"Into the Woods" at the Guthrie Theater

Six years after their stunning production of Sunday in the Park with George, the Guthrie Theater is returning to Sondheim with Into the Woods. It's probably his most frequently produced work; I've seen it eight times now, all local productions in the last 12 years. Based on familiar fairy tales, it's also perhaps the most accessible. But once you're drawn in by the familiar stories, you find that it's surprisingly complex, with themes of good and evil, right and wrong, the consequences of choices, self-interest vs. the common good, and what happens when the fairy tale subsides to reality. It also contains some of Sondheim's most playfully clever lyrics ("while her withers wither with her") and singable melodies (the most famous songs being "Children Will Listen" and "No One is Alone"). For this production, the Guthrie has enlisted Sarna Lapine as director, niece of book writer and original director James Lapine, who obviously has a deep connection to the piece. Her direction is smart, clear, and playful, and the mostly local cast is a joy to watch. Whether you've gone Into the Woods a dozen times, or this is your first time, this production makes it well worth another journey.

"Into the Woods" by Ten Thousand Things at North Garden Theater

Into the Woods is one of Stephen Sondheim's most popular and frequently performed musicals. In the eight years I've been blogging about #TCTheater, I've now seen (and written about) seven different local productions. So I'm not going to write about the brilliance of this fairy tale mash-up (with book by James Lapine) that turns the idea of "happily ever after" on its head; you can read my thoughts about that here. Instead, I'll share with you what makes this production special, namely, because Ten Thousand Things does theater like no one else. It's my first time seeing them do Sondheim, which is exciting because TTT has a knack for breaking down the most complex shows (and Sondheim is nothing if not complex) and laying bare the truest heart of the piece. And since they're a weaver of fairy tales, traditional and otherwise, Into the Woods is a perfect match for TTT. This production (which continues through March 24 at various locations, including free performances at prisons, homeless shelters, community centers, and other places where people don't normally experience theater and therefore need it the most) is sheer perfection and perhaps my favorite thing they've done. But I say that about pretty much every TTT show I see.

"Into the Woods" by Shoot the Glass Theatre at the Crane Theater

I've seen Into the Woods twice in the last six weeks, and six times in the last seven years (not counting the recent movie adaptation). And while I would love #TCTheater to diversify its choice of shows (there are quite a few duplicates and triplicates this season), I'm not going to complain about this one. Every time I see Stephen Sondheim and James Lapine's exceedingly clever fairy tale mash-up that explores what happens after the "happily ever after," I love it even more. It's instantly familiar due to the fairy tale characters we grew up with, but then it lures you into a darker story. And it's a versatile piece that works just as well set in the forests of Asia as in a German beer garden. For their production, newish theater company Shoot the Glass Theater has gone with a stripped down, bare bones, unmiked approach that works beautifully. With minimal (but charming) set pieces and simple costumes, they're able to focus on the storytelling and the music, which is what it's all about.

"Into the Woods" at Lakeshore Players Theatre

Lakeshore Players Theatre has been the community theater in White Bear Lake for 65 years. Even though I'm kept very busy by professional #TCTheater, I'm a little ashamed to admit I've never attended an LPT show despite living in the Northeast metro. This spring, they're opening a brand new performing arts facility just off of Highway 61 in downtown White Bear Lake, which speaks a lot to their audience and donor support, as well as to their commitment to continuing and furthering their legacy. This new building, combined with the fact that their first show in the new space is one of my favorite Sondheim musicals, convinced me to make the short drive to finally check them out. I was impressed not only with the new facility, but also with the quality of their production of Into the Woods. Sondheim isn't easy for professional theaters, much less community theaters, but there were zero cringe-worthy moments and they really pulled off this tricky show remarkably well.

"Into the Woods" by Theater Latte Da at the Ritz Theater

I first saw the Stephen Sondheim/James Lapine musical fairy tale mash up Into the Woods four years ago, and have seen it several times since then, including the recent star-studded movie. Every time I see it I like it more. I think Sondheim is like Shakespeare in that it has a very specific rhythm and cadence to it that takes a minute to get used to, but the more time you spend with it, the richer and deeper it becomes. Such has been my experience with Into the Woods, so I was primed to love my favorite theater company Theater Latte Da's production of it. But it has exceeded my expectations, and even Sondheim newbies will be enthralled by this brilliant staging of a brilliantly written musical. Latte Da has pared down this big Broadway musical to something that feels intimate and innovative, using a small cast and orchestra, and inventive and thoughtful choices in every detail of the production. This, my friends, is Broadway re-imagined, or at least how I would like to see Broadway re-imagined. Simply put, it's sublime.

