"Helen" by Ten Thousand Things at The Capri Theater

Six years after taking over as Artistic Director of Ten Thousand Things from founder Michelle Hensley, Marcela Lorca is directing her final show with the company before moving on. For this, she returns to one of her favorites - Greek tragedy. Specifically, she worked with playwrights John Barton and Kenneth Cavander on their adaptation of Euripides' Helen, a different retelling of the tragedy of the Trojan War than we usually hear. This adaptation, Marcela's direction and choreography, and this uber talented cast make this two thousand year old play feel refreshingly modern and relevant. And don't let the word tragedy fool you; this Helen is full of lightness and humor and music, albeit tinged with tragedy, specifically around the senselessness and destruction of war. My theater blogger friend asked me if this was a must see, and I said - of course it is, it's Ten Thousand Things! Marcela Lorca is concluding her tenure at TTT on a high note, and I look forward to how this uniquely special company created by Michelle Hensley continues into the future. In the meantime, you can see Helen at The Capri Theater, Open Book, United Methodist Church, or various locations around the community through November 10.

"Twelfth Night" by Ten Thousand Things at Capri Theater

No one does Shakespeare like Ten Thousand Things. And though they also perform other classic plays, musicals, and new work, they often return to Shakespeare because "the stories allow for deep investigations of humanity in ways that speak to all audiences" (from a note in the program by Director Marcella Lorca and Assistant Director Peter Vitale). In the way only they can, TTT is able to distill Shakespeare's (and other) plays down to the emotional truth of the story, building it back up into something that's accessible and relatable for everyone - from experienced theater audiences to those in their performances out in the community. Twelfth Night, one of his most popular comedies, contains many of Shakespeare's favorite elements - twins, a shipwreck, mistaken identities, and fools. This incredible cast of eight plays all of the characters in the story and tells it with much playfulness, joy, and humanity. You can catch it at Capri Theater next weekend and next, or at Calvary Church November 17-19.

"5" at the Jungle Theater, a co-production with Trademark Theater

"Trademark Theater tells bold stories by creating, developing and producing new works that challenge, entertain and inspire audiences." Check, check, and check. Trademark's latest new work is a co-production with Jungle Theater, a play called 5 written by #TCTheater artist JuCoby Johnson. It's creative and inventive, grounded yet fantastical, a story of friendship that deals with relevant issues like gentrification. Combining Trademark's talent for fostering new work with the Jungle's excellent production and design values results in a wildly entertaining and engaging night at the theater. 5 plays Tuesdays through Sundays at the Jungle Theater in Uptown until April 16, but don't wait too long - the small theater has a tendency to sell out especially for hot shows like this one is sure to become.

"Peerless" by Theater Mu at Gremlin Theatre

Peerless is a super dark comedy (sort of) about twin teenage girls who will stop at literally nothing to get into a prestigious college. For this regional premiere, Theater Mu has lured back to town a couple of alums, sisters Francesca and Isabella Dawis, to play the twins. Their independent and codependent performances anchor the strong cast that, along with clever design, brings out all of the dark corners of this sharply and smartly written play. The relatively short run continues Wednesday through Sunday for the next two weekends  at Gremlin Theatre in St. Paul, next door to Lake Monster Brewing which has daily food trucks, the perfect set up for dinner, drinks, and a show. (Click here for info and tickets.)

"Broadway Songbook: George Gershwin" at the Ordway Center

Just last month, I learned about the Gershwin brothers, and lyricist Ira in particular, in Park Square Theatre's excellent play with music Words By... Ira Gershwin and the Great American Songbook. My education was furthered this weekend with the latest in the Ordway's always entertaining Broadway Songbook series, featuring the music of composer George Gerswhin. Ordway Artistic Director James Rocco tells the story of George's life and career, interspersed with relevant songs performed by some of the top musical theater talent in the Twin Cities. And it's a great story at that - an American success story with a tragic ending. Sons of Russian Jewish immigrants, the Gershwin brothers grew up in Brooklyn, where George was a prodigy on the piano. He soon found fame as a composer for Broadway and movies, collaborating with Ira and other lyricists. George died at the age of 38 from a brain tumor, but forever changed American music in his short but prolific career.

