech.  It's a little confusing and inconsistant.

the ensemble, Cristin Milioti, and Steve Kazee

This seems an unlikely Broadway musical.  Based on a small indie movie, with obscure Irish references, featuring acoustic folk music (my favorite genre), and no "riding off into the sunset" type of ending, it's not your typical musical.  The songs are incorporated organically; instead of characters breaking out into song as dialogue, they sing in the context of a recording session or at a pub.  It's pushing the boundaries of what music-theater can be, and I love that.  We met most of the cast at the stage door, and they were all very kind and generous with their time (which is usually the case).  They all seem to be aware and grateful that they are involved in something special.  Here's wishing them a long run on Broadway (and maybe they can get some Guinness for the pub ;).  If you're in NYC, it's definitely worth checking out.  And make sure to get there early to enjoy the pre-show entertainment - an authentic Irish pub session featuring the talented musicians in the cast singing traditional songs.