Where better to set Into the Woods than in Germany, birthplace of fairy tales as we know them? And why not make it a beer garden for extra fun and specificity? The stage is set the moment you walk into the lobby of the charming Ritz Theater, where a sign reading "Theater Latte Da präsentiert Ab in den Wald" hangs over the concession stand, which sells delicious Bauhaus beer and pretzels, or as the German nerd in me likes to say, Bier und Bretzeln (yes, I was the one on Opening Night wearing the Austrian hat I bought in Salzburg 20 years ago when I studied abroad there). The stage itself has been laid bare with no walls or backdrops; you can see the whole stage area, back to the unfinished walls. There is no backstage, everything happens in front of you, including costume changes and sound effects, which are cleverly created by the cast. Trees are constructed by what looks like wooden fencing spiraling to the sky, and after the giant comes through, half of the trees fall creating obstacles that each character maneuvers in their own specific way, athletically, carefully, or clumsily (set design by Kate Sutton-Johnson). All prop pieces look organic to the scene, including chandeliers made of antlers and the most adorable cow, constructed from an old-fashioned buggy with a wooden pail for a head and a piece of rope for a tail, and a little bit of imagination (properties design by Benjamin Olsen). Actors walk out on stage RENT-like with the house lights still up, and then begin to tell the story, making the audience feel like we're all in this together.

the beautiful cast of Into the Woods(photo by Heidi Bohnenkamp)

Director Peter Rothstein has made a genius decision to cast just 10 actors in these 20 roles, and once again has chosen the perfect actors for each part, with clever pairings of characters to an actor. It's such a delight to watch the über-talented David Darrow transform from the hard-working earnest baker to a pompous and shallow prince in a matter of seconds as he doffs one hat and dons another behind a tree; or the young star-in-the-making Brandon Brooks kill Jack's mother as the steward in one scene and mourn her as Jack in the next; or Peter Middlecamp go from the evil stepmother to the charming prince and back again several times within one scene (not to mention his deliciously devilish wolf, Hollywood - you can keep Johnny Depp, I'll take Peter Middlecamp any day). Dan Hopman is a wonderful narrator and emcee, slightly detached and observing, until he's forced into the story. Britta Ollmann only has one role to play, Cinderella, but she does it beautifully. Kendall Anne Thompson and Shinah Brashears are excellent as the stepsisters as well as the witch's sheltered and absurdly long-haired daughter Rapunzel and the fearless and spirited Little Red, respectively. Kate Beahen is warm and human as the Baker's wife, and also climbs inside a tree to voice Cinderella's mother. Elisa Pluhar brings to life both Jack's exasperated mother and Little Red's doomed Granny. Last but certainly not least, Greta Oglesby is a commanding voice and presence as the witch, in both of her forms.

But this is Sondheim, so let's talk about the music. Music Director Jason Hansen on piano leads just two other musicians (on cello and wind instruments) in this sparse three-piece orchestra that, despite being a significantly trimmed down orchestration, leaves nothing to be desired. The ten singers all sound gorgeous, alone and in delicious harmony. There's not one false note, moment, or performance in the entire show. Listening to David and Peter duet as the pompous princes complaining about their women is the opposite of "Agony," in fact it's a highlight in a show that's one highlight after another. The "No One is Alone" quartet is poignant and beautiful, as is Greta's rendition of perhaps the most well-known song, "Children Will Listen." And any song that has all 10 cast members on stage singing and moving at the same time is the best. In fact, the cast never leaves the stage (no backstage, remember?), and simply sit in a chair on the side of the stage when not in the scene. Costume changes happen in full view of the audience, which seems to say "hey, we're putting on a show," and invites us to use our imagination to play along.

Speaking of costumes, Samantha Haddow's costumes beautifully suit the theme, with the aforementioned hats, lederhosen, peasant gowns, and most importantly, pieces that can easily be added or removed and instantly define the character.

Theater Latte Da's inventive and sublime interpretation of Into the Woods continues through March 29. If you're a fan of music-theater, it's a must see.