This Broadway Songbook features a significantly larger cast than past Songbooks. Ten singer/actors, each one of them a true talent, are accompanied by Raymond Berg on piano and Eric Solberg on upright bass (for an extra touch of class and jazz). With the likes of Christina Baldwin, Dieter Bierbrauer, Gary Briggle, Isabella Dawis, Jennifer Eckes, Joel Liestman, Ann Michels, Bryan Porter, Kersten Rodau, and Therese Walth, the cast does not simply sing the songs, they perform them and truly embody the humor and emotion in each composition. The benefit of having this large cast is the gorgeous full sound that they're able to achieve in the group numbers, but the bad news is that with such a large cast, each of them only has one or two solos, which in many cases left me wanting more. Such is the danger of having so much talent on one stage and only two hours to display it!

James has chosen a selection of Gerswhin songs from the familiar ("I Got Rhythm") to the obscure ("When You Want 'Em"), but all serve a purpose in the narrative. Surprisingly, there are no selections from the opera Porgy and Bess, but James did take the opportunity to plug the tour of the 2012 Broadway version coming to the Ordway in March (I second that - I saw it on Broadway and it's absolutely stunning). The evening includes too many wonderful moments to mention, but a few of them are: Christina and her boys (Joel, Bryan, and Dieter) singing the playfully seductive "Do It Again," the gorgeous ballads "How Long Has This Been Going On" (Kersten) and "Embraceable You" (Ann), some seriously great scatting by Jennifer in "Stiff Upper Lip," Christina's mic going out towards the end of "By Strauss" with her unamplified voice filling the theater (which makes me wish they'd do a song or two unplugged), the beautiful harmonies on "Love Walked In" (arranged by Raymond), and the comically drunk "Vodka" by Kersten.

The highlights of the show are the two group numbers. The casts presents a medley from the 1931 Pulitzer Prize winning musical Of Thee I Sing. Not only do we get to hear some of the witty songs in this political satire, but we get a glimpse of what the whole show would be like. The show closes with a unique original vocal version of Gershwin's masterpiece Rhapsody in Blue. The story of George's life and career in words (written by Albert Evans and arranged by Raymond) set to this iconic and instantly recognizable music is truly stunning.

This is another great installment in the Broadway Songbook series, which has taught me so much about the history of musical theater - my favorite thing in the world. I've attended all but one of the shows presented in the past three seasons and it's building up to be quite a nice curriculum. And if you're a musical theater fan, it really is required curriculum. Great stories and information accompanied by iconic music wonderfully performed by local favorites. Only one performance remains tonight, if you're brave enough to dare going out in the subzero Minnesota winter. Otherwise, make your plans for the final Broadway Songbook of the season, featuring the composing team Comden and Green, in June. I can't wait to see what next season will bring to further my education!

"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!

"Heading East" by Theater Mu at Dreamland Arts

On the afternoon of the day that the Tony Awards were presented in NYC, I had the privilege of watching Tony winner BD Wong in a reading of a musical called Heading East (first produced at East West Players in the 1990s, with music by Leon Ko, book and lyrics by Robert Lee, who was also in attendance), presented by Theater Mu and supported by a fabulous cast of local actors. I've never attended a workshop of a new work before (unless you count an early preview of Tony Kusher's An Intelligent Homosexual... at the Guthrie a few years ago, at a time when he was making daily changes to the script), so I was curious to see what it would be like. It was just like I pictured it – a dozen or so chairs with black music stands on a bare stage (at the lovely and intimate Dreamland Arts in St. Paul), where the actors sat, stood, sang, spoke, and mimed some action. The emotion and feeling of the piece was fully there, but with a very sparse production around it. Some stage directions were read aloud to help create a mental picture of the scene, and the work of the actors soon made me forget this was "just" a reading. I found it to be a really well-written, entertaining, and moving piece of musical theater that I hope continues to grow and find life.

Heading East tells the story of one man over the course of roughly 130 years, representing the life of the Chinese immigrant in that time. The time warp allows for many different topics and eras in Asian-American history to be covered, but as discussed in the post-show talkback, it's an issue that needs to be worked out so that it's a little easier for the audience (and not so distracting for linear thinkers like me). As a young man in mid 19th Century China, Siu Yee embraces new ideas and wants to help his parents by moving beyond the old ways. This eventually leads him to the "gold mountains" of California, where he develops a successful business. He takes a wife, raises a son, and becomes a citizen, all while experiencing over 100 years of Asian-American history. The show really about what it means to be an American. Most of us are descended from immigrants, and I found myself thinking of my own ancestors making the decision to leave home and family behind in search of a better life in America. Of course nothing is as good as it seems, there are struggles along the way, and there's a longing for home, as well as redefining what "home" means.

