"If the Spirit Moves" by Theatre Elision at Elision Playhouse

Theatre Elision is opening their third full season in their brand new performance space - Elision Playhouse in Crystal, located just off Highway 100 on 42nd Avenue. It's an exciting development for this newish #TCTheater company that has filled a niche we didn't even know we were missing - small-cast one-act new or rarely done musicals, often with a focus on women creators, artists, and stories. It seems like we always need more performance spaces for the 70 or 80 theater companies in town, so I hope to see other theater companies utilize this space that includes not just a lovely new theater space, but also a roomy, cozy, eclectic lobby that can function as a cabaret space, and rehearsal rooms as well. This summer Elision remounted their first season hit Ruthless! as their first show at the playhouse, but my first experience there was the season opener If the Spirit Moves. This new musical features a story involving WWI, Dada, Spirtualism, speakeasies, romance, grief, and friendship, and a wonderful six-person cast, beautifully and blissfully unmiked in this intimate space. But like all of Elision's shows, this is a short run - only four performances remain this weekend so get yourself to Crystal to check it out!

"Watermelon Hill" at History Theatre

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

"Mary Poppins" at Chanhassen Dinner Theatres

Mary Poppins is a classic and beloved movie. What child growing up in this country in the last 50 years didn't grow up with the no nonsense magical nanny? The surprising thing is that this original movie musical released in 1964 wasn't adapted for the stage until 40 years later. But when it finally was, it was a success; the Broadway production ran for six years and toured the country, including a stop in Minneapolis in 2013. While it's not a perfect adaptation, the stage musical does retain the magical quality of the movie and many of the most loved moments and song. Chanhassen Dinner Theatres' new production of Mary Poppins: The Broadway Musical is delightful and charming with a huge and talented cast.

The familiar story we know and love from the classic movie is mostly there on stage, except, sadly, the floating to the ceiling with laughter scene and the women's suffrage subplot. Mary shows up to the Banks family in London because they need her. Father George is too busy with his important job at the bank to spend much time or thought on his children Jane and Michael, who are acting out and scaring all the nannies away, and mother Winifred doesn't know what to do to help the situation (pretty much the definition of first world problems). Enter Mary Poppins, who takes the children on fantastical outings while teaching them to be more considerate and responsible. After a crisis at the bank, George learns to appreciate his family, and with the family unit healed, Mary Poppins departs as quickly as she arrived, on to help the next family.

When I saw Mary Poppins on tour two years ago, I thought it was too long, especially for a show that will draw a lot of kids. The songs, scenes, and storylines that were added are just not as compelling as those we're familiar with from the movie. I was hoping that director Michael Brindisi would trim some of the fat, but I don't know how much freedom a regional theater has to make changes when licencing a work such as this. So I'll blame the creators of the piece for making it feel a bit bloated and draggy in parts. But it certainly doesn't overshadow the wonderful moments in the show, which are many:

Ann Michels as Mary Poppins
(photo by Heidi Bohnenkamp)

• It's not easy to step into Julie Andrews' sensible shoes in her iconic portrayal of Mary Poppins, but the Chanhassen has found just the right actor to do so. There's no practically about it, Ann Michels is perfect in every way - her voice, her posture, her attitude, her comic timing, her look, even the way she holds the umbrella. She's an absolute delight to watch in this beloved role.
• As young Jane and Michael Banks, Isabelle Erhart and Jay Soulen (who share the roles with two other actors) are adorable, very present and expressive with lovely voices who fit right in with the veteran cast.
• Fantastic dancer Mark King plays Bert, who serves as a sort of narrator of the story, often on stage observing the action as well as taking part in it. He has a sort of melancholy about him, as if he knows that Mary will soon leave.
• Seri Johnson is, as always, hilarious as the frazzled housekeeper Mrs. Brill. She and Scott Blackburn, as butler Robertson Ay, make for quite the comedy team, like a warped version of Mrs. Hughes and Carson.
• Even though the Mr. Banks at the bank story is not very interesting, Chan favorite Keith Rice is a joy to watch as he transforms from a prickly and absent father to a more devoted family man, with the help of Janet Hayes Trow's sweet and caring Mrs. Banks, who I wish had more to sing about than "Being Mrs. Banks."
• Michelle Barber only has a few short scenes on stage, but her "Feed the Birds" is a lovely and quiet moment in the busy show.