This article also appears on Broadway World Minneapolis.

"Into the Woods" at Lyric Arts Main Street Stage in Anoka

The more I see the Stephen Sondheim/James Lapine fairy tale mash-up musical Into the Woods, the more I like it. I'd seen it on stage twice (BCT and Mu) before the big star-studded movie came out a few months ago, which I also enjoyed, but seeing it on stage again is even better. Like most pieces written for the stage, it works better as a stage experience. With repeated viewings, I'm able to appreciate even more Sondheim's clever lyrics and complicated melodies and Lapine's funny and poignant book, which can be best summed up by the statement "be careful what you wish for, you just might get it." A new production* opens tonight at Lyric Arts, a community theater in Anoka that has continued to improve over the last few years. This show continues on that trajectory and is perhaps the best thing I've seen at Lyric Arts, except of course for the fantastic production of my favorite musical RENT last summer. The cast is all-around excellent with not a weak link among them, the production design includes inventive puppetry, and Sondheim's gorgeous and intricate score sounds so beautiful it sent me out of the theater singing and inspired me to finally download the cast recording (OBC, of course). If you have not yet made the drive out to Anoka to visit Lyric Arts, this might be a good time to start.

Into the Woods is a mash-up of familiar fairy tales, but with a twist. We have Cinderella with her handsome prince and missing shoe, Jack and his beanstalk that leads to a kingdom of giants, Rapunzel with her unusually long and strong hair, and a little girl in a red cape going to visit her Granny. Tying these stories together is a Baker and his Wife, who long to have children but were cursed by their neighbor, who happens to be a witch. The witch promises to reverse the spell if the couple completes a series of tasks, which will allow her to become the beautiful young witch she once was. Everyone heads into the woods to accomplish their task, where their stories intersect. At the end of the first act, everyone seems to have accomplished their "happily ever after." But the second act shows us what happens next. Happiness is complicated, actions have consequences, and things are not always what they seem. It's a little like growing up; as children we're told these fairy tales, but when we grow up we learn that life is not like fairy tales, it's complicated and messy, and "sometimes people leave you halfway through the wood." But the good news is, "no one is alone," not even witches and giants.

It's hard to pick out standouts in this large ensemble cast that is excellent across the board, under the direction of Matt McNabb, who also directed the aforementioned RENT, as well as the outrageous Young Frankenstein. Alyssa Seifert is a lovely Cinderella, Nykeigh Larson is at her most adorable as Little Red Ridinghood, Molly Jo Hall is the angelic voice in the tower as Rapunzel, Kyler Chase and Daniel Vinitsky are hilariously pompous and shallow as the dueting princes in "Agony," Joseph Pyfferoen and Kelly Matthews bring much humanity to their roles of the Baker and his Wife, Sam Sanderson is a sweet and open-faced Jack, Lara Trujillo's witch is creepy and deliciously over-the-top, and last but not least, 13-year-old Carter Skull is a great narrator, leading us through this story, always onstage, observing or taking part in the action.

In addition to the great cast, the production elements are all well done. The stage is dominated by a large tree, with wooden stairs and platforms leading from the floor of the stage to the top of the tree, all well-utilized by the cast (set design by Ben Olsen). The animals (and some of the humans) are represented by charming puppets reminiscent of Avenue Q. Most of the puppets don't have legs, and the puppeteers are visible and as much a part of the performance as the puppets. The wolf is particularly fun, with two puppeteers manipulating the puppet and performing an intricate waltz (Kyler Chase and Gabriel Gomez, who also designed the puppets and plays Milky White). Finally, Jeff Geisler's sound design creates some ominously loud giant steps, as well as cool and mysterious echoing effects.

Lyric Arts is a community theater, but their productions are often at professional levels. Now that Bloomington Civic Theatre has transitioned from a community to a professional theater (which seems to be a bit of a blurry line in most cases), Lyric Arts is stepping up to be the top community theater in the region, one that serves as a stepping stone for new young talent. I really can't ask more of a production of one of Sondheim's best musicals than a talented, enthusiastic, and dedicated cast, music that sounds beautiful (music director Louis Berg-Arnold leads a nine-person off-stage orchestra), and creative sets, puppets, sound, costumes, and choreography.