I really enjoyed the music. There are fun, catchy songs, beautiful duets and solos, and stirring ensemble numbers. (You can listen to the score here, from a 2010 concert.) The cast really did an amazing job; they've obviously been working hard on this little reading (click on the program above to see a list of performers). Everyone sounded fantastic (thanks to musical direction and piano accompaniment by Anita Ruth of BCT), and successfully conveyed the emotions of the characters. What a pool of talent we have here, it's no wonder the creators chose to work with Theater Mu on this project! Now about the star of the show: I've long been a fan of BD's TV work (especially as Father Ray, the moral center of the Oswald State Correctional Facility), so it was a thrill to see him act and sing on stage. His character is not always likable as he pursues success with little regard for anything else, but you begin to understand the man behind the ambition and the complexities of the character through BD's beautiful performance.

A post-show discussion was led by BD Wong, Robert Lee, and Mu Artistic Director Rick Shiomi. As usual, I'm fascinated by artists talking about their work, and there were many insightful comments from people more knowledgeable than I about the subject matter and the art form of musical theater. I really look forward to seeing the fully staged production next year (it will be part of Mu's 2013-2014 season) and seeing how it has changed. There's nothing I love more than new original musical theater, and I'm happy to support it wherever I can. And I'm thrilled and proud that a work like this is being produced here in Minnesota. After that, who knows? Personally, this is the kind of thing I'd love to see on Broadway instead of another movie adaptation or jukebox musical.

"The Dragons are Singing Tonight" by TigerLion Arts at the Southern Theater

I've missed the Southern Theater.  Last season I had a season package that introduced me to several small theater companies I hadn't heard of.  Each show was unique and innovative and sometimes a little weird (in a good way).  Unfortunately the last show in my package was cancelled due to financial troubles, from which they're still recovering.  So I was happy to hear* about the new musical The Dragons are Singing Tonight, which sounded every bit as interesting as other things I've seen at the Southern.  And it is.  So many people and groups are involved in this show that I don't know whom to credit for what, so I won't even try.  The Dragons are Singing Tonight is based on a book of poems by Jack Prelutsky and is a collaboration of TigerLion Arts, Minnesota Boychoir, Puppet Farm Arts, Circus Juventas, In the Heart of the Beast, four actors, a composer, and twelve musicians, and more, all of whom seemed to have a hand in what's being presented at the Southern Theater.  And the result is delightful and whimsical and moving and silly and fun.

A boy (Maxwell Chonk Thao) wishes for a dragon of his own, and a girl (the luminescent Isabella Dawis), who herself has a dozen dragons, leads him to an egg in the garden which eventually hatches into a baby dragon.  But being a dragon-owner is harder than he thought, as Nasty (so named because of his breath and attitude) grows bigger and more independent.  The boy only wants Nasty to obey, so he puts chains on the dragon and makes him do his bidding.  But the girl warns him, "give him room or he will boom!"  And boom he does.  The boy eventually learns that he can't control Nasty; he has to let the dragon be himself so that they can both be happy.  Something that every pet owner (and Daenerys Targaryen) knows.  Nasty is portrayed by two actors as he grows from a spark to a huge dragon.  Elise Langer (who I've seen in several Ten Thousand Things productions) and Tyson Forbes (who's appeared many times on the Guthrie stage) are both amazing and work together so well to give life to the growing series of puppets.  At times they speak in unison, giving more dimension to Nasty.  The full-grown dragon puppet is graceful and lifelike, with Elise inside the body of the puppet and Tyson directing its head and expressions.  The two humans and the puppet combine to create a loveable full character.

Jack Prelutsky's poems have been beautifully set to music by composer Laurie MacGregor.  The songs are fun and catchy, sad and thoughtful, playful and whimsical.  I find they're still running through my head two days later.  "If you don't believe in dragons, it is curiously true, that the dragons you disparage, choose to not believe in you."  These are great poems for children that don't talk down to them.  The program includes a glossary of terms (such as disparage) that might be challenging for younger children.  The awesome twelve-piece band crammed into the side of the stage bring the words to life.  The Minnesota Boychoir joins the band and the actors in telling the story, and they're completely adorable - acting the songs instead of merely singing them.  Last but not least, three lovely and graceful aerialists perform on ropes and swings and add to magic.

The Dragons are Singing Tonight is a perfectly delightful theatrical experience for adults and children alike.  Here's a suggestion: if you can't get tickets to The Lion King, or if you don't want to shell out $100+ per person to take your family to the theater, go see The Dragons are Singing Tonight.  You'll save a ton of money but you'll still have a wonderful experience of theater, music, puppets, and circus.  And your money will go to support local artists rather than Disney.  :)


*I received two complementary tickets to The Dragons are Singing Tonight.