Mary, Bert, and the children
in the sky (photo by
Heidi Bohnenkamp)

• Tamara Kangas Erickson's choreography shines in a couple of group numbers. In "Supercalifragilisticexpialidocious," the cast spells the crazy long word in song and with their bodies, and it's a thrill as the speed increases and the precision never wavers. "Step in Time" is a tap-dancing delight, with chimney sweeps popping up as if by magic in the audience and slowly making their way onto the stage for the ever increasing energy of the number.
• The entire show has a sort of magical, dreamlike quality. The set is dominated by a large moon, with ladders climbing to the sky. Low-tech theatrical tricks create the illusions of flying and large objects coming out of Mary's bag. Hundreds of tiny lights twinkle on the ceiling in the formation of the constellations, making one want to lean one's head back and get lost in the stars (set design by Nayna Ramey, lighting design by Sue Ellen Berger).
• The Chanhassen's resident costume designer Rich Hamson (who recently had his own moment to shine on stage) has clothed the cast in a wide array of London street garb, living life-size toy costumes, and other fantastical getups.
• Last but not least, I would be remiss if I didn't mention Music Director Andrew Cooke and his always fabulous onstage band, making this (mostly) familiar music sound great.

The Chanhassen's Mary Poppins is a joyful production (even if it is a bit too long), filled with great performances and plenty of theatrical magic. Playing now through the end of August, so you have plenty of time to get out to the suburbs and experience the magic.

It's a Jolly Holiday! (photo by Heidi Bohnenkamp)

"Hairspray" at Chanhassen Dinner Theatres

I saw the musical Hairspray at Chanhassen Dinner Theatres yesterday, and I'm still singing and dancing!  I've seen the show several times and it's one of my favorite musical theater soundtracks, so it's no surprise that I loved it.  It's a great cast of Channhassen regulars and newcomers, and a really wonderful production.  I went with my family, a group of 15 people ranging in age from 4 to 66 (including several teenagers), and a good time was had by all.  But it's more than just a good time, it's a great message - togetherness, standing up for what you believe in, and the realization that despite the fact that we might look different, we all just want to dance and have fun and be free to live our lives.  It's easy to forget that segregation wasn't really that long ago in the history of this country.  Today I saw I Wish You Love at Penumbra Theatre (more thoughts on that coming shortly), which gives a much more brutal, realistic view of segregation.  Both shows are about using music and television to enact social change, but that's where the similarities end.  In real life, segregation didn't end cleanly and easily with everyone dancing happily together.  But like Director Michael Brindisi writes in the playbill, Hairspray "is a fairy tale, but it can come true."  Humor and music and dancing is a legitimate way of dealing with an important part of our history.

A few more thoughts:

• Chanhassen newcomer Therese Walth is the star of the show.  She plays Tracy with such energy and enthusiasm it's contageous, and her voice is big and beautiful.  Her energy is matched by another Chan newcomer, Kaija Pellinen, as Tracy's best friend Penny.  She's hilarious and endearing in her awkward lankiness and gum smacking as she follows her best friend and supports her in her adventures.
• David Anthony Brinkley and Jay Albright may be the best couple I've seen on the Chanhassen stages in some time. Their chemistry is so playful, fun, sweet, and believable, it's a thing of beauty to watch. They have an ad lib section in the middle of "You're Timeless to Me" in the second act.  I'm not sure what Jay was doing because his back was to me, but David was cracking up. I don't blame him; I don't know how anyone can look at Jay Albright and keep a straight face, he's such a clown! David usually plays a tall, distinguished, silver-haired gentleman so it was fun to see him play against type as a tall, big-haired, supportive Baltimore mother, and do it so well.
• Tom Rusterholz as Link Larkin is no Matthew Morrison (who is, really?), but he puts his Richie Cunningham charm to good use as the boy Tracy falls in love with, and who eventually proves he's worthy of her.
• Nice to see some new faces in the ensemble along with old faves, including my favorite Chanhassen dancer and perennial teenager Tony Vierling. In any of the big, fabulous dance numbers (choreographed by Tamara Kangas Erickson), my eyes naturally gravitate towards him.  Two more Chanhassen faves Julianne Mundale and Janet Hayes Trow play the two less than supportive, but very funny and entertaining, mothers.
• Kasano Mwanza has the moves as Seaweed, and the voice too.  Run and tell that!
• After I saw the Elvis jukebox musical All Shook Up at the Chan last year, I wrote this: "If Aimee K. Bryant was auditioning for the role of Motormouth Maybelle in next year's Hairspray, she won it in my book!"  Apparently it wasn't only in my book, as she is playing the role and doing an amazing job!
• We had an understudy for Corny Collins, Ben Johnson, and he was excellent.  He's everything Corny should be - suave and charming with a beautiful voice (he sings with the Minnesota Opera).  Speaking of understudies, I see Kinaundrae Lee is an understudy for the Dynamites, which I would love to see!  He played Angel in a local production of RENT last year so I know he can sing and dance in heels!

Hairspray has been extended through May so you have plenty of time to make the trip out to the Southwest suburbs to see this colorful production of a super fun show.  You'll laugh and dance, and maybe even be reminded that like Tracy, sometimes you need to take a stand to make a difference.  It may not end up with everyone happily dancing together, but it might get things moving.