Into the Woods is a musical that tickles your funny bone, tugs at your heartstrings, and challenges your brain, all set to beautiful music. If you've only seen the movie, you owe it to yourself (and the show) to see it on stage, where it was meant to be seen. Into the Woods opens tonight and continues Thursdays through Sundays through March 8 at Lyric Arts on Main Street in Anoka (if you've never been to this theater before, check out my venues page, with info and tips on thirty venues around town).


*Lyric Arts' Into the Woods is the first of two local productions this year. Theater Latte Da will be presenting their version of the show, set in a German beer garden, at the Ritz Theater, opening in March.

"Into the Woods" by Mu Performing Arts at Park Square Theatre

"Witches can be right, giants can be good. You decide what's right, you decide what's good."

After seeing the Stephen Sondheim musical Into the Woods for the second time (the first being last year's production at BCT), I have an even greater appreciation of the cleverness of the piece. I love how it turns fairy tales on their heads and explores what happens on the other side of the "happily ever after." Does Cinderella get bored living the pampered life in the palace? Can you really get away with killing a giant without repercussions? Things are not always as straight-forward as they seem. In addition to the clever intertwining and re-imagining of fairy tales, the music is of course brilliant. Smart, fast, funny lyrics combined with unexpected and interesting melodies that sometimes don't fall easily on the ear, but that's what makes it so uniquely, brilliantly, Sondheim*. But something unique about Mu Performing Arts' production of Into the Woods is that director (and soon to be retiring Artistic Director) Rick Shiomi has "set the piece in the woods of Asia rather than those of fairy-tale Europe. Several of the classic western tales featured in this musical have equivalent stories in Asian cultures." And the shift works beautifully, shedding a slightly different light on these archetypal stories that are common among many diverse cultures, attempting to make sense of our shared human experience. And it's also a whole lot of fun.

Here are a few highlights in the all-around fantastic production:

• This is an intricate score and, I imagine, not an easy one to pull off successfully. But under the direction of Denise Prosek it sounds amazing, beautifully performed by the singers and the five-piece band that sounds bigger than it is.
• Randy Reyes and Sheena Jansen as the Baker and his Wife are the heart of the piece, and have a wonderful easy chemistry together. They both do a wonderful job filling in the little in between moments, such as when they frequently have to pause their dialogue to wait for the laughter to die down.
• Maxwell Chonk Thao and Suzie Juul are both adorable as the sweet but stupid Jack (and the Beanstalk) and the bubbly and willful Little Red Riding Hood.
• Alex Galick and Eric Sharp are appropriately melodramatic as the princes who enjoy being in "Agony" over the women they love, and for whom the thrill is in the chase (and kudos to Eric for also playing the dastardly wolf).
• Sarah Ochs plays Cinderella with a little more depth and spirit than in the traditional story, and beautifully sings the touching ballad "No One Is Alone."
• Last but not least, Katie Bradley is entertaining as the evil ugly old witch who transforms into a young and beautiful (but powerless) witch, and also has a poignant moment in "Children Will Listen."
• A really effective addition to the piece is the use of two Kurogos (played by Kim Egan and Bri Heu), traditional Japanese stagehands dressed in black who move set pieces and provide sound effects (such as a crying baby or a mooing cow).

The bad news is that the show closes this weekend, so only two performances remain, but it's well worth the effort if you can make it. I've really come to love Mu's slightly non-traditional take on traditional musicals (see also Little Shop of Horrors), which allows me to see them in a whole new light. I'm looking forward to the announcement of next summer's show! (In the meantime, you can catch Mu's awesome taiko drumming ensemble, Mu Daiko, at the Fringe Festival.)

the cast of Into the Woods

*For more Sondheim, see Theater Latte Da's Company at the Ordway McKnight Theatre and Sunday in the Park with George at Bloomington Civic Theatre, both opening in October.

"Into the Woods" at the Bloomington Civic Theatre

Into the Woods at the Bloomington Civic Theatre was the first show on my list of productions I wanted to see this year.  There are two reasons I wanted to see it: 1) my New Years' resolution to see more Sondheim; and 2) I've been hearing good things about BCT lately, particularly in the bios of some of my favorite new actors, so I was curious to check it out.  I was not disappointed on either count.  As music director Anita Ruth pointed out before the show, Into the Woods is one of Sondheim's happier musicals, and this company of actors, musicians, and designers did a wonderful job with it.  There was a "talk back" after the show (love that!) where Anita and most of the actors came out on stage to discuss this show and the theatre in general.  BCT program director Bonnie Erickson was also available to answer questions.  Most of the actors have "day jobs," which makes their fine work with this challenging piece all the more impressive.  I hope to see some of them again, either on the BCT stage or on professional stages in the area.  Anita and Bonnie talked a little about the challenges of programming a season of musicals, balancing classic, familiar pieces that a portion of the audience wants, with more innovative and original pieces that appeal to another part of the audience (like me!).  It was interesting to hear about the life of this theatre and the work that they do.

Into the Woods, featuring music and lyrics by Stephen Sondheim and book by James Lapine, was first produced in 1986.  The plot is a mash-up of several well-known fairy tales, including Little Red Riding Hood, Cinderella, Jack and the Beanstalk, and Rapunzel, as well as an original story about a baker and his wife who want to have children but are cursed by a witch.  In the first act, the baker and his wife go on a quest to have the spell reversed and intersect with the tales of the other characters, all of whom go "Into the Woods" to begin their journey.  By intermission, everyone seems to have gotten what they wanted, but the second acts delves into what happens after the "happily ever after."  Sometimes the consequences of getting what you wanted are not all good.  As Glinda says in Wicked, "Getting your dreams, as strange as it seems, is a little, well, complicated."  The music is typical Sondheim: unusual and beautiful melodies with clever and fast-paced lyrics.

Highlights in the cast include Karen Weber as the witch, who later has her youth and beauty restored but her power taken away (you can't have everything).  She gets to sing the most well-known song, "No One is Alone," and does so beautifully.  Adam Qualls as the baker duets with the witch on that song, and is quite charismatic and natural on stage.  Colleen Somerville is his equal partner and wife, until she's charmed by the prince in the woods.  Laurel Armstrong is the Cinderella who comes to realize the fairy tale prince may not be the answer to her dreams after all.  Aleks Knezevich and Eric Heimsoth are the charming princes in "Agony" who, once they find their princesses, are not entirely satisfied.  Courtney Miner is a spitfire of a Red Riding Hood, and Joshua Hinck sings beautifully as the addle-brained Jack whose best friend is a cow, and who sets off a chain of events he didn't see coming.  The set was colorful and whimsical with moving pieces that functioned as beds, rocks, or trees depending on the scene.

Now that I've discovered BCT I'll definitely be keeping on eye on their schedule.  Their next show is the Cole Porter musical Kiss Me, Kate this spring, which might also be worth checking out.  I was very impressed with the all-around quality of the show and am glad to add BCT to my rotation of theaters.

Shows I’m Looking Forward to in 2011

Happy 2011 friends! A new year brings new plays and musicals to go see. Here are a few I’m excited to see in the first part of this year.  (Click on the title for more info and to purchase tickets, although not all of them are available yet.)

Into the Woods, Bloomington Civic Theater, January 14 – February 13
I’ve been hearing good things about the Bloomington Civic Theater and seen it listed in the bios of some of my favorite new actors, so I’ve been itching to check it out. This show fits nicely into my goal to see more Sondheim, so it’s worth the drive across town.
Update: read my review of the show.

Doubt, Ten Thousand Things, February 11 – March 6
There are five reasons to see this show: 1) Ten Thousand Things’ stripped-to-the-core style of theater; 2) A Tony-award winning play about “A fiery battle between a nun and a priest over suspicions of the sexual abuse of a child. Can you get at the truth, when the truth is so colored by our lenses of experience?” 3) Peter Rothstein, my favorite director and Artistic Director of Theater Latte Da; 4) Sally Wingert, who, like Meryl Streep who played the role in the movie, can play anything from comedy to drama and everything in between, and elevates everything she’s in; and 5) Kris Nelson, another of my favorite actors who never disappoints. Any one of those five reasons would be enough to get me to this show, but with all five of them? I’m counting the days!
Update: read my review of the show.

Song of Extinction, Theater Latte Da, February 25 – March 20
Peter Rothstein is a busy man! He’s also directing this Theater Latte Da “play about the science of life and loss, the relationships between fathers and sons, Cambodian fields, Bolivian rainforests and redemption.” I don’t know anything about this play and don’t recognize any of the names on the cast list, but I’ve never met a Latte Da show I didn’t love. And they do a great job casting their shows, so I might discover a few new favorite actors too.
Update: read my review of the show.

HAIR, Orpheum Theater, March 1–6
You can read more about my obsession with the 1968 musical HAIR near the bottom of my 2010 Top Ten list, but suffice it to say I saw it twice on Broadway last year, including making a special trip to NYC just to see the original cast before they moved to London. So yeah, I’m a fan. There’s not much of a plot, but with great music, incredible heartfelt performances, a message of love and peace and togetherness, and a chance to be harassed by hippies, who needs a plot? Since both the Broadway and London shows have closed, I look forward to seeing some familiar hippies, including original tribe members Paris Remillard and Steel Burkhardt as Claude and Berger.  It's only here for a week so get your tickets now!
Update: read my review of the show.

Little Shop of Horrors, Mu Performing Arts, March 19 – April 3
This musical about the plant that eats people is one of my favorites, and “Suddenly Seymour” is one of the best musical love songs ever. Mu usually does Asian-American themed pieces, but this is their chance to cast Asian-Americans in roles they wouldn’t normally be cast in. Randy Reyes is playing Seymour, and I’m sure he’ll be completely charming and funny and touching, as is required in Seymour.
Update: read my review of the show.

Avenue Q, Mixed Blood Theatre, March 25 – May 29
Avenue Q is a refreshingly original and funny musical featuring puppets, like an R-rated Sesame Street. I’ve seen it once on Broadway and once on tour, and I’m very curious to see how Mixed Blood stages this show in their intimate space.
Update: read my review of the show.

[title of show], Yellow Tree Theatre, April 22 – May 15
My favorite little theater in Osseo is doing a musical, and I can’t wait to see how they do it! Wikipedia says “The musical documents its own creation by two Broadway fans, who want to enter the New York Musical Theatre Festival. It follows the team's struggle to complete the show in three and a half weeks with the help of their two actress friends.” It sounds like it’s right up Yellow Tree’s alley, and I think I’m going to love this "musical about two guys writing a musical about two guys writing a musical."
Update: read my review of the show (hint: I did love it).

Next to Normal, Ordway Center, May 10–22
I saw Next to Normal on Broadway shortly after it premiered in 2009, and saw it again last year. I walked into the theater the first time knowing almost nothing about the show, other than it had gotten good buzz and it was about a family struggling with mental illness. Sometimes that’s the best way to see a show; I was blown away. It won a Tony for the brilliant rock score, but lost the best musical Tony to Billy Elliot. The six-person cast was amazing, and Alice Ripley won the Tony for her role. Lucky for us she’s reprising her role in this tour. If you want to see a Tony-winning actress in a bold, brilliant, truly original musical, go see Next to Normal. Expect to be emotionally drained by the end of the evening (in a good way ;).
Update: read my review of the show.

A Funny Thing Happened on the Way to the Forum, Jungle Theater, June 10 – July 31
Again, more Sondheim. I’ve only seen one musical at the Jungle, the completely fabulous Hedwig and the Angry Inch. So I have high expectations for this show. I don’t think I’ll be disappointed.
Update: read my review of the show.

HMS Pinafore, Guthrie Theater, June 18 – August 28
My favorite show that I’ve ever seen at the Guthrie is the Gilbert and Sullivan musical The Pirates of Penzance. It was the final production of my first season as a subscriber in 2004, and I loved it so much I saw it twice. With pirates climbing down from the balconies and flying in on ropes, costumes that were to die for, a fantastic cast, and Gilbert and Sullivan’s clever use of language and rhythm, not to mention a song about the Pythagorean Theorem, this is one of those shows I wish I could travel back in time to revisit. If this production of Gilbert and Sullivan’s HMS Pinafore is even half as good as The Pirates of Penzance was, I know I’ll love it. I’m also hoping that some of my local musical theater faves will be in it.
Update: read my review of the show.

2011 is shaping up to be another great year for theater in Minneapolis/St. Paul.  I hope you get to one or two of these shows, and let me know if there are others you're looking forward to.  FYI you can always see what shows I've got coming up in my schedule in the "Upcoming Shows" section on the right-hand side of this page.  Click on the show name for more information and to order tickets.

I hope your 2011 is filled with health, happiness, and great theater.